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Lot 10
A Fine Keith Townsend 1:8 Scale Live Steam Model Of The 1895 Steam Launch 'Lady Elizabeth', English, Modern,the wooden hull painted olive green below the waterline, white above, with three-bladed propeller, the deck with brass cleats and tiller, with accompanying flags, finely detailed single-cylinder steam engine complete with boiler, chimney, and tea urn, supported on two brass fittings above green slate base, within glass display case, on mahogany base board, with metal plaque engraved with the name, date and history of the vessel, together with compressor, compressor adaptors, and toolbox, with accompanying certificate and documents, the model 12in x 27 1/2in x 8in (30.5cm x 70cm x 20cm)Footnotes:The full size steam launch 'Lady Elizabeth' is understood to have been of American origin, and was salvaged from the shore of Lake Windemere in the 20th century. After careful restoration, the small and attractive vessel was used for Char fishing in Lake Windermere, due to its silent movement and manoeuvrability. The full size vessel is now displayed at the Windermere Jetty Museum.The maker of the present model, Keith Townsend, is a leading name in this highly specialised field of constructing scale models.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 43
Attributed to Francis Swaine (London circa 1720-1782)Thames shipping, a pair both bear a title and signature 'F Swaine' (on label attached to the reverse)pen, ink and washeach 27 x 36.2cm (10 5/8 x 14 1/4in). (2)Footnotes:ProvenanceJonathan Janson, UK.In the first drawing, a tall church spire is apparently St. Brides, Fleet Street. There is a small cutter-rigged hoy on the far left, a Thames peter boat fishing at 5 o'clock below it and a rowed lighter carrying sawn planks in the foreground. There is a City of London barge leading a larger barge in the centre of the composition, the latter with an unreadable design on the flag astern.In Ralph Hyde's A Prospect of Britain: the town panoramas of Samuel and Nathaniel Buck (London, 1994), this drawing clearly relates to both the right side of Plate 42, the third of five (Plates 40-44) comprising the Buck panorama of London from Westminster Bridge to the Tower, and the left side of Plate 43: the Buck version has moved the barges and lighter further west (left) from the drawing and they are on Plate 42, with the second barge - rather than the stern of the first - centred squarely in front of St Bride's (no. 47 in the Buck key), and the 'Fleet Ditch' (no. 49, with the small bridge over it) shifted to the left edge of Plate 43 in front of the square tower of St Sepulchre's (no. 50, but of which there is barely a trace on the drawing). The wide stairs off a square to the right of the Fleet are Blackfriars Stairs (no. 51).Plate 42's inscription says the view (from the south side of the river) was taken 'from Mr Everard's summer-House opposite to St Bride's Church' and that Plate 43 was from 'the West part of the Leads of St Mary Overy's church in Southwark' (i.e. Southwark Cathedral today)In the second drawing, there is an upstream barge at the riverfront in the background and a small four-oared and cabined barge at left of the sort used for official purposes such as the Navy Board and other government offices. There are lots of passenger wherries shown with pairs of oars and a typical Thames jetty (or 'bridge') of the grander sort, with stairs at the end, from which they operated before the river was embanked.In Ralph Hyde's A Prospect of Britain: the town panoramas of Samuel and Nathaniel Buck (London, 1994), this drawing is a coherent single study for the right side of Plate 43 and shows the view east of St Paul's. On the very left edge there is just the ghost of the spires of St Austin's (no. 65 in the Buck key) and Christ Church (no. 66) right up against the east end of St Paul's. St Mildred's (no. 67) and St James Garlickhythe (no. 68), also close together, are the first two spires more clearly visible to the right. The last relatively low steeple at far right (as in the print) is St Michael's Bassingshaw (no. 82). The 'bridge' jetty ending in stairs end seen on the drawing is identified on the prints as Steelyard Stairs (no. 76, on the site of Cannon Street Station today), with the three churches immediately behind being St Mary Aldermary (no. 73, square tower with pinnacle corners), St Michael, Colarts Hill (no. 74, spire) and the tallest spire that of St Mary-le-Bow (no. 75).Most of the vessels shown in the drawings