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Click here to subscribeA boxed Wilesco D405 live steam 'Dampftraktor, in blue with red wheels and white roof, slip-eccentric reversing to single cylinder and gear-drive to wheels, VG-E, appears very little used, complete with original burner tray and some fuel tablets, an alternative spirit burner, and other accessories, box VG
A Mamod spirit-fired SW1 Steam Wagon and MM1 Engine, the SW1 in green with red trim and (repainted) off-white roof and mudguards, with whistle, scuttle, spirit burner and steering extension, overall F-G, moderately well-used, together with a Mamod Minor No. 1 overtype stationary engine with 'thin' spirit burner, G-VG (2)
A boxed Mamod 0 Gauge Live Steam RS1 Goods Train Set, with SL1 green locomotive with white lettering and straight chimney, grey open wagon, log wagon, oval of track and accessories including original tablet burner tray, tablets, and an unused Brandbright spirit burner, G, loco lightly used but with some corrosion in parts, some track connecting tags broken, in original set box, box F-G, together with a box containing about a dozen additional pieces Mamod track, mostly P-F with broken tags (2 boxes)
An uncommon 'Tessted' live steam 2½" Gauge NBR 'Atlantic' 4-4-2 Locomotive and Tender, with twin outside cylinders and inside eccentrics to valve gear, reversing valve operated from cab, the backhead fitted with large Clyde Model Dockyard pressure gauge, water gauge, regulator and drain cock, whistle and safety valve to boiler top, and lubricator above front buffer beam, fitted with springs to front driving axle, and finished in lined NBR livery, a rather subdued green-brown shade, the tender with (apparently) spirit tank with delivery pipe and shut-off valve, with gold NBR lettering and cast brass numberplates 868 to cabsides and rear of tender, overall G, spirit burner missing, some areas of paint loss and some evidence of old retouching, for example to cab roof and firebox areas, coupling rod pins appear to be replacements (2)
A Bing spirit-fired vertical steam engine with plated mounts, the single cylinder driving a 9cm flywheel, on bracket feet, height 26cm (lacking chimney, playwear).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Bassett-Lowke gauge O spirit fired locomotive 440 'Greater Britain' and tender in Caledonian Railways blue lined livery (fired and paint chips).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A selection of hardback and other books, primarily relating to British landscape, titles including: Scotland’s Winter Mountains, by Martin Moran; Earth and the Great Weather, by Kenneth Brower; a selection of W. A. Poucher books on Lakeland; The Spirit of Yorkshire, by Fairfax Blakeborough; Rydal, by M. L. Armitt; A Yacht Voyage Round England, by W. H. G. Kingston; Millstone Grit, by Glyn Hughes; and others, contained across two boxes.
A selection of hardback books, primarily relating to travel, exploration, and mountaineering, titles including: The Arctic Year, by Peter Freuchen and Finn Salmonsen; The Glaciers of the Alps, by John Tyndall; A Lady’s Life in the Rocky Mountains, by Isabella Bird; Climbs and Ski Runs, by F. S. Smythe; The Spirit of the Hills, by F. S. Smythe; The Mountain Vision, by F. S. Smythe; and others, one box.
Four various bottles of whisky, including: a bottle of The Antiquary Finest Twelve Years Old Scotch Whisky, 70cl, 40%, boxed; a Southern Comfort Liqueur Spirit, 70cl, 40%, boxed; a Glen Grant Fifteen Years Old Highland Malt Scotch Whisky, 75cl, 40%; and a Long Wood Eight Years Old, 70cl, 40%.
