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LUX B SIX 1:43 SCALE MODELS including Osca Mk4 1350 and Mk4 100, boxed

KYOSHO SIX 1:43 ROLLS ROYCE SCALE MODELS including Phantom Drophead Coupe (x4) and Phantom Coupe (x2), boxed

SCHUCO, MERCEDES-BENZ L322 'FEUERWEHR' 1:18 SCALE boxed

LARGE COLLECTION OF 1:43 SCALE MODELS MIXED MANUFACTURE including numerous Bang, Rio, Detail Cars and further similar, boxedThere are approximately 30-40 models in this lot

BMW TWO 1:43 SCALE MODELS Vision Next 100 in bronze/orange, boxed

PERFEX LIMITED EDITION 1:43 SCALE MODEL no. 211 Citroen V23 Fargon, boxed

PREMIUM X DIE-CAST TWENTY-TWO 1:43 SCALE MODELS comprising Fiat 500 Castagna EV (x13), Fiat 500 Tender Two (x8) and Mini Cooper S, boxed

EBBRO TWELVE 1:43 SCALE MODELS including Le Mans editions, boxed

PERFEX LIMITED EDITION 1:43 SCALE MODEL no. 213 Citroen V32 1948, boxed

TRUESCALE MINIATURES SEVEN 1:43 SCALE MODELS comprising 1984 Nissan Bluebird (x3), Lola T810 Nissan Fairlady (x3) and 1982 Nissan Bluebird WEC Japan, boxed

Rare and Historically Important 2nd Battalion Ox & Bucks Light Infantry Fibre Rim Airborne Forces / Paratroopers Steel Combat Helmet, superb untouched as found early fibre rim steel helmet with original regimental colour insignia for the Ox & Bucks Light Infantry, who served as an Air Landing regiment during the D-Day landings, famous for taking Pegasus Bridge. The shell is heavily worn and pitted. The interior of the shell has the remains of the original liner system with rubber pads but no leather sweatband. Helmet is also accompanied by the remains of the leather harness chinstraps which have hardened and come detached. Attached to the liner is an inked label written in French with a date 1952. Overall a superb and rare original airborne helmet worn during one of the most famous actions of WW2. The 2nd Battalion, Oxford and Buckinghamshire (Ox and Bucks) Light Infantry were stationed in India on the North West Frontier (as 52nd Ox and Bucks Light Infantry) at the start of WW2, before being recalled to the UK. In the early years of the war, they formed part of the 31st Independent Infantry Brigade, undertaking Home and Coastal Defence roles in Wales, East Anglia, London and Kent. At this stage in the war, the British Airborne Forces consisted of just the 1st Parachute Brigade. In September 1941 however, the War Office decided that a Brigade of glider infantry should be raised to compliment them. The 31st Infantry Brigade was selected for this task and accordingly, on 10 October 1941, it was renamed the 1st Airlanding Brigade. In addition to the 2nd Oxford and Bucks Light Infantry, this experimental formation consisted of a further three battalions; the 1st Battalion Border Regiment, 1st Battalion Royal Ulster Rifles and 2nd Battalion, South Staffordshire Regiment. Gliders were seen as a necessary method of supporting airborne operations, as they were able to carry additional infantry to reinforce the parachute brigades, and also heavy equipment, such as jeeps and Anti-Tank Guns. It was this factor, and the subsequent formation of the 1st Airborne Division, that made it possible for the role of the British Airborne Forces to advance beyond the small-scale and infrequent commando raids that had been previously envisaged. The transformation to an Airborne Battalion saw the 2nd Ox and Bucks remain in England and start training for the planned invasion of North West Europe the following year as part of the redesignated 6th Airlanding Brigade of 6th Airborne Division. Elements of the Battalion (D Coy and parts of B Coy) formed a Coup de Main force, tasked with an attack on the bridges over the River Orne and adjacent Canal in Normandy, subsequently known as the attack on Pegasus Bridge. The Battalion's involvement in the successful Coup de Main action at Pegasus Bridge, under Major John Howard proved one of the most remarkable British Airborne actions during WW2. The 2nd Battalion itself would continue to see Airborne action however, serving as part of the 6th Airborne deployment to the Ardennes and the Rhine Crossing in early spring 1945.

Victorian Volunteer Long Service Medal to a Quarter Master Sergeant in the Hampshire Regiment, Volunteer Long Service medal, VR, neatly engraved, “1st VOL BATTN. HANTS REGT. 25 – QR MR SERGT W. BARNARD 1860-” Medal accompanied by various items of cloth insignia, from undress and grey cloth uniform and a small white metal piece engraved with a linear scale and additionally engraved “SERGT BARNARD 2ND HANTS RIFLES”. Medal confirmed in Army Order January 1895. Late Rod Flood collection

