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Click here to subscribeSale Item: LARGE ORIENTAL VASE-DAMAGED (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Sale Item: DECORIUM GLASS VASE & ORNAMENTAL GLASS BOWL Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Samain, AlbertLille, 1859 - Magny-les-Hameause, 1900SChuberformat: 25,5 x 18,5 x 3 cm"Aux flancs du vase", 1906. Buch mit Farbradierungen von Ch. Wittmann und Goldschnitt, in Orig.-Schuber. Herausgeber: Imprimé pour la Société du Livre d' Art, Paris.Signierter Meistereinband. Unikat. Blaues Leder mit akzentuiertem und geprägtem Rücken. Vorsatzseiten in Leder mit Seide und marmoriertem Papier.Privatsammlung, Baden-Württemberg.
Manguin, HenriParis, 1874 - Saint-Tropez, 1949100 x 81 cm, R."Vase vert et fleurs", 1928. Öl auf Leinwand. In Öl unten rechts signiert.Manguin, S. 295, Nr. 903.Atelier des Künstlers.Madame E. Druet, Paris.Privatsammlung, Frankreich, 1938 erworben.Privatsammlung, Baden-Württemberg.
‘There was something bewildering, yet interesting in the scene which lay before us’CARTER HOWARD: (1874-1939) British archaeologist and Egyptologist who discovered the intact tomb of Tutankhamun in November 1922. An important typed manuscript, unsigned, with numerous corrections and annotations in Carter's hand, in pencil and ink, ten pages, 4to, n.p., n.d. (1933), being the working manuscript of chapter three ('The Annexe') of Volume III of Carter's work The Tomb of Tutankhamun (1933). The manuscript explains the thrilling moment in which Carter's party enters the crucial section of Tutankhamun's tomb, in part, 'Strange and beautiful objects call for wonder and praise, conjecture and fair words - but are they not all signs of the thought and progress of the Age to which they belong?......In contrast to the comparative order and harmony of the contents of the Innermost Recess, we find in this last chamber - the Annexe - a jumble of every kind of funerary chattel, tumbled any way one upon the other, almost defying description. Bedsteads, chairs, stools, footstools, hassocks, game-boards, baskets of fruits, every kind of alabaster vessel and pottery wine-jars, boxes of funerary figures, toys, shields, bows and arrows, and other missles (sic) all turned topsy-turvy. Caskets thrown over, their contents spilled: in fact, everything in confusion……To exaggerate the confusion that existed would be difficult. It was but an illustration of both drama and tragedy…..Two days of somewhat strenuous work had to be spent in clearing the way to the little doorway…..The southern end of the Antechamber, where the doorway is situated, was occupied by a number of large roof sections of the dismantled sepulchral shrines that had shielded the sarcophagus……The doorway of this Annexe, only 51 inches high, and 37 inches broad, had been blocked up with rough stones and plastered over on the outside. The plaster while still wet had received numerous impressions of five different sepulchral-seals of the king…..The history of this little room may have been unfortunate, but never the less romantic. There was something bewildering, yet interesting in the scene which lay before us. The incongruous medley of material jostled in wanton callousness and mischief concealed, no doubt, a strange story if it could be disclosed. Our powerful electric lamp threw a strong mass of light upon its crowded contents…..The blaze of light illuminated strange objects…..Here a vase and there a tiny figure gazing at one with forlorn expression. There were weapons of various kinds…..a boat of alabaster, a lion, and a figure of a bleating ibex. Here a fan, there a sandal, a fragment of a robe, a glove! - keeping odd company with emblems of the living and of the dead. The scene, in fact, seemed almost as if contrived, with theatrical artifice, to produce a state of bewilderment upon the beholder. When one peers into a chamber arranged and sealed by pious hands of the long past, one is touched filled with an emotion: it seems as if the very nature of the place and objects enforce and hush the spectator into noiseless silent reverence. But here in this chamber, however, where nothing but confusion prevailed, the sobering realization of a prodigious task that lay before one, took the place of that emotion……..Tradition holds that in burial custom each article belonging to tomb equipment has it prescribed place in the tomb. However, experience has shown, that no matter how true the governing conventions may be, seldom have they been strictly carried out……The foregoing are but Such were the general facts and impressions gathered during this final part of our investigations in the tomb……Nothing can ever change the fact that we have undoubtedly found evidence in this tomb of extreme felicity mingled with want of order and eventual dishonour. This hypogeum, though it did not wholy (sic) share the fate of its mightier and kindred mausoleums, it was nevertheless robbed, twice robbed, in Pharaonic times……I am also of the belief that both robberies took place within a few years after the burial. Facts such as the transfer of Akh-en-Aten's mummy, from its original tomb at El Amarna to its rock-cut cell at Thebes, apparently within the period Reign of Tut.ankh.Amen……throw considerable light upon the state of affairs in the royal necropoli at that Age……In any case the evidence afforded by those two burials and by this tomb, prove how the royal tombs suffered even within their own Dynasty. The wonder is how it came about that this burial, with all its riches, escaped the eventual fate of the twenty-seven others in the Valley'. Three of the pages feature relatively lengthy holograph additions to the text and to the verso of the ninth page Carter has drawn two pencil sketches of tomb complexes. An exceptional manuscript. Some light overall age wear and two file holes to the left edge of each page, causing a few small tears and paper loss, none of which affect the text. About VGCarter's drawings of the tomb complex were published in The Tomb of Tutankhamun (KV 62) : Supplementary Notes, (The Burial of Nefertiti? III) by Nicholas Reeves, the British Egyptologist, as part of the Amarna Royal Tombs Project, Valley of the Kings, Occasional Paper No. 5. In the article Reeves provides an explanation of Carter's drawings 'Although at first glance this sketch might appear to record Carter's ruminations on the location of additional chambers within KV 62, a moment's reflection will indicate that this is not the case. The typescript on the reverse of which this drawing was made almost certainly post-dates Carter's failed investigation of the left-hand side of room J's north wall-meaning that, by the time the sketch was made, Carter's hopes of KV 62 being a larger tomb were already in the past……[the] document is a casual attempt to illustrate, for persons unknown, how the Annexe and Treasury within KV 62-pictured in the centre of the sheet-relate to a full-sized royal tomb. The tomb Carter here chose as example, and sketched above KV 62, was WV 22 (Amenhotep III), drawing in neat dotted line the chambers present in that earlier tomb which were missing from the tomb he had found; obviously thrown in as an aside-as reflected in the sloppiness of the line-was Carter's acknowledgement of other chambers running off from the WV 22 burial chamber and of no particular relevance to what he was then attempting to describe.'