An important 18th century Lombardy ebony banded walnut and ivory inlaid twin pedestal desk, the top and sides inlaid with a scenes from Homer’s Iliad, after original drawings by John Flaxman RA (1755-1826), within moulded shaped ebony cartouches, fitted with three frieze drawers over hinged cupboards, inlaid with allegories representing Hope and Faith, on later castors.UK APHA Registration of an ivory item Submission reference: D99UXPKP width 118cm depth 61cm height 82.4cm LOT ESSAY BY DR. ARABELLA CIFANIThe scene is taken from a drawing that the English sculptor and draftsman, John Flaxman(1755–1826), made to illustrate the passages of Homer's Iliad, a commission proposed to him in 1791 by Georgiana Hare-Naylor while he was living in Rome. Here is represented a rare episode, with Polydamas, a character from Greek mythology soothsayer, adviser and valiant warrior, friend and lieutenant of Hector, who fought in the Trojan War and who, in the twelfth book of the Iliad, advises Hector not to cross a dangerous moat that was part of the defence at the Achaean port and also advises Hector not to continue the siege. Hector will not listen to him and will face death at the hands of Achilles (Homer Iliad 12.60).‘’Then verily Polydamus drew nigh to Hector, and spake, saying: “Hector, and ye other leaders of the Trojans and allies, it is but folly that we seek to drive across the trench our swift horses; hard in sooth is it to cross, for sharp stakes are set in it, and close anigh them is the wall of the Achaeans.’’ Homer - Iliad 12.60John Flaxman, sculptor and draftsman, a leading proponent of English neoclassicism, created 34 drawings for Homer's Iliad in Rome in 1793, which were engraved on copper for the first time in Rome by Tommaso Piroli in 1793 ("L'Iliade et the Odyssée d'Homère gravéepar Thomas Piroli d'après les desseins composés par John Flaxman. 94 gravures ", Francesco Romero publisher, Rome, 1793). The meeting Flaxman and Piroli was a happy union, sealed by a public success that also provoked real acts of editorial piracy. "The reprints followed one another in various original editions or copies of the branches in different European cities, attesting to the vast success achieved from Flaxman's inventions masterfully translated and propagated with the burin of Piroli. Two years later, the plates for "The Iliad" were republished in London. In 1805, publishers Longman, Hurst, Rees and Orme printed new editions of both series, including eleven extra illustrations commissioned from Flaxman (five for "The Iliad" and six for "The Odyssey").The style of the ivory inlay perfectly reflects the spirit of Flaxman's engraving, the figures in fact retain their taste for graffiti, which was an absolute novelty at the time. Flaxman avoided the background landscape, setting and detail, focusing on figures rendered with pure outlines. It has long been known that Flaxman drew on and synthesized a wide variety of visual sources in the development of his outline illustrations, combining classical figuration from "Etruscan" reliefs, sculptures, engravings and vases with forms derived from medieval and early Renaissance sources, life studies and observational sketches of daily Italian scenes and characters. Flaxman's style of illustration has been discussed and celebrated by a multitude of critics across Europe and has had a demonstrable influence on artists such as Ingres, Goya and Blake.The cabinet is also enriched with other ivory inlays, representing divinities and allegories, including the allegory of Hope and Faith.GORRINGE’S are grateful to Dr. Cifani, for her identification of John Flaxman’s designs, used in the ivory inlays on this desk.***CONDITION REPORT***Overall a little evenly faded to a light walnut tone with old dents, small losses and splits throughout commensurate with age, ivory inlay looks to be mostly complete but some small losses notably to the right side of the top, the doors to the drawers are fitted with English locks but no escutcheons suggesting the later addition of the veneers, cupboard doors have Italian locks but no key, lower front right corner is broken with the foot now come loose, minor dents and scuffing elsewhere around the base.