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Lot 846
Camberwick Green – Robert Harrop – A collection of CGMB4 Townhall Clock & Musical Box - Limited Edition, CGCS08 Windy Miller Festive Spirit Limited Edition 600, CGCS07 Home For Christmas Limited Edition 1000, CGSF04 The Milliners Shop Front. Highly detailed resin statue based on the classic children’s animated series. Statue appears mint, with no damage. Boxed. Note; from a large collection of Robert Harrop & other statues / figurines. Condition is stated within each description, however buyers are reminded that such statements are not forensic reports and all items will remain sold 'as is'. As a rule, statues do appear mint and undamaged, but this is not guaranteed. Boxes range in condition, and some have wear from storage. In all instances buyers are required to satisfy themselves. Certificates / paperwork are present if photographed, if there are no photographs of certificates then one isn't present. Largest measures 15cm.
Lot 977
Aumobillia Interest - A pair of retro vintage mid 20th century motoring oil cans to include an Esso jerry can and a BP Motor Spirit can. Together with an assortment of metal plaques and badges to include a Safety Regarde St Christophe Courtesy badge, a metal AA badge and a Clark & Bunnett & Co Ltd Engineers & Founders wall badge.
Lot 1008
An English carved oak cased aneroid barometer with an 8'' porcelain dial, measuring barometric pressure from 26 to 31.9 inches, weather predictions written in gothic capitals and lower-case script, with a steel indicating hand and brass recording hand within a chrome bezel with a flat bevelled glass, with a spirit thermometer recording the temperature in degrees Fahrenheit and Celsius.Dimensions: Height: 79cm
Lot 1009
A 20th century Short & Mason compensated aneroid barometer with a 5' silvered dial, measuring barometric pressure from 27 to 32 inches with weather predictions, with a steel indicating hand and brass recording hand within a chrome bezel and flat bevelled glass, with spirit thermometer, Hygrometer and presentation plaque dated 1970. Dimensions: Height: 59cm
Lot 140
The Silver Wraith was the first post-war Rolls-Royce offered directly to the general public. Traditionally, their cars were offered as engine only/rolling chassis then delivered directly to a coach builder to receive the body of choice. They were larger than their sibling, the Bentley Mk. VI, and were equipped with independent front suspension and hydraulic shock absorbers, appealing to both owner-drivers and passengers alike.Originally delivered to Mr. Arthur Aman of Windlesham in Surrey by Brooklands of Bond Street in 1952, instructions included Silver Dawn headlamps and a wider, more imposing, bonnet. It was then absorbed as a company asset by Arthur Aman & Co. in 1954 followed by sale to Mr. Philip Rickards of Fulham, London in 1962. Mr. K. Hemmingway of Stanmore, Middlesex in 1965 became the last recorded owner on the enclosed period owners documentation. More recently, documents show that the car came from the US to a Mr. David Leppan of Phillimore Gardens, London who imported the car from Los Angeles to Felixstowe in 2010. All taxes and duties were paid at the time and part of the UK V5, and NOVA is enclosed. It was then sold to a noted German collector before finding its way back to the UK.Originally a black car with contrasting brown leather interior, it has since been painted in these two shades of a much more cheerful blue. New carpets have been installed, front and rear and, some time ago, a boot-mounted, air-conditioning system has been integrated into the superstructure and reported to be fully functioning. The aluminium exterior of the car is in excellent general condition with faults hard to find. The aluminium bumpers are also in excellent condition although the wing mirrors would benefit from some light attention along with the interior silvering of the offside headlamp. This imposing example has also just undertaken a mechanical overhaul alongside a major service and is reported to be running beautifully with a powerful, silent engine exhibiting good oil pressure and cool running at motorway speeds.A large diameter steering wheel allows for easy low-speed manoeuvring and new white wall tyres are fitted all round with chrome wheel centres recently purchased and fitted.The internal appointments are of equally good quality with period blue leather in good order throughout and just minor wear on the drivers bolster. There are walnut picnic tables, fold-out footrests, and foot-cushions for the rear occupants with door cappings and dashboard in excellent condition. Additional details include the original brass Pyrene fire-extinguisher, modern Alpine radio and a golden Spirit of Ecstasy.A very well-prepared and sporting Rolls-Royce, effortlessly able to keep up with modern traffic and with many miles ahead of her.
