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Lot 61
Franklin Mint, a boxed group of 1:24 & 1:16 scale Christmas models comprising of Ford Model T 2008 Christmas Truck complete with Gloves, Tool and Christmas Accessories, B11XA12 1940 Christmas Ford Pick-Up along with 2002 Christmas Truck "Franklins Toy Train Shop". Although not checked for completeness, conditions appear to be Good in generally Good outer boxes and Fair to Good inner polystyrene. These models may have been on display therefore may have smaller delicate pieces missing, broken off or loose. See photos. (3)
Lot 53
Franklin Mint, a boxed group of 1:24 scale Shelby Cobra models comprising of Cobra 427 S/C "Mistress OF Fire", Shelby Cobra "King Of The Cobras with Tool and Gloves along with 1966 Shelby Cobra 427 S/C in Blue with Gold stripes with Tool and Gloves. Although not checked for completeness, conditions appear to be Good in generally Good outer boxes and Fair to Good inner polystyrene. (One model does not come with box). These models may have been on display therefore may have smaller delicate pieces missing, broken off or loose. See photos. (3)
Lot 55
Franklin Mint, a boxed pair of 1:24 scale Corvette models comprising of Limited Edition (Corvette Racing series) 2009 Corvette GT1 Championship Edition Z06 in Black with Silver and Yellow detail stripes with Gloves and Tool along with 1970 Corvette in Red with Tool, Gloves and other accessories. Although not checked for completeness, conditions appear to be Good in generally Fair to Good outer boxes and Fair to Good inner polystyrene. These models may have been on display therefore may have smaller delicate pieces missing, broken off or loose. See photos. (2)
Lot 56
Franklin Mint, a boxed pair of 1:24 scale Corvette models comprising of B11WN72 1975 Corvette in Yellow with Black interior with Hood accessory along with Special Edition 50th Anniversary Corvette (Indy Pace Car) complete with Convertible Top accessory, Gloves and Tool. Although not checked for completeness, conditions appear to be Good in generally Fair outer boxes and Fair to Good inner polystyrene. These models may have been on display therefore may have smaller delicate pieces missing, broken off or loose. See photos. (2)
Lot 127
Beautiful color etching by Abstract artist Janine Cox who composed a burnt red central square that expands in shimmering gold, deep purples and blue colored shapes and areas. Black ink cursive writings are visible in the central field and multiple tool marks are scattered throughout the composition. Signature in pencil lower right: Janine Cox. Title in lower center: Meridian II. Numbered on lower left: 210/250. Housed in a gilded wood frame with a white mat and gold tone border. Frame size: 34"L x 40"H x 1.50"W. Sight size: 20.25"L x 27"H. Certificate of Authenticity included. Artist: Janine Cox (20th century)Issued: c. 1995Edition Number: 210 of 250 Condition: Age related wear.