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Early 16th century French School 'The Apostles drinking from the Fountain of Life’illuminated leaf watercolour and gold leaf on vellum, c.150021 x 11cm. Deus, in adjutorium meum intende.Domine, ad adjuvandum me festina.Gloria Patri et Filio [et Spiritui Sancto],sicut erat in principio et nunc et semperMemento, salutis Auctor,quod nostri quondam corporis,ex illibata Virginenascendo, formam sumpseris.Maria, mater gratiae,mater misericordiae,tu nos ab hoste protege,et hora mortis suscipe.Gloria tibi, Domine,qui natus es de Virgine,[cum Patre et Sancto Spirituin sempiterna saecula. Amen.]Antiphon: Missus estPsalmus**End of the prayer O sponsa Dei electa[O sponsa Dei electa,esto nobis via rectaad aeter]na gaudiaubi pax et gloria.Et nos semper aure piaDulcis exaudi Maria.O chosen spouse of God:be to us a straight path to eternal joy,where peace and glory are found.And you will always have a pious ear for us.So listen to us, sweet Mary.Verse: dignare me laudare Allow me to praisete virgo sacrata thee O sacred virginResponsio: Da mihi virtutemgive me strengthcontra hostes tuos against thy enemiesOratio: Gratiam tuam quesumusPour forth we beseech theeDomine mentibus nostris infunde;O Lord, thy grace into our hearts,ut qui, angelo nunciante, Cristi filii that we, who learnt of the incarnationtui incarnationem cognovimus,of Christ, thy son, by the message of an angel,per passionem eius et crucem, admay by his passion and cross be broughtresurrectionis gloriam perducamur.To the glory of his resurrectionPer eundem dominum nostrum IesumBy the same Jesus Christ our Lord,Cristum filium tuum, qui tecum vivit thy son, who lives and reignset regnat in unitate spiritus sancti deus, with thee in in the unity of the holy spirit, God,per omnia secula seculorum Amen. for ever and ever AmenBenedicamus domino Deo gratias.Let us praise the Lord. Thanks be to God.Ad primam At primeO Lord, make speed to save me:O Lord, make haste to help me.Glory be to the Father, and to the Son, [and to the Holy Ghost:]As it was in the beginning, is now and ever shall beRemember, O Creator Lord,that in the Virgin's sacred wombThou wast conceived, and of her fleshdidst our mortality assume.Mother of grace, O Mary blest,to thee, sweet fount of love, we fly;shield us through life, and take us henceto thy dear bosom when we die.O Jesu! born of Mary bright!Immortal glory be to Thee;praise to the Father infinite,and Holy Ghost eternally. Amen.Antiphon: It is finishedPsalm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
The Child Jesus, dressed and seated on a rock, holding a dove (Holy Spirit), partially painted and gilt ivory sculpture, ebony base, Indo-Portuguese, 18th C. (mid), wear to the gilt. Notes: This lot is subject to CITES export/import restrictions and is duly certified: nr 22PTLX06797C. Prospective purchasers are advised by Cabral Moncada Leilões that several countries prohibit the importation of property containing materials from endangered species, including but not limited to ivory, coral and tortoiseshell. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries concerned., Dim. - 7,3 cm; Peso - 105 g. This lot is subject to CITES export/import restrictions and is duly certified: nr 22PTLX06797C. Prospective purchasers are advised by Cabral Moncada Leilões that several countries prohibit the importation of property containing materials from endangered species, including but not limited to ivory, coral and tortoiseshell. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries concerned.
Music Pete Best signed Beatles collection or Four 2007 Internetstamps FDCs. Each has different pair of stamps and cachets, Spirit of 6os, Cavern Club, Abbey Road, Penny Lane postmarks. