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Click here to subscribeSILVER MOUNTED TRINKET POTS & JUG handblown in cranberry glass and decorated in textured silver lattice work with reeded handle, sponsors mark SL for Sileda Ltd, hallmarked Sheffield 1989. Also a hobnail cut glass trinket box with silver lid, hallmarked London 1911 and one other with a lid of a piece of Chinese porcelain.
ART NOUVEAU SILVER & ENAMEL TRINKET BOX Standing 4cm tall on pad feet with a hinged lid decorated in iridescent blue and green enamel in flowing Art Nouveau design. Sponsors mark W.H.H for William Hair Haseler. Hallmarked Birmingham 1907. Numbered 927. Weight 62.4 grams Condition Report : One foot is slightly bent. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
VARIOUS ITEMS OF SILVER JEWELLERY to include; a heavy round belcher link chain necklace, 60cm long x 7.1mm wide, a silver charm bracelet with heart shaped padlock clasp & six charms attached, a spectacle set Victorian 1887 silver crown, a 19cm long block work link bracelet, silver Elizabeth II police badge within plated brooch frame, Limoges brooch in silver frame and a chrysoprase pendant decorated with silver plated metal work. Total weighable silver 176.6 grams.
VARIOUS ITEMS OF SILVER to include a tea strainer, hallmarked Birmingham 1922, a teaspoon with crest engraved to terminal, hallmarked London 1878 and a Norwegian silver serving fork with foliate, scroll and pineapple (Kloster Pattern) open work decoration to handle, by designer Brodrene Lohne. Total weight 79.5 grams
9CT WHITE GOLD & SILVER BRACELETS 19cm long with faceted 3.9mm orbs and an adjustable, sliding ball style fastener. Hallmarked 375 London, weight 4.3 grams. Also three sterling silver bracelets, one by Links of London, with a centrepiece of pave set colourless stones. Weight 20.8 grams.
GEORGIAN STERLING SILVER CREAM JUGS both of helmet form, one standing 10.5cm tall, decorated with embossed floral and ribbon scroll motifs and one 8.3cm tall with reeded handle (broken) and rim, circumference decorated with bright cut engraving, hallmarked London 1807. Sponsors mark Alice & George Burrows II. Total weight 170.9 grams
ART NOUVEAU SILVER TEAPOT & JUG teapot stands 9.3cm tall with lightly hammered finish decorated with embossed trefoil and heart shaped motifs with matching 4.3cm tall cream jug. Hallmarked Birmingham 1909 & 1910, respectively. Weight 265.6 grams Condition Report : Wooden handle of teapot is loose. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
ASPREY 18CT GOLD ART DECO POCKET WATCH 44.4mm case, 18ct gold Swiss hallmark, stamped '18K Haas Nevuex & Co Suise' serial number 90463, silver dial signed Asprey, black romans with blued steel cubist hands. Manual wind crown set with blue sapphire cabochon. Not currently working, sold as seen. Weight 46.1 grams
ANTIQUE STERLING SILVER ITEMS To include; a Georgian sugar sifter, sponsors mark L.L with crest to terminal, a pair of knife stands hallmarked London 1829, two pairs of sugar tongs (one with broken handle, sponsors mark H.P) the other hallmarked London 1832, Edwardian rouge pot (minus lid), two cased silver bladed fruit knives with mother of pearl handles, one is a set containing a two pronged fork and a knife. Total weighable silver 160.7 grams.
POCKET WATCH & VARIOUS SILVER ITEMS to include a plaited Celtic design bracelet, a Victorian sweetheart brooch, pair of boxed engraved napkin rings, hallmarked Birmingham 1912 and a silver open face pocket watch with gilded chapter ring, hallmarked London 1866 (missing glass face) not working. Total weight 136.8 grams.
TWO SILVER OPEN FACE POCKET WATCHES One 47.3mm with seconds sub dial, key wind, case number 14469, engine turned dust cover with empty cartouche to centre. One 53.4mm, missing glass face, manual wind, similar engraved decoration to dust cover, hallmarked London 1870. Not currently working, sold as seen. Total weight 191.1 grams. Condition Report : One missing glass face Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
SILVER POCKET WATCH & FOX BAR BROOCH 9cm long, depicting a fox mounted on a riding crop with safety pin style clasp. Also a 48.9mm diameter, silver open face pocket watch, white enamel dial signed 'Kays Keyless Triumph', hallmarked Birmingham 1928, not working, yoke missing, sold as seen. Weight 100.1 grams.
