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Lot 37
A PAIR OF CARVED GILTWOOD MIRRORS IN GEORGE III STYLE,19TH CENTURY,the oval plates in pierced frames carved with rockwork, scrolling foliage and flowerheads, with confronting C-scroll cresting and and shell carved clasps to the aprons, 97.5cm high x 64cm wideProvenance:Almost certainly at Nymans House, West Sussex, until sold by Oliver Messel after 1960 to Mr. and Mrs. Frederick Baden Watkins for Flaxley Abbey, Gloucestershire. Literature:J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 981, fig. 4, The Morning Room. C. Castle, Oliver Messel: A Biography, London, 1986, p. 215, 'the morning-room' T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 125, 'the morning room' These mirrors are possibly the pair referred to by Oliver Messel as from Nymans, the Messel family country seat, which he intended to sell to Frederick Baden Watkins for Flaxley Abbey: 'I've got a pair of mirrors at Nymans that would look right there' (C. Castle, Oliver Messel: A Biography, London, 1986, p. 217). They bear a white chalk inscription 'Mess' suggesting they were from the Messel collection. Baden Watkins wrote of Oliver's obsessive commission at Flaxley: 'We first of all asked Oliver to design just the drawing room and the morning room, and it went on and on after that until he left for Barbados. I daresay that if he hadn't gone, he would still be working on the house today. He had his own room and studio here and always said that he would like to retire here; but the English weather was no good for his arthritis and so he stayed in the West Indies even though he left many of his belongings here (ibid., p. 216). The mirrors were photographed by Country Life in the Morning Room at Flaxley in 1973 (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 981, fig. 4). Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the gilding rubbed and worn with some areas of silvering; some visible sectional construction cracks; the backboards of one mirror are plywood.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 513
FIVE 20TH CENTURY WATERCOLOURS, comprising a view of Magdalen College, Oxford from the river, unsigned, 39cm x 27.5cm, H.R. Wilkinson, mountainous landscape, signed lower left, 26cm x 37.5cm, J. Bentley still life of flowers and blossoms, signed lower right, Mason, 'Street Scene, Polperro, Cornwall', signed lower right, titled verso, 25.5cm x 32cm and a still life of flowers in a pewter tankard, initialled and dated (19)53 lower right, 36cm x 29.5cm, all five are framed and glazed, some condition issues, foxing, damp spots), together with an Ernest Albert Chadwick (British 1876-1955) unfinished rural landscape, unsigned, mounted on card, 28cm x 38cm, card 40.5cm x 49.5cm, purchased from Chorley's auctioneers on 26th January 2016 with another watercolour by the same hand which formed a small collection of lots by the artist, some foxing and surface dirt, comes with print out of Chorley's catalogue entry (7)
Lot 1327
° ° A collection of thirty one 20th century First edition works, fiction and non fiction, many in original dust jackets;Spencer Jones, H., ‘Life on Other Worlds’, 1955, hardback; Cooper, J., ‘Her First Light-Fingered Romance, Emily’, 1975, hardback; James, M.R., ‘A Thin Ghost and Others’, 1919, hardback; Conan Doyle, A., ‘Three of Them’, 1923, hardback; Blyton, E., ‘The Mystery of the Strange Messages’, 1957, hardback; Sartre, J.P., ‘What is Literature?’, 1950, hardback; Gibbons, S., ‘Conference at Cold Comfort Farm, 1949, hardback; King, F. ‘Flights’, 1973, hardback; Burton, M., ‘Deaths Takes a Detour’, 1958, hardback; Cocteau, J., ‘Children of the Game’, 1955, hardback; Williamson, H., ‘Tarka the Otter’, 1932, hardback; Milligan, S., ‘The Hound of the Baskervilles’, 1998, hardback; Brookner, A., ‘Latecomers’, 1988, hardback; Moravia, A., ‘The Voice of the Sea and other stories’, 1978, hardback; Knight, E., ‘This Above All’, 1941, hardback; Llewellyn, R., ‘A Flame for Doubting Thomas’, 1954, hardback; Bainbridge, B., ‘Another Part of the Wood’, 1968, hardback; Sartre, J.P., ‘Words Reminiscences’, 1964, hardback; Collins, J., ‘The World is Full of Married Men’, 1968, hardback; Wodehouse, P.G., 1955, hardback; Graves, R., ‘But it Still Goes On’, 1930, hardback; Spender, S., ‘European Witness’, 1946, hardback; Blyton, E., ‘The Mystery of the Missing Man’, 1956, hardback; Wildeblood, P., ‘A Way of Life’, 1956, hardback; Pirandello, L., ‘Six Characters in Search of an Author’, 1954, hardback; Armstrong, A. & F, ‘More Nice Types’, 1944, hardback; Wells, H.G., ‘The Open Conspiracy’, 1928, hardback; Wodehouse, P.G., The Mating Season, hardback; Christie, A., ‘By the Pricking of My Thumbs’, 1968, hardback; Greene, G., ‘May we Borrow Your Husband?’, 1967, hardback; Sherman, M., ‘Bent’, 1979, paperback