A RARE AND IMPORTANT ALBUM LEAF FROM THE HUANGCHAO LIQI TUSHI WITH AN IMPERIALLY INSCRIBED SILK PAINTING OF THE EMPRESS DOWAGER AND EMPRESS CONSORT'S DRAGON VEST (CHAOGUA), QIANLONG PERIODExpert's note: The present pair of leaves may belong to the same manuscript as those in the British Library, the National Museums of Scotland, the National Museum of Ireland, the Victoria & Albert Museum, and those sold at Woolley & Wallis, 12 November 2019. Altogether, these may once have been part of the version kept in the Wenyuan Pavilion library in the Yuanming yuan Summer Palace, Beijing, as indicated by the main seal on two pages from the manuscript in the Victoria & Albert Museum.China, 1750-1759. Ink and watercolors on silk, laid down on paper. One side illustrating an Imperial dragon vest (chaogua) of the Empress Dowager and Empress consort, and the other side with eleven lines of inscription regarding the regulations for such vests. Exquisitely painted, the dragon vest is designed with six golden five-clawed dragons pursuing flaming pearls on a midnight-blue ground surrounded by polychrome lingzhi-form clouds above crashing waves. The black-ground hem and borders are shown in gold thread with scroll designs, and the interior is lined with red silk.Inscriptions: Right hand leaf, 'The painting of the official vest of the Empress Dowager and Empress consort.' Left hand leaf, 'The empress dowager and the empress consort's official vest shall be made in accordance with the regulations of our era: the empress dowager and the empress consort's vest should be an azurite blue and have gold hems and seams. The front and back shall have two standing dragons above four further levels with four dragons. Below are to be ten thousand bats and ten thousand shou and behind the color a yellow sash with jewelry. The imperial concubine and crown princess shall follow similar regulations.'Provenance: French trade.Condition: Very good condition with minor wear, little soiling, minor creasing, few tiny losses.Dimensions: 41.8 x 39 cm The present album leaf is part of the Huangchao Liqi Tushi (The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty), an illustrated manuscript commissioned by the Qianlong Emperor. The main body of the work began to be compiled in 1750 and was completed in 1759. After editing and further expansion of the manuscript during the ensuing years, it was duplicated by the Palace Publications Office in the Wuying Palace in 1766 and was eventually added to the Siku Quanshu (Complete Library of the Four Treasuries) in 1773. Only seven copies of the manuscript were produced, stored in libraries across the empire, including the Wenyuan Pavilion library in the Summer Palace (Yuanming yuan), Beijing.The Huangchai Liqi Tushi was part of the Qianlong Emperor's effort from the beginning of his reign to regulate the ritual codes and procedures, and it serves as a record of his passion for a rigid ritualized life. The book consists of six parts - ceremonial vessels, scientific equipment, dress, musical instruments, insignia, and weaponry, containing more than 1,300 leaves of illustrations and explanatory texts. As one of the major imperial commissions, the book is of monumental scale and collaborative in nature. As many as twenty-seven court painters and calligraphers were working on the commission under five editors-in-chief, Yilu (1695-1767), Jiang Pu (1708-1761), Wang Youdun (1692-1758), Guanbao (d. 1776), and He Guozong (d. 1766).The Qing dynasty Chaogua was adapted from the dragon-patterned sleeveless coats worn unofficially at the Ming dynasty court. The mid-eighteenth century court dress edicts assigned three styles of this garment to the upper ranking court women. All were made of dark navy blue silk and featured a center front opening held with five toggle and loop fastenings, angled shoulder seams and deeply cut armholes. The first and second styles were tailored as multi-sectioned constructions with horizontal bands of dragons, clouds, and waves. The third style was full length without sections. A fourth style, which could be worn by all ranks of women including the wives of nobles not related to the imperial clan and the wives of other high officials featured mang, or four-clawed dragons. The chaogua painted on the present lot is of the first style, a full-length vest made of three sections - an upper part, a section from waist to knee, and a section from knee to hem with five horizontal bands embroidered with five-clawed dragons and auspicious symbols.Literature comparison:Compare an illustrated manuscript with 38 folios preserved, two leaves showing the front and back of a similar dragon vest, the leaves of closely related size (42 x 40 cm), dated to the Qianlong period, once in the Summer Palace and now in the British Library, number OR 9430. Compare a closely related page from the Huangchao Liqi Tushi illustrating the front and back of a dragon vest worn by imperial concubines of the first rank, 42.3 x 41.3 cm, dated to the Qianlong period, in the Victoria & Albert Museum, accession number 856-1896.Auction result comparison: Type: Closely related Auction: Christie's Paris, 13 December 2017, lot 108 Price: EUR 47,500 or approx. EUR 55,500 adjusted for inflation at the time of writing Description: Six rare and important album leaves, Huangchao liqi Tushi, Qianlong period Expert remark: Compare the closely related manner of painting, calligraphy, and size (42 x 41 cm), as well as the related dragon vest illustrated on the final page. Note this lot comprises six album leaves.Auction result comparison: Type: Related Auction: Woolley & Walis, 12 November 2019, lot 6 Price: GBP 225,000 or approx. EUR 345,000 converted and adjusted for inflation at the time of writing Description: Album leaves from the imperial household regulations (Huang Chao Li Qi Tu Shi) Expert remark: Compare the closely related manner of painting and calligraphy. Note this lot comprises twelve paintings. Note the closely related size (41 x 42.5 cm).乾隆時期彩繪《皇太后皇后朝褂圖》，《皇朝禮器圖式》彩繪散頁中國，1750-1759 年，絹本設色。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A MONUMENTAL BRONZE HEAD OF BUDDHA, LAN NA, NORTHERN THAILAND, 14TH-15th CENTURYExpert's note: Thai bronzes of this size and preservation are exceptionally rare, particularly those that are over 500 years old. It's challenging to imagine the immense scale of the complete sculpture to which this head belonged, standing at well over 2 meters tall. Only a few works of similar magnitude have endured the test of time, and this magnificent head is among the largest privately owned examples. Despite centuries passing, it has retained all its spirit, a near-magical presence, a sense of tranquility, and, above all, its ability to inspire.Buddha's slightly elongated oval face with outlined smiling lips, aquiline nose, neatly incised heavy-lid downcast eyes below finely arched eyebrows in relief, his ears with extended pierced earlobes, the hair arranged in rows of snail shell curls, surmounted by an ushnisha.The bronze heavily cast and with a rich naturally grown patina, showing distinct malachite encrustations. The surface with natural wear overall, resulting from centuries of worshipping.Provenance: From an old private collection in Palm Beach, Florida, USA. Sotheby's New York, 23 March 1995, lot 101. A private collection in New Jersey, USA, acquired from the above, and thence by descent within the family.Condition: Superb condition, commensurate with age, showing extensive wear, weathering, and expected casting flaws. Some losses, nicks, and scratches. The interior of the head with a filling used to mount the head to the stand. The wood base with age cracks and flaking to lacquer.Weight: 24.7 kg (excl. stand)Dimensions: Height 40.5 cm (the head) and 60 cm (incl. stand) Mounted on a wood base, dating from the 20th century. (2)The present bronze bears distinctive features of the Sukhothai style, evident in its oval shape, hairline, and aquiline nose. A closely related example from the Sukhothai tradition is a bronze head now housed in the Sawanvoranayok National Museum (see literature comparison). However, there are slight variations in the facial treatment, such as less upswept eyes and fuller lips. The face also shows arched eyebrows, an upward turn at the sides of the mouth, and an oval marking on the chin. The flowing curves of these features come together harmoniously, making this sculpture an excellent representation of the neighboring Lan Na Kingdom's artistic style. Lan Na was a powerful state in Northern Thailand and actively promoted Buddhism, shaping their Buddhist sculptures with influences from the Sukhothai kingdom.During the late 13th century, Sukhothai reached its peak under King Ram Khamhaeng's reign. However, after his death, the kingdom declined, and various tributary states began to break away rapidly. Lan Na annexed Tak, an ancient town in Sukhothai, and other regions to the north and west asserted their independence. By the 14th century, Sukhothai had diminished to a local power and eventually became a tributary state of the Ayutthaya Kingdom, a neighboring Thai polity. In 1438, after the death of Borommapan, Ayutthaya annexed Sukhothai, bringing an end to its independent existence.Literature comparison:Compare a closely related Buddha bronze head, dated to the 14th-15th century, from Wat Mai, Sukhothai, now in the Sawanvoranayok National Museum, illustrated in Ancient Sukhothai: Thailand's Cultural Heritage, Dawn F. Rooney, 2008, pp. 198-99. Compare closely related Buddhas, held in Thai temples, illustrated in Stratton, Buddhist Sculpture of Northern Thailand, Chiang Mai, 2004, pp. 163-179, & figs. 7.50-7.58. Compare the fragmentary example held in the National Museum, Lamphun, published in Bowie (ed.), The Sculpture of Thailand, New York, 1972, p. 94-5, no. 55. Compare a closely related Buddha head at the National Museum of Bangkok and published in J. Boisselier, La sculpture en Thailande, Fribourg, 1987, pl. 111.Auction result comparison: Type: Closely relatedAuction: Bonhams, Paris, 25-26 October 2022, lot 83Price: EUR 176,775 or approx. EUR 182,000 adjusted for inflation at the time of writing Description: A copper alloy head of Buddha, Thailand, Sukhothai School, Kampheng Phet, 14th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the similar size (43 cm).Auction result comparison: Type: Closely relatedAuction: Christie's, London, 11 May 2016, lot 82Price: GBP 60,000 or approx. EUR 101,000 adjusted for inflation at the time of writing Description: A monumental bronze head of Buddha, Thailand, Lan Na period, 15th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the slightly larger size (45 cm).

A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.

A LARGE BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEExhibited: Los Angeles County Museum of Art, USA, according to the expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001.Khmer Empire, late 12th to early 13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity is clad in a short sampot with fishtail pleat and jeweled sash, to the back a flared tang. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, an aquiline nose, an urna, and full lips.Provenance: Former Pan Asian Collection. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001, confirming the dating and provenance above, accompanies this lot. The expertise also states a 'replacement value' of 170,000 FF or EUR 37,500, converted and adjusted for inflation. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Excellent condition, commensurate with age. There is extensive wear, some casting flaws, minor losses, signs of weathering and erosion, small nicks and shallow surface scratches, all as expected from a Khmer bronze of nearly 1,000 years of age. Faint remnants of gilt.Weight: 3,557 gDimensions: Height 38.8 cm Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. Also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 42,500 adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Note the smaller size (32 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 10 December 2002, lot 114Price: EUR 33,460 or approx. EUR 52,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, bronze figure of PrajnaparamitaExpert remark: Note the larger size (46 cm).

AN ARCHAIC GREEN JADE AXE BLADE, DAO, NEOLITHIC PERIODChina, c. 3000-1700 BC. Of trapezoidal form with a thin blade and beveled lower edge, pierced with three apertures along the upper edge. The translucent stone of a dark green hue with russet clouding and veins, and black shadings around the edges.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition with ancient wear, some losses, chips and nibbles which have smoothened over the centuries of handling. Natural fissures in the stone, some of which have developed into small hairlines.Weight: 269.3 gDimensions: Length 24 cm Expert's note: Jessica Rawson in Chinese Jade from the Neolithic to the Qing, British Museum, 1995, pages 184, discusses jade ceremonial blades of the neolithic period and how they evolved from stone reaping implements.Literature comparison: Compare a related jade harvesting knife, hu, 62.7 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F1916.417. Compare a related jade harvesting knife, hu, 32.4 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F 1916.375.Auction result comparison: Type: RelatedAuction: Bonhams London, 18 March 2023, lot 4Price: GBP 17,850 or approx. EUR 21,000 converted at the time of writingDescription: A very large archaic jade axe blade, dao, Neolithic periodExpert remark: Note the larger size (38.5 cm). 新石器時代青玉刀中國，西元前約 3000-1700年。青玉質，局部褐色沁。刀呈扁平片狀，長條形，淺圓弧刃。上端有三個單面鑽螺旋式孔，一側局部漸增灰白色土沁，一面有黃褐色紋理，通體光素，圓潤渾厚。來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有磨損，一些缺損、磕損。玉料上有天然裂縫。 重量：269.3 克 尺寸：長 24 厘米 專家注釋：Jessica Rawson 在 《Chinese Jade from the Neolithic to the Qing》（大英博物館，1995年，第184頁）討論新石器時代的玉祭刀以及它們如何從石製收割工具演變而來的專題。 文獻比較： 比較一件相近的新石器時代青玉刀笏，長62.7 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F1916.417。比較一件相近的新石器時代青玉留皮刀笏，長32.4 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F 1916.375。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2023年3月18日，lot 4 價格：GBP 17,850（相當於今日EUR 21,000） 描述：新石器時代玉刀 專家評論：請注意尺寸較大 (38.5 厘米)。

