We found 122897 price guide item(s) matching your search

Enamelled yellow and rose metal stick pin; togethe with a 19th century yellow metal locket, engraved repeating quatrefoil decoration;

Victorian turquoise yellow metal stick pin, the head formed of two interlocked oval panels, three small round cabochon turquoise stones, filigree decoration, dimensions of head approx 19.5mm x 12mm

Victorian silver double ink stand, the twin-handled oval stand with central taper stick flanked by two silver lidded glass inkwells of faceted form, with plain polished centre and gadrooned border, raised of four ribbed feet, Sheffield 1860 - Henry Wilkinson & Co (stand measures approx 26.5cm W x 14cm D x 12.5cm H)

A bamboo shooting stick; together with a horn swagger stick and another bamboo example. (3)

A Sterling Silver petrol lip stick lighter, engine turned decoration, 6 x 1.5cm

A Quantity of Assorted Ceramics, including Royal albert Moss Rose, Royal Stafford tea set, copper lustre, Chinese blue and white stick stand, and other miscellaneous and collectables (qty)

A Set of Six Regency Mahogany Stick Back Dining ChairsEach is structurally sound. One chair is slightly lower than the rest (cut down?) The usual scuffs to the legs.

SAM BROWN-TYPE LEATHER BELT ALONG WITH A SWAGGER STICK the stick with plated topQty: 2

Edwardian inlaid mahogany bedside cabinet, rounded back over square top fitted with brushing slide above single drawer and cupboard, raised on square supports with brass and ceramic castors (44cm x 48cm x 79cm); set three Edwardian inlaid mahogany chairs with banded ladder and stick back, cane seat over square tapering supports joined by stretchers (40cm x 39cm x 90cm)Dimensions: Height: 79cm  Length/Width: 44cm  Depth/Diameter: 48cm

19th century coopered oak stick stand, barrel form with four riveted strapwork bandings, H46cm

A FAMILLE ROSE 'EIGHT IMMORTALS' SNUFF BOTTLE, JIAQING MARK AND PERIODChina. Of square section with a waisted neck and gilt lip, supported on a tapering foot with concave base, finely painted in underglaze blue, gilt, and bright enamels to depict a continuous scene with the eight immortals amid swirling clouds and crashing waves along with their attributes and mythical creatures, the neck and foot decorated with foliate sprays. The base with an iron-red four-character mark Jiaqing nianzhi and of the period.Provenance: Millon Jutheau, Paris, 24 April 1983, lot 35. French private collection, by repute acquired from the above (invoice lost). Thence by descent within the family to the last owner. Condition: Very good condition with some old wear, few minuscule nicks to the foot, and manufacturing flaws including glaze flakes to the edges.Stopper: Glass in imitation of coral with embossed silver mount, metal spoonWeight: 36.1 gDimensions: Height including stopper 70 mm. Diameter neck 18 mm and mouth 8 mm.One side shows He Xiangu carrying her basket with peaches and Han Xiangzi playing his flute while floating on a toad, to their left are Lue Dongbin and Lan Caihe riding a raft, followed by Li Tieguai with his iron stick on a lotus leaf, and Zhongli Quan carrying his fan while floating on a crab. The fourth side depicts Zhang Guolao playing the fish drum above a bamboo stalk, and Cao Guojiu behind him riding on a large red fish. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 November 2013, lot 179Price: HKD 137,500 or approx. EUR 21,000 converted and adjusted for inflation at the time of writingDescription: A famille-rose porcelain 'Lu Dongbin' snuff bottle, seal mark and period of JiaqingExpert remark: Compare the closely related form, material, and enamels.嘉慶款及年代粉彩“八仙過海”鼻煙壺 中國。壺口外撇，束經，壺身四方圓角，斂足。以青花、鎏金和明亮的琺瑯彩精細描繪八仙過海場景，頸部和足部飾有纏枝紋。底足内鐵紅四字款“嘉慶年製”款。 來源：巴黎Millon Jutheau，1983年4月24日，lot 35；法國私人收藏，據說購於上述拍賣（發票丟失）；在同一家族保存至今。 品相：狀況非常好，有一些磨損，足部有微小的劃痕，製造缺陷，邊緣的釉面剝落。 壺蓋：仿珊瑚料器，鑲銀，金屬小勺 重量：36.1 克 尺寸：含蓋高70 毫米，頸部直徑18 毫米，壺口 8 毫米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年11月25日，lot 179 價格：HKD 137,500（相當於今日EUR 21,000） 描述：清嘉慶粉彩「呂洞賓三醉岳陽樓」鼻煙壺 《嘉慶年製》款 專家評論：比較非常相近外型、材料和琺瑯。