Lot 582
Jim Dine (American, b. 1935). Etching, drypoint, and power-tool abrasion with hand coloring titled "Two Dark Robes" depicting the eponymous subject, 1991. Signed, dated, and numbered 6/18 along the lower left of the left print.Unframed, each; height: 27 1/2 in x width: 19 in. Framed; height: 36 3/4 in x width: 48 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 34
Omar El-Nagdi (Egypt, 1931-2019)Alif mixed media on canvas, framedsigned 'Omar El Nagdi' and dated '2008' (upper right), executed in 2008150 x 150cm (59 1/16 x 59 1/16in).Footnotes:Provenance:Property from the Artist's Estate'Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence'.Born in 1931 in Cairo, Omar El Nagdi's artistic trajectory is a testament to a deeply ingrained passion for exploring the union of cultural heritage with avant-garde artistry. While El Nagdi's oeuvre spans an array of styles and subjects, his hurrufieh compositions stand out as a distinguished chapter in his prolific career.Detaching from the conventional use of calligraphy, El Nagdi's works in this style liberate the Arabic letters from their primary linguistic function. Instead, they breathe and dance on the canvas, fusing together, intertwining, and morphing into emotive forms. They are at once recognizable as letters and abstract forms, urging the viewer to witness the script in an entirely new light.In this composition the first letter of the Arabic alphabet, Alif, is constantly repeated. In the intricate tapestry of Arabic calligraphy, the practice of repetitively inscribing individual letters bears a profound connection to the Sufi concept of Zikr (often spelled 'Dhikr'). Zikr, an essential component of Sufi spiritual practice, entails the repetitive invocation of divine names or religious phrases to cultivate inner mindfulness, presence, and an intimate connection with the Divine. Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence, where both strive to center the practitioner in a profound space of reflection and devotion.El Nagdi's signature application of vivid hues imbues depth and dynamism to the compositions. Every brushstroke, while revealing letters, also narrates tales of centuries-old heritage and contemporaneous sentiments. Omar El Nagdi's hurrufieh compositions challenge, elevate, and redefine the way viewers engage with calligraphy. No longer simply a medium for conveying messages, the letters in his works embody emotions, stories, and histories.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 40
Mohamed Melehi (Morocco, 1936-2020)Untitled (Wave) lacquer on panel, framed signed 'Melehi' and dated '2002' on the verso, executed in 2002120 x 107cm (47 1/4 x 42 1/8in).Footnotes:Provenance:Property from a private collection, Saudi Arabia'The wave is force, strength of sensuality; it is water, it is fire. If you look through traditional African art, there is always a wave, and I took the wave many years ago as my alphabetic tool. I use it the way I wish to, and I wander through it. You can see that; I am happy with it. By the way, I actually concentrated my studies more in sculpture than in painting. I consider myself a painter afterwards. As you can no doubt notice, my work is very sculptural. The wave is a source of tension and energy for the mind, and for the body as well; it creates movement.'- Mohammed MelehiThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 33
Omar El-Nagdi (Egypt, 1931-2019)Alef Lam Mim mixed media on canvassigned and dated '2008' (lower right), executed in 2008 180 x 180cm (70 7/8 x 70 7/8in).Footnotes:Provenance:Property from the Artist's EstateHurrufiyya – The Art of the Word'Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence''They deconstruct writing, exploit the letter and turn it into a lexical sign of calligraphy, tradition and cultural heritage. As the sign is purely aesthetic, and only linguistic in its cultural association, it opens hitherto untraveled avenues for interpretation, and attracts different audiences, yet still maintains a link to the respective artist's own culture... Hurufiyya artists do away with the signifying function of language. The characters become pure signs, and temporarily emptied of their referential meaning, they become available for new meanings.' - Christiane TreichlBonhams are proud to present five spectacular artworks that showcase Arab Modern artists experimentation with the aesthetic and conceptual dimensions of Arabic letterforms, a movement broadly defined as 'Hurufiyya'. The works showcased here demonstrate the variety, geographical breadth, and originality of a movement which breathed new life into the traditional craft of calligraphy and which found local forms of expression amongst diverse regions of the Arab world. The Hurufiyya movement was an aesthetic movement that emerged in the late twentieth century amongst Arabian and North African artists, who used their understanding of traditional