A WHITE-GLAZED JAR, TANG DYNASTYChina, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie's 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm). 唐代白釉罐中國，618-907年。侈口，短頸，豐胸，弧腹，平底。 通體覆蓋著半透明的白色釉。足部無釉，露淺黃色胎。來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。 品相：品相良好，有一些磨損和輕微的製造缺陷，包括釉面凹陷和黑點，輕微缺損與劃痕。 重量：1018.1 克 尺寸：高 16.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年3月29日，lot 394 價格：USD 3,600（相當於今日EUR 5,100） 描述：唐代白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(20.9厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2023年3月20日，lot 4 價格：USD 7,013（相當於今日EUR 6,500） 描述：唐白陶萬年罐及白陶壁足碗各一 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.5厘米)，以及此有一件淺碗。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2023年3月24日，lot 1002 價格：USD 6,300（相當於今日EUR 5,900） 描述：唐白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.4厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A HENAN RUSSET-SPLASHED BLACK-GLAZED JAR, NORTHERN SONG TO JIN DYNASTYChina, 960-1234. The globular body rising from a short straight foot to a cylindrical neck with a lipped rim, set with a pair of strap handles. Covered to the horizontally ribbed interior and the exterior with a lustrous black glaze splashed with russet around the rim and handles, the glaze falling well short of the foot and pooling attractively in thick drops to reveal the buff-colored body.Provenance: From the collection of Grahame Clarke, and thence by descent within the same family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Very good condition with expected old wear and manufacturing irregularities, including glaze recesses, the foot chipped.Weight: 776.9 gDimensions: Height 10.8 cm Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 15 September 2018, lot 1414Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A russet-splashed black glazed jar, Northern Song/Jin dynastyExpert remark: Compare the related form and glaze with similar pooling and russet splash. Note the size (11.6 cm). 北宋至金河南黑釉鐵鏽斑雙耳罐中國，960-1234年。直口，削肩，雙繫耳，圈足。內外施有光澤的黑釉，邊緣和雙耳有鉄鏽斑色釉，釉料到罐身中間不問形成釉滴，露出淺黃色的身體。足下露胎。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 Highland Stoneware。 在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況非常好，有磨損和製造不規則，包括釉面凹陷、腳部缺口。 重量：776.9 克 尺寸：高 10.8 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2018年9月15日，lot 1414 價格：USD 9,375（相當於今日EUR 10,500） 描述：北宋 / 金黑釉醬斑雙繫罐 專家評論：比較相近的外形和褐黑色滴釉釉面。請注意尺寸(11.6厘米)。

A 'DOUBLE CICADA' BRONZE ORNAMENT, LATE SHANG DYNASTY, ANYANG PHASEExpert's note: The style of the two cicadae on this bronze belt buckle dates it firmly within the Anyang phase of the Shang dynasty. Later, these insects were depicted more naturalistically, as becomes clear for example when looking at the Cicada 'noses' depicted on a fangzun bronze dating to the Western Zhou dynasty, see literature comparison below.China, c. 1200 - 1046 BC. Of rectangular form, the finely cast sturdy plaque depicting two cicadae set in a row and surrounded by swirling C-scrolls, all in high relief and neatly incised. The two stylized insects have spade-shaped heads with naturalistic eyes set on top of a tapering body with wings extending along the side. The back has two loops for attachment.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Very good condition, commensurate with age. Wear, signs of weathering and erosion, small losses, and traces of soil likely from a prolonged period of burial. The bronze has a remarkable, naturally grown olive green and beige patina with distinct malachite encrustations.One tiny hairline to the lip.Weight: 100.6 g Dimensions: Length 10 cm Literature comparison:Compare a similarly styled bronze cicada ornament, 3.8 cm long, dated to the Shang dynasty, in the British Museum, registration number 1933,0413.8. Compare the cicada motif along the neck of a bronze gu, 31 cm high, dated to the Shang dynasty, at Bonhams New York, 19 March 2018, lot 8030. Compare a related cicada 'nose' decoration on the front of a fangzun, dated to the Western Zhou dynasty, at Sotheby's New York, 18 March 2008, lot 71. 商代安陽時期青銅蟬紋飾物中國，西元前約1200 - 1046 年。精美鑄造長方形飾物，兩隻首尾相連的蟬紋，兩隻大目，頭部和體軀分別作長三角形，腹部有條紋；周圍環繞浮雕雷紋。背面有兩個用於固定的環。專家注釋：此件青銅帶扣上的兩隻蟬的造型，無疑屬於商代安陽時期。 之後這些昆蟲的描繪更加自然，例如西周方尊青銅器上的蟬，參見下面的文獻比較。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損、風化和侵蝕跡象、小缺損，以及可能來自長期埋藏的土壤痕跡。表面有自然包漿和銅鏽，並帶有獨特的藍綠色和米色結殼。 重量：100.6 克 尺寸：長 10 釐米 文獻比較： 比較一件相似的商代蟬紋飾物，長3.8 釐米，收藏於大英博物館，館藏編號1933,0413.8。比較商代安陽時期青銅觚，高31 釐米，見紐約邦瀚斯，2018年3月19日，lot 8030。比較一件相近的西周蟬紋方尊，見紐約蘇富比，2008年3月18日，lot 71。

A SILVER-INLAID BRONZE CROSSBOW FITTING, WARRING STATES PERIODChina, 475-221 BC. Of rounded rectangular form, the hollow fitting has a square base and an aperture at the back for mounting it to the weapon. It is decorated overall with a geometric design of lozenge silver inlays with C-scrolls and stylized leafy scrolls. The top has a raised oval that extends down the side and is covered in the same design.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Good condition, commensurate with age. Signs of wear and weathering, dents, scratches, extensive rubbing to one side, soil encrustations, losses, corrosion. The inside seems to bear small remnants of fabric. Naturally grown patina with solid malachite encrustations overall.Weight: 201.4 g Dimensions: Width 5.5 cm Literature comparison:Compare a related corner fitting, 5.8 cm long, dated 4th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1605. Compare a related finial with gold and silver inlays, 6.3 cm long, dated 5th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2236. Compare a pair of bronze finials with silver inlays decorated with a similar geometric design, 6 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1677.1-2.Auction result comparison: Type: Related Auction: Christies New York, 16 March 2017, lot 865 Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Silver-Inlaid Bronze Circular Ornament, Warring States Period (475-221 Bc) Expert remark: Note the similar inlay work and size (6 cm). 戰國錯銀銅十字弓配件中國，公元前475-221年。中空配件呈圓角矩形，有一個方形底座，背面有一個孔，用於將其安裝到武器上。 整體裝飾採用菱形銀色鑲嵌幾何設計，帶有卷葉紋。頂部有一個凸起的橢圓形，向下延伸到側面，並覆蓋有相同的紋飾。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：品相良好，有磨損和風化跡象、凹痕、劃痕、一側有大面積磨損、土壤結殼、損失、腐蝕。內部似乎有少量織物殘留。自然包漿，整體帶有堅固的結殼。 重量：201.4 克 尺寸：寬 5.5 厘米 文獻比較： 比較一件相近的西元前四至三世紀十字弓配件，5.8 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1605。比較一件相近的西元前五至三世紀錯金銀鑲嵌矛，6.3 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.2236。比較一對西元前五至四世紀錯銀鑲嵌相似的幾何設計頂端，6 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1677.1-2。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年3月16日，lot 865 價格：USD 9,375（相當於今日EUR 10,500） 描述：戰國銅錯銀圓飾 專家評論：請注意相似的鑲嵌和尺寸(6 厘米)。