A 'QIANJIANG CAI' ENAMELED 'SEVEN MONKEYS' PLAQUE, STUDIO OF PAN TAOYU (1887-1926)China, Jingdezhen. The rectangular plaque painted in green and blue tones with seven monkeys frolicking, each with a comical and mischievous expression, a pair with a young seated below a tree playing the flute and pointing upwards, a young monkey playing with a lamp at the tree top, and two monkeys perched on a branch holding a stick trying to reach out to another monkey hanging on a tendril.Inscriptions: Center left, inscribed 'Guanyin fenghou' (a wish for a speedy promotion), one seal of the artist, 'Gu huan' (ancient joy).Provenance: From the private collection of a doctor, Connecticut, USA. Condition: Very good condition with some old wear and little rubbing. The frame with few small nicks and scratches.Weight: 3,340 g Dimensions: Image size 40.8 x 25.3 cm, Size incl. mounting 47.8 x 32.3 cmIn a hardwood frame with metal mount, both from the period. (2)Gu huan (ancient joy) is the studio name that belongs to Pan Taoyu (1887-1926), a porcelain master from Jingdezhen. The emergence of the market for fine decorative art porcelains was an important development and brought a fresh and vibrant energy to porcelain making in China during the Republic period. Pan Taoyu was one of the most important pioneers and masters of porcelain painters in the early 20th century. With his superb ability to depict delicate fine shadings, Pan achieved excellence in painting a wide range of objects on porcelain, including figures, landscapes, and bird-and-flowers motifs. Among Pan Taoyu's students are Wang Yeting, Liu Yucen and Cheng Yiting, all important members of the celebrated 'Eight Friends of Zhushan' group who were among the best fencai masters of the Republic period. Pan Taoyu died young, and very few of his personal works survived.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Monkeys are a popular motif in Chinese art. Shown together with the inscription, they symbolize the wish for immediate success or a speedy promotion of young candidates.Literature comparison: Examples of Pan Taoyu's personal porcelain paintings are illustrated by Simon Kwan, Chinese Porcelain of the Republic Period, The Muwen Tang Collection Series, Hong Kong, 2008, p. 68-73, and on the cover. Auction result comparison:Type: RelatedAuction: Bonhams London, 10 November 2011, lot 569Price: GBP 361,250 or approx. EUR 641,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of enameled fan-shaped plaques, circa 1900-1920, signed by Pan Taoyu (circa 1887-1926)Expert remark: Note that the lot comprises two fan-shaped plaques and that these are personal (not studio) works by the master. Note also the much larger size (54 cm). 潘匋宇(1887-1926)淺絳彩《卦印封侯》瓷板中國，景德鎮。長方，此橫幅作品以一角構圖，繪樹上樹下幾隻靈猴或是掛於樹間，或是在樹下戲耍。樹上有一隻手正努力把一個印掛在樹上。畫法細膩，樹枝凹凸斑駁處著意用粉彩渲染，色澤由暗漸明，可見是經過層層暈染方成，極富立體感。以靈猴裝飾瓷器，明清時較為少見，但從晚清民國的瓷器鳥獸畫來看，藉著吉祥“封侯”之寓意，在作品中繪以雅趣。 款識：卦印封候；鈴印：古歡 來源：美國康涅狄格州醫生私人收藏。 品相：狀況極好，有一些磨損和少量磨損。木框上有一些小劃痕。 重量：3,340 克 尺寸：畫面40.8 x 25.3 釐米，總47.8 x 32.3 釐米 硬木框金屬架，應爲來自同期。

A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。

A SMALL BRONZE RAIN DRUM, DONG SON CULTURE, VIETNAM, CA. 500 BC TO 300 ADThe round drum with a spreading base, the body composed of straight sides below a bulbous section, finely cast with geometric designs and set with two pairs of loop handles on either side, surmounted by the slightly concave top. The bronze with a fine, naturally grown, solid patina with malachite encrustations.Provenance: An old private collection in France. Acher Eskenasy, Paris, France, acquired from the above in 2001. LP Collection Paris, France, acquired from the above. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris. Condition: Good condition, commensurate with age. Extensive wear, minor losses, dents, nicks, scratches, signs of weathering and erosion, and encrustations.Weight: 2,487 g Dimensions: Height 15.8 cm, Diameter 19.9 cm Dong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day. Bronze rain drums were invented by the Dong Son culture and produced from about 600 BC or earlier until the third century AD. Ranging in height from a few inches to over six feet, up to four feet in diameter, and often of considerable weight, the drums are one of the culture's most astounding examples of metalworking. Examples produced in Vietnam, in addition to works made locally, have been found in south China and throughout mainland and island Southeast Asia. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections - spanning at least a thousand years - between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those of the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Literature comparison: Compare a related bronze miniature drum with four frogs, also dated ca. 500 BC to 300 AD, in the Metropolitan Museum of Art, accession number 2000.284.57.