Lot 157
The Bentley Turbo R initially inherited the turbocharged engine from the Mulsanne Turbo and also sported a retuned suspension and wider tyres on alloy wheels, quite a departure for a Bentley. From the 1987 model year however, the Turbo R's V8 engine was re-tuned with new Bosch MK-Motronic fuel injection for added torque. Other modifications carried out at the same time included new sports seats and a higher rear axle ratio. Motor Trend called the Turbo R €œthe first Bentley in decades deserving of the famous name€ in their review of the car on its introduction to the United States in 1989. The suspension changes, though seemingly subtle, transformed the heavy car into a real performer and slotted above the Bentley Mulsanne S and Rolls-Royce Silver Spirit, and it carved a well-deserved niche in the world of performance saloons.This desirable floor gear change example presents extremely well in the classic colour combination of dark metallic green with contrasting tan leather. Contained within the history file of this well looked-after Bentley is a number of invoices and an impressive 22 stamps in the service book. A head gasket bill completed 4,000 miles ago for £7,000 is present. The interior of a Bentley is renowned for its space, leather and walnut trim; this Crewe beauty is no exception and given its age shows little signs of wear. This Bentley is presented with a V5C registration document and a fresh MoT test certificate. Offered without reserve this Bentley offers an affordable entry into ultimate executive motoring.
Lot 44
Launched in 1998, the Arnage was manufactured in Crewe from 1998 to 2009 with its Rolls-Royce sibling, the Silver Seraph, introduced in the Spring of 1998. They were the first entirely new designs for the two marques since 1980 when the Silver Spirit and Mulsanne models were introduced. The new Arnage (Green Label) was to be powered by a BMW V8 engine with Cosworth-engineered, twin-turbo chargers and the Seraph was to employ a BMW V12 engine. The Arnage Red Label was launched in October 1999 with the engine reverting back to Bentley power using the traditional V8 engine and a displacement of 6750cc. As part of the modification process, both Red and Green Label cars benefitted from expanded leg room in the cabin, stiffer bodyshells and larger wheels and brakes.This lovely 2000 Bentley Arnage, fitted with 6.75 litre Rolls-Royce engine, was supplied new to a high specification, finished in Peacock Blue with white pin stripping with cream, piped in blue leather interior complemented with walnut wood door cappings and picnic tables to the rear compartment. This Bentley was also supplied with cream instrument dials, dark blue lambs wool over rugs and is fitted with split rim alloy wheels. The car has covered 61,000 miles from new with a good service history, first with Bentley Parks of Hamilton then with marque specialists, Silver Lady Services. Supplied with a V5 registration document, an MoT test certificate which expires in August 2022, the book pack containing the stamped service book and two keys with alarm fobs. These wonderful superior and luxurious classic Bentleys present such good value for money considering their original sale price.
Lot 62
Before David Plastow left his senior position at Rolls-Royce following the take-over of Vickers plc, he had been responsible for a series of models, amongst which was the Rolls-Royce Silver Spirit. The Silver Spirit was unveiled in October 1980 as a replacement for the Rolls-Royce Silver Shadow. The coachwork of the Silver Spirit had been designed at the in-house styling centre by Fritz Feller and gave the impression of being stretched in comparison with the bodies of the previous generation. Direct comparison, however, showed only small differences. The new models had slightly grown in length and width; height had been cut a little, although the styling was more modern than that of its predecessor. The interior was dominated by the expected combination of fine wood and sumptuous leather. The Silver Dawn is a special edition of the Silver Spur III with several additional options, such as Electronic Traction Assistance System. In a short model run of just three years, only 237 cars were produced worldwide with around 80 cars staying in the UK, making the Silver Dawn one of the rarest Rolls-Royce cars produced in recent times. Originally supplied by Michael Powles Ltd in Leicester and first registered on 22nd August 1996, this Rolls-Royce presents in beautiful condition. The Peacock Blue paintwork is virtually unmarked as is the contrasting Magnolia interior. The seats are piped in blue, and the Wilton carpets are in dark blue as are the lambswool rugs. A copy of the original build sheets accompanies this Silver Dawn, clearly this has been a very well cared for example. There are a significant number of invoices in the history folder from P & A Wood and more latterly from a specialist. Open the door on this exquisite motor car and the smell of leather, together with the walnut dashboard and door cappings, combine to make the interior of this premium marque vehicle a special place. Travelling in such comfort cannot be underestimated. Supplied with a V5C registration document, together with an MoT test certificate valid until 12th December 2022. These blue-blood Rolls-Royces are on the rise and good examples, limited production cars are worth investing in.