A PAIR OF GILT-BRONZE TAOTIE MASKS WITH RING HANDLES, WARRING STATES TO HAN DYNASTYChina, 5th century BC to 2nd century AD. Each well cast and finely detailed with bulging eyes below thick brows and ruyi horns, all above a pair of arms, each suspending a loose ring from the down-turned nose, which continues into a rectangular tab on the back below another tab pierced for attachment. (4)Provenance: P.C. Lu Works of Art Ltd, Hong Kong. The private collection of an American north-east collector, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Very good condition, commensurate with age. Extensive wear, light scratches, minor dents and losses, signs of weathering and erosion, expected casting flaws. Fine, solid patina with malachite encrustations.Dimensions: Height 7.1 cm (each) Expert's note: Taotie masks handles which retain their forelegs remain truest to their Shang and Zhou bronze precursors and should be dated to the early Western Han Dynasty. The inclusion of human-like arms in this design is rather unusual, and related to a small number of bronze ring handles with human-form decoration, including one excavated in 1968 at Mancheng, Hebei, from the tomb of Liu Sheng (d.113 BC) in the Hebei Provincial Museum which was illustrated in the Metropolitan Museum of Art exhibition catalog Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.-A.D. 220), New York, 2017, pages 184-185, no. 103.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24-25 March 2022, lot 294Estimate: USD 3,000 or approx. EUR 2,900 converted and adjusted for inflation at the time of writingDescription: A pair of small gilt-bronze taotie mask fittings, Han-Northern Wei dynasty (206 BC-534 AD)Expert remark: Compare the related decoration. Note the similar size (7 cm) and that the lot also comprises a pair.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 9 May 2016, lot 727Estimate: USD 3,000 or approx. EUR 3,300 converted and adjusted for inflation at the time of writingDescription: A pair of small gilt-bronze taotie mask and loose ring handles, Han dynastyExpert remark: Compare the related decoration. Note the similar size (6.5 cm) and that the lot also comprises a pair. 戰國至漢代一對鎏金銅獸面活環輔首中國，公元前五世紀至公元二世紀。鑄造精良，細節精緻，獸面濃密的眉毛，彎曲的角，大眼圓睜，嘴部有一雙手，鼻子下懸掛一個可以活動的環。細膩堅固的包漿，帶有紅綠色銅鏽結殼。(4) 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況非常好，大面積磨損、輕微的劃痕、凹痕和缺損、風化和侵蝕的跡象。細膩堅實的包漿，帶有綠色結殼。 尺寸：各高7.1 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2022年3月24-25日，lot 294 估價：USD 3,000（相當於今日EUR 2,900） 描述：漢/北魏銅鎏金鋪首啣環飾一對 專家評論：比較相近的裝飾。請注意相似的尺寸(7 厘米) ，以及此為一對。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2016年5月9日，lot 727 估價：USD 3,000（相當於今日EUR 3,300） 描述：漢代一對鎏金銅鋪首啣環飾 專家評論：比較相近的裝飾。請注意相似的尺寸(6.5 厘米) ，以及此為一對。

A GILT-BRONZE 'FIGHTING DRAGONS' SWORD FITTING, WARRING STATES PERIOD TO HAN DYNASTYChina, 5th century BC to 2nd century AD. Finely cast, the round pommel is decorated with two dragons gripping each other with their claws and biting the other's tail. The smooth bronze is covered overall in gilding and terminating with a hollow square extension for attachment to the sword hilt.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum. Condition: Good condition, commensurate with age. Signs of wear and some weathering, dents, the gilding is worn around the edges exposing the chocolate-brown patina to the bronze. Some nicks to the square fitting.Weight: 101.9 g Dimensions: Diameter 4.7 cm Literature comparison:Compare a closely related hilt fitting, 4.6 cm in diameter, dated to the Han dynasty, in the British Museum, registration number 1932,0316.18. Compare a related bronze fitting dating to the Western Han Dynasty depicting a leopard, illustrated by J. Rawson and E. Bunker in Ancient Chinese and Ordos Bronzes, Hong Kon, 1990, cat. no. 113. Compare a related bronze fitting with three coiled dragons, formerly in the Dr. Carl Kempe Collection, illustrated in Chinese Gold and Silver, Ulricehamn, 1999, cat. no. 11. Compare also a near-identical example in Ancient Chinese and Ordos Bronzes, Jessa Rawson and Emma Bunker, number 113, described there as the depcition of a 'leopard in relief'.Auction result comparison: Type: Related Auction: Bonham's London, 11 May 2021, lot 41 Price: GBP 3,187 or approx. EUR 4,700 converted and adjusted for inflation at the time of writing Description: A rare gold-sheet-mounted bronze embossed 'dragon' fitting, Warring States Period or Han dynasty Expert remark: Compare the similar shape and dragon motif. Note the size (4.5 cm). 戰國至漢代銅鎏金龍紋劍配件中國，西元前五世紀至西元二世紀。圓形鞍頭上飾有兩條雙龍圖案，鑄工精細。整體鎏金光滑，末端有一個空心方形延伸部分，用於連接劍柄。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損和一些風化、凹痕，邊緣處有鎏金磨損，可見褐色的銅鏽暴露在青銅色下。 方形配件上有一些刻痕。 重量：101.9 克 尺寸：直徑 4.7 釐米 文獻比較： 比較一件非常相近的漢代劍配件，直徑4.6 釐米，收藏於大英博物館，館藏編號1932,0316.18。比較一件相近的西漢青銅豹紋劍配件，見J. Rawson和E. Bunker，《Ancient Chinese and Ordos Bronzes》，香港，1990年，圖錄編號113。比較一件相近的三條盤龍紋劍配件，曾藏於Dr. Carl Kempe Collection，見《Chinese Gold and Silver，Ulricehamn》，1999年，圖錄編號11。比較一件幾乎相同的例子，Jessa Rawson 和 Emma Bunker，見《Ancient Chinese and Ordos Bronzes》，編號 113，在書中描述為“浮雕豹"。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月11日，lot 41 價格：GBP 3,187（相當於今日EUR 4,700） 描述：戰國/漢貼金銅蟠龍紋飾 專家評論：比較相似的外型和龍主題。請注意尺寸 (4.5 釐米)

A GILT-BRONZE 'TORTOISE' WEIGHT, HAN DYNASTYChina, 202 BC-220 AD. Boldly cast, the tortoise raises its head, looking up, and curls its tail to one side. The carapace is cast with three notable ridges and the feet with four toes, giving the tortoise a naturalistic form.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum. Condition: Good condition, commensurate with age, with wear, dents, losses, signs of weathering and erosion, the gilt mostly worn away, encrustations, and rubbing. The bronze has a fine, naturally grown patina with malachite and cuprite encrustations.Weight: 110.9 g Dimensions: Length 5.7 cm The tortoise is one of the Four Fabulous Animals, the most prominent beasts of China. They govern the four points of the compass, with the Black Tortoise as the ruler of the north, symbolizing endurance, strength, and longevity. The tortoise and the tiger are the only animals of the four who are not purely mythical. The tortoise is sometimes depicted with supernatural features such as dragon ears, flaming tentacles, and a long hairy tail. The Chinese Imperial Army carried flags with images of dragons and tortoises as symbols of power.Literature comparison: Compare a related bronze figure of a tortoise, dated to the Han dynasty, in the British Museum, registration number 1947,0712.387. Compare a related bronze turtle-shaped weight, 10.1 cm long, dated to the Han dynasty, in the British Museum, registration number 1938,0524.577.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 19 January 2023, lot 3044Price: HKD 504,000 or approx. EUR 59,000 converted at the time of writingDescription: A set of four bronze 'tortoise' weights, Han dynastyExpert remark: Note this lot is comprised of four tortoise weights. Note the similar wear and style of incised feet. Note the size (6 cm). 漢代鎏金銅烏龜鎮紙中國，西元前202年-西元220年。烏龜抬起頭，向上看去，尾巴向一側捲曲，腳上有四個腳趾，十分形象生動。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損、凹痕、缺損、風化和侵蝕的跡象，鎏金大面積磨損、結殼和摩擦。有自然包漿和紅綠色結殼。 重量：110.9 克 尺寸：長 5.7 釐米 龜，即玄武，是中國四大神獸之一，統治北方，象徵著毅力、力量和長壽。 烏龜和老虎是這四種動物中唯一不是神話動物。龜有時被描繪成具有超自然特徵，如龍耳、火焰爪和長毛尾巴。文獻比較： 比較一件相近的漢代青銅烏龜鎮紙，收藏於大英博物館，館藏編號1947,0712.387。比較一件相近的漢代青銅烏龜鎮紙，長10.1 釐米，收藏於大英博物館，館藏編號1938,0524.577。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2023年1月19日，lot 3044 價格：HKD 504,000（相當於今日EUR 59,000） 描述：漢青銅龜形鎮紙一組四件 專家評論：請注意此為四件烏龜鎮紙。請注意相近的磨損和足部雕刻、尺寸 (6 釐米)。

A PARCEL-GILT AND SILVERED COPPER-ALLOY REPOUSSE COMB TOP, TANG DYNASTYChina, 618-907. The gilt upper section of the comb is decorated in repousse with stylized birds of paradise flying amidst blossoms reserved in a ring-punched ground with floral medallions. The copper-alloy has a fine, naturally grown patina with malachite, cuprite, and azurite encrustations.Provenance P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Good condition, commensurate with age, with wear, expected signs of oxidization, minor corrosion, rubbing to the gilt, and a few small losses and dents.Weight: 20.6 g Dimensions: Length 12.7 cm Literature comparison:Three related combs in the Idemitsu Museum of Arts, Tokyo, are illustrated in Ancient Chinese Arts in The Idemitsu Collection, Tokyo, 1989, pl. 337. Compare a related bronze comb with a similar bird motif, dated to the Tang dynasty, in the British Museum, registration number 1938,0524.284.Auction result comparison: Type: Related Auction: Christie's 12 September 2019, lot 564 Price: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A parcel-gilt silver comb, Tang dynasty Expert remark: Note the related motif, displaying two birds flying amid floral branches. Note the size (9.3 cm). 唐代鎏金銀錘鍱銅梳柄中國，618-907年。採用錘鍱工藝，串珠紋、鳳穿牡丹等圖案，局部鎏金銀，自然包漿，已出現藍紅色結殼。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損、氧化跡象、輕微腐蝕、鎏金摩擦，以及一些小缺損失和凹痕。 重量：20.6 克 尺寸：長 12.7 釐米 文獻比較： 三件相近的梳子，收藏於出光美術館，見《Ancient Chinese Arts in The Idemitsu Collection》，東京，1989年，圖337。比較一件相近的唐代鳥紋青銅梳，收藏於大英博物館，館藏編號1938,0524.284。 拍賣結果比較： 形制：相近 拍賣：佳士得，2019年9月12日，lot 564 價格：USD 20,000（相當於今日EUR 22,000） 描述：唐銀局部鎏金錘鍱花鳥紋篦 專家評論：請注意相近的主題，雕刻有兩隻鳥兒在花枝間飛翔。請注意尺寸 (9.3 釐米)。