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Ca. 202BC - 220AD.An earthenware bird figure standing on its bronze legs and its body is decorated with vivid polychromy. This bird is a mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty. High-ranking persons were buried with various everyday objects; it was believed that life after death was a continuation of the present life, and therefore the deceased was provided with all the objects necessary to continue living after death. H.C. Clydesdale, "The Vibrant Role of Mingqi in Early Chinese Burials", Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out 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. The TL certificate with its full report will accompany this lot. Size: L:120mm / W:180mm ; 310gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 600-800 AD.A wearable, religious silver seal ring with a round hoop with raised edges and a bezel set with a gem depicting a dove with an olive branch beneath the star. The bezel is surrounded by a highly ornamented border formed of clusters of fine granules. In Christianity, the dove is a symbol of the Holy Spirit, and it was the dove that brought the olive branch to Noah on the Ark, which meant peace between God and people.Size: D: 17.97mm / US: 7 3/4 / UK: P 1/2; 4.6gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Oswald Achenbach 1827 Düsseldorf - 1905 Düsseldorf Ischia mit Blick auf das Castello Aragonese. 1880. Öl auf Leinwand. Rechts unten signiert und datiert. 43,5 x 60,5 cm (17,1 x 23,8 in). • Oswald Achenbach zählt neben seinem Bruder Andreas zu den führendsten Landschaftsmalern Europas, der den Ruf der Düsseldorfer Schule mitbegründet • Äußerst charakteristische Achenbach-Komposition mit schattigem Vordergrund und Blick über das Meer • Achenbach prägt mit seinen Gemälden wesentlich das malerische Italienbild der Nachromantik • Aus dem deutlich helleren, freieren Werk der 1880er Jahre, in dem Achenbach nach einer transparenteren, lichtdurchwirkten Gesamtwirkung strebt. PROVENIENZ: Galerie Paffrath, Düsseldorf. Privatsammlung Deutschland. AUSSTELLUNG: 125 Jahre Galerie G. Paffrath 1867-1992: Jubiläumsausstellung, Galerie Paffrath, Düsseldorf, 1992 S. 42-43 (m. Abb.). 'Welcher Reichtum im Ton, im Gegenstand: Ein Raketenfeuerwerk an Glanz, Funkeln, Leuchten, ein sprudelnder malerischer Geist von ganz außerordentlichen Fähigkeiten. [..] Es scheint, als wolle er Italiens Ehren verkünden.' Cornelius Gurlitt, Die Deutsche Kunst des 19. Jahrhunderts, Berlin 1907, S. 378. Oswald Achenbach zählt zu den bedeutendsten Landschaftsmalern des 19. Jahrhunderts. Als Hauptvertreter der Düsseldorfer Malerschule, deren Entwicklung er als Professor der Landschaftsklasse an der Kunstakademie maßgeblich beeinflusst, widmet er seine künstlerische Schaffenskraft in erster Linie der klassischen Landschaft Italiens. Diese in zahlreichen Studienreisen erkundete Naturkulisse ist stetiger Inspirationsquell und veranlasst ihn immer wieder zu Reisen in den Süden. 1871 hält er sich mit seiner Familie ein Dreivierteljahr in Italien auf und bereist die für die Landschaftsmalerei im Laufe der Jahrhunderte ikonisch gewordenen Orte, darunter die pittoreske Amalfiküste sowie die Inseln Capri und Ischia. Romantische Faszination klingt in der Felseninsel Trachyt mit der auf dem Gipfel thronenden jahrhundertealten Festung mit ihrer bewegten Geschichte an, daneben zu erkennen die Kuppel der Chiesa dell'Immacolata. Charakteristische Architektur, Natur und Mensch gehen bei Achenbach stets eine raffinierte und harmonische Synthese ein, die selbst vom Künstler arrangierte und komponierte Elemente natürlich und ungekünstelt wirken lassen. Wesentlicher Stimmungsträger der Gemälde Oswald Achenbachs ist jedoch immer das besondere Licht, das der Künstler in mannigfaltigen Effekten einzusetzen weiß. Bei unserem Bild wird die weit sich vor unserem Auge ausbreitende Landschaft durch das spätnachmittägliche Sonnenlicht sanft beleuchtet. Stellenweise führt dieser Beleuchtungseffekt zu einer nahezu modern anklingenden Auflösung der Konturen im Bild: 'Das Atmosphärische und Malerische verbanden sich zu einer unlösbaren Einheit und hatten dadurch eine Skizzenhaftigkeit des Gegenständlichen zur Folge, die ihn [Achenbach] zu Recht [..] parallel zum französischen Impressionismus zu den Vertretern der koloristischen Moderne rechnen ließen.' (zit. nach: Ekkehard Mai, Der Sehnsucht Traum und Wirklichkeit - Oswald Achenbach zwischen Romantik, Realismus und Salon, in: Ausst.-Kat. Andreas und Oswald Achenbach. Das A und O der Landschaft, Kunstmuseum Düsseldorf 1997/98, S. 43-56, hier S. 53). [KT] Aufrufzeit: 10.12.2022 - ca. 16.16 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONOswald Achenbach 1827 Düsseldorf - 1905 Düsseldorf Ischia mit Blick auf das Castello Aragonese. 