Lot 693
A RARE MARKLIN SPIRIT-FIRED TOY KITCHEN RANGE of pressed tin, with three brass oven doors and raised on brass legs with paw feet, complete with a fish kettle, two pans and a saucepan, each with lid, 15cm high. Condition Report : Generally good, unrestored condition; lacking chimney. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 546
'LADY AND PARROT', BY XU CAO (1899-1961)China. Ink, gilt, and watercolors on paper. Finely painted with a noble lady seated in an elaborately crafted wooden chair with gilt fittings and silk brocade back, a table holding a wine cup and an ancient bronze vessel as well as a large vase held by a stand beside her. The lady is looking toward her parrot perched on a gilt swing suspended from a dragon fitting mounted to a wooden pole.Inscriptions: Upper left, signed 'Yansun Xu Cao', and with a lengthy inscription. One seal of the artist.Provenance: UK trade, by repute acquired from a British private collection.Condition: Excellent condition with minor old wear. Soiling, browning, and foxing, all found exclusively outside the depiction, therefore probably added by the artist on purpose. Mounted as a hanging scroll.Dimensions: Image size 81 x 35.5 cm, Size incl. mounting 215 x 51 cmExpert's note: Xu Cao was a leading conservative artist in Beijing during the 1930s and 1940s. Some scholars have later described him as possibly the last living proponent of the Imperial School. Xu Cao's zestful brushwork and taste for theatrics were conservative in their references to the past, but wholly modern in the spirit of defiance and abandon they celebrated. This is clearly seen in the present work, with the paper being deliberately 'aged' with simulated wear, a dramatic effect that - like in theater- creates a stark contrast between the actual depiction and the background.Auction result comparison: Compare a closely related painting by Xu Cao, also depicting a lady and parrot, dated 1939 by inscription, at Christie's Hong Kong in Fine Chinese Modern Paintings on 30 May 2017, lot 1297, sold for HKD 150,000. 徐操(1899-1961)《美人鸚鵡》中國。立軸，紙本水墨設色描金。畫中一位仕女坐在絲錦椅背上，身畔桌子上放著酒杯和銅瓶，旁邊的三足架上放著一隻大花瓶。仕女正逗玩著棲息在一個鎏金鞦韆上的鸚鵡。設色精美，人物造型準確，形態逼真，陳設傢俱細節刻畫細緻。款識：新將金巢籠鸚鵡，朝餐多與教來香閣幾行詩，贏得頻開齲齒，小鳥聰明如許，誦來楚之，休將呢語令他知，恐怕人前亂語。霜紅主人燕孫徐操。鈴印：燕孫徐操來源：英國古玩市場，據説來自英國私人收藏。品相：狀況極佳，有輕微舊磨損。 汙漬、褐變和起皮。裝裱立軸。尺寸：畫面81 x 35.5厘米，總215 x 51 厘米拍賣結果比較：比較一件徐操1939年的《美人鸚鵡》，見香港佳士得Fine Chinese Modern Paintings 2017年5月30日 lot 1297, 售價HKD 150,000。
Lot 488
A BLUE AND WHITE 'DRAGON' VASE, KANGXI PERIODChina, 1662-1722. Sturdily yet elegantly potted, the slender ovoid body rising from a short foot with a concave base to a waisted neck with a lipped rim. Finely painted around the exterior in rich tones of cobalt blue with two large, ferocious dragons, each two-horned and five-clawed, sinuously writhing and surrounded by flames, and with neatly rendered scales. The foot and base left unglazed.Provenance: British market, by repute from an old English estate.Condition: Good condition with minor wear and firing irregularities, including dark spots and pitting. The lip with some glaze fritting and small glaze recesses.Weight: 935.9 gDimensions: Height 24.3 cmThe five-clawed dragon continued as an imperial symbol during the Qing dynasty, and its use was even more severely restricted than in the Ming. The rendition of the dragon on the present lot is characteristic of that in the Kangxi period, which