A BRONZE DEATH MASK, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 220, no. 112.Indonesia. Finely cast from thin bronze, the mask is realistically styled with thin arched brows above heavy-lidded pierced eyes, a broad nose, and full butterfly lips curling into a calm smile. The face has finely aged, covered overall in a solid layer of malachite green encrustation.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 7 October 2002, showing an image of the present lot, and stating a purchase price of ITL 8,000,000 or approx. EUR 6,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition commensurate with age. The shape has remained in its original form. As expected, the bronze has corroded overall and there are a soil encrustations. Minor losses and old wear.Weight: 191.1 g Dimensions: Height 18.5 cm Goa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first introduced to the site in 1999. He brought back several sample fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supported the dating of to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads. Rispoli suggested that the underground temple was most likely a water control system but offers no explanation as to why or how the heads, a clear part of East Java religious practices, came to be placed there. Most scholars disagree with Rispoli's arguments, especially given that it is primarily based off a single faulty thermoluminescence test she discovered.Cultural acculturation, the mixture of elements from various cultures over various ages implemented in religious contexts is a well-known practice in Indonesia. Settlers of the Indonesian archipelago had consistent contact with Indian traders which led to the adoption of many foreign religious practices. Unsurprisingly, this had a direct effect on the cultural material of Indonesia. Dong Son, the earliest bronze culture in Southeast Asia, was likely introduced to Indonesia by traders during the 1st millennium BC. More than 100 objects from Goa Made are bronze objects, and the majority of these are bronze masks. Many of the masks have characteristics elements which reflect the style of face common to the Majapahit period (13th-16th century). However, the masks which do not illustrate Indonesian facial styles, like the Malayan-Mongoloid face of this lot, are similar to nekara bronzes. This suggests a far earlier dating for these masks. Given the origin of bronze working in Indonesia came from the Don Son culture, these masks can be dated as far back as 2000 BC. However, archeologists are still not unified on this dating. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.

A SMALL QINGBAI CENSER AND COVER, NORTHERN SONG DYNASTYChina, 960-1127. Standing on a short tapered foot, the deep rounded sides carved with overlapping petals. The domed cover of the incense burner is pierced with three rows of apertures encircling the central bud finial, all above an openworked pattern of radiating petals. The white ware of the censer and cover is glazed with a vitreous, bubble-suffused pale-blue glaze.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974, he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts. Condition: Very good condition with minor old wear and expected firing irregularities, few shallow chips, some of which have smoothened over time.Weight: 158.8 g Dimensions: Height 8.9 cm Literature comparison: Compare a related Qingbai censer with an openwork cover, 6 cm high, dated to the Northern Song dynasty, in the Art Institute of Chicago, accession number 2013.190. Compare a related tripod censer with pierced cover which was excavated in 1981 from a site near Jingdezhen in Boyang county and is now in the Jiangxi Provincial Museum, illustrated in Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty), Volume 8, Shanghai, 2000, no. 171. Compare a related Qingbai censer, illustrated in Selected Masterpieces of the Manno Collection, Osaka, 1988, no. 84. Compare a related Qingbai openwork censer, illustrated in Chinese Ceramics from the Meiyintang Collection, Volume I, London, 1994, page 329, no. 611. 北宋青白小蓋爐中國，960-1127年。香爐的圓蓋中央有花蕾鈕，穿有三排小圓孔。爐身外壁刻有重疊花瓣紋。香爐通體施青白色釉，釉色瑩潤。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008年 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014年）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 高land Stoneware。在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況極好，有輕微磨損、製造不規則和小缺口。 重量：158.8 克 尺寸：高 8.9 厘米 文獻比較: 比較一件相近的北宋青白小蓋爐，高6 厘米，收藏於芝加哥藝術博物館，館藏編號2013.190。比較一件相近的三足爐，1981年出土於景德鎮 ，現藏於江西博物館，見《Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty)》，卷8，上海，2000年，編號171。比較一件相近 Qingbai censer，illustrated in Selected Masterpieces of the Manno Collection，Osaka，1988，編號84. 比較一件相近的青白小蓋爐 ，見《Chinese Ceramics from the Meiyintang Collection》，卷 I，倫敦，1994年，頁329，編號611。

A Second War M.B.E. group of twelve awarded to Major (Quartermaster) R. T. Guscott, Middlesex Regiment, who was awarded the Meritorious Service Medal during the Great War, and was taken Prisoner of War following the fall of Hong Kong, 25 December 1941 The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 2nd type breast badge, silver; 1914 Star, with later slide clasp (L.11350 C.Q.M. Sjt. R. T. Guscott. Midd’x. R.); British War and Victory Medals, with M.I.D. oak leaves (L-11350 W.O. Cl.2. R. T. Guscott. Midd’x. R.); 1939-45 Star; Pacific Star; Defence and War Medals 1939-45; Jubilee 1935; Coronation 1937; Army L.S. & G.C., G.V.R., 2nd issue with fixed suspension (6188477 W.O. Cl.1. R. T. Guscott. Midd’x. R.); Meritorious Service Medal, G.V.R., 2nd issue with fixed suspension (L 11350 Q.M .Sjt. R. T. Guscott. Midd’x. R.) mounted as worn, the pre-Second War awards all replacement issues (although not marked as such), the originals having presumably been lost at the fall of Hong Kong, good very fine and better (12) £1,000-£1,400 --- Provenance: Wallis and Wallis, June 1964; Jack Webb Collection, Dix Noonan Webb, August 2020. M.B.E. London Gazette 1 January 1942. M.S.M. London Gazette 12 December 1919. Robert Thomas ‘Bob’ Guscott ‘was born on 10 November 1888 and enlisted into the Middlesex Regiment on his 18th birthday in 1906. He served with the 2nd Battalion at home until 1913 and then went to Malta when the Battalion started out on its overseas tour. This was cut short when war broke out in 1914, and the Battalion joined the B.E.F. in France in November of that year. By that time he had risen to the rank of Colour-Sergeant. He remained continuously on active service with he 2nd Battalion until Armistice Day 1918. For his services he was Mentioned in Despatches in January 1917 [London Gazette 14 January 1917] and was awarded the Meritorious Service Medal in 1919. Guscott rejoined the 2nd Battalion after the war and, in August 1919, he went to Egypt when the Battalion continued its overseas tour, which had been interrupted in 1914. He was posted for a tour of duty at the Depot in 1921, and in 1923 he became Regimental Sergeant Major at the Royal Military School of Music, Kneller Hall. There he remained until 1930. On 22 January 1930 Guscott was appointed to a commission as Lieutenant (Quartermaster) and in March of that year he was posted to the 2nd Battalion, then stationed at Madras. He returned to this country with the Battalion on completion of its overseas tour in the Sudan in December 1931 and remained with it until, in 1935, he was posted to the Depot. In October 1937 Guscott was posted to the 1st Battalion in Hong Kong and as soon as war was imminent in 1939 he began the hard task of equipping the unit to War Scale. The results were so efficient that he was recommended for, and awarded the M.B.E. Publication was made on 1 January 1942, and that same month he was promoted to the rank of Major (Quartermaster). He did not learn of the award until after the end of the War, for after the capture of the Colony by the Japanese in December 1941, he was reported missing. Nine months later news filtered through that he was prisoner of war. He was repatriated on 21 November 1945, and retired on 29 December 1946, going to live at Bexhill-on-Sea, Sussex. He died on 8 February 1964.’ (The recipient’s obituary, published in The Die Hards, refers). Sold with copied research.