reappear in the prints; slightly bigger or smaller, repositioned, with slight differences of detail but generally recognisable. All the Buck London panorama plates bear the same imprint date of 11 September 1749. It is a credible hypothesis that the pencilling of the background may be something Samuel Buck provided and asked Swaine (if it was Swaine) to supply the shipping taken from the same two viewpoints. The changes in the prints - of scale, slight detail, and positioning - would then have been those effected in transfer-copying by others, with the drawings generally more convincing as by someone who knew what they were doing in nautical terms. If Swaine did it, it would have been when he was in his early to mid-20s for things printed in 1749.We would like to thank Dr. Pieter van der Merwe for his help in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 75
An Ottoman voided velvet panel Turkey, Bursa, second half of the 16th/ early 17th Centuryof rectangular form, with gold thread and crimson pile,composed of two conjoined loom widths, depicting a large scale curvilinear lattice formed by a double stem clasped by coronets, enclosing two types of thistle, one made up of a tulip and carnation, with saz leaves at the base of each plant, mounted 170 x 129 cm.Footnotes:This textile is clearly derived from the patterns of Italian silks and velvets of the 15th and 16th Centuries, but differs in a number of respects: the Ottoman designer has simplified the Italian model, eliminating details and reducing the three-dimensional effects of the original to flat silhouettes. The bolder result is characteristic of the best Ottoman large-scale pattern weaving of the 16th Century. For another panel of identical design formerly in the Baron Edmond de Rothschild collection, see Donald King, Imperial Ottoman Textiles, London, 1980, p. 14, no.1, and later sold at Sotheby's (Sotheby's, Arts of the Islamic World, 12th October 2004, lot 39). Two further panels were illustrated by Migeon (Gaston Migeon and Jules Guiffrey, La Collection Kelekian: Etoffes et Tapis d'Orient et de Venise, Paris,n.d., pl. 83) and Errera (Isabelle Errera, Catalogue d'etoffes anciennes et modernes, Brussels, 1927, no. 222), although both erroneously attribute the panels to Italy. Otto von Falke first recognised their Ottoman Origin, noting that one of the large thistle-heads is actually a characteristically Ottoman tulip and carnation (Otto von Falke, Kunstgeschichte der Seidenweberei, 1913, Vol. II, p. 142).For further information on this lot please visit Bonhams.com
Lot 392
A Leitz Wetzlar Leica I Model B Rim Set Compur Camera, serial no 21498, 1930, dimple in mushroom release, round accessory shoe, body G, brassing to all edges, paint scratches to top/bottom plate, with F Deckel Compur shutter, serial no 2 029 145, shutter working, barrel G, brassing to aperture scale plate and filter ring, with Leitz Wetzlar 50mm f/3.5 Elamar lens, elements F-G
Lot 54
A Goldmann Wien Herlango 12 x 17cm (5 x 7in) Tailboard Camera, formerly the property of the Austrian art historian Dr Otto Kurz (1908-1975), see https://arthistorians.info/kurzo, 1930s, teak and nickel plated brass, body G-VG, some scratches to base, bellows VG, with Carl Zeiss Jena 25cm f/4.5 Tessar Black and Brass Lens, serial no 172864, circa 1910, barrel G, with 4mm to 48mm aperture scale, X2 bellow scale, aperture conversion plate adds to front of camera, matching serial no to rim of rear element, elements G-VG, with Jalousie Verschlub Universal roller blind push on shutter, in maker's box, with German instuctions, with release cable, shutter sticking, creases to curtian, with three DDS, in Goldmann Herlango case, with reducing mask, magnesium flash, ebonised tripod, with geared column and tilt, home made copy stand and 80th anniversary Herlango booklet, 1858-1938
Lot 480
A small collection of four 19th century silver vinaigrettes, comprising: a George III one by William Ellerby, London 1813, rectangular form, engine-turned decoration, foliate borders, the sides with engraved diagonal decoration, the interior silver-gilt grille pierced and engraved with flowers, length 3cm, one by Mathew Linwood, Birmingham 1813, rectangular form, fish-scale decoration, the interior with a gilded filigree grille, length 3cm, plus one by George Unite, Birmingham 1868, rectangular form, engraved decoration, length 3cm, and another by the same maker, Birmingham 1849, engraved foliate scroll decoration, length 2.9cm, approx. total weight 1.6oz. (4) Provenance: A Private Collection.