is exemplified by a fierce and powerful deameanor giving an impression of authority and majesty, with finely detailed painting of the head and scales. This is a considerable development from the more freely drawn and often more simplified versions of the late Ming dynasty. The full-faced representation of the dragon already existed in Ming times, and became popular in the Qing, but it is from the Kangxi period onwards, as evident from the present lot, that the dragon was imbued with a greater sense of vitality and martial spirit.Literature comparison: A closely related vase, with a Kangxi mark and of the period, is illustrated in Elias, A Dealer's Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi, New York 2013, p. 345, fig. 423. Another closely related example is in the collection of the Shanghai Museum, exhibited in Sovereign Splendour: Imperial Porcelain From Shanghai at the Gemeentemuseum Den Haag, 2011, and illustrated by T.M. Eliëns (ed.), Keizerlijk porselein uit het Shanghai Museum, Zwolle/The Hague 2011. Compare also a vase from the Palace Museum in Beijing, illustrated in Kangxi Yongzheng Qianlong, Hong Kong 1989, p. 23, pl. 6 and another from the Wang Xing Lou Collection, illustrated in Imperial Perfection, The Palace Porcelain of Three Chinese Emperors, Hong Kong 2004, no. 1. For a pair of related vases with Chenghua marks, see Ming and Qing Porcelain from the Collection of the T. Y. Chao Family Foundation, Hong Kong Museum of Art, 1978, cat. no. 85, sold at Sotheby's London, 18 November 1986, lot 83.Auction result comparison: Compare a closely related vase, with a Kangxi mark and of the period, at Christie's Hong Kong in Imperial Chinese Ceramics from the Robert Chang Collection – Jade Shears and Shimmering Feathers on 28 November 2006, lot 1317, sold for HKD 22,520,000. Compare a closely related vase, marked only with a double circle and dated to the Kangxi period, at Bonhams Sydney in Important Asian Art on 22 May 2019, lot 30, sold for AUD 42,700 (approx. EUR 27,000). Note that the Bonhams vase has severe condition issues, including a damaged and repaired neck, and thus the auction result does not adequately reflect the value of the present lot.康熙時期青花龍紋瓶中國，1662-1722年。青花龍紋瓶，瓶口微撇，短頸，圓肩，肩以下漸收，圈足。瓶身青花繪兩條五爪立龍，張牙舞爪，龍身捲曲，威武兇猛，四周火焰圍繞。圈足內露胎。來源：英國古玩市場，據説來自英國私人收藏。 品相：狀況良好，有輕微磨損和燒製瑕疵，包括黑點和點蝕。 唇部有一些釉點和小釉凹槽。 重量：935.9 克 尺寸：高 24.3 釐米 五爪龍在清代是皇室的象徵，其使用的限制比明代還要嚴格。 本拍品的龍紋具有康熙時期的特點，氣勢兇猛，威風凜凜，頭部和鱗片刻畫細緻。 這是明朝後期更自由繪製且通常更簡化的版本一個很大的發展。龍的全臉形像在明代已經存在，在清代開始流行，但從康熙時期開始，按照此拍品的形制，龍被賦予了更大的生命力、戰鬥力和精神。 文獻比較：一個相近的康熙款及年代的青花龍紋瓶，見 Elias, A Dealer's Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi，紐約，2013年, 第345頁，圖423。另一件見2011年上海博物館於海牙市立美術館展覽：Sovereign Splendour: Imperial Porcelain From Shanghai；圖見T.M. Eliëns (ed.), Keizerlijk porselein uit het Shanghai Museum, 兹沃勒/海牙，2011年。比較一件北京故宮博物院藏品，見《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，第23頁，圖6。 比較另一件《清代康雍乾官窯瓷器〈望星樓藏瓷〉》，香港2004年，編號1。一對成化款龍紋見Ming and Qing Porcelain from the Collection of the T. Y. Chao Family Foundation, 香港藝術館, 1978年，圖錄編號85, 售於倫敦蘇富比,1986年11月 18日。 拍賣結果比較：比較一件康熙款及年代的龍紋瓶，見香港佳士得Imperial Chinese Ceramics from the Robert Chang Collection – Jade Shears and Shimmering Feathers 2006年11月28日 lot 1317, 售價HKD 22,520,000；比較一件康熙時期雙圈款龍紋瓶，見悉尼邦翰思Important Asian Art 2019年5月 22日 lot 30, 售價AUD 42,700 (大約EUR 27,000)。請注意邦翰思的這件龍紋瓶品相有問題，有破損和修復，因此，拍賣結果並不能充分反映現拍品的價值。
Lot 376