The Superb Korean War ‘Battle of the Imjin River Hill 314’ M.M. group of seven awarded to Sergeant S. Robinson, 4 Platoon, “B” Company, 1st Battalion, Gloucestershire Regiment (‘The Glorious Glosters’), who, although seriously wounded, personally kept his four Bren Machine-Guns in action in an exposed forward position for over three hours, decimating multiple Chinese ‘Human Wave’ attacks until he collapsed over his own Bren due to loss of blood. Originally recommended for a D.C.M., his award was downgraded as the War Office authorised just two D.C.M.s and six M.M.s to the Glosters’ other ranks, despite their heroic stand which blunted and ruined Mao’s Spring Offensive Military Medal, E.II.R., 1st issue (1444977 A/Sjt. S. Robinson, Glosters); 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45; Korea 1950-53, 1st issue (1444977 Cpl. S. Robinson, Glosters); U.N. Korea 1950-54, unnamed as issued; together with the recipient’s United States of America Presidential Unit Citation riband bar, nearly extremely fine (7) £20,000-£30,000 --- M.M. London Gazette 8 December 1953. The original recommendation, for the award of a Distinguished Conduct Medal, was written by his C.O., Lieutenant Colonel J. P. Carne, V.C., D.S.O. and states: ‘Choksong, River Imjin, South Korea 22-25 April 1951 - Rifle Platoon Sergeant. During the night of 23-24 April, particularly during the early morning of the 24th April, repeated attacks were made by heavy Chinese forces against Sergeant Robinson’s platoon position. At first light, he was manning a light machine-gun in an exposed forward position. Despite heavy mortar and machine-gun fire, he maintained this gun in action personally for over three hours though wounded seriously in the arm and later, the leg. At the end of this time, through loss of blood, he collapsed over the weapon and only then was drawn to the rear. Due to his courage and selfless devotion to duty, this important post withstood the repeated assaults of the enemy until the order was given to withdraw to a new position. Sergeant Robinson’s conduct was indeed an inspiration to all those about him.’ Stanley Robinson was born in Chatham, Kent on 20 July 1920, joined the regular army and saw service in North West Europe during the Second World War. As a regular reservist, he was mobilised at Colchester in August 1950 for service in Korea with the Gloucestershire Regiment as a Corporal in “B” Company. The 1st Battalion of the Glosters sailed aboard the Empire Windrush, arrived in Pusan harbour on 10 November 1950, made its way to the front line north of Pyongyang, but was soon swept up in the retreat of the UN forces in the face of vast numbers of Chinese People’s Liberation Army (PLA) soldiers pushing down from the north. In February 1951 the U.N. forces went onto the offensive, recapturing Seoul and pushing up to and beyond the 38th Parallel, which had been the border between the North and the South. Robinson was promoted in the field from Corporal to be Platoon Sergeant of Lieutenant Geoffrey Costello’s No. 4 Platoon, “B” Company. The Glosters were deployed on the U.N. front line along the Imjin River when the Chinese Spring Offensive opened on the evening of 22 April 1951. The Glosters’ position covered a classic invasion route from the north, as Seoul was just thirty miles away to the south. Furthermore, it formed a pivot in the Allied line, which abruptly changed direction from west-east by suddenly running due north. The 29th Independent British Brigade had been allocated twelve miles of west-east-north front, comprising steep hills intersected by deep valleys. It was impossible to man a continuous defensive line, so Brigadier Brodie decided to deploy each of his infantry battalions on separate areas of key high ground, relying on his artillery and tanks to cover the wide gaps between them, including the dominating 675m-high feature called Kamak San. Ominously, there was a very wide gap between the Glosters to the west of the Brigade area and the other three battalions who were safeguarding the main north-south highway (Route 11) to the east. Like his Brigadier, Lieutenant Colonel Carne, commanding 1st Glosters, appreciated that in order to hold vital ground he could not concentrate his infantry companies. Defence stores such as wire and anti-personnel mines were in short supply and the Glosters’ company positions were not as secure as he wanted them to be. Carne’s main objective was to cover the approaches to the defile and track running south through the hills which offered the fastest way to reach flatter country around Seoul. Ideally Carne wanted to occupy Kamak San, but his manpower was insufficient to do so. He placed “A” Company on Castle Hill, which covered the main crossing point along the Imjin River about 2,000 yards to the north, and “B” Company on its right flank to cover the two-mile gap between the Glosters and the next British battalion. The other companies were in depth or reserve positions. The entire Chinese 63rd Army (about 27,000 fighters) was tasked to wipe out one British Infantry Brigade. During the morning of Sunday April 22, warnings were received of large-scale enemy movement north of the river, and 1 Glosters prepared for battle. Extra ammunition was bought up and distributed to the companies and both “A” and “B” Companies sent out fighting patrols closer to the river. Artillery and mortar targets were registered and recorded. All companies were placed at 50% stand-to. The First Night and Day of the Battle After dark on April 22, swarms of Chinese troops crossed the Imjin, taking massive casualties from artillery and small-arms fire aided by mortar flares. Undaunted by their losses, they pressed on, infiltrating along the gaps between the various British positions. The Gloster fighting patrols were withdrawn at midnight as their ammunition was expended. During the night of 22/23 April 1951, “B” Company inflicted crushing casualties on Chinese units which attempted to overrun their slit tranches, suffering no losses themselves. However, “A” Company was outnumbered by at least six to one, and after bitter fighting the Chinese established themselves in a captured allied bunker on the top of Castle Hill. Soon after dawn on 23 April the “A” Company Commander and many of his officers were killed and the survivors were in imminent danger of being overrun. Colonel Carne was forced to pull back to his depth positions. At 0830 “A” Company - now reduced to only one officer and 53 men - joined him on Gloster Hill, while “B” Company fell back 1,500 yards to destroy the Chinese troops on top of Hill 314 and occupy it. But to their right they could see hundreds of Chinese moving around their flank towards Kamak San. Unfortunately, no air support was available. The redeployed companies - “B” on Hill 314 and the rest of the battalion on Gloster Hill - could still deny the enemy use of the vital track from the village of Solma-Ri through the hills, and the British artillery and mortars were decimating the Chinese throughout the day, but Carne was well aware that both flanks of his battalion had been turned and unless he was provided with air strikes and tank support his sole options were to surrender or to fight on until his ammunition, water and food ran out. No relief or reinforcement could occur without other U.N. units fighting their way forward. By 10.30 on 23 April, “B” Company had taken the summit of Hill 314 and were preparing their defences. During that day the Chinese 188th and 189th Divisions got ready for a fresh att...

A collection of large scale maps / hydrography of varying continents. To include multiple copies published at the Admiralty surveys; English Channel to the Straight of Gibraltar (1971), Marseille to Agay Road (Crown Copyright 1959), Straight of Gibraltar to the River Gambia (1960), Mediterranean Sea - Eastern Sheet x 2 (Crown copyright reserved), Gibraltar (published at the Admiralty 1953), Haisborough to Orford Ness (Crown Copyright 1962), Lannion to Erquy including Guernsey / Sark & the Casquets (Crown Copyright 1968), Dover Strait (published at the Admiralty 1942), Approaches to La Harvre (Crown Copyright 1967), The Downs (SE Coast / Ramsgate Harbour (published at the Admiralty 1951), Alderney & the Casquets (Crown Copyright 1964), Mediterranean and The Black Seas - (published at the Admiralty 1921), Eastern Approaches to the Solent / NAB Tower to Spithead (published at the Admiralty 1935), Guernsey / Herm & Sark (Crown Copyright 1961), Beachey Head to Dungeness - (published at the Admiralty 1953), Western Approach to the British Islands (Consol Lattice Chart / (published at the Admiralty 1951 - AF), Gibraltar to Adra (published at the Admiralty 1895), Newhaven to Calais (published at the Admiralty 1955), C.DE Flamanville to Is St Marcouf (Crown Copyright 1960), Rade De Chambourg (Crown Copyright 1962) & Anvil Point to Beachy Head (Crown Copyright 1966) and many other examples. 

An Admiral Fitzroy barometer. The rectangular glazed case with central mercury barometer tube, flanked by a thermometer and atmospheric tube, all set against printed measurement scale, registration mark and numbers, with adjustable brass verniers. Measures 103cm high.