A group of hunting accessories, first half 20th centuryIncluding: A hunting whip with antler grip and part plaited leather shaft with twin silver collars, hallmark for Birmingham 1903 and stamped 'Deans Maker Lees'; a pair of plated boot pulls with running fox grips, 22.5cm; a James Dixon and son small glass hip flask with plated screw top, half leather mounted with detachable silver plated cup, 9.5cm; and James Dixon Sheffield tinned pewter sandwich tin, 12cm. (5)
A RARE GOLD AND SILVER-INLAID BRONZE TAPIR-FORM VESSEL, ZUN17th/18th centuryThe creature standing four square with mouth slightly open below a curled snout, carrying a square-sectioned vase on its back, the pointed ears behind flaming eyebrows, the collar with a band of bosses, the body and face inlaid with gold and silver depicting foliate, geometric and spiralling designs. 35.5cm (14in) long.Footnotes:十七/十八世紀 銅錯金銀犧尊Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源： Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年），並由後人保存迄今The vessel belonged to Sir Michael (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD. Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. Their Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond-sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Finely cast as a tapir carrying a gu vase on its back, the present vessel is a playful interpretation of archaic bronze models, encapsulating the reverence for the past and expansion of political power at the time of its production. The form and decoration are based on ancient prototypes dating to the Warring States period (475-221 BC), which were similarly shaped and decorated with inlaid designs in gold and silver.The identity of the creature cast as the base for the present vase has been greatly discussed and variously referred to as a 'mythological animal', a 'rhinoceros' and a 'tapir'. The latter appears to be the most likely candidate as tapirs, although currently extinct in China, appear to have been indigenous to the area since as early as 200,000 BC.Archaistic vessels of this type are the result of renewed interest in ancient bronzes during the reign of Emperor Huizong of the Northern Song dynasty (AD 960-1127). The ruler, a keen antiquarian, prompted the publication of the 'Xuanhe Illustrated Catalogue of Antiques', Xuanhe Bogu tulu, which included an illustration of a tapir-shaped bronze vessel. The popularity of inlaid zoomorphic bronze vessels continued into the Yuan, Ming and Qing dynasties (13th-18th centuries). The 'Catalogue of Xiqing Antiquities' Xiqing gujian, for example, is an illustrated catalogue of ancient bronze utensils and other objects from the Shang (1600-1046 BC) to the Han (202 BC-220 AD) dynasties in the Imperial collection of the Qing dynasty. This work was commissioned by the Qianlong Emperor, compiled under the supervision of scholar-official Liang Shizheng (1697-1763), and completed in 1751. This ambitious literary project reflected the emperor's intention to 'restore the ancient ways', referring to the view of ancient culture as having intrinsic moral qualities of sincerity, simplicity and happy exuberance.Compare with a related cloisonné enamel zun vessel shaped as a tapir at the base, carrying a vase on its back, Qianlong mark and of the period, in the National Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasty, Taipei, 1999, no.43. See also a related bronze gold and silver-inlaid 'tapir' vessel, Ming dynasty, in the collection of the Cernuschi Museum, Paris, acc.no.M.C.583.A related bronze gold and silver-inlaid 'tapir' vessel, zun, 17th/18th century, was sold at Christie's New York, 13 February 2018, lot 108; see also a related bronze 'tapir' vessel, xizun, Qianlong mark and period, which was sold at Christie's London, 3 November 2020, lot 90.For further information on this lot please visit Bonhams.com