A GILT BRONZE FIGURE OF YAMA DHARMARAJA, CHINA, 17TH-18TH CENTURYFinely cast standing in pratyalidhasana on a separately cast caparisoned bull atop a prostrate figure over a lotus base, his right hand brandishing a ceremonial stick (danda), the left hand in apan mudra, depicted naked, erect, adorned with a garland of severed heads, beaded necklaces inlaid at the center with a turquoise inlay, bracelets, a scarf floating around his shoulders, his menacing buffalo head emphasized with red pigments, the forehead girded with a crown of skulls, the flaming hair with red pigment. The base sealed and incised with a double vajra.Provenance: From a private collection in New York, USA. Condition: Very good condition with minor wear, few nicks, small dents, light scratches, the pegs renewed, and casting flaws.Weight: 1,049 g Dimensions: Height 17.6 cmAccording to the Vajrabhairava Tantra, Manjushri took the form of Yama Dharmaraja to subdue Death ('Yama'), the personification of endless suffering through the cycle of death and rebirth. As this tantra is widely practiced in Tibetan Buddhism, Yama Dharmaraja can be found as an important wisdom deity in all traditions including the Sakya, Kagyu, and Gelug schools. He holds special significance for the Gelugpa, who regard him, alongside Shadbhuja Mahakala and Vaishravana, as one of the order's three principal protectors.Literature comparison: Compare a related bronze published in Pal, The Art of Tibet, New York, 1969, p. 102, pl. 72; von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, pp. 550-1, no. 157E; and Neven, Art Lamaique, Bruxelles, 1975, pl. 87.Auction result comparison:Type: RelatedAuction: Christie's Paris, 12 June 2019, lot 184Price: EUR 10,625 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A gilt bronze statue of Yama, China, Qing dynasty, 18th centuryExpert remark: Compare the related pose, gilt, and pigments. Note the size (19 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 6 July 2022, lot 217Price: EUR 10,080Description: A gilt bronze statue of Yama Dharmaraja, China, Qing dynasty, 18th-19th centuryExpert remark: Compare the related pose, gilt, and pigments. Note the size (16 cm).十七至十八世紀銅鎏金閻羅法王像閻羅法王右屈式，頭戴骷髏冠、張著血盆大口。紅色頭髮呈火焰狀上揚，披掛人頭掛鍊，中央鑲嵌著綠松石鑲嵌物，右手高舉骷髏棒。右腿彎曲，左腿伸展，形象威猛可怖。法王站在一頭公牛上，公牛為單獨鑄造，公牛身下還壓著一個羅剎。底座用雙金剛杵密封。 來源：美國紐約私人收藏。 品相：狀況極好，有輕微磨損、少量刻痕、小凹痕、輕微劃痕、更新的釘子和鑄造缺陷。 重量：1,049 克 尺寸：高17.6 厘米根據《大威金剛密續》，文殊菩薩化身為閻摩法王來降伏死神（'閻摩'），死神是生死輪迴中無盡苦難的化身。由於此密續在藏傳佛教中廣為流傳，所以在薩迦派、噶舉派和格魯派等所有教派中，閻王法王都是重要的智慧本尊。他對格魯派具有特殊意義，格魯派將他與 六臂大黑天和 多聞天王 一起視為該教團的三位主要保護者之一。 文獻比較： 比較一件相近銅像，出版於Pal，《The Art of Tibet》，紐約，1969年，頁102，圖72; 又見von Schroeder，《Indo-Tibetan Bronzes》，香港， 1981年，頁550-1，編號157E; 以及Neven，《Art Lamaique》，布魯塞爾，1975年，圖87。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2019年6月12日，lot 184 價格：EUR 10,625（相當於今日EUR 12,000） 描述：清十八世紀鎏金銅閻羅王立像 專家評論：比較相近姿勢、鎏金和顏料。請注意尺寸 (19 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2022年7月6日，lot 217 價格：EUR 10,080 描述：清十八/十九世紀鎏金銅閻魔立像 專家評論：比較相近姿勢、鎏金和顏料。請注意尺寸 (16 厘米)。

A RARE AND MASSIVE CEREMONIAL SLIT DRUM, GARAMUT, SEPIK RIVER REGION OR LOWER RAMUTPublished: Alex Bortignon, Social Rite and Personal Delight, Perth, 1980, page 66.Papua New Guinea, Kadovar, 19th to early 20th century. The long, cylindrical drum well carved to the sides in low relief with geometric motifs and traditional designs, the details picked out in white, red, and green pigments, to either end in high relief with a figure known as Kandimbang, a protective spirit. The wood of an attractive grain and color.Supported on two separately carved and similarly decorated mask-form feet. (3)Provenance: The collection of the Christensen Fund, 1970s. The Western Australian Museum, gifted from the above, and deaccessioned in the early 1990s. A private collector in the United Kingdom, acquired from the above. The Christensen Fund is a private, non-profit, and non-governmental organization founded in 1957 in San Francisco by Allen D. and Carmen M. Christensen that supports indigenous peoples and their rights. The Christensens shared a strong interest in non-Western art and were enthusiastic collectors. In 1972, the Christensen Fund began to acquire art collections across Africa and the Pacific rim, which were then loaned to museums to arrange for their study and exhibition in Australia, Europe, and the United States. After the death of Allen D. Christensen in 1989, the fund donated its art collections to museums including the Western Australian Museum. Condition: Overall in good condition, commensurate with age. Showing expected age cracks, splits, losses, signs of weathering and erosion.Weight: ca. 102 kg Dimensions: Length 203 cmCarved from a felled tree, the slit drum or garamut is the most important instrument in the Sepik River region. It is engraved and painted in different stages and kept in the men's ritual house for ceremonies such as male initiations.The people of the Sepik area understand the drum's sound as its 'voice.' This voice can carry long distances to announce meetings, call individuals, issue warnings, and even contact neighboring villages. Communication occurs through a complex series of rhythms and tones beat out with a wooden stick by an initiated man. More than just an instrument, this drum is central to the lives of the entire community.Literature comparison: Compare a related slit drum, illustrated in K. A. Gourlay, Sound-producing instruments in traditional society: A study of esoteric instruments and their role in male-female relations, East Sepik District, 1975, p. 114, pl. 14. Compare also a related garamut, dated 20th century, in the collection of the Minneapolis Institute of Art, accession number 93.12. Compare another related garamut with carved feet, 19th century, 139.7 cm, in the Brooklyn Museum, accession number 52.126a-c.

