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Lot 113
Nine bottles of mixed wine, including : 2 x bottles Halsbacher Hammerstein Riesling Auslese, 1 x bottle Chal de Bordes-Quancard Bordeaux 1992, 2 x bottles Chateau Pontet-Fumet St Emilion Grand Cru 1996, 1 x bottle Chateau Carsin Cotes de Bordeaux 1993, 1 x bottle Chateau Rose D'Orion Montague Saint Emilion 1994, 1 x botle Gaston Dorle'and Demi-sec Vouvray 1999, 1 x bottle Genesis Vineyar Cordena Estate oak aged Chardonay 1998, all 75cl and 12 - 13% vol
Lot 127
Nine assorted bottles of wine, including : 1 x bottle of Alsace Grand Cru Furstenheim Gewurtztraminer 1996 , 2 x bottles of Valpolicella Ripasso 2011, 1 x bottle of Coteaux du Lafon Chaume domaine des Forges 2005, 1 x bottle of Chateau La Caussa de Saint-Croix-du-Mont 1993, 1 x bottle of Chateau Climens Sauterne Barsac 1991, 3 x bottles of Winzenheimer Rosenheck Riesling Auslese 1994, all 75cl and 9-12% vol
Lot 157
Fourteen bottles of assorted wine, including : 2 x bottles Eaglehawk Cabernet Merlot 2007, 2 x bottles Piat d'Or medium white (undated), 2 x bottles Pillastro Pugli 2005, 1 x bottle Nottage Hill Chardonnay 2006, 1 x bottle Peter Lehmann Semillion Chardonnay 2004, 1 x bottle Bourgogne Aligote Laboure-Roi 2004, 1 x bottle Barossa Shiraz Bin No 17 2008, 1 x bottle Bergsig Shiraz Rose 2005, 1 x bottle Errazuriz Wild Ferment Chardonnay 2001 and 1 x bottle Piat d'Or Fruity white, all 75cl 11-14% vol
Lot 157
West Africa, Nigeria, Yoruba, ca. 1960 CE. A wonderful beaded crown (ade) created for a Yoruba oba or king - of a classic conical form with a removeable bird finial atop, two attached kneeling female figures flanking a relief visage on one side, a third figure standing atop a flap on the opposite side, a beaded veil serving to cover the royal's visage, and additional beaded strands trimming the remainder. Most of the crown's body is covered with bands of repeating diamond motifs in shades of blue, brown, and pink. The upper point is adorned by horizontal strands of pink, blue, brown, yellow, and orange beads. Blue beads were particularly coveted, because the color could not be created from natural sources. In addition, this crown is lined with Ashoke cloth of wine, gold, and chocolate brown hues. Size: 13.5" W at widest point x 36" H including veil and trim (34.3 cm x 91.4 cm)See a similar beaded crown in the Brooklyn Museum collection - https://www.brooklynmuseum.org/opencollection/objects/4813. According to the curatorial team, "Worn by an oba, or king, this crown with its beaded veil serves to depersonalize the man and instead emphasizes his office. It also protects onlookers from the danger of casting their eyes directly upon the divine presence of the oba." Despite the fact that the Yoruba have a long history of glassmaking, the beads used to make this crown may have been imported from the British during the late 19th century. During this period, glass beads signified high status and substantial wealth. Such petite European "seed beads" were thought to be particularly special, due to their uniform size and wide variety of colors. Provenance: private Poos collection, Overland Park, Kansas, USA; purchased directly from the artist in 2010 - One of the largest privately held quilt and textile collections in the world, the Poos Collection has evolved over 50 years and through extensive travels to allow for original or point of source acquisition. The collection includes international textiles and garments with an emphasis on West African textiles such as adire, aso oke, kente, and ewe woven prestige cloths. Condition: Some missing beads and losses to singular strands around the periphery. Otherwise excellent. 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. #145888
Lot 159
Central Africa, Democratic Republic of Congo, Kuba, ca. 1960. A traditional Kuba dance skirt (Tcaka) handmade from raffia and hand-stitched with immense artistry, presenting wonderful tye dye passages as well as skillfully stitched geometric and curvilinear motifs as well as eyelet details. All is delineated in warm earth tones: chocolate brown, creamy beige, wine red, plum, and rose. Such cloths are usually created by Kuba men on a single heddle loom. Next they are embroidered and decorated by women. Kuba cloths are worn during ceremonial events, especially funerals; however, they are also found in tapestries and home furnishings. The abstract geometric patterns are symbolic of an individual's social and marital status, age, and/or personal attributes or character. Size: 150" L x 24" W (381 cm x 61 cm)There are several theories concerning the inspiration for Kuba style. One theory suggests that the designs in Kuba textiles are rooted in tribal scarification patterns. Another suggests that the motifs of Kuba textiles were modeled upon those found in crop patterns. Still another suggests that the source for their visual patterns came from divine intervention. The creation of these ceremonial wraps is a collaborative effort. Men are involved in all stages of preparing the fiber and executing the weaving. Women soften