Lot 2
Le Pho (France, United States, Vietnam, 1907 - 2001) Still life painting. Wally Findlay tag verso. Inventory number inscribed on upper stretcher. Le Pho was a French-Vietnamese painter best known for his stylized depictions of nudes, gardens, and floral still-lives. His work succeeded in merging Impressionism, Surrealism, and traditional Chinese painting into a sensual yet disconcerting vision of Eden, reminiscent of both Odilon Redon and Pierre Bonnard. Le Pho has garnered himself a place in Vietnam's art canon, for his oeuvre is a collection of works that are poetical depictions of domestic scenes that were memories from the artist's own childhood of growing up in Hanoi. Le Pho's favored subject matter revolved around what he deemed to be beautiful and pleasing to the eye, thereby much of his paintings are visual homages to flora and fauna, and elegant women either alone or shown with their children in private interludes as vignettes from family life. Throughout his life, he had several exhibitions in Paris, New York, Chicago, San Francisco and Buenos-Aires. He participated in shows annually at the Salon d'Automne and the Salon des Independants in Paris. The Museum of Modern Art in Paris is one of the museums holding his work. Provenance: Important Private Collection, New York City. Sight Size: 13.75 x 9.5 in. Overall Framed Size: 19.5 x 15.25 in.
Lot 15
BALVENIE 10 YEAR OLD FOUNDER'S RESERVESingle malt.Balvenie is part of the Grant’s family and sits beside its sister distilleries, Glenfiddich and Kininvie, in the Speyside burgh of Dufftown. Established in 1892, just a few years after Glenfiddich, Balvenie has spent its life supplying the heart of the Grant’s blend. In fact, it wasn’t until nearly 100 years later, when Kininvie was built, that it was able to seriously market its own single malt.One of very few distilleries to retain its own malting floor, Balvenie is slightly unusual for a modern Speyside whisky in that it still uses a small percentage of peated malt to make its spirit. While the new make it produces is far from smoky, this small amount of peat gives it a distinctive character that has helped it become one of the best-selling malt whiskies in the world.43% ABV / 1L
Lot 180
BALVENIE 12 YEAR OLD SIGNATURE BATCH #3Single malt.Balvenie is part of the Grant’s family and sits beside its sister distilleries, Glenfiddich and Kininvie, in the Speyside burgh of Dufftown. Established in 1892, just a few years after Glenfiddich, Balvenie has spent its life supplying the heart of the Grant’s blend. In fact, it wasn’t until nearly 100 years later, when Kininvie was built, that it was able to seriously market its own single malt.One of very few distilleries to retain its own malting floor, Balvenie is slightly unusual for a modern Speyside whisky in that it still uses a small percentage of peated malt to make its spirit. While the new make it produces is far from smoky, this small amount of peat gives it a distinctive character that has helped it become one of the best-selling malt whiskies in the world.40% ABV / 70cl
Lot 197
GLEN ORD 12 YEAR OLDSingle malt.The Black Isle distillery of Glen Ord has suffered a bit of an identity crisis over the years. It has produced single malt whisky under a variety of names: Glen Ord, Glenordie, Ordie, Muir of Ord, and (simply) Ord. Today its name plays second fiddle to the Singleton brand, of which it is a part, alongside Glendullan and Dufftown distilleries.Like Springbank and Roseisle, Glen Ord is one the few distilleries that can satisfy its malting requirements in house. Their use of very lightly peated malt, combined with a distillation process that maximises copper contact, results in a grassy spirit that reveals notes of ginger as it matures in the cask.40% ABV / 70clBALVENIE 12 YEAR OLD DOUBLEWOODSingle malt.Balvenie is part of the Grant’s family and sits beside its sister distilleries, Glenfiddich and Kininvie, in the Speyside burgh of Dufftown. Established in 1892, just a few years after Glenfiddich, Balvenie has spent its life supplying the heart of the Grant’s blend. In fact, it wasn’t until nearly 100 years later, when Kininvie was built, that it was able to seriously market its own single malt.One of very few distilleries to retain its own malting floor, Balvenie is slightly unusual for a modern Speyside whisky in that it still uses a small percentage of peated malt to make its spirit. While the new make it produces is far from smoky, this small amount of peat gives it a distinctive character that has helped it become one of the best-selling malt whiskies in the world.40% ABV / 70clFill levels in mid neck. Minor rusting and staining to tubes.