A BRONZE TEMPLE BELL, CHINA, 17TH CENTURYWell cast in barrel form, decorated in high relief with horizontal and vertical lines, bands of bosses, and flowerheads, surmounted by a twin dragon loop handle topped by a conch-form knop. The bronze bell lacquered black.Provenance: From the estate of Robert Schiffman, New York, USA. Condition: Very good condition with some wear, minor nicks, expected casting irregularities, and traces of use.Weight: 2,260 grams Dimensions: Height 24 cm (the bell), Length 30.5 cm (the gong stick)With an associated gong stick dating from the 20th century. (2)Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 May 2019, 718 Price: HKD 25,000 or approx. EUR 3,100 converted and adjusted for inflation at the time of writing Description: A bronze temple bell, 17th-18th century Expert remark: Note the related size (27 cm).十七世紀中國銅鐘此銅編鐘器形呈圓酒桶形，下口平齊，鑄造精良，飾有水平和垂直線條，頂部是雙龍形鈕，頂部是海螺。銅鐘漆成黑色。 來源：美國紐約Robert Schiffman舊藏。 品相：狀況極好，有一些磨損、輕微劃痕、鑄造瑕疵和使用痕跡。 重量：2,260 克 尺寸：高24 厘米(鐘)，長30.5 厘米(鐘杵) 二十世紀鐘杵。 (2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年5月29日，718 價格：HKD 25,000（相當於今日EUR 3,100） 描述：十七至十八世紀銅交龍鈕鐘 專家評論：請注意相近尺寸(27 厘米)。

A FAMILLE ROSE 'IMMORTALS' BALUSTER VASE, JUREN TANG MARK, REPUBLIC PERIODChina, 1912-1949. The slender ovoid body rising to a waisted neck. Superbly painted in bright enamels with five immortals in a garden, each holding auspicious objects including a peach, finger citron, lingzhi, and gourd, one carrying a gnarled pine staff and another a bamboo stick, each wearing long flowing robes decorated with roundels and diapered designs, framed by a gnarled pine and wisteria tree to one side, and craggy rockwork to the other side, with a crane flying above.Inscriptions: To the base in iron red, 'Juren Tang zhi' (The Hall where Benevolence Resides).Provenance: French trade. Condition: Good condition with minimal wear, a thin hairline to the mouth rim, and a barely visible star-crack below the shoulder.Weight: 3,959 g Dimensions: Height 24.9 cm The Juren Tang (The Hall where Benevolence Resides) in Zhongnanhai was the building in which Yuan Shikai (1859-1916) lived and also where he had his office around 1915. Yuan Shikai was the first President of the Republic of China and Emperor of the short-lived Empire of China (1915-1916), taking the era name Hongxian. In 1916, Guo Baochang, an antique dealer with a good relation to the court, was appointed to oversee Hongxian's new imperial porcelain production. The intent from the outset was that the items produced were to be of excellent quality. The biscuit used was very thin, the enamels were sent from the Imperial Workshops and the mark used was a red seal reading Juren Tang zhi. The quality of items produced was reputed to be excellent. Unfortunately, during production, because of the very thin biscuit, many objects were damaged. The remaining few perfect pieces were given to the most favored officials and are exceedingly rare today.Yuan Shikai stood down as Emperor on 22 March 1916 and resumed his presidency, dying shortly afterward in June 1916. After his death, production was halted and the kilns were destroyed, but the enamels were stolen by workers who then proceeded to copy the Juren Tang production, marking their pieces Hongxian nianzhi (also Hongxian Yu Chih or Hongxian Yuan Nian), mostly with Kaishu script. The first copies produced were apparently of extremely high quality, as they were still using the imperial biscuit and enamels, but quality fell as the quantity increased and, presumably, the imperial resources were depleted. One opinion has it that all Hongxian marked pieces are made after the actual period, and that the only possibly genuine mark of the Hongxian period is the Juren Tang if any. Still, from extant pieces it is clear that the porcelain industry was much stimulated at this time and for decades to come, and that pieces of very high quality were made, some of which bear the Hongxian mark while others are marked Juren Tang.Auction result comparison:Type: RelatedAuction: Christie's London, 13 May 2014, lot 402Price: GBP 37,500 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: A famille rose 'immortals' vase, Republic period, four-character iron-red Juren Tang zhi markExpert remark: Compare the form, fine enamels, figural motif, and mark. Note the size (28.2 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 9 November 2012, lot 1137Price: GBP 7,500 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A slender famille rose baluster vase, Republic period (1912-1949), Juren Tang zhi iron-red seal markExpert remark: Compare the related form, fine enamels, figural motif, and mark. Note the size (34.5 cm). 民國居仁堂款粉彩《五仙圖》賞瓶中國，1912-1949年。瓶口略外撇，頸微束，豐肩，修長瓶身。粉彩描繪山中五仙圖，壽老持桃、祿星持佛手、靈芝、白鬍仙人手持掛著葫蘆的松杖；身著飄逸長袍，周圍可見松樹和紫藤，另一側是崎嶇的岩石，空中仙鶴飛舞。 款識：圈足内“居仁堂製” 來源：法國古玩交易。 品相：品相良好，極少磨損，口緣處有細冲線，肩部下方輕微星形裂紋。重量：3,959 克 尺寸：高24.9 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2014年5月13日，lot 402 價格：GBP 37,500（相當於今日EUR 61,000） 描述：民國居仁堂款粉彩仙人圖瓶 專家評論：比較的外形、精美的琺瑯、人物主題和款識。請注意尺寸(28.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2012年11月9日，lot 1137 價格：GBP 7,500 EUR 13,000（相當於今日） 描述：民國居仁堂款粉彩高士詩文圖瓶 專家評論：比較相近的外形、精美的琺瑯、人物主題和款識。請注意尺寸(34.5 厘米)。