A SUPERBLY CARVED LIMESTONE FIGURE OF A LION, TANG DYNASTYChina, 618-907. Naturalistically carved, the emaciated beast seated on its taut haunches atop a rectangular base, with its head turned to one side framed by the finely incised curled mane. Its ferocious expression is detailed with deeply carved bulging eyes, heavy brows, and the mouth open in a roar. The stone is of a brownish-gray tone. The base with an oval aperture in the center.Provenance: Sotheby's New York, 3 June 1987, sold for USD 26,400 (approx. USD 64,792 today after inflation). An English private collection, acquired from the above. Christie's London, 5 November 2013, lot 310, sold for GBP 52,500 (approx. GBP 61,529 today after inflation). The property of a Lady, acquired from the above.Condition: Superb condition, commensurate with age. Small chips, minor losses, minuscule nicks, light scratches, old wear, ancient age cracks. Traces of erosion. Fine, naturally grown patina.Weight: 3,272 gDimensions: Height 21.5 cm, Width 16.7 cmWith a silk box and cover. (2)The 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 similar to other stone lions of Tang date that are also seated on a plinth, some with head turned, some with mouth open.Literature comparison: Compare the brown-stained white marble lion of related size illustrated by M. Sullivan, Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow, London, 1963, pl. 14 (no. S36). Compare with a similarly modeled lion, illustrated by Osvald Siren in Chinese Sculpture From the Fifth to the Fourteenth Century, Sweden, 1998, p.35, pl.435 D.Auction result comparison: Compare a closely related puddingstone figure of a lion, 14.3 cm high, also dated to the Tang dynasty, at Christie's New York in Lacquer, Jade, Bronze, Ink: The Irving Collection Day Sale on 21 March 2019, lot 1182, sold for USD 52,500. Compare a related stone figure of a lion, 16.6 cm high, also dated to the Tang dynasty, at Christie's New York in Sacred and Imperial: The James and Marilynn Alsdorf Collection Part II on 24 September 2020, lot 910, sold for USD 32,500. Compare a related marble figure of a lion, 51.8 cm high, also dated to the Tang dynasty, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part I on 17 March 2015, lot 16, sold for USD 317,000.唐代石雕獅子 中國，618-907年。石獅蹲姿，前腿直立支撐，眼窩深陷，張口露出獠牙，口型巨大，獵毛反捲向側後上方聳立，雙耳側豎，轉頭怒視其左側。獅兩後腿左右分立，四趾緊抓地面，蓄勢待發。雕刻線條清晰流暢，動態十足，爆發之力蘊於其身。整體石雕呈現褐灰色調。底座中間有一個橢圓形的孔洞。來源：紐約蘇富比 1987年6月 3日，售價USD 26,400 (相當於如今 USD 64,792 )；英國私人收藏，購於上述拍賣；見倫敦佳士得 2013年11月5日 lot 310, 售價GBP 52,500 (相當於如今GBP 61,529)；一位女士的收藏，購於上述拍賣。 品相：狀態極佳，與年齡相稱。小碎屑、輕微損失、微小劃痕、舊時磨損與裂縫，有侵蝕的痕跡。自然生長的包漿非常細膩。重量：3,272克 尺寸：高21.5厘米，寬16.7厘米 絲錦蓋盒。(2) 獅子在唐代佛教藝術中得到了很好的體現，在佛教的許多經論中，都用它來比喻佛陀的無畏與偉大，它的吼聲代表著佛經的傳播。 作為守護者，獅子不僅出現在通往皇陵的靈道上，而且在墓葬中也成對出現，例如在法門寺地宮前守衛的一對漢白玉獅子。 參見《山西法門寺》，1990年，第 164-167 頁。此獅造型與其他唐朝石獅類似，也坐於台座上，有的轉頭，有的張開嘴。 文獻比較：比較一件漢白玉獅見M. Sullivan, Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow, London, 1963, pl. 14 (no. S36)；比較一件相似的獅子，見Osvald Siren，Chinese Sculpture From the Fifth to the Fourteenth Century, Sweden, 1998, p.35, pl.435 D。 拍賣結果比較：比較一件相近的唐代布丁石石獅，高14.3 厘米，見紐約佳士得Lacquer, Jade, Bronze, Ink: The Irving Collection Day Sale 2019年3月21日 lot 118，售價USD 52,500。比較一件相近的石獅，高16.6 厘米，同樣為唐代， 見紐約佳士得Sacred and Imperial: The James and Marilynn Alsdorf Collection Part II 2020年9月24日 lot 910, 售價USD 32,500。比較一件唐代大理石獅，高51.8 厘米，見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part I 2015年3月17日 lot 16, 售價USD 317,000。