Lot 100
*ARTHUR HENRY ANDREWS (1906-1966) A still life botanical study signed lower right, oil on canvas, 50cm x 40cmProvenance: The Collection of Bournemouth & Poole College. Arthur Henry Andrews was a painter, print maker and teacher who was born in London in 1906. After graduating Andrews held a number of teaching posts in Sheffield and Derby Colleges of Art and Batley School of Art, eventually becoming Principal of Poole College of Further Education and Art Advisor to Dorset Education Committee. He showed at Foyles Gallery and at public galleries in Bradford and Leeds, where he had one-man shows, also in group exhibitions at the Royal Academy, Grabowski and Redfern Galleries. He was made a member of the Design and Industries Association in 1934, SWE in 1935. Sir Edward Marsh held his work, as did the Victoria and Albert Museum and public galleries in Leeds, Bournemouth and Southport. Arthur Andrews and Sushila Singh met whilst students at Hornsey School of Art and latterly Royal College of Art under William Rothenstein, where they graduated in 1929. The pair were married in 1930. Works by Andrews and Singh are held in public collections such as Atkinson Art Gallery, Russell-Cotes Art Gallery and the Paintings in Hospitals Scheme, as well as private collections around the world.
Lot 539
A BRONZE FIGURE OF A MAHASIDDHATibet, 17th - 18th century. Seated in a relaxed posture on a lotus base with beaded edges, the left hand before his chest holding a lotus blossom in his palm, the right hand resting on his knee. Richly adorned in beaded and floral jewelry with inlays of turquoise, coral, and mother-of-pearl. The base sealed and incised with a double vajra.Provenance: Tresors d'Asie, Paris, France, ca. 1995. A Hungarian private collection, acquired from the above. A copy of a stamped and handwritten note from Tresors d'Asie, dated 22 July 2015, describing the figure as an Arhat, dated 19th century, and stating that the figure was bought in Tibet 20 years prior, accompanies this lot. Condition: Very good condition with some wear to gilt, light surface scratches, casting flaws, and few minuscule nicks, dents and losses.Weight: 1,181 g Dimensions: Height 15.7 cmThe hair falling elegantly in two strands down the shoulder, tied into a high chignon, and secured by a tiara centered by a single skull head, the face with almond-shaped eyes below thick furrowed brows and full lips forming a subtle smile.Mahasiddha is a term for someone who embodies and cultivates the 'siddhi of perfection'. A siddha is an individual who, through the practice of sadhana, attains the realization of siddhis, psychic and spiritual abilities and powers. There are eighty-four Mahasiddhas of Tantric Buddhism who can be male and female, kings and beggars, young and old, monks and laymen who through experiencing different kinds of life crises, attain the realization of the Buddha's teachings leading to the status of a guru or a tantric master eventually. Tibetan Buddhist masters of various lineages are often referred to as Mahasiddhas (grub thob chen po or tul shug). There is a long tradition of hagiographies of these Tibetan adepts, called namtar. Important Tibetan mahasiddhas include Padmasambhava, Milarepa, and Tsongkhapa.As discussed by Huntington, "Vajrayana Buddhism shares many elements of the Mahayana path, but introduces the belief that enlightenment can be obtained in a single lifetime of intense arduous practice. Transformational meditations [...] force the psyche of the practitioner into new avenues of awareness. The ideal practitioner is still the Bodhisattva but in a new and radically different guise [...] The Mahasiddha, or "Great Adept," [who] comes to be known as a Vidyadhara, or "Bearer of Esoteric Knowledge". (Huntington & Bangdel, The Circle of Bliss, Ohio, 2003, page 21)Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 2 October 2018, lot 140Estimate: HKD 350,000 or approx. EUR 51,500 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of a Mahasiddha (possibly Naropa), Tibet, circa 17th centuryExpert remark: Compare the closely related hair, skull tiara, and beaded jewelry. Note the different base and slightly smaller size (12 cm).