AN IMPERIAL CINNABAR LACQUER SNUFF BOTTLE, 1730-1830China. Of flattened ovoid form, deeply carved through the layers of cinnabar lacquer with a continuous landscape scene divided by rockwork and a pine tree into two separate subjects, one with a pupil kneeling in front of his teacher in a fenced garden, the other with a man offering fruit to his companion carrying a long stick, all on a variety of diaper grounds. Provenance: From an English private collection. Condition: Good condition with minor wear, expected small age cracks, minuscule nicks, and few tiny losses.Stopper: Pink glass Weight: 81.6 g Dimensions: Height incl. stopper 75 mm. Diameter neck 20 mm and mouth 7 mmThis is a classic imperial lacquer snuff bottle on bronze. This group of bottles represents masterly carving in lacquer that is splendidly sculptural and covers a range of delightful subject matter usually drawn from popular dramas, operas or novels, or myths and legends. We can be sure that the group as a whole was imperial, even if we cannot be sure that every last example was made for the court. If they were for example made in Suzhou, the same workshops might have made a few pieces for private sale as well.Literature comparison: Four cinnabar lacquer bottles from this group carved with figural scenes are in the Qing Court Collection in the Palace Museum, Beijing, and are illustrated in Masterpieces of Snuff Bottles in the Palace Museum, Beijing, 1995, pp. 187-90, nos. 192-95. Another is illustrated in Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, Vol. 7, Part 1, Hong Kong, 2009, pp. 175-82, no. 1538.Auction result comparison: Type: Closely related Auction: Bonhams New York, 20 March 2012, lot 66 Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writing Description: A carved cinnabar lacquer snuff bottle, probably Imperial, possibly Palace workshops, 1730-1820Expert remark: Note the size (5.7 cm)Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2007, lot 7 Price: USD 20,400 or approx. EUR 28,000 converted and adjusted for inflation at the time of writing Description: A fine carved lacquer snuff bottle, probably Imperial, attributed to the Palace workshops, Beijing, 1730-1820Expert remark: Note the size (6.35 cm)1730-1830年御用剔犀鼻煙壺中國。束頸，豐肩，剔犀層層深雕，山水景觀，一面是錦地庭園景觀，一位文人跪在另一位文人面前；另一面可見一個人把一盤水果遞給他的同伴。 來源：英國私人收藏 品相：狀況良好，有輕微磨損，小老化裂紋、微小的劃痕和缺損。 壺蓋：粉紅玻璃 重量：81.6 克 尺寸：含蓋高75 毫米，頸部直徑 20 毫米，口部直徑 7 毫米 銅胎剔犀鼻煙壺，雕刻精美，工藝精湛。此類鼻煙壺通常取材於流行戲劇或小說、神話傳說中的場景。 文獻比較： 一組四件清廷人物剔犀鼻煙壺，收藏於北京故宮博物院，見《故宮鼻煙壺選萃》，1995年，頁187-90，編號192-95。 另一件見Moss，Graham，Tsang，《A Treasury of Chinese Snuff Bottles，The Mary and George Bloch Collection》，卷七，第一部分，香港，2009年，頁175-82，編號1538。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2012年11月24日，lot 101 價格：HKD 87,500（相當於今日EUR 14,000） 描述：剔紅人物紋鼻煙壺，或為宮庭作坊御製品 專家評論：請注意尺寸 (6.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2012年3月20日，lot 66 價格：USD 25,000（相當於今日EUR 31,000） 描述：清1770-1830剔紅愛鵝行山圖鼻煙壺 專家評論：請注意尺寸 (5.7 厘米) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2007年3月22日，lot 7 價格：USD 20,400（相當於今日EUR 28,000） 描述：1730-1820年北京剔紅人物紋鼻煙壺，或為宮庭作坊御製品 專家評論：請注意尺寸 (6.35 厘米)。

A WHITE JADE 'NIULANG AND IMMORTAL' SNUFF BOTTLE, 18TH-19TH CENTURYExpert's note: The translucent stone is of an even white tone with few icy inclusions and a faint russet vein on the backside. The color is almost pure on the front side and truly white, unlike many 'white' jades appearing on the markets today. The very fine and detailed carving is in shallow yet distinct relief and may be attributed to the Zhiting school, Suzhou, c. 1760-1840.China. Very well hollowed, of flattened ovoid form, supported on an oval foot ring and surmounted by a short waisted neck with a concave mouth. Carved to one side with a funny depiction of Niulang on his ox, holding a twig to reach his hat that winded up on a rock. The reverse with an immortal resting on a rocky outpost and scratching his back with the help of a stick, a scroll laying behind him, the narrow sides with rockwork and branches of prunus. Provenance: Sotheby's London, 6 December 1995, lot 623. A Dutch private collection, acquired from the above and thence by descent. Sotheby's Amsterdam, 22 May 2006, lot 191 (dated to the 19th century). The Moeskops Collection of Chinese Snuff Bottles, acquired from the above, and thence by descent. Condition: Superb condition with only minor old wear and little nibbling. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. A minuscule chip to the rim of the stopper. The surface of this jade bottle feels remarkably soft and unctuous, a result of centuries of handling and appreciation.Stopper: Banded agateWeight: 65.9 gDimensions: Height including stopper 64 mm. Diameter neck 18 mm and mouth 6 mm. Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2014, lot 1209Price: USD 13,750 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A White Jade Snuff Bottle, 1750-1850Expert remark: Compare the closely related form, color, carving, and size.十八至十九世紀白玉牛郎鼻煙壺中國，掏膛良好。扁平圓角，橢圓形圈足，短頸。一側雕刻著牛郎騎在他的牛身上，他拿著一根樹枝夠到他的帽子，帽子纏繞在一塊岩石上。背面是一位神仙靠在岩石前，用一根棍子撓他的背，他身後放著一卷軸，狹窄的側面有岩石和樹枝。 專家注釋：半透明玉料呈均勻的白色調，内有輕微絮狀物，背面有淡淡的赤褐色脈絡。正面的顏色幾乎是純白的，真正的白色，不像現在市場上出現的許多“白”玉。非常細膩的雕刻，可能來自蘇州的芝亭畫派。 來源：倫敦蘇富比，1995年12月6日，lot 623；荷蘭私人收藏，購於上述拍賣，保存至今；阿姆斯特丹蘇富比，2006年年5月22日 lot 191 (描述爲十九世紀)；Moeskops 中國鼻煙壺收藏，購於上述拍賣，保存至今。 品相：狀況極佳，只有輕微的磨損，具有天然內含物和裂隙的玉料，其中一些可能隨著時間的推移發展成細小的裂紋。壺蓋邊緣有磕損。此玉瓶表面觸感異常柔軟瑩潤。 壺蓋：帶狀瑪瑙 重量：65.9 克 尺寸：含蓋高 64 毫米，頸部直徑 18 毫米，壺口直徑 6 毫米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年9月19日，lot 1209 價格：USD 13,750（相當於今日EUR 15,500） 描述：1750-1850年白玉鼻煙壺 專家評論：比較非常相近的外形、顏色、雕刻和尺寸。