Lot 516
A PURPLE AND TURQUOISE-GLAZED 'LINGZHI' INCENSE HOLDER, 18TH CENTURYChina. Finely modeled as a large lingzhi with smaller fungi growing on its stem beside a neatly carved chicken standing on a rocky outcrop. The lingzhi is covered overall in a bright purple glaze, while the rockwork shows a glaze of variegated turquoise to pale-blue color, and the chicken is left mostly unglazed, yet detailed in dark-brown and yellow. The base is left unglazed as well, revealing the biscuit body.Provenance: From a French private collection.Condition: Excellent condition with minor wear and firing flaws, such as minute glaze recesses and small firing cracks.Weight: 452.5 gDimensions: Height 15 cmLingzhi fungus grows naturally at the base and stumps of deciduous trees, especially that of the maples found in southern China. Only two or three out of 10,000 such aged trees will have lingzhi growth, and therefore its wild form is rare. Since ancient times, Daoist temples were called 'the abode of mushrooms' and according to their mystical teachings, the use of the woody mushrooms zhi (Ganoderma) or lingzhi ('spirit mushroom'), in particular making from it a concentrated decoction with hallucinogenic effects, gave followers the opportunity to see spirits or become spirits themselves by receiving the magical energy of the immortals. It was a talisman for luck in the traditional culture of China and believed to confer immortality on whoever consumed it. In Chinese art, the lingzhi symbolizes great health and longevity, as depicted in the imperial Forbidden City and Summer Palace.Literature comparison: Compare three lingzhi-form vases with different glazes from the Collection Ernest Grandidier and now in the Musee Guimet, inventory numbers G2868, G361, and G1946.Auction result comparison: Compare a related flambe-glazed lingzhi-form spill vase, dated late 18th to early 19th century, at Christie's London in A Surreal Legacy: Selected works of art from The Edward James Foundation on 15 December 2016, lot 130, sold for GBP 9,375. Compare a related Ru-type glazed lingzhi-form vase, with a Qianlong mark and of the period, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2012, lot 4151, sold for HKD 920,000. 十八世紀紫色及綠松石色釉靈芝香插 中國。以靈芝樹乾為整體造型，中空用於插香，側面有幾顆小靈芝，底部為岩石將靈芝托起。靈芝整體覆蓋著亮紫色釉，而岩石則呈現出斑駁的綠松石至淡藍色釉，而岩石上的小雞則露胎，有深棕色和黃色描繪細節。 底座未上釉，露胎。 來源：法國私人收藏。 品相：狀況極佳，有輕微磨損和燒製瑕疵，例如微小的釉面凹陷和小燒製裂紋。 重量：452.5 克 尺寸：高15 厘米 拍賣結果：比較一件相近的十八世紀末至十九世紀初窯變釉靈芝花插，見倫敦佳士得 A Surreal Legacy: Selected works of art from The Edward James Foundation 2016年12月15日 lot 130, 售價GBP 9,375。比較一件相近的乾隆款和年代的天青釉靈芝瓶，見香港佳士得Important Chinese Ceramics and Works of Art 2012年5月30日 lot 4151, 售價HKD 920,000。
Lot 452
A WHITE JADE CARVING OF AN APSARA, QING DYNASTY OR EARLIERChina, 18th-19th century or earlier. Carved and pierced with the angelic figure floating elegantly in the wind whilst wearing long flowing robes, celestial scarf, and headdress, her hands clasped together grasping a tablet, all above lingzhi-shaped swirling clouds. The translucent stone is of an even white tone.Provenance: From a private collector in England who has been collecting Chinese jades for over 20 years.Condition: Very good condition with minor wear and few minuscule nicks.Weight: 116 g Dimensions: Length 9 cm, Height 6.5 cmApsaras are often depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the Mogao and Yulin Caves, and the Yungang and Longmen