AN IMPERIAL EMBROIDERED SILK APRICOT-GROUND 'TWELVE-SYMBOL' WOMAN'S DRAGON ROBE19th centuryThe robe couched in gold and silver threads with nine five-clawed dragons pursuing flaming pearls amidst clusters of clouds interspersed with bats, stylised shou characters and the Twelve Symbols of Imperial Authority, all reserved on an apricot-yellow ground above the terrestrial diagram with lishui stripe at the hem, with dark-ground cuffs, collar and sleeve bands decorated with further dragons and clouds. 130cm (51 1/4in) long.Footnotes:十九世紀 杏黃緞繡十二章紋女龍袍Provenance: Spink & Son Ltd., LondonA European private collection來源： 倫敦古董商Spink & Son Ltd.歐洲私人收藏 Published, Exhibited and Illustrated: Spink & Son Ltd, Chinese Textiles, London, 1994, p.53, cat.no. 53.展覽著錄： Spink & Son Ltd, 《Chinese Textiles》，倫敦，1994年，第53頁，圖錄編號53 The robe is distinguished by the Twelve Symbols of Imperial Authority, which include the sun, the moon, the constellation, the rock, the dragon, the pheasant, the axe-head, the figure fu, the water plant, the sacrificial vessels, the flames, and the grain. According to the Book of Documents (尚書), the legendary ancient Emperor Shun referred twelve symbols as ancient in his time and wished for them to be used on sacrificial robes. In the early Eastern Han Dynasty, the system of clothing and adornment was established. From that point on, and lasting through the Ming and Qing dynasties, the twelve-symbol pattern was used as the decorative design for the attire of emperors and officials for nearly two thousand years. Only slight changes in the positioning and colours of the twelve symbols developed over time. In the Huanchao liqi lushi (皇朝禮器圖式) compiled in 1759 during the reign of Emperor Qianlong, the Twelve Symbols were only mentioned in regulations regarding to the Emperor's chaofu and longpao, which leads to the assumption that their use was reserved for the emperor during the Qing dynasty. However, some scholars have observed instances where the right to use the Twelve Symbols was conferred as a mark of Imperial favour, and there are several examples of women's robes featuring the symbols. See G.Dickinson ＆ L.Wrigglesworth, Imperial Wardrobe, London, 1990, p.93. The absence of the two vents at the front and back, along with the design of the sleeve sections indicate that the present lot is a woman's robe. The use of this prestigious yellow colour, particularly in a robe adorned with the Twelve Symbols of Imperial Authority, would have been reserved for a high-ranking woman in the Qing court.See a related yellow-ground embroidered gauze Twelve-Symbol woman's dragon robe, Guangxu, in the Qing Court Collection, in the Palace Museum, Beijing (acc. no. 故00044110). See also a similar embroidered yellow silk Twelve-Symbol woman's dragon robe, 19th century, which was sold at Christie's New York, 21 September 2004, lot 87.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE POLYCHROME ENAMELLED AND UNDERGLAZE-BLUE 'EIGHT BUDDHIST EMBLEMS' TIBETAN-STYLE RITUAL VASE, BENBAPINGQianlong seal mark and of the period Deftly potted with a slightly compressed globular body rising from a spreading foot and surmounted by a fluted, tall, domed neck and parasol-shaped top, the body brightly enamelled with the Eight Buddhist Emblems, bajixiang, alternating with stylised lotus blooms, the colourful decoration to the neck imitating a Tibetan banner, the top with florets enclosed within meandering flower scrolls, the interior and base enamelled in turquoise. 29.5cm (11 5/8in) high. Footnotes:清乾隆 青花洋彩八吉祥紋賁巴瓶青花「大清乾隆年製」篆書款Provenance: a British private collection, acquired circa 1901-1902, and thence by descent來源： 英國私人收藏，獲得於約1901-1902年，並由後人保存迄今This rare altar vase, known as a benbaping in Chinese, was designed to hold sacred plants for rituals associated with Tibetan Buddhism. Its form is likely inspired by a jewel-encrusted silver vessel known as a Bumpa, the Tibetan word for 'vase'. These vessels were traditionally used in Tibetan Buddhist temples to display sprays of herbs in front of Buddhist images. An illustration of a silver Bumpa can be found in Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1996, pl.146.Vessels like the present lot were crafted for use in Buddhist temples within the Palace grounds during the Qianlong period. The design shares similarities with ewers used for holding sacred water in ritual purification ceremonies, both featuring a globular body and drum-like upper section. However, ewers are distinguished by a spout emerging from a dragon's mouth, as shown by R.Kerr, Chinese Ceramics: Porcelain of the Qing Dynasty 1644-1911, London, 1986, p.115, no.101.The form of this vase is particularly reminiscent of the gold Bumpa urn, which held ivory plaques used to confirm the identities of reincarnated Grand Lamas. This connection is illustrated in Treasures from Snow Mountains: Gems of Tibetan Cultural Relics, Shanghai, 2001, p.50, no.4. See