A PAINTED TERRACOTTA FIGURE OF A ZEBU, MATURE HARAPPAN PERIODIndus Valley Civilization, ca. 2600-1900 BC. The humped bull standing foursquare, its head with large eyes, a short muzzle, and long curved horns, the animal further modeled with a tail. The eyes, horns, neck, and back encircled by brown-painted stripes.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition, commensurate with age. Extensive wear, minuscule nicks, minor smoothened losses, expected old fills and repairs, signs of weathering and erosion, and encrustations.Weight: 651.4 gDimensions: Length 16 cmThe Indus Valley Civilization was a Bronze Age culture in the northwestern regions of South Asia, lasting from 3300 BCE to 1300 BCE, and in its mature form from 2600 BCE to 1900 BCE. Together with ancient Egypt and Mesopotamia, it was one of three early civilizations of the Near East and South Asia, and of the three, the most widespread. Its sites spanned an area from northeast Afghanistan and much of Pakistan to western and northwestern India. The civilization flourished both in the alluvial plain of the Indus River, which flows through the length of Pakistan and along a system of perennial monsoon-fed rivers that once coursed in the vicinity of the Ghaggar-Hakra, a seasonal river in northwest India and eastern Pakistan. The cities of the ancient Indus were noted for their urban planning, baked brick houses, elaborate drainage systems, water supply systems, clusters of large non-residential buildings, and techniques of handicraft and metallurgy. Both Mohenjo-Daro and Harappa likely grew to a size of 30,000 and 60,000 individuals, and the civilization may have contained between one and five million total population during its florescence. It is also known as the Harappan civilization, after its type site Harappa, the first to be excavated early in the 20th century in what was then the Punjab province of British India and is now Punjab, Pakistan. The discovery of Harappa and soon afterwards Mohenjo-Daro was the culmination of work that had begun after the founding of the Archaeological Survey of India in the British Raj in 1861. There were earlier and later cultures called Early Harappan and Late Harappan in the same area. The early Harappan cultures were populated by Neolithic civilizations, the earliest and best-known of which is Mehrgarh in Balochistan, Pakistan. Harappan civilization is sometimes called Mature Harappan to distinguish it from the earlier cultures.Terracotta figures such as the present lot have been unearthed at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during the mature Harappan period (ca. 2600-1900 BC). In one excavated example from Chanu-daro a hole was poked in the belly, indicating that it would have been attached to a stick for use as a puppet or a small standard of the kind carried in the processions depicted on some seals. In others, the hole was indeed placed on the back of the animal, thus suggesting an alternative function, perhaps as part of a larger ensemble.Zebu cattle are thought to be derived from the Indian bos primigenius namadicus, a subspecies of the aurochs. Wild Asian aurochs disappeared during the time of the Indus Valley Civilization from their range in the Indus River basin and other parts of the South Asian region possibly due to interbreeding with domestic zebu and the resultant fragmentation of wild populations due to loss of habitat. Believed to have first been bred in northwestern South Asia, between 7000 and 6000 BC, they are understood to have been dispersed by 4000 BC and spread across much of South Asia by 2000 BC.Literature comparison: Compare a related painted terracotta figure of a unicorn, also dated ca. 2600-1900 BC, illustrated by Jonathan Mark Kenoyer, Cities of the Indus Valley, in Joan Aruz (ed.), Art of the First Cities: The Third Millennium B.C. from the Mediterranean to the Indus, 2003, no. 276, p. 390. Compare a related serpentine figure of a bull, 14.7 cm long, also dated ca. 2600-1900 BC, in the Metropolitan Museum of Art, accession number 1986.280. Compare two related terracotta models of a humped ox, 9 cm long, dated ca. 2500 BC, used to draw a toy chariot, in the Brooklyn Museum, accession numbers 37.96 and 37.97.

Eight various cameo brooches; together with three pairs of cameo earrings; four cameo pendants; various stick and hat pins; and two other items.

A NEAR PAIR OF CHILD'S WINDSOR ARMCHAIRS both early 19th century, both with stick backs over shaped seats, on turned legs, the taller example 87cm high x 40cm wide, the shorter, with ring turned arm stands, 86cm high x 39cm wide (2)Provenance: A private West Dorset estate.