Islamic calligraphy, within the precepts of modern art. By combining tradition and modernity, these artists worked towards developing a Pan-Arab visual language, which instilled a sense of national identity in their respective nation states, at a time when many of these states where shaking off colonial rule and asserting their independence.They adopted the same name as the Hurufi, an approach of Sufism which emerged in the late 14th–early 15th century. Art historian, Dagher, has described hurufiyya as the most important movement to emerge in the Arab art world in the 20th-century.The term, hurifiyya is derived from the Arabic term, harf which means letter (as in a letter of the alphabet). When the term is used to describe an contemporary art movement, it explicitly references a Medieval system of teaching involving political theology and lettrism. In this theology, letters were seen as primordial signifiers and manipulators of the cosmos. Thus, the term is charged with Sufi intellectual and esoteric meaning.Traditional hurufi art was bound by strict rules, which amongst other things, confined calligraphy to devotional works and prohibited the representation of humans in manuscripts. Practising calligraphers trained with a master for many years in order to learn both the technique and the rules governing calligraphy. Contemporary hurufiyya artists broke free from these rules, allowing Arabic letters to be deconstructed, altered and included in abstract artworks Alef, Lam, Mim Born in 1931 in Cairo, Omar El Nagdi's artistic trajectory is a testament to a deeply ingrained passion for exploring the union of cultural heritage with avant-garde artistry. While El Nagdi's oeuvre spans an array of styles and subjects, his hurrufieh compositions stand out as a distinguished chapter in his prolific career.Detaching from the conventional use of calligraphy, El Nagdi's works in this style liberate the Arabic letters from their primary linguistic function. Instead, they breathe and dance on the canvas, fusing together, intertwining, and morphing into emotive forms. They are at once recognizable as letters and abstract forms, urging the viewer to witness the script in an entirely new light.Alef, Lam, Mim is a particularly significant sequence of letters which appears regularly in the Quran. In the intricate tapestry of Arabic calligraphy, the practice of repetitively inscribing individual letters bears a profound connection to the Sufi concept of Zikr (often spelled 'Dhikr'). Zikr, an essential component of Sufi spiritual practice, entails the repetitive invocation of divine names or religious phrases to cultivate inner mindfulness, presence, and an intimate connection with the Divine. Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence, where both strive to center the practitioner in a profound space of reflection and devotion.El Nagdi's signature application of vivid hues imbues depth and dynamism to the compositions. Every brushstroke, while revealing letters, also narrates tales of centuries-old heritage and contemporaneous sentiments. Omar El Nagdi's hurrufieh compositions challenge, elevate, and redefine the way viewers engage with calligraphy. No longer simply a medium for conveying messages, the letters in his works embody emotions, stories, and histories.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 257
An 'Admiral' automatic wristwatch by Longines, the circular silvered dial with baton markers, day/date display at 3 and centre seconds hand, to a calibre 507 automatic movement numbered 50584443, the case stamped '18K 0,750' with Swiss gold marks, numbered 15713115 and 8341 1, dial, movement, winder and case signed, on an unassociated strap, case width 3.5cmAccompanied by copy service receipt issued by Babla's Jewellers, dated 14 October 2020 Light spotting, light dust residue and light surface wear to dial. Slight patchy discolouration to hands. Scuffs, scratches and chips/nicks to case, signatures to outer case back are worn, tool marks to case back. Minimal wear to glass. The movement currently runs but is untested for working order, which cannot be guaranteed. Length of case (from shoulder to shoulder) 4.1cm. Unassociated strap is worn.
Lot 227
An early 20th century 18ct gold hunter pocket watch, the white enamel dial with Roman numerals and subsidiary seconds dial, to a keyless wind movement, the case with Chester hallmark, dial and movement signed Russells Limited, 18 Church Street, Liverpool, movement and case numbered 67488, case diameter 5cmScuffs, light surface wear and occasional nicks/chips to dial. Surface wear to glass. Scuffs, scratches, dings and areas of pitting to case, cover closes fairly tightly with slight gapping. Tool marks to case sides. Patchy wear to marks, date letter is indistinct. The movement currently runs when wound but is untested for working order, which cannot be guaranteed. Gross weight approximately 86.8gm.
