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Lot 710
* CARLO ROSSI RSW RGI (SCOTTISH 1921 - 2010), STILL LIFE monotype, signed and dated '89 43cm x 53cm Mounted, framed and under glass. Label verso: Compass Gallery, 178 West Regent Street, Glasgow. Note: Monotyping produces a unique print, or monotype, made by or on a smooth, non-absorbent surface. The surface, or , was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to . The image is then transferred onto a sheet of by pressing the two together, usually using a . Monotypes can also be created by inking an entire surface and then, using or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque colour. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones. Carlo Rossi created an exceptional body of work using the monotype process and was an enthusiastic exponent of the medium.
Lot 477
Dorothea Sharp (British 1874-1955) ARR Framed oil on board, signed 'Still Life of Mixed Flowers' 49cm x 39.5cm The oil on board is in excellent condition however there are two identified areas of minor paint less. There appears to be a nibble of paint loss above the upper right yellow flowers and a small loss to the upper central white flower, LHS of petals. See additional photographs
Lot 367
Henk Helmantel (Dutch, born 1945) ARR Gilt framed oil on board, signed, dated 1982 'Still Life, Small Cream Shallow Bowl' 20cm x 20cm The oil on board is in very good condition. It has been reframed in a 'Gold leaf' frame. The painting has come from a private collection, this is oone of three in the collection. The paintings were purchased direct from the artist
Lot 153
A full sized 1910-vintage Pathe-Freres hand cranked 35mm�silent film projector.The Pathe company has been synonymous with the film industry for over 120 years. And in many ways Pathe, and the 4 brothers who founded it, could be considered the Edisons of Europe- starting life as a fledgling reseller of phonographs in 1896, and rounding out the 20th century as a major innovator of photographic, audio, and film technology, not to mention a global media distributor. Anyone lucky enough to catch a double feature during the golden age of cinema will remember Pathe as the name behind the eponymous newsreels of the 40�s and 50�s; and many timeless films, both European and American, were shot and projected on Pathe-engineered machines. The Pathe No. 1 Imperial- sometimes referred to as The English Model- began production around 1908, and continued well into the teens. It was originally offered as a hand-cranked unit but could be easily modified into an electric drive system and accepts a number of different lighting systems depending on the type of projection needed. Renowned in its era as one of the sturdiest, most flexible designs on the market, the No. 1 was used for both traveling and permanent exhibitions, and is replete with turned bronze gearing, optional Mallet system swing-open safety spool boxes, a fully adjustable and collapsing lens, automatic winder, and a rigid, intricate frame. This example, Serial no. 3063, is in its original orientation: hand operated, with a Geneva drive linkage and large, external 'pin-wheel' shutter. Two antique 12 inch 35mm reels are included. Decked in Pathe cocoa brown enamel, mounted to a sturdy iron and oak stand, it makes an extraordinary display piece, evoking the earliest days of motion picture history; the quiet whirring of the shutter and spinning of the gears are still a charm to behold, and the crank turns easily in the hand. A section of color film leader completes the look. Issued: c. 1910 Dimensions: 62"H x 32"L x 14"D Manufacturer: Pathe-Freres Provenance: Private Collection Country of Origin: France Condition: Wear and patina consistent with age, and use To view the video for this item, click the link below:Pathe-Freres hand-cranked 35mm film projector
Lot 116
Pre-Columbian, North Coast Peru, Moche, ca. 100 to 300 CE. A lovely group of four gilded silver coca spoons (also called lime spoons), used to prepare lime powder in order to enhance the hallucinogenic properties of other drugs. Each one has a beautiful zoomorphic/avian finial atop a long slender body hammered at the end to create a receptacle for the lime powder. Three of the spoons present hummingbird finials with characteristically long beaks and one presents a jaguar finial with an open toothy grin, perky ears, and a curled tail . Size: 3.125" H (7.9 cm); 3.5" H (8.9 cm) on included custom stand. Weight: 28.3 grams. Precious metal quality: 65% silver, 20% goldTo the ancients of the Pre-Columbian world, hummingbirds (picaflores in Spanish) were associated with the sun. Appreciated for shiny, iridescent feathering and aerial acrobatics, the hummingbird made for the ideal solar metaphor. Since these birds are known to hover, seemingly motionless, and fly up, down and even backwards, the ancients likened their motions to the sun's hovering in the sky at the solstices when it is also known to reverse its celestial direction. In addition, hummingbirds can assume a torpid state when it is cold at night or during brief periods in the winter. However, they come back to life in the spring warmth. This unique ability to "die" and "resurrect" signified rebirth to the ancients, precisely