Lot 505
A small collection of three 19th century silver vinaigrettes, comprising: one by Joseph Willmore, Birmingham 1812, elongated rectangular form, canted corners, engraved fish-scale decoration, the hinged cover initialled, the interior with a pierced and chased foliate grille, length 4.2cm, plus one by J. Tongue, Birmingham 1844, elongated oblong form, engine-turned and foliate scroll decoration, length 3.6cm, plus one by Edward Smith, Birmingham 1840, rectangular form, engine-turned decoration, the cover initialled, the interior with an engraved and pierced grille, length 4.1cm, approx. weight 1.7oz. (3) Provenance: A Private Collection.
Lot 18
IMPORTANT ANNOUNCEMENT - Changes to description are shown in bold. Also estimates have been revised. Barometers, early 19th Century Mahogany 10in Dial Wheel Barometer, engraved 'J McQuinn, Holywell', with thermometer and hygrometer, G, restored, part of frieze moulding missing, air in mercury column; early 19th Century Mahogany Stick Barometer, paper scale printed 'Joseph Gatty, Dublin', with thermometer, F, lacks cistern cover and urn, mercury non-functional; and two mid-19th Century wheel barometers, one restored; (4)
Lot 19
IMPORTANT ANNOUNCEMENT - Changes to description are shown in bold. Also estimates have been revised.Barometers, early 19th Century mahogany stick barometer, scale engraved 'Chas Aiano FECIT', (Canterbury), with thermometer adjacent, case with broken pediment, moulded edge and hemispherical cistern cover, G, air in column; with one mid-19th Century wheel barometer, G; (2)
Lot 525
Claes Oldenburg (American, 1929-2022)'Geometric Mouse Scale D', 1971die-cut paper/card, stainless steel, wire hinges and bead chainsfive paper-wrapped copies, unopened, one shrink-wrapped copy, unopened, and a cut-out copy42 x 49.5cm (7)Condition ReportCut out version thumbed and slightly discoloured.
Lot 291
▴ Henry Moore (1898-1986)'Two Standing Figures', 1949screenprint in colours on linen by Ascher Fabrics, signed and dated to the print 'Moore 49', numbered 7/30263 x 182cm In 1948, Henry Moore was commissioned by Lida and Zika Ascher to execute two large silkscreen-printed panels, of which this is one, the other entitled 'Reclining Figure'. They were each produced in a limited edition of thirty and exhibited at the Lefevre Gallery, London, from October to November 1948, alongside two silkscreens of similar scale by Henri Matisse.After the Lefevre exhibition, the panels were exhibited in art galleries in Britain and abroad, and received widespread coverage in the press. The couturier, Hardy Amies, made 'Two Standing Figures' a feature of his London flat and was portrayed in front of the panel in an article in the Daily Mail of 17 July 1967.Condition ReportSome minor stains occurring throughout. With some water marks along the bottom edge of the textile. The sides with some foxing to the edges. Some minor folding creases. Additional images uploaded.The colours are still saturated and clear. With a later application of velcro to the verso for suspension.(Henry Moore Foundation Tex. 20)
Lot 22
RARE BIXIE EN JADE VERT PLE ET ROUILLEÉpoque des Six Dynasties (265 -589 ap. J.-C)A VERY RARE PALE GREEN AND RUSSET JADE CARVING OF A BIXIE Six Dynasties (265-589AD)The creature resting on its front paws, the rear right haunch tucked underneath the body and the rear left extended to reach the bifurcated tail, the powerful face carved with wide bulging eyes below a pair of thick curling eyebrows and horns directed back across the head, with part open mouth and beard issuing from the lower jaw, the body delicately incised with scrolling wing motifs and scrolls to the rear haunches, three parallel incised markings to the back to simulate the fur, the softly polished stone of pale whitish hue to the back and creamy russet tone to the body and head, with russet markings to one side of the head and rear haunch. 