Lot 228
A late Victorian 18ct gold half hunter pocket watch, the white enamel dial with Roman numerals and subsidiary seconds dial, to a keyless wind movement signed Army & Navy Cooperative Society Ld, 117 Victoria Str., London, S.W., the case with blue enamel chapter ring, hallmarked for London 1887, with interior long service presentation inscription for the Metropolitan Police dated 1891, the dial, movement and case numbered 4259, accompanied by a belcher-link chain with clasp stamped '9C', suspending a T-bar and 9ct gold mounted bloodstone and carnelian swivel fob, initialled, watch case diameter 4.9cm, chain length 31cm (2)Watch only: surface wear, scuffs and nicks/chips to dial. Dings to base of case. between hinges. General surface wear, scuffs, scratches and chips/nicks to case, slight gapping to sides when cover/back are closed. Tool marks to case sides and back. Heavy wear to marks on top loop, thinning to top loop, remaining hallmarks are clearly struck. Patchy wear to case numbers. The movement currently runs when wound but is untested for working order, which cannot be guaranteed. Gross weight approximately 108.5gm.Gross weight of chain, t-bar and swivel fob combined approximately 20.2gm.
Lot 141
An Arts and Crafts vari gem-set brooch attributed to Dorrie Nossiter, designed as a wreath of vari-cut gemstones in shades of pink, blue, yellow and green, including tourmalines, interspersed with stylised leaves, beads and wirework tendrils, two colour mounted, unsigned, length 4.6cmGeneral surface wear throughout, with chips, nicks and scuffs to the gemstones and mount. Many of the gemstones contain natural inclusions such as fractures, fissures and minerals/crystals that are visible to the unaided eye, some of these inclusions surface-reaching. The mount is hand finished and has surface imperfections that are typical to a hand made piece, such as areas of pitting/porosity and tool marks, with patchy tarnishing/discolouration. The edges of the settings have patchy wear. The visor safety clasp is possibly later replaced but both the clasp and pin are currently functioning. The mount is untested for metal standard but may be a silver and gold or silver and gilt combination. Gross weight approximately 22gm.
Lot 332
FOUR SCOTTISH CARVED LIMEWOOD TABLEAU SCENES FROM TAM O'SHANTER, WORKSHOP OF THOMAS HALL TWEEDY CIRCA 1860 carved in high relief depicting Souter Johnnie and Tam O'Shanter conversing and drinking while the Miller and proprietress look on; Tam drunk outside the tavern preparing to ride into the night; the interior of the haunted church with witches and warlocks dancing while the Devil plays bagpipes and Tam watches at the window; and Tam spurring Meg across the Brig P'Doon as the creatures give chase and the witches pull Meg's tail off; each in a glazed mahogany caseDimensions:68cm wide, 41cm high, 18cm deepNote: Note: Based in Newcastle, Thomas Hall Tweedy (1816-1892) was a noted woodcarver working in England in the mid-nineteenth century. Tweedy was primarily a business man rather than a craftsman. It is recorded by his apprentice Ralph Hedley that he only saw him hold a tool once when he changed the figure of Miranda from a panel of the "Tempest" into a rock. However, he did have the gift of recognising skilled workmen and giving them employment thus enhancing his considerable reputation. A set of four carved tableaux from 'Tam O'Shanter' attributed to Tweedy are in the collection of the Robert Burns Museum, Ayrshire, and are stylistically very close to this set.