the textiles and apply the decoration. These coveted ceremonial textiles are worn during ritual dances and special occasions such as festivals, weddings, funerals, and initiation rites. Provenance: private Poos collection, Overland Park, Kansas, USA - One of the largest privately held quilt and textile collections in the world, the Poos Collection has evolved over 50 years and through extensive travels to allow for original or point of source acquisition. The collection includes international textiles and garments with an emphasis on West African textiles such as adire, aso oke, kente, and ewe woven prestige cloths. Condition: Some loosened fibers and a few areas of separation to seams. Only slight stains and minor fraying to areas of periphery consistent with use. 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. #145211
Lot 191
INNOCENT X: (1574-1655) Pope of the Roman Catholic Church 1644-55. He is regarded as one of the most politically shrewd Pontiffs of that era, increasing considerably the power of the Vatican. A very good L.S., `J.B. Card.lis Pamphilius´, one page, 4to, 9th April 1644, in Latin. The letter being a request from the Roman monastery of Santa Lucia in Selce, asking for a contribution of 1000 scudi in order to be able to attend the bills of the wine merchant and baker. Innocent´s response being that the monastery has to repay its debt. Innocent X would become Pope only five months after signing the present letter. Bearing to the front an attractive paper seal affixed in very fine condition. Small overall age wear, with very light foxing and small ink erosion to the lower part of the letter. Professional repair to the left edge small area of paper loss. G £1500-2000Innocent X was portrayed by Spanish painter Diego Velazquez on the masterpiece oil on canvas `Portrait of Pope Innocent X´, a portrait often considered by artists and art critics as the finest portrait ever created. The oil on canvas is housed in the Galleria Doria in Rome.
Lot 252
Hugh Birkett (1919-2002) Wine table, 1997 walnut hinged top enclosing wine storage, panelled sides and top signed and dated 48cm high, 53cm wide. Information: Made to a special commission for Geoffrey H.Alpe (1908-2008), former Managing Director of Parker Knoll. It is thought only two of this design were made, the first being sold at Mallams 2018 Design sale, lot 251. Provenance: Geoffrey H.Alpe; thence by descent.
Lot 509
A Chinese blue and white 'Magu' square bowl, Kangxi period (1662-1722), the sides rising from a short foot with canted corners, the exterior finely decorated in brilliant cobalt blue with scenes depicting Magu, the Goddess of Longevity, holding different auspicious items such as a jar of lingzhi fungus wine, a hoe and a fungus stem, travelling with her attendant and a lion in willow boats above frothing waves, underglaze blue 'crab' mark to base,11.7cm diameter and a Chinese blue and white bowl, Kangxi, painted with sixteen moulded vertical panels each with a flower stem, jue mark in underglaze blue within double circle, 19.5cm diameter (2) 清康熙 麻姑献寿图碗及花卉图碗 拍品来源：英国私人家族收藏 Provenance: From a private English collection formed by the current owners father circa 1960-1980. 'Please note: the square bowl is dated 'Daoguang period' not 'Kangxi'
Lot 698
A LATE REGENCY FLAMED MAHOGANY CELLARETTE / WINE COOLER IN THE MANNER OF GILLOWS with a moulded hinged top having a gadrooned leaf carved edge, revealing a leaded interior having 12 divisions. The panelled sides with leaf carved and reeded corners; standing on bun feet with under casters 71cm wide 52cm deep 45cm high.
Lot 606
A group of predominantly Victorian glass to include a pair of green decanters with handles, a pair of cranberry 'Jack in the Pulpit' vases, a pair of enamelled urn shaped vases, a similar Continental globular example with traces of marks to base, and a set of six wine glasses, also a Venetian glass scent bottle, height 27cm including stopper.Additional InformationOne ewer with chip to rim, other with small area of surface damage, all with extensive rubbing to gilt, further rubbing to enamels, general surface wear and manufacturing imperfections, please see additional images.
Lot 648
A Chinese porcelain wine ewer of hexagonal form painted in underglaze blue with panels featuring ladies and children in garden setting and further floral sprays throughout, with beaded detail to body and cover, unmarked, height 26cm (cover af).Additional InformationCover with hairline crack and chip to inner lip, further general wear throughout, manufacturing imperfections, some pitting, marks to glaze, etc.
Lot 1323A
MARTIN, HALL & CO; a Victorian hallmarked silver dessert fork, a further beaded example with a matching spoon, all London, a pair of Fiddle pattern tablespoons, Robert Wallis, London 1838, a smaller Georgian example, and a pair of sugar tongs, Samuel Hayne & Dudley Cater, London 1856, also a pair of electroplated spoons, a smaller example by Pearson Bros of Nottingham, and a chromed wine bottle cork, silver approx 11.5ozt (10).
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