also a gold benbaping, Qing dynasty, in the collection of the Jokhang Monastery, Lhasa, illustrated by Zhang Zhongya, 'Qingdai zhizang zhengce deyixiang zhongyao zhidu: jin benbaping guanjian' (清代治藏政策的一項重要制度 金賁巴瓶管見), 2023 (4), China's Ethnic Groups, p.58. The vibrant banding on the neck of this vase is painted to resemble the multi-coloured silk banners often hung in cylindrical form in Buddhist temples. These banners, contributing to the spiritual ambiance, can be observed in the Hall of Long Life within the Potala Palace, as illustrated in The Potala, Beijing, 1995, p.52, no.11. The meticulous decoration on this vase not only enhances its aesthetic appeal but also underscores its ritual significance in the Buddhist tradition.Numerous similar polychrome enamelled examples, Qianlong marks and of the period, but with different coloured grounds are at the Qing Court Collection in the Palace Museum, Beijing, (acc.nos.gu00186110, gu00186100, gu00186101, gu00186108, gu00186119, gu00186118). Compare with a related pair of famille rose Tibetan-style altar vases, Qianlong six-character marks and of the period, which was sold at Christie's Hong Kong, 3 December 2021, lot 2909.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SPOILUM (ACTIVE 1774-1805)Portrait of a Western Man in a Chinese LandscapeOil and silver on reverse of glass, framed. 61cm (24in) high x 45.7cm (18in) wide.Footnotes:史貝霖（活躍於1774-1805） 在中國風景中的西方男子 玻璃鏡畫 有框Provenance: a Swedish private collectionMartyn Gregory, London來源： 瑞典私人收藏倫敦古董商Martyn GregoryPublished, Illustrated and Exhibited: Martyn Gregory, Merchants and Mariners: Catalogue 98, London, 2018-2019, p.97, no.97. 展覽著錄： Martyn Gregory，《Merchants and Mariners: Catalogue 98》，倫敦，2018-2019年，第97頁，編號97The Chinese export artist known to Westerners as Spoilum, is renowned today for his oil portraits on canvas, painted in Canton (modern Guangzhou) between 1785 and 1805. However, it is evident that he was earlier engaged in painting reverse-glass portraits of Western merchants, depicting them either standing or seated in a style reminiscent of the English portrait artist Arthur Devis; often with a river landscape in the background. His earliest known work is a reverse-glass portrait of Captain Thomas Fry, dated 1774. For similar reverse-glass portraits that share compositional elements with the present picture, see also Martyn Gregory, Catalogue 81, London, 2005-2006, no.117, and Catalogue 78, London, 2002, no.108. Another example can be found at the Lady Lever Art Gallery, Port Sunlight (acc.no.LL 8824).In the current portrait, a young man, likely a merchant trading in Canton, wears a dark blue coat over a cream waistcoat, holding his stick and hat in his extended right hand. He stands on a path bordered by rocks and flowers, beside a tree overlooking a river, where a Chinese official's boat is anchored. A pheasant and a parakeet appear in the sky above.For further details about Spoilum's portraiture, see P.Conner, 'The Enigma of Spoilum and the Origins of China Trade Painting,' in The Magazine Antiques, March 1998, vol.CLIII, p.418, no.3.For further information on this lot please visit Bonhams.com
TWO SILVER AND GOLD-INLAID BRONZE FITTINGSWarring States PeriodThe silver-inlaid bronze chariot fitting of pointed oval section with a central rib, decorated with stylised bird and animal motifs, stand. 12cm (4 3/4in) high; the second fitting elegantly inlaid in gold and silver with patterns of dissolved whorls, stand. 16.5cm (6 1/2in) high.(4).Footnotes:戰國 銅錯金銀卷雲飛獸紋鐏鐓兩件Provenance: Susan Chen Ltd., Hong Kong, 13 January 1997William N. Wood Prince, ChicagoChristie's New York, 10-11 January 2012, lot 335來源： Susan Chen Ltd.，香港，1997年1月13日William N. Wood Prince，芝加哥紐約佳士得，2012年1月10-11日，拍品編號335See a related ferrule, inlaid with silver, Eastern Zhou dynasty, and a similar shaft fitting, inlaid with silver, Eastern Zhou dynasty, illustrated by J.Rawson and E.Bunker, Ancient Chinese and Ordos Bronzes, Hong Kong, 1990, pp.180-182, nos.88 and 91.Compare with a similar silver-inlaid bronze fitting, Warring States period, which was sold at Bonhams Knightsbridge, 5 November 2019, lot 693 (part lot). See also two silver-inlaid bronze fittings, Warring States period, which were sold at Christie's New York, 16 March 2017, lot 872.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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