at a time when planting and, in this sense, "renewed life" occurred. The jaguar symbolized power and might throughout the Pre-Columbian world. Warriors, rulers, hunters, and shamans alike associated themselves with this king of beasts, the largest and most powerful feline in the New World. The principal Moche god Ai apaec wears a headdress adorned with a jaguar head and paws and important mortals donned similar headdresses. A nocturnal animal, the jaguar sleeps in caves and dark places and creeps quietly in the forest, evoking great mystery. Oddly enough, few Moche artists would have actually scene jaguars as they are not indigenous to the coast. Jaguars prefer moist forest conditions. However, scholars believe that some cubs were transported over the mountains for Moche rituals, and it is also possible that some jaguars wandered down the coast. Provenance: private Hawaii, USA collection; ex-private Hans Juergen Westermann collection, Germany Condition: Slight surface wear to the spoons, but the forms are generally very strong. Some loss to gilt but some still remains. Silver has developed a nice patina with small areas of green patina from the copper content. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #145401
Lot 507
LARREY DOMINIQUE JEAN: (1766-1842) French Surgeon of Napoleon´s Grande Armée. Larrey was the Emperor´s favourite surgeon, an innovator in the battlefield medicine and widely considered one of the first modern military surgeons. Rare and extremely interesting lengthy A.L.S., `D.J. Larrey´, four pages, 8vo, Dresden, 7th July 1813, to his wife, in French. Larrey first reports on his recent conversation with the Emperor stating in part `I was waiting for the right moment to talk to H[is] M[ajesty] about this friend and for this reason I was keeping all the time the paper in my pocket. That morning at dawn…the Emperor asked me few graceful questions regarding my wounded soldiers with mutilated fingers, and I responded to all of them. Then he told me “Seems like you have had a great success as I have been told that they were all recovering”, Yes Sir, we have only lost a very small number. “That is good, I am satisfied”. Because Your Majesty is satisfied with my behaviour, would you allow me to ask for a favour? “Yes, What do you want?”..´ Larrey reports the full sentences exchanged with the Emperor, who finally had to refuse to Larrey´s request, further saying `..everybody was astonished, and were commenting the great influence I was having on the Emperor, because he gave to me many details and explanations regarding my request and the reasons for denying it..´ Larrey refers to the difficulty in finding the right moment and having the opportunity to talk to the Emperor, also saying `..in case the Emperor doesn´t change his mind, your sister and family should be happy as they have fortune, while we do not have a sol. I will not complain. I will have so many good souvenirs of my medical career, that as long as you have enough to live when I will die, that my soul will leave satisfied.´ Further on Larrey says `..Everything makes me fear a new war… I hope I will be able to see you before the 19th of November, because if I had to do another winter campaign I would for sure die. I hardly can warm up now.´ Before concluding Larrey refers to the news received from his friend Pelletan who is still at Wilna. A letter of very interesting content. Provenance, Crawford collection. Very small overall, minor age wear. VG £2000-3000 Marie Elisabeth Laville-Leroux (1770-1842) French Painter and wife of Larrey. She was pupil of David, and used to sign her paintings “Larrey” when accompanying her husband during Napoleon´s campaigns. Larrey was right when he writes “Everything makes me fear a new war”. Only a month later, 11th August, Austria would put an end to the armistice, and few weeks later took place the last major victory of Napoleon at the battle of Dresden.Philippe Jean Pelletan (1747-1829) French Surgeon. One of Napoleon´s consultant-surgeon from 1804. Pelletan was present at the crime scene of Marat and signed the minutes on the death certificate and was also responsible of the controversial autopsy of the 10 years older Louis XVII, younger son of King Louis XVI and Marie Antoinette, both executed. It has been reported that during the autopsy, Pelletan was shocked to see the countless scars which covered the body of Louis XVII as a result of the physical abuse the child suffered while imprisoned in the Temple. Napoleon would say about Larrey `If the army ever erects a monument to express its gratitude, it should do so in honour of Larrey.´At Waterloo in 1815 his bravery under fire was noticed by the Duke of Wellington who saluted his courage and ordered not to fire in his direction so as to "give the brave man time to gather up the wounded". When the battle was lost, Larrey was taken prisoner by the Prussians when he was trying to escape. They were about to execute him on the spot but was recognized by one of the German surgeons because he had saved the life of Blucher´s son when he was wounded and taken prisoner by the French. He was pardoned, invited as a guest to Blucher's dinner table and authorized to go back to France with money and proper clothes.