Lot 239
Small Selection Of 1908 Pattern Webbing Equipmentconsisting a 1915 dated, entrenching tool head by "Brades" ... Wooden handle for entrenching tool with steel top mount ... 1908 pattern, green blancoed bayonet frog ... Green blancoed waterbottle cradle marked "M.E.Co" dated 1919. 3 items. PAYMENT BY BANK TRANSFER ONLY
Lot 235
1937 Pattern Other Ranks Webbing Equipmentconsisting webbing belt .. 2 shoulder straps ... Bayonet frog ... Entrenching tool carrier. Steel head and wooden handle ... Pair of rectangular ammunition pouches ... Military hose respirator ... Pair of black ammunition boots. Various dates. PAYMENT BY BANK TRANSFER ONLY
Lot 6
Maqbool Fida Husain (1915-2011)Untitled (Ganesh Riding a Horse with the Sun) signed 'Husain' lower left and signed 'Husain' verso, circa early 1990sacrylic on paper board, framed58.8 x 90.4cm (23 1/8 x 35 9/16in).Footnotes:ProvenanceProperty from a private collection, England. Acquired from the artist in the late 2000s.Untitled (Ganesh riding a horse with the sun) illustrates Husain's ability to fuse traditional Indian mythological themes with contemporary artistic expressions. In this painting, Husain presents Lord Ganesh, the elephant-headed deity, in a dynamic and unconventional form. Ganesh is traditionally depicted as a portly figure seated on a lotus, symbolizing wisdom and auspiciousness. However, Husain reimagines Ganesh in a novel and dynamic avatar, riding a powerful horse.The central figure of Lord Ganesh is portrayed with grace and vitality as he confidently guides the galloping horse beneath him. This amalgamation of two distinct elements, Ganesh and the horse creates a sense of harmony and unity, bridging the gap between tradition and contemporary interpretation.The presence of the sun held in Ganesh's hand adds a celestial and ethereal dimension to the composition. The sun a symbol of light, knowledge and life itself, is cradled by Ganesh's divine presence, signifying his role as a remover of obstacles and a source of enlightenment. Husain's use of bold, vibrant colours; bright yellow, primary blue, vermilion and brilliant green coupled with his dynamic brushwork infuses the painting with energy and movement. The background is awash in warm, cool and fiery hues of brown, blue and red creating a vivid contrast with the rosehip red and cool white of Ganesh and the horse. The two sets of vertical red lines and dot at either end of the composition are probably a variation on the tripundra or rudra-tilaka, an ornamental spot traditionally worn on the forehead by Shaivas, followers of the Lord Shiva. Husain has incorporated this into his painting and Lord Shiva appears to be protecting his son Lord Ganesh. The importance of Ganesh in Hinduism and horses in traditional art act as a tool for Husain to discuss the topic of the re-appropriation of cultural roots. The search for a national identity after India's independence in 1947 represents the perennial focus of Husain's art. The end of colonial rule left a hole in the national identity that artists, among others, tried to fill and shape with bringing back a past that was cast aside in favour of Western customs and traditions. Throughout his career Husain remained steadfast in his dedication to this. Perhaps this is the reassuring beauty of his art, the knowledge that regardless of the colours or technique used and the subject employed, Husain's love for his country and its history always prevailed.For further information on this lot please visit Bonhams.com
Lot 44
TURING (ALAN)JAHNKE (EUGENE) AND FRITZ EMDE. Funktionentafeln Mit Formeln Und Kurven, ALAN TURING'S COPY, SIGNED 'A.M. Turing' on front free endpaper, and with a short pencil note ('Π = 4π.7 in cms') in his hand on p.152, second revised edition, illustrations and diagrams in the text, publisher's cloth, lacks spine, some soiling (cup stain on upper cover), 8vo, Leipzig and Berlin, B.G. Teubner, 1933Footnotes:Turing's copy of Tables of Functions, published in 1933 whilst he was an undergraduate at King's College, Cambridge. This edition included a chapter on 'The Riemann Zeta-Function', about which Turing 'developed a life-long fascination. Though his research in this area was not a major thrust of his career, he did make a number of pioneering contributions. Most have now been superseded by later work, but one technique that he introduced is still a standard tool in the computational analysis of the zeta and related functions. It is known as Turing's method, and keeps his name alive in those areas' (D.A. Hejhal and A.M. Odlyzko. 