CHARLES RENNIE MACKINTOSH (1868-1928) 'SCALE DRAWING OF PROPOSED MEMORIAL STONE TO LT. COL. OSWALD ARTHUR GERALD FITZGERALD CMG', 1916 pencil and wash on squared paper, showing the front and side elevation of the memorial stone, later framed Dimensions:sheet size 27.5cm x 23.1cm (frame 46.5cm x 41.2cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Literature: www.mackintosh-architecture.gla.ac.uk Note: Lt Col. Oswald Arthur Gerald Fitzgerald (1875–1916) was personal military secretary to Lord Kitchener (1850–1916). Both men died in the sinking of HMS Hampshire off Marwick Head, Orkney, on 5 June 1916. Fitzgerald's body was not buried at Lyness on the island of Hoy, with others recovered from the sea, but was taken instead to Ocklynge Cemetery, Eastbourne, Sussex, where his father was buried. The design shows an upright stone slab 7 feet (2.13 m) high and just over 3 feet (0.91 m) wide at the base, framed at the top and sides by mouldings of a stepped profile. The angular mouldings have similarities with some of the stone carving at Scotland Street School and with later decorative work by Mackintosh, especially the hall fireplace at 78 Derngate, Northampton. The classical victor's laurel wreath and the military badges above and below the inscription speak the familiar language of soldiers' memorials. It is not known how Mackintosh came to make the design, or who commissioned it. Fitzgerald had served for some years with Kitchener in India, and it may have been through Mackintosh's association with Patrick Geddes's Indian town planning work in 1915–16 that the job came his way. The monument ultimately erected over Fitzgerald's grave is very much simpler and in no sense a realisation of Mackintosh's design, although it contains faint echoes of the original drawing offered here and suggests that whoever carved it may have had access to Mackintosh's design. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

SIR ARTHUR WILLIAM BLOMFIELD (1829-1899) SIR ARTHUR WILLIAM BLOMFIELD’S REMEMBRANCE CABINET, CIRCA 1860 painted and gilded oak, patinated metal fittingsDimensions:85cm wide, 226.5cm high, 36cm deepProvenance:Provenance - Mr & Mrs A. W. Blomfield Private collection, Luxembourg Northern France early 2010’s Oscar Graf 2017 John Gilbert Getty (1968-2020) with Paul ShutlerNote:The exterior of this cabinet is decorated with a choir of angels on the front. Above the door is the Latin motto:‘Non vox sed votum, non musica chordula sed cor, Non clamans sed amans, cantat in aure Dei’.Translated as:‘Not the voice, but the desire, not the musical instrument, but the heart, not the crier, but the lover, singeth in the ear of God’.Or‘It is the duty of a devout mind to pray to God, not with the voice or the sound of the voice but with the devotion of the mind and with the faith of the heart’.The interior right-hand panel:Gules two swords in saltire argent hilts and pommels or (for the See of London) Per fess indented argent and azure a bend gules (for Blomfield) - ensigned with a Cross and a CrozierFor the Bishop of London and Blomfield’s late father Charles James Blomfield (1786-1857).The interior left-hand panel:Argent on a bend azure between two unicorn’s heads couped three lozenges of the field (for Smith) Crest. A demitiger rampant azure holding a broken sword properMotto- Vigilando et orando (By watching and praying).For Blomfield’s late wife Caroline Harriet Smith (1840-1882)Note: Until the re-attribution of this cabinet, domestic furniture designed by Blomfield numbered just one: a cupboard, first published by his friend Charles Locke Eastlake in Hints on Household Taste (p.XV, fourth edition 1878), of which a handful of examples exist.Blomfield was not the only Gothic architect to make elaborate large-scale pieces for their home or office early on in their career. Richard Norman Shaw famously commissioned a cabinet that now resides in the collections of the Victoria & Albert Museum straight after he left the employ of George Edmund Street, and of course, the architect William Burges furnished his entire office and house with such cabinets. The interior, later decorated following his wife’s death in 1882, is intended as a private memorial for his late father, the Bishop of London, Charles James Blomfield (1786-1857) and a memorial from a devoted husband to his late wife Caroline Harriet Smith (1840-1882).

AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) OR EDWARD WELBY PUGIN (1834-1875) NEEDLEWORK RUG, CIRCA 1860 wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpetDimensions:223cm x 147.5cmProvenance:Provenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.Note: Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This section of a needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.

§ GERALD LAING (1936-2011) THE MESSENGER, 1991 bronze, edition of 10, raised on a Corian plinthDimensions:Figure 140m high, including plinth, 221cm highNote: Literature: Gerald Laing: Catalogue Raisonne, geraldlaing.orgNote: The artist's note on this sculpture reads "The Messenger is a sketch for the uppermost figure on the Axis Mundi group [cat. number 550]. The pose is based on that of Mercury by the Renaissance sculptor Giambologna, who in turn based his famous image on others, now lost, from Greek antiquity. This pose has been used by many artists through the ages, particularly in sculpture, and appears most recently on the cap badge of the Royal Corps of Signals. My figure is, unusually for this pose, female, and in the full-scale version, winged, as befits a Wise Virgin in her Apotheosis."

Devon. Donn (Benjamin), A Map of the County of Devon, with the City and County of Exeter, 1st. edition, 1765, key plate and 12 (complete) uncoloured double-page map sheets, decorative cartouche, mileage scale and table of explanation, inset maps of Lundy, Plymouth and Stoke Town and plan of Exeter, compass rose and dedication, later endpapers, modern half morocco with gilt title to spine, slim upright folioQTY: (1)NOTE:Batten & Bennett. The Printed Maps of Devon, no. 44. Arguably the best known of all the large-scale county maps due to the 100 Guineas award from the Royal Society of Arts. Donn's map of Devon was the first map to receive the award which had been conceived by the society in 1762. Donn had taken five years to survey the county and claimed to have measured over 6000 miles of roads and rivers. Highly accurate and exhaustively detailed, the map clearly benefits from Donn's training as a mathematician, but the skill of Thomas Jefferys as an engraver cannot be understated. The map was sold in a simple twelve-sheet format for one and a half guineas (as in this example) and with an extra five shillings for colouring. It was also available in a de-luxe state with a title page, printed index, subscribers list and index map for two guineas plus extra for colouring.

England & Wales. Lewis (Samuel), A Map of England & Wales Divided into Counties, Parliamentary Divisions and Dioceses, Shewing the Principal Roads, Railways, Rivers & Canals and the Seats of the Nobility and Gentry, with the distance of each town from the General Post Office London..., published S. Lewis & Co., 1841, large map engraved by J. Dower with contemporary outline colouring, sectionalised and laid on linen, in four parts (as published), inset map of the Scilly Isles, calligraphic cartouche, compass rose, table of explanation and large uncoloured engraved vignette of the Post Office in London, slight spotting and offsetting, each sheet approx. 1050 x 850 mm, each section bound in contemporary morocco gilt, worn and frayed, size when folded 225 x 145 mm, together with Cary (John). [Cary's New Map of England and Wales with part of Scotland on which are carefully laid down all the Direct and Principal Cross Roads, the Course of the Rivers and Navigable Canals..., 1794], lacking title, but retaining dedication and the general map of England & Wales with contemporary hand colouring, table of explanation, 77 engraved maps with contemporary outline colouring (numbered to 81), tipped in printed addendum of the 'Measured Distances in the Neighbourhood of Plumpton', slight offsetting and dust soiling, 'list of places' and subscriber's list bound at rear, first few leaves detached, some splitting and cracking along the gutter, slight dust soiling and spotting throughout, contemporary half calf, spine partially lacking, upper board detached, heavily rubbed and worn, 4to, with Bartholomew (John). The Imperial Map of England & Wales According to the Ordnance Survey, with the Latest Additions; Shewing clearly every Feature of the Country, Railways and their Stations, Roads, Canals, Rivers, Gentlemen's Seats &c. &c., On a Scale of 4 Miles to an Inch, A. Fullarton & Co., [1866], index and a double-page calligraphic title, sixteen double-page colour lithographic maps, sheet 16 divided into three separate maps, text block detached, contemporary half calf gilt, boards detached, lacking spine, slim folio, plus Bell (James). A New and Comprehensive Gazetteer of England and Wales..., 8 volumes, A. Fullarton & Co. 1837, frontispiece of an 'Extracts of Reviews', title pages with dated contemporary ownership signature to each volume, folding engraved map of England & Wales with contemporary wash colouring and 44 uncoloured engraved county maps by Archibald Fullarton, some spotting throughout, some hinges and joints partially split, publishers green cloth with contrasting paper labels to the spines, bumped, faded and worn, 8vo, together with Cox [Thomas]. Magna Britannia et Hibernia Antiqua & Nova..., volume 3 only, 1724, title page and 3 only (Middlesex, Northamptonshire & Northumberland, lacking Norfolk)) uncoloured engraved folding maps by Robert Morden, each with a triangular mileage table, bookplates of John Basil Tolhurst to the front pastedown and of Prinknash Abbey to the front blank, contemporary vellum with manuscript title to the spine, 8vo, with Capper (Benjamin Pitts). A Topographical Dictionary of the United Kingdom..., Sir Richard Phillips and Co. 1829, frontispiece of an uncoloured engraved folding map of the British Isles, title page, introduction and index, 43 uncoloured engraved maps, preliminaries detached, contemporary quarter sheep, lacking spine, upper board detached rear board near detached, heavily rubbed and worn, 8voQTY: (16)

England & Wales. Cary (G. & J.), Cary's Improved Map of England and Wales with a considerable portion of Scotland, planned upon a scale of two statute miles to one inch, 1832, calligraphic title, index map, inset map of the Scilly Isles, 65 (complete as keymap) engraved map sheets, all with contemporary outline colouring, some marginal fraying and chipping, a few sheets with long closed tears affecting the printed image, slight dust soiling, particularly to the last sheet, publisher's paper wrappers, heavily worn and frayed, lacking spine, oblong folio, binding size 565 x 700 mmQTY: (1)