Cast bronze walking stick or cane handle, modelled as the head of a spaniel type gun dog with studded collar, holding pheasant or similar game bird within its mouth, 7cm high

Late 19th or early 20th Century Meissen figure of a shepherdess, after Michel Victor Acier, modelled with a caged dove on her shoulder, a recumbent lamb at her feet; together with a Meissen figure of a young woodman gathering sticks in his hat, each on moulded circular base, blue crossed swords mark, the former inscribed ‘F73’, and painted marks, 17cm high and smallerThe figure of the shepherdess has losses to the flowers and lace. Under UV light the back of the skirt does light up, but to the naked eye we can see no signs of restoration.The figure of the woodman has losses to the top of the stick. There is a chip on the back of his cloak. On his right hip, there is a tool hanging which is missing a section. Two of the lengths of wood in his hat have losses.Both figures have light surface scratches, nibbles around the base, various minor nibbles to the edges, and raised decorations, such as their hats, etc. Some similar losses and wear to the glazed finish.

Siddy Langley (b. 1955) - Studio glass scent bottle, of ovoid form decorated with heart-shaped flowering plants, etched signature and date 1983 beneath, 11.5cm highThe bottle and stick does have some minor bubbles, etc from production. There is slight surface wear, a few nibbles to the end of the stick, and wear where the stick sits in the bottle. We can find no cracks to the piece.

George Hulbe of Hamburg, an Arts and Crafts leather stick stand, cylindrical form, embossed and silvered with a band of dragonflies and toadstools, stamp marks, 39cm high

A gold metal gem set stick pin, spear-head form with spiral engraved pin

A 9 carat gold, split pearl and green stone bar brooch, together with pearl stick pin and yellow metal and transparent bead necklace, 7.8g

Two gold and gem set stick pins, on with 15 carat gold and diamond chip set head, the other with pink cabochon, in fitted boxes, 6cm long, 3.1g (2)

A 9ct gold and gem set convertible cluster tie pin stud, the central blue stone within white stone border, interchangeable stick pin and stud back, in a velveteen case

A cast iron stick stand, 52cm high

A hallmarked 9ct gold wedgewood brooch, a hallmarked 9ct gold stick pin and another stick pin stamped '9CT', gross weight 34.5g, together with a single dress stud stamped '18CT' weight 1.6g (4)

A pair of hallmarked 9ct gold enameled cufflinks, a pair of patterend cufflinks stamped '9CT', two bar brooches stamped '9CT', a pair of earrings stamped '9CT', and a chain tested as 9ct gold, gross weight 26.3g, together with a stick pin stamped '15CT' weight 1.7g, a pair of dress studs stamped '18CT & PT' weight 2.7g, and two white metal brooches (10)

Horn handled walking stick

Three bundles of golf clubs (Ben Sayers etc) and hockey stick etc

Blue and white stick stand

A set of four modern ash framed stick back kitchen chairs, the shaped seats on turned legs united by crinoline stretchers in the 19th Century style, 44 cm wide x 42 cm deep x 92 cm high

An early 20th Century Cotswold School Arts & Crafts oak four section stick stand on dome top chamfered supports united by an undertier with painted tin liner (Provenance: Christies auction 30th April 2014 Lot 71 - Robert Kime, David Bedale, Piers von Westenholz and Christoper Gibbs The English Home), 95.5 cm wide x 31 cm deep x 74.3 cm high

Two early 20th Century beech and elm stick back smoker's bow chairs of typical form, raised on turned legs united by stretchers, approx 67 cm wide x 50 cm deep x 80 cm high

A pair of modern oak bedside chests in the Louis XV taste, one with drawer over cupboard door astwo drawers, the other as three drawers, on acanthus carved cabriole legs to scroll feet, 48 cm wide x 39 cm deep x 59.5 cm high, together with a late Victorian carved oak Gothic Revival stick stand, 60.5 cm wide x 26 cm deep x 78.5 cm high, a walnut nest of two occasional tables, 41.5 cm wide x 55 cm high and a Victorian stained beech framed rocking chair

An Ercol elm rectangular extending dining table on end trestle supports united by a centre stretcher, 175 cm wide x 71 cm deep x 73 cm high, together with a set of six stick back chairs on turned tapering splayed legs and a pair of stained beech framed Ercol fireside armchairs

A pair of Chinese enamelled vases, the pale blue ground with floral decoration, 20.5 cm high, together with a French champlevé chamber stick, 21 cm high

A collection of small silver wares to include a pair of Edwardian "Fiddle" pattern sauce ladles (by Jonathan Round, Sheffield 1903), a modern seal spoon in the 17th Century style (possibly by Philip Van Wyck student of George Hart of the Guild of Handicraft, London 1978), an annointing spoon "The Corinium Spoon" by Leonard Jones of Circencester, a set of six silver coffee spoons, a set of six silver tea spoons, silver napkin ring, pierced silver mote spoon, mother of pearl handled silver sifter spoon together with a collection of various plated wares including wooden handled pierced fish serving scoop, chamber stick (no snuffer), muffin dish, a pair of open salts, a silver handled tea strainer, five tea spoons with rabbit finials and six plated table spoons CONDITION REPORTS PLEASE NOTE THE TERRIER INSCRIBED MUG HAS BEEN WITHDRAWN FROM THIS LOTTotal weight of silver 11.99oz

19th century pair of Wedgwood green dipped Jasperware candlesticks decorated with classical scenes, h.20cm - minute chip to relief on base of one stick. (2)

1950's decorative leather stick stand with crested motif, height 50cm.

19th century mahogany stick barometer by W Lacy Liverpool, h.99cm.