'Alan Turing and the Riemann Zeta Function', 2011). On his return from Princeton to Cambridge in 1938 Turing had 'unusually for a mathematician... joined in Wittgenstein's classes, [and] unusually again he engineered a cogwheel machine to calculate the Riemann Zeta-function' (ODNB). A short bibliography of 'Useful books for the computer' is included at the end of Tables of Functions, and as Donald Bayley's note [see below] confirms, the book accompanied Turing to Hanslope Park where, during the war years, he worked with Bayley on the 'Delilah' project (see lot 45).Provenance: Alan Turing (1912-1954); Donald Bayley (1921-2020), manuscript note in his hand loosely inserted, 'This belonged to the famous AM Turing of Enigma fame. I saw it with his books when I first met him in Hanslope [Park] in 1944. I was much taken with the diagrams of complex functions - which I hadn't seen before. After his death Robin Gandy said I was to have any keepsake I wished (I'm not sure whether this was a bequest in AMT's will - Gandy was executor). Anyway, I asked for this. It should be kept for posterity D.B.... In this broken spine condition he had used it a lot'. Bayley was an electronic engineer who collaborated with Alan Turing on Delilah a functioning portable speech-encryption system, during the Second World War; thence by descent to the present owner.Saleroom notices:Title pages and text are in both English and German.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 18
VOLTAIRE (FRANCOIS MARIE AROUET DE)Oeuvres complètes, 30 vol., engraved allegorical frontispiece by J.J. Flipart after H. Gravelot, 42 plates by De Launay, Duclos, Levasseur and others after Gravelot, 7 engraved portraits, 2 additional portraits pasted in, half-titles in vol. 1-12 and 19-30, contemporary polished calf gilt, single roll-tool border to sides, spines in 7 compartments within raised bands, red and dark green morocco lettering labels and volume number (without labels to volume 14, numeral missing to vol. 11, 15 and 17, 3 other labels with small loss), g.e., a few spine ends with small chips but generally bright [Cohen-de Ricci 1041-42; Ray 21], 4to, Geneva, 1768-1777Footnotes:Provenance: Henry Goulburn (1784-1856), bookplate. Having entered the Houses of Parliament in 1808, Goulburn was by 1810 under-secretary at the Home Office, under-secretary for war and colonies in 1812, and chancellor of the exchequer in 1828; by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 19
WALKER (GEORGE)The Costume of Yorkshire, FIRST EDITION, text in English and French, 41 hand-coloured aquatint plates by R. & D. Havell after G. Walker, contemporary red straight-grain morocco gilt, covers with wide roll-tool gilt border, with inner blind-stamped border and corner-pieces, g.e. [Abbey Life 432; Colas 3044; Tooley 498], folio (365 x 255mm.), Longman, Hurst, Rees [etc.], 1814Footnotes:Attractive red morocco-bound first edition of Walker's Costumes. Walker's fine plates depicting Yorkshire types include 'The Collier', showing a man working at Middleton Colliery in south Leeds, with Murray and Blenkinsop's newly invented steam engine in the background, 'the first English plates to show a steam engine' (Tooley). Other subjects include a horse dealer, cranberry girl, whalebone scrapers, woman spinning, stonebreakers, the alum works, leech finders, jockeys at York races, Sheffield cutler, Wensley Dale knitters, Moor guide, and several of local militias.Provenance: William Orme Foster (1814-1899), Apley Park bookplate. Foster, an iron master and Member of Parliament for South Staffordshire from 1857-1868, purchased the Apley Park estate near Bridgnorth in 1868; by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 14
PARRY (WILLIAM EDWARD)Journal of a Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific; Performed in the Years 1819-20, in His Majesty's Ships Hecla and Griper, FIRST EDITION, 14 engraved or aquatint plates, 6 engraved maps (some folding), errata slip pasted to final leaf of text, contemporary calf gilt, covers with 3-line gilt fillet and Greek-style roll tool border enclosing inner panel, spine tooled and lettered in 5 compartments within raised bands, joints weakened [Sabin 58860], 4to, John Murray, 1821Footnotes:Provenance: William Orme Foster (1814-1899), Apley Park bookplate. Foster, an iron master and Member of Parliament for South Staffordshire from 1857-1868, purchased the Apley Park estate near Bridgnorth in 1868; by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 133
