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Lot 10
C. 206 BC - 220 AD. Han dynasty. Amazing Terracotta Figure of a Qilin . The figure is depicted crawling with his head raised and mouth open as if in a roar. Looped tail, nicely detailed claws on each leg. The animal has white pelt and coral-pink pigmentation to the face and in the inner ears. The eyes are of striking blue colour. The qilin is a mythical animal that is associated with good luck, and peace (worldly and inner peace). When a qilin was seen, it was thought that a great ruler or scholar were born at that given moment. It is normally represented with the body of a dragon, the body of a tiger or a deer, and an ox's tail in many cases. The qilin is on certain representations covered with scales like a fish; and sometimes, it has flames over its body. In tales, it can also spout flames from its mouth to incinerate evil people.It is generally a peaceful creature, however. In fact, when it walks it steps so lightly that it doesn't even bend down the grass. It can also walk across the water, walking on or hovering on the surface of the water. It is said that a qilin was seen before the birth of Confusius. The qilin is one of the four noble animals, along with the dragon, the phoenix, and the tortoise according people living in South East Asia. A qilin is said to live for 2000 years and can bring babies to deserving parents; just alike the storks in Europe do. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot.Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:320mm / W:660mm ; 8.9kg
Lot 130
c. 1200 to 800 BC. Western Asiatic, Luristan culture. Bronze vessel with tapering neck, slightly globular body, flat based and elongated, beak-like spout. The body is decorated with an engraved intertwined serpent motif with carefully incised scales and well-defined features. This gorgeous piece attests to the highly skilled craftsmanship of ancient Western Asia, where artisans worked to create intricate tablewares for use in elaborate banquets. Banqueting was a major part of aristocratic culture in antiquity and required a range of specialised utensils and vessels such as this one. Such items could also have religious purposes, used when making offerings to the gods. Excellent condition, beautiful patina. Provenance: Private London collection, formed in the 1980-90s on the UK and European art market. Size: L:130mm / W:240mm ; 505g
Lot 138
C. 3rd millennium BC. A pair of light reddish-brown coloured handmade terracotta idols of characteristically abstract form with wide hips, carefully delineated legs, curved arms, broad shoulders and voluptuous breasts situated beneath an incised pectoral collar. Their highly stylized faces present with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with a neatly arranged coiffure. The figures have been made in two different scales, with that on the left far larger than that on the right, underlining the fact that each of these pieces were made individually. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic figures belong, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Excellent condition. Provenance: Private London collection, formed since the 1980s on the UK and European art market. Size: L:Set of 2: 85 - 130mm / W:33 - 37mm ; 60g
![Two set of vintage kitchen scales, weights and a hardstone mortar and pestle. [3]](https://cdn.globalauctionplatform.com/8fa7e443-8528-4444-bef3-acf5011140f4/7d5d19a2-f4e7-40fb-910b-ad120110e676/468x382.jpg)
Lot 433
English, c. 1850, a French polished pear or applewood frame holds the two Albumen prints behind glass windows, A typed caption is glued to the reverse which reads ‘ ‘These photomicrographs were made to illustrate the paper delivered by Delves to the Microscopical Society on 27th October 1852. However, these images were not actually included in the Journal. It would appear that these Early Years of Photomicroscopy – The beginnings of true microscopical images caught using a photographic process can be traced back to Daguerre in 1839 where he made a micrograph of the spinnerets of a spider. In England, Dancer was perhaps the first to create Photomicrograph using the same system. [i] Dancer’s images were of a flea that was caught on a 7x5in plate in around 1840. But he was not happy with the poor quality and coarseness of the images produced. A number of other English scientists are reputed to have produced photomicrographs. However, most of these claims are anecdotal and not verifiable.During the 1840’s popularity in capturing histological images was located mainly in Continental Europe where it rapidly developed. However, England was soon to catch up and in 1853 three different authors in two different journals shared the same pasted in alubumen print.The Delves connection. Delves, along