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Lot 25
A Beautiful Overnight Spa Break for 2 at Ufford Park, Woodbridge, Suffolk Set in 120 acres of stunning historic parkland and surrounded by beautiful, peaceful countryside, Ufford Park Woodbridge Hotel, Golf and Spa is one of Suffolk’s best kept secrets. This wonderful overnight stay for two people includes a full English breakfast, a 3-course dinner, or afternoon tea. It includes access to the Spa, up to three hours in the Thermal Suite Spa, a 30-minute treatment and use of the indoor swimming pool and gym. All guests are offered free parking and free Wi-Fi throughout the hotel, and we also have two charging stations for drivers of electric or hybrid vehicles. T&C’s Apply Final bidder to redeem the Overnight Spa Break for 2 on a specified or mutually convenient date (subject to availability), as agreed with Ufford Park Woodbridge The auction lot is based on 2 people sharing a Classic Room Subject to related government guidelines Experience may not be resold or re-auctioned All allergies and dietary requirements to be notified in advance Donated by: Ufford Park https://www.uffordpark.co.uk/
Lot 544
AN AMERICAN SIX-PIECE SILVER SERVICE, S. KIRK & SON CO, BALTIMORE, CIRCA 1906the hot water urn, coffee pot, teapot, covered sugar bowl, creamer and wastebowl repoussed in conforming lush floral designs, the covers with petunia-form finials, all but the urn engraved on the underside with dedication Louise Dal Aldrich / June 14-1906 / from / Mother and Father; overall weight: 4.8 kg (154.8 ozt)a) a covered two-handled hot water urn of squat baluster form with scrolling handles, 1861-1868, the straight spout with handle modelled as a flower garland surmounted with an eagle, supported by four winged paws, marked with maker's mark S. Kirk & Son and 11OZ under base; height including cover: 36 cm (14 1/8 in.), weight: 2.2 kg (approximately 70.732 ozt)b) a covered coffee pot with hinged lid, circa 1906, with scrolling handle and S-form spout, marked with 925/1000 standard, maker's mark S. Kirk & Son Co., numeral 102, incised with 199, Go, slo, 3000; height including cover: 24 cm (9 1/2 in.), weight: 927.6 g (29.825 ozt)c) a covered teapot pot with hinged lid, marked with 925/1000 standard, maker's mark S. Kirk & Son Co., numeral 102, incised with 133, 2300, 503, 90; height: 14.5 cm (5 3/4 in.), weight: 420 g (14.8 ozt)d) a two-handled covered sugar bowl, marked with 925/1000 standard, maker's mark S. Kirk & Son Co., numeral 102, incised with 322, Ce, 035, 1605; height including cover: 12 cm (4 3/4 in.), weight: 498.8 g (16 ozt)e) a creamer, marked with 925/1000 standard, maker's mark S. Kirk & Son Co., numeral 102, incised with 536, 136, 5 Co, 1100; height: 10.5 cm (4 1/8 in.), weight: 348.8 g (11.2 ozt)f) a bowl, marked with 925/1000 standard, maker's mark S. Kirk & Son Co., numeral 102, incised with 123, Bf, 5 Ce, 10; weight: 383 g (12.3 ozt)CONDITIONThe silver tea-service set is in overall age appropriate condition. Overall tarnish is visible. The invory insulators have been removed and replaced on the hot water urn, teapot and coffeepot. Would benefit from a polish. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 16
A quantity of Susie Cooper ceramics including a printed bone china coffee set, a batchelor's tea set and other teaware CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request
Lot 254
A George VI silver four piece tea set, Sheffield 1938, with gadrooned rim and raised on ball feet, the teapot and hot water jug with ebonised handle and knop, teapot 27cm across, 45.5cm high, combined weight 61.92ozt, 1927g gross CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request
Lot 262
A George V silver five piece tea and coffee set, London 1926-1930, by The Goldsmiths and Silversmiths Company, comprised of a teapot, hot water jug, coffee pot, sugar bowl and cream jug, the teapot, hotwater jug and coffee pot with simulated wooden bakelite handles and knops, all raised on circular foot, combined weight 65.49ozt, 2037g gross CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request
Lot 41
A Royal Albert 'Old Country Roses' bone china tea service comprised of six each of tea cups, saucers, cake plates and small bowls, a three tier cake stand, a cake plate, a milk jug, a sugar bowl, a boxed set of six gilt metal Royal Albert teaspoons each mounted with an oval porcelain plaque and other similar loose cutlery including a cake slice, and a similarly decorated Royal Stafford teapot CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request
Lot 41
GROUP OF THREE EXPORT SILVER COFFEE SET QING DYNASTY, HONE WO, 19TH CENTURY comprising: two coffee pots, both raised on a tall splayed foot, inset with a spine-arched dragon as handle, the body decorated with a striking dragon in high relief, with mythical ferocious beast as the spout, the lid further topped with dragon, one in trophy-shaped, the other compressed; together with a similarly decorated vessel of tea service with lid perforated to one side, flanked with two spine-arched dragons, all hallmarked 'HONE WO', '90' and 'HW' (Dimensions: largest: 24cm high, total weight 1750g) (Qty: 3)(largest: 24cm high, total weight 1750g)Qty: (3)