1880. Oil on canvas. Lower right signed and dated. 43.5 x 60.5 cm (17.1 x 23.8 in). • Oswald Achenbach, along with his brother Andreas, was one of the leading European landscape painters and co-founder of the Düsseldorf School • Very characteristic Achenbach composition with a shady foreground and view across the sea • Achenbach's paintings were formative for the late romanticist idea of Italy • From the lighter free work of the 1880s, in which Achenbach attained a transparent light-flooded effect. PROVENANCE: Galerie Paffrath, Düsseldorf. German private collection. EXHIBITION: 125 Jahre Galerie G. Paffrath 1867-1992: Anniversary exhibition, Galerie Paffrath, Düsseldorf, 1992 pp. 42-43 (with illu.). 'What richness in tone, in object: a firework of brilliance, sparkle, shine, a bubbling painterly spirit of quite extraordinary abilities. [..] It seems as if he wants to announce Italy's honors' Cornelius Gurlitt, Die Deutsche Kunst des 19. Jahrhunderts, Berlin 1907, p. 378 Called up: December 10, 2022 - ca. 16.16 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Ludwig Meidner 1884 Bernstadt/Schlesien - 1966 Darmstadt Apokalyptische Landschaft (Landschaft mit Häusern und spitzen Hügeln). 1912. Bleistiftzeichnung. Unten mittig signiert und datiert. Verso mit dem Nachlassstempel mit der Registriernummer 'II/79'. Auf Velin. 33 x 46 cm (12,9 x 18,1 in), Blattgröße. • Die Zeichnung gibt Zeugnis von dem wegweisenden Einfluss der Futuristen-Ausstellung 1912 in Waldens Galerie 'Der Sturm' auf Ludwig Meidner. • Im selben Jahr malt Ludwig Meidner erstmals eine 'Apokalyptische Landschaft'. • Gemälde mit gleichem Titel befinden sich in der Staatsgalerie Stuttgart und in der Nationalgalerie Berlin. Wir danken Herrn Erik Riedel, Ludwig Meidner-Archiv im Jüdischen Museum, Frankfurt am Main, für die wissenschaftliche Beratung. PROVENIENZ: Nachlass des Künstlers (bis 1988), unter dem Titel 'Landschaft mit Häusern und spitzen Hügeln'. Privatsammlung Europa. Ludwig Meidner ist ein Meister der Apokalypse. Lange vor den Verwüstungen des Ersten Weltkrieges hat er bereits die Welt in Flammen gesehen und so eindringlich geschildert, dass man die frühe Entstehungszeit kaum glauben möchte. Die zeichnerische Kraft, mit der er den menschlichen Zerstörungswillen schildert, hat eine geradezu suggestive Wirkung auf den Betrachter. Meidner sah die Welt aus den Fugen geraten und traf so den Kern der Stimmungslage seiner Zeit. Sein zeichnerisches Werk ist von einer Intensität geprägt, die ihn als Visionär ausweist. [EH] Aufrufzeit: 10.12.2022 - ca. 17.43 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONLudwig Meidner 1884 Bernstadt/Schlesien - 1966 Darmstadt Apokalyptische Landschaft (Landschaft mit Häusern und spitzen Hügeln). 1912. Pencil drawing. Bottom center signed and dated. With the estate stamp and the registration number 'II/79' on the reverse. On wove paper. 33 x 46 cm (12.9 x 18.1 in), size of sheet. • The drawing testifies to the influence the pioneering 1912 Futurist exhibition at Herward Walden's gallery 'Der Sturm' 1912 had on Ludwig Meidner. • The same year Ludwig Meidner painted his first 'Apokalyptische Landschaft'. • Paintings with the same title are in the Staatsgalerie Stuttgart and the Nationalgalerie Berlin. We are grateful to Mr Erik Riedel, Ludwig Meidner-Archive at the Jewish Museum in Frankfurt am Main, for his kind expert advice. PROVENANCE: Artist's estate (until 1988), with the title 'Landschaft mit Häusern und spitzen Hügeln'. Private collection Europe. Ludwig Meidner is a master of the apocalypse. Long before the devastations of the First World War, he had already seen the world in flames and depicted it so graphically that one can hardly believe the early date of creation. The graphic power with which he depicts the human will to destroy has an almost suggestive effect on the viewer. Meidner saw the world falling apart at its seams and thus caught the spirit of his time. His graphic work is characterized by an intensity that truly makes him a visionary. [EH] Called up: December 10, 2022 - ca. 17.43 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.