10.5cm (4 1/8in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Bixie ('auspicious beast') were the female guardians of treasure brought back by male Tianlu who went out into the world in search of gold. the function of these lifelike sculptures made from durable materials was to embody and pacify the elemental and supernatural forces of the living world. Large stone figures of ferocious beasts including lions and tigers, and imaginary winged figures, were all placed on the spirit avenues in tombs of emperors and high ranking officials and military commanders, a tradition that flourished and reached its peak during the Six Dynasties, when immense fabulous beasts drawn from the spiritual world were produced on a grand scale outside the tombs near Nanjing. Simultaneously, an artistic tradition of creating jade animals of the highest quality flourished. In contrast to the majority of earlier two-dimensional jade carvings, made for the afterlife or to adorn the individual, these figural sculptures were created in the round as independent objects, not just as sumptuous display items for the appreciation of the elite, but also to provide the owner with a constant and concrete realisation of the powerful supernatural forces latent in the world around.Jade bixie of the Six Dynasties unlike the earlier ones made during the Han dynasty, appear to display less movement in their carving. Compare a jade fitting in the form of a bixie, Eastern Han dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.353, fig.6; and see also another example, Wei/Jin dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade 4 Han, Wei, Jin, Southern and Northern Dynasties, Beijing, 2011, no.299. See a related jade carving of a mythical beast, Six Dynasties, illustrated by J.Rawson and J.Ayers, Chinese Jade throughout the Ages, London, 1975, no.186. A further Six Dynasties jade bixie from the collection of Dr and Mrs Cheng Te-k'un, is illustrated by J.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, pl.12.A related beige and russet jade bixie, Han dynasty/Six Dynasties, was sold at Sotheby's New York, 21 September 2021, lot 46.Les bixie (« bêtes auspicieuses ») étaient les gardiennes (femelles) des trésors rapportés par les tianlu (mâles) qui parcouraient le monde à la recherche d'or. La fonction de ces sculptures très vivantes faites dans des matières durables était d'incarner et pacifier les forces fondamentales et surnaturelles du monde vivant. De grandes sculptures en pierre de bêtes féroces, dont des lions, tigres et bêtes ailées imaginaires, étaient placées sur les Voies des Esprits menant aux tombes des empereurs, haut-fonctionnaires et chefs militaires : cette tradition se développa et atteignit son apogée durant l'époque des Six Dynasties, lorsque d'immenses créatures fantastiques venues du monde des esprits furent réalisées à grande échelle à l'extérieur des tombes près de Nankin.Parallèlement se développa une sculpture de grande qualité d'animaux en jade. Contrairement à la majorité des sculptures en jade plus anciennes en deux dimensions, servant d'ornement personnel ou pour l'au-delà, ces sculptures étaient réalisées en ronde-bosse comme objets indépendants, non seulement en tant qu'œuvres d'apparat somptueuses, destinées à être appréciées des élites, mais aussi comme rappel concret et constant à leur propriétaire des puissantes forces surnaturelles latentes dans le monde qui l'entoure.A la différence des bixie plus anciens faits durant la dynastie Han, les bixie en jade des Six Dynasties semblent montrer moins de mouvement dans leur sculpture. Comparer avec un ornement en jade en forme de bixie, dynastie des Han orientaux, illustré dans J. Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.353, fig.6 ; voir aussi un autre exemple, dynastie Wei/Jin, illustré dans Compendium of Collections in the Palace Museum: Jade 4 Han, Wei, Jin, Southern and Northern Dynasties, Beijing, 2011, no.299. Voir encore une sculpture proche en jade d'une chimère, Six Dynasties, illustrée dans J. Rawson et J. Ayers, Chinese Jade throughout the Ages, London, 1975, no.186. Voir enfin un bixie en jade des Six Dynasties de la collection de Dr et Mrs Cheng Te-k'un, illustré par J.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, pl.12. Un bixie comparable en jade beige et rouille, dynastie Han/Six Dynasties, a été vendu à Sotheby's New York, le 21 septembre 2021, lot 46.六朝 青玉辟邪來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏「辟邪」是一種有翼瑞獸。學界對此類肩生雙翼的神獸定名略有出入，一說「辟邪」為雌性，鎮守著雄性「天祿」外出尋找黃金所帶回的寶物。帝王將相陵墓神道兩側放置有翼石獸，起到辟邪除兇、保衛墓主人的作用，是秦漢以來流行的做法，在六朝時期蓬勃發展並達到頂峰；時南京附近的陵墓外可見大量大型神獸石像。與此同時，精巧動物、瑞獸玉雕亦隨之蓬勃發展。與較早期作為陪葬品或配飾用常見之玉牌等平面玉雕不同，此類圓雕動物神獸作為獨立個體進行創作，不再僅為身份地位象徵，更為其擁有者提供源源不斷的天地之氣... For further information on this lot please visit Bonhams.com