A GOOD CHINESE ZITAN INCENSE TOOL VASE QING DYNASTYElegantly carved with a slightly tapering body with the cross-section of a five-petalled mallow flower, with the top as a series of overlapping petals, raised on five panel feet which extend down from the petals, the wood with an attractive grain, 12cm.Cf. Christie’s New York, 17th September 2010, for a closely related larger example but with six petals, from the collection of Philip Wood.清 紫檀香插
Lot 1
A SET OF THREE FINE CHINESE SPINACH-GREEN JADE ALTAR VESSELSQIANLONG 1736-95 Comprising: a tall tripod incense burner and cover of archaic ding form with butterflies to the neck suspending loose rings and two upright handles formed as leaves, a slender gourd-shaped incense tool vase rising from a short flared foot to an inverted rim, and an oval box with a domed cover, each decorated in relief with stylised floral scrolls and sprays, the deep green stone of each vessel with black specks and dark inclusions, each item raised on an elaborate openwork gilt-bronze base, all supported on a unified wood stand carved and pierced with scrolls and ruyi motifs, 22.9cm max. (6) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The incense burner, vase and covered box together form a three-piece incense set, and each item has its own function. The covered box contains incense, usually as powder or in small cakes. The vase holds incense tools such as sticks and spoons, and the large tripod is for burning the incense. The incense burner would be placed in the centre with the vase to its left and the box to its right. One would open the box and then use the sticks to take out the incense and place it into the burner, which would already contain a layer of ash or sand. The incense would then be lit, and the spoon would be used to pull ash around the burning incense, allowing the burning to proceed at a slow pace. After the incense burning, the tools would be put back inside the vase and the incense burner would be covered with its lid. The gourd-shaped vase and round box both have ceramic prototypes, but their decoration shows influences from the Islamic world. The dominant motifs are floral patterns: lotus, poppy, lily, and acanthus leaf, which are also popular on Mughal jades. As in other societies, burning incense is an important part of worship in traditional China. It is performed regularly in front of ancestral tablets and portraits, as well as to Buddhist or Daoist images. In addition to the religious meaning, burning incense also has many health benefits. In the Ming and Qing periods, burning incense became almost a daily activity in royal and scholar-official households. The elaborate design and the very high quality material all suggest that the incense set was likely commissioned by the Imperial Palace, possibly by the Qianlong Emperor who is known to have admired Mughal jades so much that he ordered his court artisans to copy them. Cf. The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.83-84, no.71 for another Qianlong period altar set in spinach-green jade; see also p.82, no.70 for a related white jade set. 清乾隆 碧玉雕爐瓶盒三事及底座來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。
Lot 260
A FINE MONOCULAR COMPOUND MICROSCOPE BY ANDREW ROSS, LONDON, CIRCA 1858heavily constructed in lacquered brass, signed on the back of the foot A. Ross, London and numbered 1810, bar limb supporting 8in. tube with triple nose piece assembly, substage condensing platform with concave/convex mirror, contained in a fitted case with double doors, with some accessories including, third nose piece, alternative eyepieces, pincers, and bulls-eye condenser on stand, -- 20¼in. (51.5cm.) high (assembled)Bonhams Lots Road, 13th March 1997, lot 101.Dr. Mill notes:The Ross company was founded in 1832 in Clerkenwell but by 1857 was based in Holborn. Andrew Ross was the top London optician of his day and worked in partnership with J J Lister (father of Lord Lister) to create a true scientific tool. The form of stand with a bar limb (Lister Limb) and splayed foot was widely copied. This form of his stand was produced in 1851 for the Great Exhibition where it won the top Gold Medal. The serial no 1810 dates it to 1858. After Andrew's death in that year, his son Thomas continued the microscope business which finally ended around 1900.The elaborate mahogany case contains signed and dated A. Ross objectives of 11/2",1",1/2",1/4"; there is also a Ross lens of 1/8" with a non-standard thread probably from the 1830s. The 1/2" and 1/4" lenses are equipped with correction collars. Invented by Ross these enable the lenses to be corrected for cover glass thickness There are 4 eyepieces, condenser, analyser & polariser, bullseye condenser, and several small accessories.
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34077 item(s)/page