Lot 218
GROUP OF THREE EXPORT SILVER TEA WARES QING DYNASTY, CHONG WO, HONG KONG, 19TH CENTURY comprising: one tea kettle on stand set with burner, the base hallmarked 'WH', '90' and a two-character '厚奉?' in Chinese, 32cm high on stand; one teapot, 25cm wide; and one lidded sugar container, 17cm wide; the bases of the teapot and sugar container hallmarked 'CHONG WO', 'HONG KONG', '90' and a two-character '昆和' in Chinese; each piece decorated with faux bamboo handles and relief designs of five-clawed dragon around the body (Dimensions: tallest: 32cm high, total weight 2257g) (Qty: 3)(tallest: 32cm high, total weight 2257g)Qty: (3)
Lot 258
Modern decorative ceramics including a Royal Crown Derby Cloisonne pattern tea set, graduated set of three Dubarry Limoges ashtrays, pair of Royal Worcester ashtrays for Thomas Goode, Japanese eggshell teaset red ground. (quantity) Condition Report: Generally fair to good condition- little use. Condition Report Disclaimer
Lot 100
A very fine and rare coconut reticulated pomander and cover18th centuryThe domed cover and pomander each deftly carved and pierced with a writhing central dragon amidst curling clouds, all within diaper pattern borders and a central key-fret border, the coconut of dark-chocolate tone. 6.2cm (2 1/2in) diam. (2).Footnotes:十八世紀 椰殼鏤雕龍紋香熏Provenance: J.C.Oswald (1857-1930) (label)Dilys Mary Eaton and thence by descent來源：J.C.Oswald（1857-1930）（標籤）Dilys Mary Eaton夫人舊藏，並由後人保存迄今John Charles Oswald (1857-1930) was a tea merchant. He arrived in Fuzhou, Fujian Province, in the late 1880s, having worked for a tea importer in London for thirteen years. Initially working for Odell & Co. as a clerk, he moved within a few years to Bathgate & Co. where he became manager and partner. Oswald combined his work for Bathgate & Co. with work for other firms, such as Fairhurst & Co. in the 1900s, and he was also Consul for the Netherlands from the 1890s and later Vice-Consul for Norway. Oswald was a keen amateur photographer and eight of his photograph albums are held at the School of Oriental & African Studies Archives.As has been pointed out by G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.256, the early Ming connoisseur Cao Zhao, lists coconut shell in the 'Rare Woods' section in his study of antiquity, Gegu Yaolun. Cao cites two southern provinces, Guangdong (which would have included also Hainan) and Guangxi, as well as Annam (modern day Vietnam) as the source of this material and mentions it being 'either painted or set in silver to make wine cups, wine pots, individual plates, wine ewers, and water ladles.' In a later, enlarged edition volume of 1462, he adds, 'the small ones are the most expensive and hard to come by'. See, P.David, Chinese Connoisseurship, the Ko Ku Yao Lun: The Essential Criteria of Antiquities, London, 1971, p.156. See also Tsang and Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.256, for a small carved coconut shell wine cup with a silver liner.See also a round box and cover of coconut shell, mid Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, p.96, no.88.For further information on this lot please visit Bonhams.com
Lot 101
A very rare large court painting of ladies playing chessYongzheng/QianlongInk and pigment on silk depicting two Court ladies playing weiqi within a bamboo grove, each of the ladies with finely arched eyebrows and delicately painted strands of hair under ornate headdresses, clad in elegant loose flowing robes with exquisitely detailed hems, the black and gilt weiqi boxes and covers decorated with dense foliate scroll, the top right with a large apocryphal seal 'Jing ji shan zhuang' seal, glazed and framed. Including the frame: 155cm (61in) wide x 99cm (39in) high.Footnotes:清雍正/乾隆 宮廷繪畫 仕女對弈圖 絹本設色 鏡框裝裱Provenance: a distinguished Italian private collection formed circa 1930s-1940s, and thence by descentThe important Italian collector lived and worked in Shanghai between 1932 and 1936, as representative of his Italian company and in 1937, following the Sino-Japanese war, he was transferred to Dalian in Southern Manchuria. After a brief period spent in Italy in 1938, he returned to Shanghai where he lived between 1941 and 1946 and formed the vast majority of his collection of Chinese Art.來源：意大利顯赫私人收藏，約二十世紀三十至四十年代入藏，並由後人保存迄今該重要意大利收藏家曾於1932至1936年作為某意大利公司代表在上海工作生活，1937年日本侵華戰爭爆發後遷往大連，1938年在意大利短暫停留後又回到上海，此番在上海居住的1941至1946年間，他獲得了其絕大部分中國藝術品收藏。