大成就者坐蓮銅像西藏，十七至十八世紀。清代大成就者造像，坐姿自在，坐在連珠蓮座上，昂首挺胸，神態威嚴。左手置於胸前，手中有一朵蓮花，右手置於膝上。佩戴嵌寳項鏈，上可見綠松石、珊瑚和貝母。底座雙金剛杵印密封。 來源：匈牙利私人收藏，約在1995年在法國巴黎Tresors d'Asie藝廊購得。隨附一份寫於2015年7月22日並蓋章的藝廊説明副本，把銅像描述為十九世紀的羅漢，並註明，二十多年前在西藏購得此像。 品相：品相極好，鎏金有一些磨損、輕微的劃痕、鑄造缺陷，並且有微小的刻痕、凹痕和損失。 重量：1,181 克 尺寸：高15.7 厘米 由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。
Lot 73
A SLIP-DECORATED AND ENAMELED 'DOVES AND PEKINGESE DOG' SNUFF BOTTLE, YIXING, 1820-1850Published:Hugh Moss, Chinese Snuff Bottles Four: A Magazine for the collector and student of Chinese Snuff-Bottles, London, 1966, p. 45, fig. 11Arts of Asia, September-October 1973, p. 45, fig. 11Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, no. 336JICSBS, December 1979 and March 1980, p. 13, fig. 4Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 126-127, no. 50Exhibited:Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 92.China. The stoneware bottle of rounded rectangular form, with a cylindrical neck, and tapering to a recessed oval foot, enameled in blue and reserved on each side with a recessed panel, finely carved and decorated in opaque colored slips, one side depicting a pair of Pekinese dogs, and on the other a pair of doves. The coral stopper finely carved with a bat.Provenance: From the collection of Bob C. Stevens, no. 336. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 69. Rachelle R. Holden, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Magnificent condition with minor old wear, light surface scratches, very few touched-up glaze flakes and microscopic pits.Stopper: Carved coral (minuscule age cracks and chips to stopper)Weight: 44.1 gDimensions: Height including stopper 71 mm. Diameter neck 16 mm and mouth 6 mm.The Daoguang Emperor and his consort were fond of doves and small dogs, respectively, as subjects of paired doves and Pekingese dogs became popular during this period. The symbolism imbued in the pairs of dogs and doves implies a wish for happy marriage.The dove-and-dog Yixing bottles were made in sets and in several different series. One of the finest versions of all is seen in the present lot, with its rounded rectangular shape, blue surround and multi-colored slip decoration. The slip is both painted with a brush and plastered on and carved, or at least manipulated with a blade of some sort. This is the same technique as that of the Slip Master (see for example Moss, Treasury 6, lots 1448-1451), but it is a quite different, more evolved style, with a number of different colors of slip used almost like enamels. This is typical of artistic evolution in the snuff-bottle arts, where a simple idea, drawn initially from the painting style of the literati with its predominance of monochrome ink painting, evolves to a more complex style as the possibilities of the medium are explored. These bottles with their more intriguing designs and multiple colors may be the later wares by the Slip Master, perhaps with a son taking over, or they may be from a different workshop, although we are inclined towards the first option. The bulk of the known examples probably date from the earlier part of the Daoguang reign, although the type may have remained popular throughout the reign. As a rule, however, it is not likely that an Imperial type remained fashionable for thirty years without noticeable changes in style.The dogs and doves on this series are always extremely well depicted, full of life, and the limited range of colors of slip available to the carvers are very thoughtfully and effectively used. While the form remains reasonably constant, and the subject matter is always the same, there are several different