Militaria Deutschland - Preussen : Offiziersgeschenk des Kaiser Alexander Garde-Grenadier-Regiment Nr. 1 in Form einer zerplatzenden Granate.Silber. Die als "Feuerzeug" gearbeitete brennende Granate auf drei Klauenfüßen auf schwarzem Marmorsockel. Vorderseite mit dem gravierten Regimentsemblem, der gekrönten Chiffre Zar Alexander I, von Rußland. Am oberen Rand Aussparungen zur Befüllung mit Öl oder Spiritus. Am oberen Teil der Flamme herausnehmbares Stäcbchen zum Anzündem. Im Boden der Granate Herstellerzeichen "OTTO SCHNEIDER" sowie Silberstempel "800". Krone und Halbmond. Schönes Regimentssilber - Geschenk in feiner Qualität. Höhe: 165 mm German Militaria - Prussia : Officer's presentation lighter from the Kaiser Alexander Guards Grenadier Regiment No. 1 in the form of a bursting grenade.Silver. The burning grenade worked as a "lighter" on three claw feet on a black marble base. The front with the engraved regimental emblem, the crowned cipher of Tsar Alexander I, of Russia.On the upper rim recesses for filling with oil or spirit. At the upper part of the flame a removable stick for lighting.In the bottom of the grenade manufacturer's mark "OTTO SCHNEIDER" and silver stamp "800". Crown and half moon.Beautiful regimental silver presentation object of fine quality.Height: 165 mm
A FINELY DETAILED 'JOURNEY TO THE WEST' FAMILLE ROSE PORCELAIN PLAQUE, QING DYNASTY 清代粉彩《西游記》場景飾盤China, 1644-1912. Finely painted in bright enamels, gilt, and iron-red above the glaze to depict a winter scene from the classic Journey to the West, with Xuanzang surrounded by men on the left, and Sun Wukong, Zhu Bajie, and Sha Wujing, Xuanzang's protectors and disciples, standing beside his horse. Note the superb detail work to the faces of Sun Wukong, the powerful monkey king, and Zhu Bajie, the greedy pig-like demon.Provenance: British trade. Condition: Very good condition with some wear and minor firing irregularities.Weight: 1,482 g Dimensions: Diameter 34.7 cmJourney to the West (Xiyouji), is an epic 16th-century novel fictionalizing the actual journey of the historical figure of Xuanzang (602-664) who made a pilgrimage to India to collect Buddhist sutras. During the eventful trip, the honest but hapless Buddhist monk is accompanied by Sun Wukong, a tempestuous and powerful monkey king recently released from a supernatural prison, Zhu Bajie, a greedy pig-like demon, and Sha Wujing, a quiet and sensible river spirit. The troupe suffer a series of increasingly dangerous trials but eventually prevail, finally bringing the true word of Buddha back to the Tang Imperial court.Auction result comparison:Type: Distantly relatedAuction: Sotheby's New York, 11 September 2012, lot 395Price: USD 37,500 or approx. EUR 47,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'monkey king' vase, Qing dynastyExpert remark: Note that this vase also depicts a scene from The Journey to the West with a similar rendering of the monkey king Sun Wukong清代粉彩《西游記》場景飾盤中國，1644-1912年。釉上彩描金，精美繪製了《西遊記》中的冬天場景，左邊玄奘被幾個文人圍住，他的徒弟孫悟空、豬八戒、沙悟净站在白馬旁邊。猴王孫悟空和豬八戒的面部細節刻畫。 來源：英國古玩交易市場。 品相：狀況極好，有一些磨損和輕微的燒製不規則現象。 重量：1,482 克 尺寸：直徑34.7 厘米 拍賣結果比較： 形制：些微相近 拍賣：紐約蘇富比，2012年9月11日，lot 395 價格：USD 37,500（相當於今日EUR 47,500） 描述：清代粉彩「西遊記」圖棒槌瓶 專家評論：請注意此瓶也是描繪《西遊記》場景，有相似的孫悟空繪畫。
† A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTY 唐代小漢白玉獅Published: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Archibald Knox for Liberty & Co of London 19th Century copper and pewter Arts & Crafts spirit kettle. The teapot with shaped handle to top with wooden finial to lid and hammered decoration throughout the body. The stand of copper construction with legs united by spirit burner tier. Stamped to underside English Pewter Made By Liberty & Co 01098. Measures approx 30cm high
Mixed Lot of Champagne and Spirits including Magnum of Moet & Chandon Premiere Cuvee Champagne, Bottle of Pol Roger Champagne, Bottle of Henri Macquant Champagne Three 1978 K.L.E.M. Ceramic Spirit Decanters being Whisky, Gin and Vodka, Bottle of Porto Niepoort Ruby Port, Bottle of Courvoisier Brandy plus five other Bottles
Jim Beam Kentucky Straight Bourbon Whisky, 70cl, 40%, one bottle; Jack Daniels Tennessee Sour Mash Whisky, 70cl, 40%, one bottle; Southern Comfort Original, 70cl, 35%, one bottle; Bell's blended Scotch Whisky, 100cl, 40%, one bottle; Lanique Spirit of Rose, 70cl, 39%, one bottle; and Vini Liquorosi, 75cl, one bottle (6)
Assorted spirits, to include Remy Martin champagne cognac being an HM Forces NAAFI bottle from BAOR, one bottle, Canadian Club Whisky, 70cl, 40%, one bottle; Ron Bacardi, 100cl, 37.5%, one bottle; 100cl, one bottle; together with assorted spirit miniatures and half bottles to include Jack Daniels
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