Grottoes, and may also be depicted as dancers or musicians. They are referred to as feitian in Chinese. A female spirit of the clouds in Buddhist mythology, apsaras were beautiful heavenly attendants to deities. The billowing clouds and flowing scarf of this figure attest to her celestial nature and endow this carving with a femininity and gracefulness befitting her role.Literature comparison: Three jade asparas in the collection of the Palace Museum, Beijing, dated to the Tang dynasty, are illustrated in The Complete Collection of Treasures from the Palace Museum. Jadeware (II), Hong Kong, 1995, cat. nos. 17-19. For a Northern Song example, see Forsyth and McElney, Jades from China, The Museum of East Asian Art, Bath, 1994, p. 314, no. 223.Auction result comparison: Compare a related white jade carving of an apsara, 8.5 cm long, dated Ming dynasty or earlier, at Christie's London in The C. Philip Cardeiro Collection of Chinese Art on 13 May 2014, lot 17, sold for GBP 37,500. 清代或更早白玉雕飛天女神 中國，十八至十九世紀或更早。鏤雕飛天身姿飄逸，身著長袍，頭戴飄揚飛巾，雙手捧著一個盤子，飛在如意祥雲之上。 半透明白玉色澤均勻，細膩晶瑩。來源：英國私人收藏，此收藏家有收藏玉石經驗超過20年。 品相：狀況極好，少量磨損與細小刻痕。 重量：116克 尺寸：長9厘米，高6.5厘米 拍賣結果比較：比較一件白玉雕飛天女神，長8.5 厘米，明代或更早，見倫敦佳士得 The C. Philip Cardeiro Collection of Chinese Art 2014年5月13日 lot 17, 售價GBP 37,500。
Lot 38
Circle of PIETRO NOVELLI (Monreale, 1603-Palermo, 1647)."Saint Rosalia of Palermo".Oil on canvas. Re-coloured.Size: 114 x 76 cm.A still life placed in the foreground and formed by an open book and a skull, indicates us the subject of the represented scene. On this Vanitas, kneeling and with a pious gesture is the woman mentioned in the book Santa Rosalia. She is comforted by the figure of the Virgin and Jesus, who surround her and in the case of the Virgin even consoles her with his arms. In front of the saint, the figure of Christ is shown as a vision of resurrection. Standing, dressed in a voluminous red cloak, Jesus stretches out his hands towards the saint, showing her the wounds on his hands. The heavenly area is dominated by the presence of God the Father, in the centre, the dove of the Holy Spirit on the left, and on the right, three little loves, one of whom holds a floral garland with which he approaches to crown Saint Rosalie. Rosalia of Palermo was a 12th-century Italian saint whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that devastated her native Sicily. Patron saint of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing blonde hair, wearing a Franciscan hood or a crown of flowers and leaning towards the city of Palermo in her peril.In this particular case, the features of Saint Rosalia and the execution of the work bring us closer to the painting of Pietro Novelli, who dedicated several of his works to the saint, notably the one in the collection of the Kunsthistorisches Museum in Vienna and the piece in the San Fernando School of Fine Arts. Pietro Novelli, of Italian origin, achieved great fame as a painter, although he also devoted himself to architecture and was appointed architect to the kingdom. His training was linked to his father's workshop, who was also a painter. His links with Palermo, a place to which he travelled frequently, indicate that he probably attended the school of Vito Carrera. Furthermore, the presence of Van Dyck and the stylistic influence of the master that can be seen in Novelli's painting reinforces the idea that he trained in Palermo.