compositions within the series. Either each was made as an individual composition of the same theme, or each series was redesigned. Two more are illustrated in Stevens 1976, as nos. 334 and 336, both equally well worked. Between them, however, is a rare example (no. 335) with an enameled design of the same subject, still with the blue surround, that is quite poorly painted, even by the decorative standards of Yixing. The painted version may come from a time later in the reign when the enamel workshop responsible for so many earlier bottles was beginning to show signs of decline.Yixing in Jiangsu province gives its name to this distinctive stoneware. In production for nearly a thousand years in the same place, Yixing ware only came into artistic prominence in the later Ming dynasty, when it was adopted by the literati class as a suitable material for teapots and thence for other items for the scholar's studio. Slip-decorated snuff bottles constitute a considerable portion of the known output. Slip is simply liquid clay which can be applied like a thick paint or used for gluing segments together.Literature comparison: Compare a Yixing bottle decorated with landscape scenes set within a blue-enameled surround, and impressed with a cyclical date, jiyu (1849) is illustrated in An Imperial Qing Tradition, Chinese Snuff Bottles from the Collections of Humphrey K. F. Hui and Christopher C. H. Sin, no. 46. Others of the slip-decorated versions with a blue surround are in Sotheby Parke Bernet, New York, 17 March 1977, lot 44, and Jutheau 1980, p. 94, no. 4, and Robert Kleiner & Co. Ltd. 1994, no. 75 (the designs as a mirror image of the present example), and Parke-Bernet Galleries, New York, 2 December 1969, lot 43 (from the Claar Collection).Auction result comparison:Type: Near identicalAuction: Christie's New York, 22 March 2007, lot 38Price: USD 33,600 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: An unusual slip-decorated stoneware snuff bottle, Yixing, 1820-1850Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 16 March 2015, lot 1028Price: USD 37,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: An enameled and slip-decorated, Yixing snuff bottle, 1800-1880 1820-1850年宜興紫砂掛釉加彩雙犬鼻烟壺 由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 207
'CHRYSANTHEMUM AND CRICKETS' BY QI BAISHI (1864-1957), DATED 1951China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Depicting chrysanthemums, virtuously painted in bright tones of pink and yellow, below two small crickets, and with a crisply executed inscription. The hardwood scroll handles with distinct 'crabs claw' marks, indicating that they are carved from zitan wood.Expert's note: In 1919, when Qi Baishi was 57, he moved to Beijing, trying to make a living by selling his paintings and carving seals. He became friends with Chen Shizeng (1876-1923), who convinced him to fundamentally change the style of his work, which was selling poorly as it failed to win local favor. His new and unique approach of strong color contrasts became popular quickly and has influenced generations of painters ever after. Qi claimed that flowers, insects and birds are inseparable subject matters. They are also the most numerous and representative subjects among Qi's body of works - "When depicting flowers one must also add insects or birds to give life and invigorate the painting." Qi outlines the delicate veins of the chrysanthemum leaves with scrupulously painted brushstrokes, rendering them almost translucent. The chrysanthemum flowers, in contrast, are painted with powerful, firm and broad strokes, somewhat reminding viewers of Qi's humble origin as a calligrapher and seal carver. Qi positioned two insects in the void of the painting, with space for viewers to appreciate the form of these small creatures. His insects are meticulously and accurately depicted, the result of rigorous sketching and prolonged