A box of assorted vintage items, mostly wooden. To include 2 converted velvet lined boxes with hinged lids, a small Edwardian leather covered jewellery box with purple velvet interior, an enamelled metal cigarette tray and an ebonised wood stick with carved detail (approx. 85cm long).

A Mendlesham elm and mahogany stick-back elbow chair on turned legs with an "H" stretcher, historic worm

Two pairs of yew and elm Windsor stick-back solid seat armchairs with crinoline stretchers (4)

* Walking Stick. A Victorian folk art wooden walking stick, carved from one piece with a grip of a bearded gentleman wearing a top hat, silver ferrule engraved with initials and the shaft with masks, birds, snakes and other wildlife with brass tip, 92 cm long QTY: (1)

* Dance fans. Eighteen of the most Favorite Country Dances, circa 1789, folding paper fan, engraved with musical notation and lyrics for dances including The Haunted Tower, Miss Dykes Fancy, Paynes Jigg, Kiss Me Sweetly, The Harriot, The Fife Hunt, a few small discreet repairs to closed tears, mounted on wooden sticks, black ink contemporary inscriptions to upper and lower guard sticks respectively 'The Gift of Master Fletcher Gwernhayfed' and 'The Gift of Mr. Lloyd Fletcher', 24.5cm (9.75ins), together with:Duchess of York, circa 1791, folding paper fan, stipple-engraved with an oval portrait of Frederica Charlotta Ulrica, Duchess of York, surrounded by musical notation and lyrics for dances including Duchess of York's Fancy, The Russian Tippet, Miss Bentick's Fancy, Shuter's Hornpipe, Money in Both Pockets, The happy Lass, trimmed to right-hand edge with loss of a fold and corresponding stick, toned, some paper repairs on verso, mounted on bone sticks, 24.5 cm (9.75 ins)QTY: (2)NOTE:Two rare dance fans, each without imprint, and therefore probably pirated copies.The first item is not in the Schreiber Collection; we have seen only one other similar, with the same title but different dances, published by Sudlow in 1789. We have been unable to trace the romantic Mr Lloyd Fletcher, but presume the place name is a corruption of Gwernyfed in Wales. The second item is similar to Schreiber Collection 11, p.4, published by Thos. Weightman in 1791. An early example of royal wedding memorabilia, the fan commemorates the marriage of Princess Frederica of Prussia and Frederick, Duke of York, second son of George III, which took place in 1791.

* Malbrouk. The Celebrated French Marlborough Song, France, circa 1785, double-sided folding paper fan, the recto with hand-coloured etching of 3 vignettes: Malbrouk (the Duke of Marlborough) taking leave of his wife before going off to war, flanked by a mounted page bringing news of Malbrouk's death (on left), and Malbrouk's tomb (on right), verso with printed and ink musical notation, and 19 verses in French titled 'The Celebrated French Marlborough Song', toned and dusty, 1 or 2 discreet repairs, alternating pairs of bone and wooden sticks, horizontal break to upper guard stick with riveted metal splint on verso, 24.5 cm (9.75 ins)QTY: (1)NOTE:Schreiber Collection 38, p.71/2 (unmounted).

* Souvenir fan. The Crescent Buxton, circa 1790, folding paper fan, with oval engraving printed in black of a large neo-classical semi-circular building, titled to lower edge, and enclosed in a double border of silver spangles (a few missing), slightly dusty and toned, mounted on bone sticks, 24.5 cm (9.75 ins), together with:Neoclassical fan. A pictorial engraved fan, circa 1800, folding paper fan, the leaf engraved in pale blue with 3 oval depictions of Grecian urns, each within a border of spangles (some missing), on a hatched dotted line ground, hand-painted borders of laurel leaves and berries in gold and blue to upper and lower edges, both side edges with 1 or 2 folds adhered together (right-hand guard stick lying on top of next stick), occasional small holes and splits to folds (one with slight loss), verso with hand-painted laurel wreath in blue, and with 3 folds strengthened with paper, mounted on bone sticks, loss to mother-of-pearl rivet, 24 cm (9.5 ins)QTY: (2)NOTE:First item: rare commemorative fan celebrating Buxton Crescent, designed by John Carr of York, and built for the fifth Duke of Devonshire between 1780 and 1789, as the centrepiece of his Georgian Spa development at Buxton, Derbyshire.See Schreiber Collection, 108, p.82: a slightly different view to ours, etching with aquatint, printed in blue. The British Library holds an unmounted leaf with the same etching as the Schreiber fan, but printed in green (1891,0713.453), as does The Fan Museum.Second item also rare: we have not been able to trace another example of this fan.

BRASS AND CAST IRON STICK STANDwith six open sections above two removeable drip pans, 63.5cm high

RETRO TEAK DINING TABLE AND CHAIRSthe table with drop flaps and gatelegs, 83cm wide, together with four teak dining chairs with shaped twin horizontal stick back above a vinyl seat, standing on plain supports

CAST IRON STICK STANDdepicting Hercules with a serpent, with a removeable drip pan, 81cm high

A late 18th/early 19th Century stick back elm and painted armchair, Welsh, with traces of old dark green paint, the bar back above a row of seven spindles to the very upright back above a solid saddle seat flanked by curled arms and turned front support,  the turned legs united by an H stretcher, 58cm wide, 37cm deep, 97cm high, the seat 38cm high 

A Japanese Sword-stick with 16½" single-edged blade in lacquered mounts with dragon decoration (af)

A swagger sword stick with 14" square tapered blade in leather mounts