A pair of Royal Albert 'Old Country Roses' vases and covers, 24cm high, a similar mantel clock, a pair of candlesticks, a Franklin Mint 'Vase of the Imperial Cats', a Bradford Editions 'Concorde' decanter and four tumblers, a pair of Edinburgh Crystal brandy glasses, (boxed) and other ceramics and glassware.
λA mixed lot of silver items, various dates and makers, comprising: a Victorian travelling chalice/beaker, by Joseph Willmore, Birmingham 1839, a goblet, a trophy cup, two small waiters, a punch ladle, a hand mirror, two brushes, a cigarette case, three mustard pots, (one a.f), a pair of salt cellars, three napkin rings, a bonbon dish, a small mug, a vase, a pair of salt cellars, a vesta case, a filigree dish, four table forks, three dessert forks, a butter knife, a pair of sugar tongs, seven teaspoons, a Russian spoon, various salt spoons and a watch, approx. weighable 68oz. (qty)
A Regimental electroplated tea pot, The 113th Infantry, by H. Atkin, oval bellied form, part-fluted decoration, scroll handle, engraved with the Regimental badge, length handle to spout 26cm, plus a regimental silver vase, the 128th Pioneers, by the Goldsmiths and Silversmiths Company, London 1913, tapering lobed circular form, engraved with the regimental badge, on a raised circular foot, height 14cm. (2) In 1903 the 13th Bombay Native Infantry was re-designated as the 113th Infantry. During World War I it was attached to 17 Indian Division during the Mesopotamia Campaign. On partition it was allocated to India. During World War I the 128 Pioneers defended the Suez Canal and in 1915 moved to Mesopotamia. After the war the Regiment became the 3rd 2 Bombay Pioneers and were disbanded in 1933.
A collection of foreign silver and metalware items, comprising: a mate bowl and straw, of baluster form, embossed foliate decoration, on three scroll feet, plus a Scandinavian caster of vase form, a pair of boxes modelled as seated birds, pull-off covers and a silver-mounted shell dish. (6)
A mixed lot, comprising silver items: a George II coffee pot, marks worn, probably by Thomas Whipham, London, tapering circular form, scroll handle, domed cover, engraved with a crest within foliate mantling, the reverse with a vacant cartouche within foliate mantling, on a circular foot, and a small vase, plus electroplated items: a punch bowl with six cups, one scroll handle a.f, a tazza, a candlestick, a coaster, a ewer, a pair of grape scissors, a paper knife, and a pair of sugar tongs, approx. weighable 17oz. (qty)
An early 19th century silver sugar vase and cover, marks worn, possibly JS four times, possibly Cape, urn form, with three stylised Kudu antelope heads, the raised pull-off cover with a cone finial, on a raised circular foot, height 29cm, approx. weight 41oz. For an illustration of a script JS mark described as ' a debatable Cape silver mark', see Heller, D., A History of Cape Silver 1700-1870, Cape Town 1949, Page 161.
A 19th century oak tripod table with a circular tilt-top, & on vase-turned centre column & three splay legs, 22” diameter x 27” high; an oak jardiniere stand with a square top, & on turned centre column, 10½” wide x 36” high; & a circular occasional table, 21½” diameter x 29¾” high.
A Royal Worcester Crown Ware vase, 1925, painted with an island, castle, birds and trees heightened in gilt, the interior in orange lustre over yellow, 24.5cm h, gilt printed mark and shape No CW 293 Good condition, a fine example of this relatively scarce and short-lived Worcester factory development
An art nouveau red and green cased and intaglio engraved glass vase, attributed to Stevens & Williams, the design attributed to Frederick Carder, early 20th c, 20cm h One or two pinhead sized grazes just visible under magnification on the pointed leaves of the flowers around the scalloped rim and further tiny flat chip on one of the scallops between the flowers
A pair of Art Nouveau Doulton ware vases with lustre borders, c1910, impressed and incised marks and initials and two and two pairs of contemporary Doulton ware vases (8) Art Nouveau vases in good condition. Tallest pair - on chipped. Vase with flared neck - neck damaged, the three other vases in good condition
A bronze bacchanal plaquette, 19th c, 12 x 16cm and miscellaneous other works of art and bygones, to include a Victorian vulcanite locket, spaced millefiori paperweight, miniature Bloor Derby bottle vase, painted with a landscape, leather wallet, etc Foot of Derby vase slightly chipped, most of the other items in good condition
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