observation and study. Even before Qi began to paint insects prolifically, the artist kept insects and small animals at his home, where he would watch their body movements. Qi set the painting at the end of the summer, when the chrysanthemum flowers are still in full splendor but the foliage has already started to wilt very slightly, using harmonious hues of gray, green and ochre, signifying the change of season. Qi Baishi's incorporation of insects remains innovative to this day and represents a pinnacle in his later artistic career.Inscriptions: Upper right 'To Mr. Zhuren by Baishi Laoren at the age of 87 years', two seals 'Qi Baishi' and 'Lao Mu'. Lower left, one seal, 'Qianshanguan'. Paper label to one wood handle, 'Baishi, Chrysanthemum and Cricket'. Provenance: From an important American collection. Condition: Excellent condition with some wear, minor soiling to the mounting, little foxing, the watercolors slightly rubbing off onto the backside of the scroll. Small chips to the wood handles. Dimensions: Image size 103.5 x 33.5 cm, Size incl. mounting 208.5 x 49.5 cm Qi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 3 April 2017, lot 1371Price: HKD 1,500,000 or approx. EUR 205,500 converted and adjusted for inflation at the time of writingDescription: Qi Baishi, Chrysanthemums and DragonfliesAuction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 September 2015, lot 687Price: USD 237,500 or approx. EUR 289,500 converted and adjusted for inflation at the time of writingDescription: Qi Baishi (1864-1957), Chrysanthemums and Insects 齊白石款《菊花蟋蟀》，1951年中國，紙本設色，絹本掛軸。菊花畫得幽美秀麗，能把秋意描繪盡致。菊花花叢下兩隻蟋蟀只用簡單幾筆墨道鉤出，異常生動，尤其是大腿的肥健，觸鬚的細長挺秀。不但逼真，而且更顯出筆力來。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 46
A YELLOW AND RUSSET JADE 'RABBIT' INKSTONE, EARLY QING DYNASTYOpinion: Inkstones depicting various animals were made during the Qing dynasty, including pieces of the highest quality made for the Qing court. The present inkstone, being of an abstracted form that still clearly shows the silhouette of a rabbit, with a circular recess (perhaps reminiscent of the moon, with which the rabbit is frequently associated in China) placed exactly where the hare's eye would be, is a unique and rare example of this group.China, late 17th - 18th century. Well carved as the silhouette of a rabbit with distinct nose and ears, a circular recess carved in place of the animal's eye serving as the inkwell. The translucent stone is of a fine and distinct yellow tone with russet and black patches as well as cloudy white inclusions.Provenance: French trade. Condition: Very good condition with expected old wear and signs of use including small nicks, light surface scratches, remnants of ink inside the inkwell. Natural fissures and inclusions.Weight: 231.1 gDimensions: Length 12.3 cmThe rabbit is the fourth animal in the Chinese zodiac and considered the luckiest out of all the twelve animals. It symbolizes mercy, elegance, and beauty. Rabbits are also associated with longevity by way of the Moon Hare. In Chinese folklore, the rabbit often is portrayed as a companion of the Moon goddess Chang'e, constantly pounding the elixir of life for her.Literature comparison: Compare an imperially inscribed zisha chengni inkstone molded with a rabbit gazing at the moon, with a Qianlong Yuming mark and of the period, at Christie's Hong Kong, 30 November 2020, lot 2837. Compare an inscribed inkstone in the form of a goose, dated to the Qianlong period, at Sotheby's Hong Kong, 4 October 2011, lot 1915. Compare an inkstone in the form of a buffalo, dated Ming or Qing dynasty, at Sotheby's Hong Kong, 7 April 2010, lot 1980.清初黃玉留皮兔形硯臺中國，十七世紀末至十八世紀。兔形硯臺，線條清晰分明，在眼睛的地方有一個圓形凹槽。這顆半透明石料呈溫潤的黃色，帶有赤褐色和黑色斑塊以及白色絮狀物。 專家注釋：動物形狀的硯台出現在清代，其中包括御製硯台。這件硯台以簡潔的形式清晰地顯示出兔子的輪廓，在兔子眼睛所在的位置有一個圓形的凹槽（讓人想起月亮，兔子經常與月亮聯繫在一起）。 來源：法國古玩交易。 品相：品相極好，有磨損和使用跡象，包括小刻痕、輕微的劃痕，有墨水殘留。自然裂縫和内沁。 重量：231.1 克 尺寸：長12.3 厘米 兔子在中國十二生肖中排行第四，它象徵著慈悲和優雅。兔子因爲月兔神話，同時也寓意著長壽。在中國民間傳說中，兔子是月神嫦娥的伴侶，為她搗長生不老藥。 文獻比較： 比較一件乾隆御銘的紫砂澄泥硯，飾有兔凝月，見香港佳士得，2020年11月30日，lot 2837。比較一件乾隆時期鵝形硯臺，見香港蘇富比，2011年10月4日，lot 1915。比較一件明或清代水牛形硯臺，見香港蘇富比，2010年4月7日，lot 1980。