Lot 74
Andalusian or Novo-Hispanic school; late 17th century."The theological virtues and the deadly sins".Oil on canvas. Re-drawn.Measurements: 72 x 62 cm; 94 x 84 cm.Through the use of a pyramidal composition the author conceives a landscape where many symbols of Christianity are present. Firstly, located in the upper area in the centre of the scene is the figure of God the Father, dressed in white with a red mantle, adopting the gesture of blessing. This is the most important representation of the scene, because the others start from him. Under his lap the dove of the Holy Spirit and the figure of Jesus. From the body of Christ, dressed only in a red cloth in allusion to his martyrdom, different legends are depicted, which are connected to two tree-like structures, conceived as a floral bouquet. The virtues (Faith, Hope and Charity (theological) and Prudence, Temperance, Justice and Fortitude (cardinal)) are arranged on each of them at either end of the canvas, while the capital sins (Lust, Anger, Sloth, Envy, Pride, Gluttony and Avarice) can be seen on the other. The scene ends with the figure of an archangel and several religious figures in the earthly realm, accompanied by ornaments with writing inside them.Works of this type were used in a pedagogical manner, with the intention of evangelising and spreading the word of Christianity. For this reason, a schematic compositional pattern can be seen, based on the foreground and the symmetrical division of space. An example of the interest in depicting the virtues and the deadly sins, set against each other, is Giotto's work in the Scrovegni chapel in Padua. It is worth mentioning that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to represent a new model of painting with its own identity.
Lot 188
Karuizawa Spirit of AsamaDistilled and bottled for Speciality Drinks Limited by Number One Drinks Company Ltd.In original carton. Good labelling. Filled to 70 cl. Japanese single malt, 55% volume1 bottleThis lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 283
Italian maiolica dish, probably Florence, circa 1900, decorated with a scene of the Muse of Poetry after Raphael (Raffaello Sanzio), the original fresco on the vault of the Stanza della Segnatura in the Vatican Museum, two putti holding tablets 'Numine Afflatur' (Inspired by the Spirit), underglaze blue initials (probably I. T.) verso, 34cm diameterCondition report: Production flaws (glaze losses) and post-production flakes verso, including largest loss 4cm wide around 7 o'clock, which appear to be a firing fault.
Lot 978
A collection of small decorative glassware, some coloured, including a spirit flask, a nip glass, tiny beakers, a miniature poison bottle etc (box).Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”We have over 80 pieces of June’s impressive sculpture in the Art Section of this sale.Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: height of labeled poison bottle ( 4.2cm )height with cork ( 5.8cm )
Lot 217
A collection of silverware including an Armada dish, two waiters, two pierced bon-bon dishes, a triangular pin tray, four spirt labels, a cream jug and a sugar basin, 28.8ozt gross, together with three continental metalwares dishes set with coins, a small commemorative dish, a base metal spirit label and a ceramic spirit label
Lot 342
ASSORTED COLLECTABLES comprising a Staunton style boxwood and ebony chess set, the kings 6.5cm high; a double-six set of dominoes; two cigarette cases; a powder compact; a brass cigarette lighter; a bread knife, the wood handle with carved wheat sheaf decoration; a copper spirit flask; and other items.
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