Lot 452
A rare Imperial Chinese eight dragon roundel robe, long pao, Daoguang, with eight five clawed dragons, four are full faced and four side facing, embroidered with gold thread surrounded by five coloured clouds and bats holding auspicious symbols, with a band of running dragons inset half way along the sleeve and the horseshoe shaped cuff and neck edgings embroidered with writhing dragon’s, lively bats and clouds, the borders are edged with a rich brocade, the robe is lined with a blue silk damask, approximately 175cm cuff to cuff x 135cm high Provenance: From a private English Family collection, acquired before 1950 when found in the trunk of a military gentleman. 清道光 绛色八团金龙纹女龙袍 拍品来源：英国私人家族收藏，上世纪五十年代前发现于英国一位军官的卡车车厢内 This robe would have been worn by an Imperial Consort or a Princess, wife to a first or second rank Prince. Compare with a similarly constructed robe at the Palace Museum, Beijing, reference ID 故00049820 The 1759 regulations depict three main patterns worn by the female Royal Courtiers during the Qing dynasty 1644-1911. A full dragon robe jifu, a full dragon waistcoat chaogua and the eight-roundel robe long pao. The long pao had a pattern variation seen with or without the lishui design along the hemline. The Imperial Empress, Consort, Princess and wives of Manchu noble men were allowed to wear the third style long pao, an eight-roundel coat. Different coloured grounds distinguished the wearers from each other. Yellow was held for the Empress and Imperial first rank consorts. The second-degree Imperial consorts wore a shade of brown, incense or golden yellow. These other colours are all one of the five Imperial 'yellows' worn at court. The Castiglioni painting 1688-1766, in the Cleveland Museum (John L Severance Fund 1969-31) depicts the Emperor Qianlong with his wife and consorts, one wearing a ‘brown-incense’ eight roundel robe painted in 1736. Wives of the first and second rank Princes also wore a shade of brown. The Huangchao liqi tushi, 1759 regulations illustrate all the ranks; an illustrated plate of the Imperial yellow long pao example is housed in the British library archives. The elegant design shows these eight roundel robes are highlighted by the symmetry and balance of eight perfectly formed celestial worlds. In this example, eight five-clawed dragons (four full faced and four side facing) are embroidered with gold thread surrounded by five coloured clouds and bats holding auspicious symbols, bestowing ‘ten thousand fold’ of good fortune upon the wearer. The side facing dragons clasp the pearl of wisdom indicating Imperial power. A band of running dragons is inset half way along the sleeve and the horseshoe shaped cuff and neck edgings are embroidered with writhing dragon’s, lively bats and clouds on a deep blue silk ground. The borders are edged with a rich brocade often seen on Imperial garments. The robe is lined with a blue silk damask woven with peonies, a symbol of feminine beauty. Most Imperial women courtiers lived their life in the northern section or inner court of the Forbidden city, once raised to the rank of consort they never left the court, it was a life-long position. They had servants and riches and access to the Imperial embroidery workshops where they would commission their wardrobe. Garments were made of the highest quality and most exquisite silk cloth. The transition of colours between the 18th and 19th century changed with the introduction of new dyes available. The colour of 'brown-incense' became more a shade of aubergine. Occasionally green dyes were used. The tailoring and dye colours clearly place this robe into the first half of 19th century, before 1840. It is originally tailored still showing the classical shape used during the 18th century. The clasping of the pearl by the side facing dragons would place this robe in the order of high royalty an Imperial consort. See the full Castiglioni painting for colour guidance. See, Book Imperial Wardrobe by Gary Dickinson and Linda Wrigglesworth, Ten Speed Press ISBN number 1-870076-07-9. and Splendours of Chinas Forbidden City, Merrell ISBN 1 858942-03-9 which show a full images of Castiglioni portrait of Qianlong and his consorts, page 165. We are grateful to Linda Wrigglesworth for her assistance in cataloguing this lot.
Lot 466
Royal Worcester Superb Quality - Hand Painted Oviform Shaped ' Fruits ' Pot Pouri Vase with Cover. Fruits Still Life - Peaches and Berries on A Mossy Ground. Signed Thomas Lockyer. Date 1934 & Shape 1286. Stands 8 Inches - 20 cm High. 1st Quality & Mint Condition - Please See Photos. From a Ladies Private Collection.
Lot 34
Magna Graecia, Apulian, ca. 4th century BCE. A stunning red-figured skyphos with an impressive iconographic and decorative program. Side A features a winged Eros standing in composite profile and gazing into the mirror he holds in his right hand. The god of love is beautifully adorned with a beaded sash and thigh band, double wristlets, sandals, and a beaded headdress. Side B features a maiden donning a peplos with cascading drapery folds. She also holds a mirror in her right hand and a ribbon-adorned tympanum in her left. There is a filet to her lower left and a cask to her upper right. Below the handles are beautiful stylized palmettes and just below the rim on both sides is a stylish egg-and-dart band. Fine details are executed in fugitive white and yellow pigment. Size: 6.5" W handlespan x 4.25" H (16.5 cm x 10.8 cm)Perhaps the most exciting innovation in Greek vase painting was the red-figure technique, invented in Athens around 525 BCE and beloved by other artists of Magna Graecia. The red-figure technique allowed for much greater flexibility as opposed to the black-figure technique, for now the artist could use a soft, pliable brush rather than a rigid metal graver to delineate interior details, play with the thickness of the lines, as well as build up or dilute glazes to create chromatic effects. The painter would create figures by outlining them in the natural red of the vase, and then enrich these figural forms with black lines to suggest volume, at times perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail as we see in this example. Provenance: private Owen collection, Sussex County, New Jersey, USA, acquired in the 1990s from a US-based dealer Condition: One stable fissure from rim to shoulder beside one handle. Tiny nick above the mirror that Eros holds. Tiny nick to rim and two minute fissures below egg-and-dart beneath this and to the right of the maiden; possible repair below these, though very difficult to see. Otherwise, normal surface wear and surface deposits commensurate with age and imagery is still vivid. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146030
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