Lot 229
FRAGMENT DE BAS-RELIEF EN SCHISTE REPRÉSENTANT LE GRAND DÉPARTAncienne région du Gandhara, vers le IIIe siècleA SCHIST RELIEF PANEL OF THE GREAT DEPARTUREAncient region of Gandhara, circa 3rd centuryThe scene marks the departure of Siddhartha from Kapilavastu and the renunciation of his luxurious princely life, to start his journey towards enlightenment. Yakshas support Kanthaka's hooves so that no noise can be heard by the guards in the early hours of the morning when he departs, stand. 25cm (9 7/8in) x 17cm (6 3/4in) (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021)With traces of the original gilded decoration this scene from the Buddha's Great Departure was a preferred subject for relief panels that served as instructive narrative panels that surrounded Gandharan stupas. The Indian Museum, Kolkata, has a complete stupa with false gables of a similar size (C.Luczanits, Gandhara, Mainz, 2008, p.174, abb.4). Also see I.Kurita, Gandharan Art, Vol.1, Tokyo, 1988, p.82, no.146 and Christie's New York 23 September 2022, lot 625 for rectangular panels of similar quality and scale.犍陀羅 約三世紀 片岩悉達多太子踰城出家圖磚來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 234
PAIRE DE STATUETTES DE SOLDATS EN TERRE CUITEDynastie des Wei du Nord (386-535)A PAIR OF PAINTED POTTERY FIGURES OF SOLDIERS Northern Wei Dynasty (386-535 AD)Each finely modelled, standing and wearing full scale armour and a helmet framing the prominent facial features, the right arm extended along the body, their left arm holding the belt above the waist. 21cm (8 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare with a related pottery figure of a soldier, Northern Wei dynasty, from the Robert Rousset collection, in the Musée Guimet, Paris, illustrated by J-P.Desroches, Compagnons d'Eternite', Paris, 1981, p.125. See also related pottery figures of soldiers, Northern Wei dynasty, illustrated in China: Dawn of a Golden Age, 200-750 AD, New York, 2004, pp.236-237, no.131.北魏 彩繪武士陶俑一對來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 58
TÊTE DE DIVINITÉ MASCULINE EN GRÈSCambodge, époque angkorienne, style de Pré Rup, Xe siècleA SANDSTONE HEAD OF MALE DEITYCambodia, Angkor Period, style of Pre Rup, 10th centuryThe eyebrow arches come together in a single soft line, the nostrils slightly flared, eyes defined with a delicate line and fleshy mouth with a very slight smile and faint suggestion of a moustache. Two bands of hair protrude from the diadem descending on the temples to continue with a beard defined as a dotted line, finishing in a point at the centre of the chin. The elongated earlobes are pierced and may have been adorned with cast metal pendants. The head is adorned with a royal diadem carved to imitate a real gold example that was attached at the back by ribbons tied in a square knot, stand. 36.5cm (14 3/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antique, Bangkok, 13 January 1966Jean-Pierre Rousset, Paris (1936-2021)This larger-than-life head has a softer, more naturalistic and serene face than that of the earlier style of the Koh Kher. Pre Rup is a Hindu temple at Angkor, Cambodia, built for the Khmer king Rajendravarman (reigned 944-968) and dedicated in 961 or early 962. This powerfully carved head reflects the concept of the God-King (Deva-Raja), a system of statecraft that originated in India but was taken to new heights during the Khmer Empire (802–1437 CE). Despite being consecrated under the protection of the Hindu deity Shiva, the Khmer identified most closely with Vishnu, preserver of universal order. In fact, the deity often took on the likeness of individual Khmer rulers.Compare with the facial features on standing Vishnu in the Los Angeles County Museum of Art (M.76.19). Also compare with a closely related head in the Minneapolis Institute of Art (69.86.1) and another in the Museum of Fine Arts, Boston (26.13). A head of similar scale with a variant to the diadem was sold