with Shadbolt & were responsible for the first-ever published photomicrographs made using the collodion process and reproduced as an albumen print. These prints were distributed in transactions of the microscopical society of London and Quarterly Journal of Microscopical Science. Unfortunately, almost all of these original prints included within the Journals have now faded almost to nothing. According to Bracegirdle in ‘A History of Photography with the light microscope’ Delves appears to have written the first-ever note on Photomicrography and the results. Unfortunately, his account is quite short and in it he admits that others have, previous to him, used photography with the microscope but states ‘with little success. In his article he makes the following interesting statement :The larger group exhibited was produced by the 1inch object-glass, and the time given varied from ten seconds to one minute. The smaller group representing “scales of the Lepisma saccharina by the quarter-inch and one-eighth inch glasses was taken with a more sensitive collodion: and the time from ten to fifteen seconds”What is interesting here is that only the first larger group was included as a print in the two Journals with no representation of the second. This slide now offered would appear, again according to Bracegirdle’ to be the unpublished photomicrographs. The most probable reason these were not used would have been almost certainly on the grounds of cost.The positives for the Journals were printed by Nicolaas Henneman who had a long association with William Henry Fox Talbot. He began as Talbot’s personal valet at Lacock Abbey, later assisting Talbot in his early experiments with photography. In 1844, Talbot appointed Henneman the director of the first commercial production studio in Reading. The facility relocated to Regent St, London in 1847 and was taken over by Henneman and a partner the following year. It is most likely that this is where the Albumen prints were made.What is certain is that this albumen print is the earliest known photomicrograph made using the collodion process. The quality is of the image offered here of the Lepisma scales is of surprisingly high quality even now 170 years later
Lot 447
A Large Laboratory Tangent Galvanometer, English, c.1900, signed to a brass plaque 'W. Wilson, 1 Belmont St, London N.W', with coil in single mahogany ring with large (17.5cm diameter) compass with two separate scales, on circular base with six brass connectors, on three large levelling screw feet, 39cm tall
Lot 453
A Substantial Laboratory Spectroscope, English, c.1950, on large cast-iron base with support to collimator, telescope on rotating arm with large counterweight, arm with two vernier scales to horizontal circle, prism table with engraved scale and two vernier scales, on a large polished mahogany base with mahogany case, instrument width 60cm
Lot 459
A Brass Sector by Bate, London, English, early 19th Century, signed in script 'Bate, London, with hinged strut, finely engraved with a full set of scales in the English pattern, engraved with trigonometrical and navigational scales, the addition of sundial-making scales to reverse, outer edge with 12" scale Note: Clifton gives Bate as working 1808 - 1847
Lot 466
A Fine & Large Mid 19th Century Apothecary Chest, English, Mid 19th Century, Solid French polished Mahogany case with campaign-style recessed brass handles to sides and drawer, lid, with velvet lining, rises to reveal 24 glass bottles with cut glass stoppers, all with labels, glass mixing plate to rear, drawer with securing pin opens to reveal glass pestal & Mortar, hand scales & weights, various small jars, and bottles, case width 30cm Note: with Sotheby's Belgravia Assessment dated March 1980
Lot 111
A MOTHER-OF-PEARL AND DIAMOND 'SERPENTI' RING, BY BULGARIThe sprung band designed as a coiling serpent, the head and scales set throughout with mother-of-pearl panels alternating with pavé-set brilliant-cut diamonds, signed Bulgari, numbered 7846, ring size approx. O (expandable)Footnotes:Please note, this lot will be subject to US Fish and Wildlife regulations if imported into the USA.Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 112
A MOTHER-OF-PEARL AND DIAMOND 'SERPENTI' BRACELET, BY BULGARIThe highly articulated bracelet designed as a coiling serpent, the scales, head and tail set throughout with mother-of-pearl panels alternating with pavé-set brilliant-cut diamonds, diamonds approximately 11.25 carats, signed Bulgari, numbered 7390, coiled inner diameter 4.5cm (expandable)Footnotes:Please note, this lot will be subject to US Fish and Wildlife regulations if imported into the USA.Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
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63833 item(s)/page