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Lot 5074
Six scale model cars to include Hot Wheels Ferrari (1:18), Hot Wheels McLaren Mercedes MP-14 (David Coulthard - 1:24), Hot Wheels Williams F1 (Ralf Schumacher - 1:18), Matchbox CocaCola Dodge Truck and a Porsche 911. All boxed and complete. Provenance: consigned by a former employee of Mattel.
Lot 41
MAGNIFIQUE ET TRÈS RARE GRAND VASE EN PORCELAINE DE LA FAMILLE ROSE À FOND BLEU ET À DÉCOR À L'ORMarque et époque Qianlong (1736-1795)A MAGNIFICENT AND VERY RARE LARGE GILT-DECORATED BLUE-GROUND FAMILLE ROSE 'ONE HUNDRED BOYS AT PLAY' VASEQianlong six-character seal mark and of the periodOf tall baluster form raised on a splayed foot, the rounded body surmounted by a tall waisted neck rising to a wide, trumpet-shaped mouth, each side finely and vividly painted with two large circular panels enclosing a garden scene with young boys at play, gathered in animated groups busily performing a dragon dance, blowing trumpets, playing with cymbals and drums, also playing with animal puppets, riding hobby-horses, carrying lanterns and lighting firecrackers, the scenes framed by trees and shrubs, all within a raised gilt border, reserved against a deep blue ground finely painted in shades of gold with feathery scrollwork issuing large lotus and peony blooms between bands of tall upright lappets around the neck and ruyi-heads around foot, the base with a six-character seal mark in underglaze blue, wood base. 73cm (28 3/4in) high. (2).Footnotes:清乾隆 霽藍地描金花卉紋開光粉彩嬰戲圖大瓶 「大清乾隆年製」款Provenance:Collection of Jules Blanchard (1874-1953), Chazelles-sur-Lyon, acquired in Paris in the early decades of the 20th century, and thence by direct descent in the family to the present owner.來源：巴黎及沙澤勒敘里昂Jules Blanchard（1874-1953）珍藏，於二十世紀初得自巴黎，後經家族流傳至現藏家Exquisitely painted with two large medallions each enclosing lively scenes of groups of young boys at play, set against a luxuriant, rich blue ground finely painted with large scrolling lotus and peony flowers amidst feathery leaves, this magnificent vase is a very fine example of imperial porcelains made during the Qianlong reign. Its sheer size is unusual and must have represented a technical challenge for the potters working in the imperial kilns at Jingdezhen. Yet works such as this vase could only have been made in the imperial kilns under the direction of Tang Yin (1682-1756) whose vast experience and unique understanding of the medium and the porcelain production process combined with his inherent sense of aesthetics pushed potters to create ever bigger and more ambitious pieces. The large surface of the vase presented a blank canvas for the porcelain painters who were tasked to decorate it. They chose a combination of highly ornamental figural and floral designs using bright enamel colours contrasting with a gilt-decorated dark blue glaze. The decoration focuses on two large circular medallions that grace each side of the generously rounded body of the vase. Each medallion is exquisitely painted with a bucolic garden setting bordered by craggy rockwork and gnarled pines, flowering prunus and clusters of bamboo, providing the background for animated groups of small boys engaged in a variety of activities: while some boys are performing a dragon dance with a vibrant pink and pale blue dragon held aloft tall sticks, others are playing with animal puppets in the form of three life-like goats and a caparisoned elephant, yet others are carrying festively adorned lanterns while one child is lighting a fire-cracker, all accompanied by the sound of another group of boys playing drums, cymbals, a gong and blowing a trumpet. Two boys are holding up a puppet in the form of a goldfish and a bouquet of lotus flowers. In Chinese, goldfish jinyu 玉魚 are homophonous with the word for gold (jin 金) and jade (yu 玉), and together with lotus and boys they convey the wish liannian youyu 年年有餘 (may you continuously have plenty year after year). The figures and their toys are intricately depicted with great attention to detail. The boys all have finely detailed individual features, their facial expressions are highly animated, some boys are concentrated, some impatient, others joyful. They are dressed in colourful shirts tied with belts, vests fastened at the neck, their hair tied tightly on top of their head. The