at Sotheby's New York, 24 March 2011, lot 28.Cette tête plus grande que nature présente un visage plus doux, plus naturaliste et plus serein que celui du style antérieur du Koh Kher. Le Pre Rup est un temple hindou à Angkor au Cambodge, construit pour le roi khmer Rajendravarman (règne 944-968) et consacré en 961 ou début 962. Cette tête puissamment sculptée reflète le concept du Roi-Dieu (Deva-Raja), un système de gouvernement originaire de l'Inde qui a atteint des sommets sous l'Empire khmer (802-1437 de notre ère). Bien qu'ils aient été consacrés sous la protection de la divinité hindoue Shiva, les Khmers s'identifiaient plus étroitement à Vishnu, protecteur de l'ordre universel. En effet, la divinité prenait souvent l'apparence de certains souverains khmers.Comparer aux traits du visage de Vishnu debout du Los Angeles County Museum of Art (M.76.19). Comparé également avec une tête stylistiquement proche conservée au Minneapolis Institute of Art (69.86.1) et une autre au Musée des beaux-arts, Boston (26.13). Une tête de taille similaire avec une variante du diadème a été vendue chez Sotheby's New York, 24 mars 2011, lot 28.柬埔寨 吳哥時期 比粒寺風格 十世紀 砂岩像首來源：巴黎Robert Rousset（1901-1981）舊藏, 於1966年1月13日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏與科克早期風格相比，此像首比例比真人稍大，神態更顯柔和、自然及安詳。比粒寺是位於柬埔寨吳哥的一座印度教寺廟，為高棉國王拉金陀羅跋摩（944-968 在位）建造，並於961年或962年初祝獻。這尊有力度的雕刻像首體現了「神聖統治者」（德瓦拉哈）的天神概念，起源於印度的一種治國之道，至高棉帝國時期（802至1437年間）發展至更高峰。雖受印度教神濕婆護蔭，高棉人更推崇負責維繫宇宙秩序者毘濕奴。實際上，該神祇造像常參照高棉統治者的形象而製。 比較一例毘濕奴立像的面部特徵，藏於洛杉磯縣藝術博物館 (M.76.19) 。比較另一例與本尊緊密相關的像首，藏於明尼阿波利斯藝術學院（69.86.1），及另一例藏於波士頓美術館（26.13）。又見一例比例相約，皇冠稍有變化，售於紐約蘇富比，2011年3月24日，編號28。For further information on this lot please visit Bonhams.com
Lot 96
PLAT EN PORCELAINE DE LA FAMILLE VERTE À DÉCOR DE FLEURSÉpoque Shunzhi/début Kangxi (1644-1690)A FAMILLE VERTE 'FLORAL' DISHShunzhi/early Kangxi (1644-1690)The well finely enamelled with sprays of lotus, peony and camelia reserved against a honeycomb diaper ground within a triple zigzag border, the cavetto with an iron-red ruyi-head border, below a register around the everted sides enclosing variously enamelled peony blossom scrolls reserved against a 'fish scale' ground, the reverse with iron-red lotus petals above the foot, below a classic scroll band under the rim. 27.2cm (10 11/16in) diam.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 清順治/康熙早期 五彩花卉紋盤來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 702
Notaphilie Liebhaber aufgepasst! Spannende Sammlung größeren Umfangs, 10 Alben, darunter großer Anteil Notgeld in allein 4 Alben. Mitunter die Jahre ab ca. 1916 bis 1925, einiges als Bildserien, darunter u.a. Baden-Württemberg, Bayern, Hessen, Mecklenburg, Niedersachsen, Hamburg, Oldenburg und Ostsee. Vieles zum Jahr 1921 mit u.a. Pommern, Preussen, Ostpreussen, Westpreussen, Riesengebirge, Schlesien, Thüringen und Niederösterreich. Dazu Reichsbanknoten (der Sammler hat versucht, hier eine Sammlug in Anlehnung an das Buch "Das Papiergeld im Deutschen Reich 1871-1948" zusammenzustellen), Behelfspapiergeld, wertbeständiges Notgeld, Rentenmark und Reichsmark, einige modernere Ausgaben mit Ausland und Europa, übriges Ausland mit China. Seien Sie sich der einen oder anderen Seltenheit gewiss. Erhaltungen sehr verschieden. Besichtigung empfohlen!| Attention notaphilia lovers! Exciting collection on a larger scale, 10 albums, including a large proportion of emergency money in 4 albums alone. Sometimes the years from about 1916 to 1925, some as series of images, including Baden-Württemberg, Bavaria, Hesse, Mecklenburg, Lower Saxony, Hamburg, Oldenburg and the Baltic Sea. A lot about the year 1921 with, among other things, Pomerania, Prussia, East Prussia, West Prussia, the Giant Mountains, Silesia, Thuringia and Lower Austria. In addition, Reich banknotes (the collector tried to put together a collection based on the book "Das Papiergeld im Deutschen Reich 1871-1948"), makeshift paper money, emergency money of stable value, Rentenmark and Reichsmark, some more modern issues with foreign countries and Europe, the rest of the world with China. Be sure of one or the other rarity. Conditions very different. Viewing recommended!
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