The most notable feature of the present lot is the remarkable similarity of the faces of the ladies with those in Yongzheng's famous Screen of Twelve Beauties in the Palace Museum, Beijing. Compare the faces and hems of the ladies with those in the Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor (hereafter abbreviated as Screen of Twelve Beauties), by anonymous court artists in the Late Kangxi period, illustrated in China: the Three Emperors 1662-1795, London, 2005, pp.258-259, no.173. The uncanny similarity of the faces painted in realistic style with neat outlines and generous colour, follows the custom of depicting ladies of the Court as women of elegance and natural grace, and strongly points to the courtly origin of this painting. The present lot closely follows the composition of another Imperial painted album, the Yue man qing you tu (月曼清遊圖) by Chen Mei 陳枚 (active in the early Qianlong reign), in the Palace Museum, Beijing. Painted in 1738, the album depicts the life of concubines over twelve months. One of the album leaves shows ladies playing chess in the exact same posture and position as the present lot, but within an interior. Therefore, one can see that the depiction of court ladies followed set models and precedents by court masters, which the present lot also follows. By examining further the Screen of Twelve Beauties, we may understand too the background of the present lot. While the Yongzheng emperor was still a prince, he commissioned the set of paintings of twelve beauties for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An Imperial garden to the northwest of Beijing, the Summer Palace, was presented to the young prince in 1709 by his father, the Kangxi emperor. However, an item found in the archives of the Imperial Household Department notes that in the eighth lunar month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.Like the Screen of the Twelve Beauties, the present painting was also probably part of a larger screen or wall painting meant to decorate a palace. The apocryphal seal in the top right of the painting Jing ji shan zhuang (靜寄山莊), refers to an Imperial retreat in Panshan near Tianjin. Although the seal is apocryphal, it could refer to the original location where the present lot was from. Furthermore, like the Screen of the Twelve Beauties, the present lot was also at some point detached from a wall or screen and later cut into a more convenient and smaller section and re-mounted onto a different background. The format of the present lot is in keeping with 19th century practices of display; see for example J.Cahill, Pictures for Use and Pleasure: Vernacular Painting in High Qing China, 2010. The artist of this painting as well as the Screen of Twelve Beauties portrayed the imagined beauties enjoying traditional Han Chinese leisure activities such as playing chess or weiqi, sampling tea, watching butterflies, and reading, as well as showing them in quiet reflection. This view reflects the late Imperial Chinese model of femininity, where women could engage in the traditionally male 'Four Arts of the Scholar' (playing the guqin, calligraphy, painting, and chess) whilst still being refined, delicate and attractively feminine. See S.McCausland and Lizhong Ling, Telling Images of China: Narrative and Figure Paintings 15th-20th Century from the Shanghai Museum, London, 2010, pp.65-7. The Manchu rulers, seeking to define themselves as the proper heirs to the throne of China, could not have missed the support of female intellectuality that many found even within the conservative Confucian tradition. It would be tempting to suggest that the artist of the present lot also showcased the most popular costumes and hairstyles of Qing court women. However, it interesting to note that these ladies are dressed in the styles of the flourishing Chinese cultural centre of the Yangzi delta region, at a time when there were repeated Imperial efforts to block the growing Manchu tendency to take on Han Chinese folkways. The Qianlong emperor, like his predecessors an author of repeated prohibitions against Manchu adoption of Han dress - wrote that its appearance in one rendition of women attending the emperor was not to be taken seriously, dismissing it as 'painterly playfulness' (丹青遊戲); see J.Larsen, 'Women of the Imperial Household: Views of the Emperor's Consorts and their Female Attendants' in Proceedings of the Denver Museum of Natural History, no.15, November 1, 1998, p.24. One can surmise that the present lot and paintings like it, such as the Screen of Twelve Beauties and Yue man qing you tu, were following artistic conventions of the court rather than depicting the actual leisure garments of palace women. Indeed, one can argue that the present lot encapsulates a fantasy. Wu Hung presents evidence associating these paintings of imagined court ladies in Han dress with the feminised and sexualised landscape of China, now intimately known by the Manchu conquerors; see Wu Hung, 'Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber' in Ming and Qing Women and Literature, Stanf... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
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108795 item(s)/page