two compositions are vivacious and realistic, capturing the excited mood of groups of young boys at play. Yingxitu 嬰戲圖 (pictures of boys at play) and baizitu 百子圖(pictures of one hundred boys) are intimately connected with the strong desire for male offspring, who would perform ancestral sacrifices and thus endure the continuation of the family line. Depictions of children in gardens became an established painting genre in the Song dynasty (960-1279), and by the Ming period (1368-1644) boys were depicted engaged in activities that also conveyed auspicious messages that impersonated adult aspirations. Under the Qianlong emperor, depictions of boys at play proliferated on porcelain as he was particularly fond of auspicious and amusing designs. The theme can be found on quite a number of vases of Qianlong date, similarly rendered but on a smaller scale, with boys at play within a garden, today in the collection of the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, vol.39, Hong Kong, 1999, cat.nos. 91, 92, 121, 128 and 129. Most other examples of famille rose-decorated vases with figural scenes are decorated with colourful blue, pink, green or yellow enamelled borders. The combination of famille rose medallions against a rich gilt-decorated dark blue ground as seen on the present vase is very unusual, especially on vases of this impressive size. At least three vases of smaller size and different shapes and designs, similarly decorated with famille rose panels on a gilt-decorated dark blue ground are also in the collection of the Palace Museum, see ibid. cat.nos.130, 131 and 133. The Palace Museum collection also includes a small vase with a continuous scene of 'boys at play' between gilt-decorated blue-glazed borders, see ibid., cat.nos.132 (Fig. 1).Vases of this impressive size and decorated in a rich palette of enamels against a gilt-decorated blue-glazed ground are very rare. The Palace Museum collection records one large vase of this design but decorated with flowers and calligraphy, see ibid., cat.no.129 (Fig. 2). The closest example in size and design is a pair of large gilt-decorated blue-ground famille rose double-gourd vases (accession no. RCIN 33.1-2.a) in the Royal Collection, London, possibly presented by the Qianlong emperor to King George III in 1793, illustrated in John Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, London, 2016, nos.685 and 686.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 37
Lucian Freud (British, 1922-2011)Girl Holding her Foot (Hartley 25; Figura 34) Etching, 1985, on Somerset Satin White wove paper, signed with initials and numbered 23/50 in pencil (there were also fifteen artist's proofs), co-published by James Kirkman, London, and Brook Alexander, New York, the full sheet, framedPlate 690 x 540mm (27 1/8 x 21 1/4in)Sheet 880 x 715mm (34 5/8 x 28 1/8in)Footnotes:ProvenanceMarlborough Fine Art Ltd., London.Acquired directly from the above by the present owner.Lucian Freud, a towering figure of figurative art, is mainly known for his large-scale paintings that scrutinise the human bodies with intrusive truthfulness. Throughout his career, the human form has been the subject of most of his work, driven by what Freud defined as the 'horror of the idyllic'. As such, his paintings avoid embellishment or flattery, often resulting in crude and unsettling portrayals.While painting initially took precedence in his practice, printmaking was always closely entwined. After a hiatus between 1949 and 1981, Freud began to incorporate etching into his process from 1982 onwards. After thirty years dedicated to painting, the etchings display a newfound fluidity to his art. The connection between his painting and etching became integral to understanding the artist's aesthetic. In this sense, Freud can be defined as an heir of the Old Masters, committed to the techniques of oil and etching and to the study of the human figure.In his paintings, Freud renders the physicality of his sitters by layering thick impasto paint. In contrast, his prints offer a blunter version of the same, often freeing the composition from superfluous details. This synthesis, coupled with different and more daring observation points, imparts a more intimate nature to Freud's prints evident in works like Girl holding her foot (Lot 38) and Blond Girl (Lot 