Cary (John). Cary's Survey of the High Roads from London to Hampton Court, Ware, Bagshot, Bishops Stortford, Oakingham, Chipping Ongar..., On a Scale of one Inch to a Mile; wherein every Gentleman's Seat, situate on, or seen from the road, (however distant) are laid down, with the name of the Possessor; to which is added, the number of Inns on each Separate Route; also, The different Turnpike Gates shewing the Connection which one Trust has with another, 1st edition, J. Cary, 1st July 1790, engraved title page with faint near-contemporary manuscript ownership signature, page of explanation, folding general map of London and its environs, plan of London depicting the turnpike gates, and 80 strip maps (complete) on 40 sheets, all maps with contemporary outline colouring, slight offsetting, bookplate of John Junius Morgan to front blank, later marbled endpapers, hinges strengthened, all edges gilt, contemporary gilt speckled calf with gilt turn-ins, re-backed, slight wear to extremities, 8voQTY: (1)

South East England. Ordnance Survey (publishers), on a scale of 1 inch to the mile, 1885, including East Sussex and West Sussex. Two untitled maps, Edward Stanford, 1885, engraved maps with contemporary outline colouring, sectionalised and laid on linen, on two sheets, each sheet approximately 920 x 1360 mm, marbled endpapers, together with Isle of Wight. Edward Stanford, 1885, engraved map with contemporary outline colouring, sectionalised and laid on linen, slight offsetting, 695 x 970 mm, marbled endpapers, with East Kent & West Kent. Two untitled maps, Edward Stanford, 1885, engraved maps with contemporary outline colouring, sectionalised and laid on linen, on two sheets, each sheet approximately 1045 mm, all contained within a contemporary morocco gilt book box, the box heavily worn and frayed, plus Environs of Tunbridge Wells. Ordnance Survey (publishers), on a scale of 25 inches to the mile, Edward Stanford, 1883, seven zincographic maps, coloured in outline, sectionalised and laid on linen, each sheet approximately 690 x 1000 mm, marbled endpapers, all contained within a contemporary morocco gilt book box, the box heavily worn and frayed (the two book boxes are uniform), and Kent. Ordnance Survey (publishers) on a scale of 25 inches to the mile, Thomas Letts, circa 1870, seventeen zincographic maps, coloured in outline, sectionalised and laid on linen, each sheet approximately 680 x 1020 mm, contained in three red half morocco gilt book boxes with marbled sidings and edges, each with 'hook & eye' clasps, one box with the upper board broken with loss QTY: (5)

* Westmorland. Speed (John), The Countie of Westmorland and Kendale the Cheif Towne Described with the Armes of such Nobles as have bene Earles of either of them, George Humble. circa 1627, hand-coloured engraved map, inset town plan of Kendal, large strapwork cartouche, compass rose and mileage scale, 380 x 510 mm, framed and double-glazed, English text on verso QTY: (1)

Estate Plan. The Map of part of the Lordship of Darrington situate in the County of the West Riding of the County of York, belonging to Wm. Sotheron Esq. Surveyed in the Year 1757 by John Lund, large manuscript estate plan in ink and watercolour on two conjoined sheets of vellum, large floriate cartouche and explanation, large armorial and scale, creased, some dust soiling, small closed tears affecting the image, slight fraying to the lower margin, 1140 x 1290 mm, with another 20, mostly 19th-century maps, building plans, estate plans, engraved portraits and photographs, all relating to the Estcourt family of Estcourt House, near Tetbury, Gloucestershire, some plans and maps with severe damp and rodent damage causing loss, various sizes and conditionQTY: (21)

London. Drew (John), Drew's New and Correct Plan of the Cities of London and Westminster, the Borough of Southwark &c. including the latest Improvements [1799], engraved map with contemporary outline colouring, sectionalised and laid on linen, some staining, slight wear where old folds cross, scale and note on Hackney carriages below map, 400 x 520 mm, contained in a contemporary marbled card slipcase with printed label to the upper siding, slipcase worn and frayedQTY: (1)NOTE:Uncommon. Howgego. Printed maps of London, number 218. First and only state.

British Isles. Husson (Pieter), Les Isles Britanniques ou sont le Rme. d'Angleterre tiré de Sped celuy d'Ecosse tiré de Th. Pont et celuy d'Irlande tiré de Petti..., par G. De L'Isle..., The Hague [1706], uncoloured engraved map, large decorative cartouche and mileage scale, title repeated above the map in Latin, 470 x 550 mm, together with De Vaugondy (Robert). Carte des Isles Britanniques qui renserment les Royaumes D'Angleterre D;Ecosse & D'Irlande Divisée par Provinces et Comtés..., Paris, Jean Baptiste Fortin, 1780, engraved map with contemporary outline colouring, inset map of the Orkney and Shetland Islands, table to the left-hand margin, old folds, central fold strengthened on verso, 540 x 720 mmQTY: (2)NOTE:The first described item. R. W. Shirley. Printed Maps of the British Isles, 1650 1750, Husson 1 state 1. The second map is derived from an earlier example by Thomas Kitchin.

Suffolk. Greenwood (C. & J.), Map of the County of Suffolk from Actual Survey made in the Years 1823 & 1824..., Greenwood Pringle & Co. September 26th 1825, large scale engraved map with contemporary wash colouring, sectionalised and laid on linen on two sheets, calligraphic cartouche, compass rose, table of explanation and an inset vignette of Bury St Edmunds, slight staining and offsetting, each sheet edged in green silk, each sheet approximately 660 x 1685 mm, contained in a contemporary calf book box with contrasting morocco gilt label to the spine, book box bumped worn and frayed QTY: (1)NOTE:Uncommon.

Norfolk. Donald (Thos. & Milne Thos.), A Topographical Map of the County of Norfolk, Surveyed and Measured in the Years 1790, 91, 92, 93 and 94..., Executed and published at the expense of the proprietor William Faden, 1st edition, August 12th 1797, engraved map with contemporary outline colouring, sectionalised and laid on linen, calligraphic title and compass rose, inset plans of Great Yarmouth, Kings Lynn and Swaffham, toned overall, pin holes to the margins, small contemporary publisher's printed label to the verso, overall size 1220 x 1835 mmQTY: (1)NOTE:T. Chubb. A Descriptive List of the Printed Maps of Norfolk 1574 - 1916, page 78. A scarce large-scale map which took five years to survey and was the first complete survey of the county completed on the scale of 1 inch to 1 mile. There is a second edition of the map which includes a short 'legend' to the side of the plan of Kings Lynn.

Holy Land. Hondius (Jodocus & Mercator Gerard). Terra Sancta quae in Sacris Terra Promissionis ol: Palestina, Amsterdam [1619], engraved map with early hand-colouring, large strapwork cartouche and mileage scale, central fold strengthened in the margins on the recto, 360 x 500 mm, French text on versoQTY: (1)NOTE:Eran Laor. Maps of the Holy Land, number 494. The map is based on Ortelius's earlier map of 1584 and includes the prominent vignette of Jonah being thrown to the whale, which dominates the Mediterranean Sea.

Holy Land. Ortelius (Abraham), Palestinae sive Totius Terrae Promissionis nova Descriptio Auctore Tilemanno Stella Sigenens [1580 - 89], hand-coloured engraved map, large strapwork cartouche and mileage scale, very slight staining and dust soiling, central fold strengthened on the recto in the lower margin, 345 x 465 mm, German text on versoQTY: (1)NOTE:Marcel van den Broecke. Ortelius Atlas Maps, number 171. E. Laor. Maps of the Holy Land, number 540 B.

Six boxes of mainly 00 gauge model railway accessories and an N scale model board.

A group of seven Piko Christmas G scale model railway buildings.

An Auto Art Steven McQueen Racing die-cast model car. Scale not stated on box, however, appears to be 1:18

G Scale model railway comprising two boxes of Piko track and a New Bright Father Christmas train. Box of straight track, length 120cm, various other smaller lengths of mainly curved track, train appears to be electric.

Four Airfix model constructor kits, 1:72 scale, No's. A12011, A11001, A12008, A12009, boxed.

Airfix James Bond Special Agent 007 Aston Martin DB5, 1:24 scale, boxed.

Nine ICM model constructor kits, 1:48 scale, No's. 48212, 48232, 48301, 48242, 48300, 48225, 48311, 48243, 48260, boxed.

Ten Novo model constructor kits, 1:72 scale, No's. F330, F165, 78081, 78086, F336, F320, F152, F340, F340, 78081, boxed.

Border model constructor kit, 1:32 scale, Avro Lancaster B.MK.I - III, w/full interior, boxed.

Ten Eduard model constructor kits, 1:48 scale, Nos. 1191, 84176, 82113, 82212, 11131, 11142, 11116, 8261, 82103, 82119, boxed.

A collection of model constructor kits, brands to include: Revell No. 70061, Special Armour, 1:72 scale, No's. SA72001, SA72014, and more, boxed. (32)

Ten Italeri model constructor kits, 1:72 scale, No's. 114, 117, 1250, 1261, 116, 146, 101, 1350, 115, 104, boxed.