Lot 176
* MOIRA BEATY (SCOTTISH 1922 - 2015),A STILL LIFE OF VIBRANT FLOWERSoil on board, signedimage size 60cm x 34cm, overall size 69cm x 43cm Framed.Note: Moira went to Glasgow School of Art in 1939 where her contemporaries included Joan Eardley and Margot Sandeman. These three young women were regarded by their lecturers as the brightest stars of their generation. After one year as a student she was recruited to Bletchley Park where she worked as a code breaker, one of Churchill's 'corkscrew thinkers'. She returned to GSA in 1947 to complete her studies. Moira's enduring talent was recognised again in 2014 at the age of 92 with a sell out exhibition in Kirkcudbright. Moira Beaty was a resolute and determined woman who was an integral part of the famous group at Bletchley Park who did much to aid the Allies' victory in the Second World War. She worked in Hut 8 where Alan Turing and Peter Twinn set up the Naval Enigma Code. Beaty was responsible to Twinn - the first mathematician to be recruited to Bletchley. ''I discovered something,'' Beaty modestly remarked years later, ''a code within a code. I was immediately moved to within the codebreakers and became a cryptographer working on the German Secret Service codes.'' The Twinn team was involved in breaking the secretive Abwehr codes which were even more complicated than the ordinary military messages. The information this provided to the Allies in such major operations as the desert campaign, the D-Day landings and the sinking of the battleship Tirpitz proved vital to the war effort. Her first solo exhibition was at the Open Eye Gallery in Edinburgh in 1979 and at the Collins Gallery in Glasgow. Her works were also seen at the Cadogan Contemporary Gallery in London and around Dumfries - notably at the Gracefield Arts Centre. In 2001 Gracefield held a major retrospective exhibition of both Moira and Stuart Beaty's works, entitled Full Circle. In 2014 Beaty officially opened the Kirkcudbright Summer Art Exhibition: Glasgow Girls 1920 - 1960, and held a solo exhibition in the town's Harbour Cottage Gallery. Both exhibitions were hugely popular and, at 92, Moira Beaty was still making a strong impression and gaining new collectors. The two most recent examples of Moira Beaty's work (both significantly smaller than "A Still Life of Vibrant Flowers") to have been offered through our auctions have achieved hammer prices of £700 and £800.
Lot 187
* VIOLET MCNEISH KAY RSW (SCOTTISH 1914 - 1971),STILL LIFE WITH CHINESE VASEoil on board, signed image size 44cm x 34cm, overall size 59cm x 49cmFramed.Note: Violet Kay was a painter in oil and watercolour; she was a teacher of art and crafts. Born in Glasgow the daughter of the artist James Kay, she studied at Glasgow School of Art from 1931–3 under William Somerville Shanks and W O Hutchison. Kay Exhibited at the RSW, RSA, Paisley Institute, and Glasgow Lady Artists’ Club. She joined in 1935 and won its Lauder Award in 1948. The Pilgrim Trust and Paisley Corporation bought her work. Lived at Garelochhead, Dunbartonshire, but died in Helensburgh.
Lot 190
* STELLA STEYN (IRISH 1907 - 1987),STILL LIFEoil on canvasoverall size 77cm x 91cm Unframed.Note: Stella Steyn was a distinguished modernist Irish/Jewish artist. She studied in Dublin, Paris & at the Bauhaus. Samuel Beckett, James Joyce & others were her friends and the latter asked her to provide illustrations for an edition of Finnegan`s Wake. Steyn had a one-woman exhibition at the Leicester Galleries in 1951, and three years later a joint show was held there with Ivon Hitchens. Her work was on display at Downing Street during the premiership of Gordon Brown.
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