40).Both etchings relate to oil portraits, however Girl holding her foot precedes the oil painting. A process of reduction and introspection can be observed in each instance, eliminating background objects and leaving the subjects isolated for closer scrutiny. This adds a poignant immediacy and a disorienting directness to the subjects.Man Posing (Lot 39), in contrast to the etchings of the naked women of the same period – also including Lot 41 and Lot 42 in this sale – is a meticulously detailed portrait. The print, created before the painting of the same subject, is one of the most elaborate etchings Freud ever made. Freud's meticulous work skilfully captures the nuances of the room's background, providing a depth of detail that sets it apart, while retaining a sense of intimacy that is somewhat lost in the painting. All the prints by Freud in this sale are an intimate glimpse at his artistic process and provide a unique perspective on his mastery of etching.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 202
Sir John Steell (British, 1804-1891)Alexander and Bucephalus, bronzeAfter the full-scale statue situated in front of the Edinburgh city chambers, modelled with the horse rearing, and the figure of Alexander by his side, inscribed to the base 'J. STEELL SCULPS EDIN 1833', raised on a naturalist base, 47cm wide, 24cm deep, 51cm high (18 1/2in wide, 9in deep, 20in high) Footnotes:The Full-sized bronze was presented to the city of Edinburgh in 1884 and was originally sited in St. Andrews Square, in 1916 it was moved to city chambers, this reduction was probably cast in 1833 from steels workshop.For further information on this lot please visit Bonhams.com
Lot 300
A Royal Worcester Blush Ivory teaset, 1908Each piece painted with pairs of birds including chaffinches, blue tits, greenfinches, swallows, perched on branches, on a blush ivory ground, comprising eleven tea plates, twelve tea cup with C scroll handle, twelve saucers, two cake plates and a slop basin, pattern number 8208, puce printed marks date code for 1908 (38)Footnotes:The painting is in the style of the Grainger factory which was finally absorbed into the Royal Worcester family in 1904-5. By the time this set was made, senior artists were now allowed to sign their work, and James Stinton was promoted to join his brother as one of the top painters, painting little else but pheasants. He also became a teacher of other bird artists.Charlie Baldwyn had been the primary painter of real or garden birds, but his time was now taken up churning out flying swan vases so garden birds were taken on by new youngster- William Powell. Meanwhile, Walter Powell (no relation) painted larger bird subjects in the separate Hadley department, and George Johnson painted old-fashioned Fancy birds on scale blue grounds. This set shows the influence of James and John Stinton but they would have signed somewhere. We would suggest a likely candidate would be William Powell out of the junior names available. He was still just finishing his apprenticeship in 1907/08 and would not have been allowed to sign his name. We are grateful to John Sandon for his help in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 290
Vanguards, a boxed 1:43 scale Commercial Commer group to include VA16007 Commer Dropside "Hong Kong Electrical", VA28000 Commer Boxback "Shell Electrical Oil" along with others (see photo). Conditions although not checked for completeness appear Excellent in generally Good boxes. Some boxes may have old price stickers. (8)
Lot 212
Detail Cars, a boxed 1:43 scale Ferrari and Porsche group (Platinum/Titanium Series) to include ART.392 Ferrari F.50 Coupe 1995 in Metallic Silver, ART.141 Ferrari 512 TR, ART.222 Porsche 356 Speedster Hard Top in Red and others (see photos). Conditions although not checked for completeness appear Excellent in generally Good rigid Perspex cases and Good outer slip sleeves with old price stickers. (6)
Lot 307
Vanguards, a boxed 1:43 scale Vauxhall/Singer group to include VA40001 Singer Chamois in Turquoise Blue Metallic, VA06400 Vauxhall PA Cresta in Dusk Rose & Lilac Haze along with others (see photo). Conditions although not checked for completeness appear Excellent in generally Good boxes. Some boxes may have old price stickers. (8)
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