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Lot 530
A Georgian Style Jacobite engraved tulip bowl wine or ale drinking glass engraved with six petal rose, open and closed rose buds, an oak leaf and the legend ' FIAT . The shaped bowl having large bulbous knop to the cylindrical stem with stepped circular foot. Measures approx; 16cm tall. No visible damage.
Lot 535
An antique 19th Century Georgian Regency period English mahogany wine cooler champagne ice bucket stand having an inset brass bucket with swing handle atop. The middle slatted section terminating to a baluster column over trefoil base raised on feet supports. Inlaid bands throughout. Measures approx 44cm x 35cm diameter.
Lot 571
An antique 19th Century English mahogany wine cooler champagne ice bucket stand having an inset brass bucket with swing handle atop. The middle section of tapered ribbed form terminating to a stepped circular base raised on ebonised ball feet supports. Measures approx; 40cm x 31cm without handle raised.
Lot 577
An antique 19th Century English mahogany wine cooler champagne ice bucket stand having an inset brass bucket with swing handle atop. The ogee middle slatted section terminating to a stepped circular base raised on ball feet supports. Inlaid bands throughout. Measures approx 44cm x 38cm diameter.
Lot 600
Δ Fabian Perez (Argentinian, b.1967) - Man At Bar With Red Wine - oil on canvas painting depicting a gentleman seated at a bar, looking out. His hat lays to one side, with a wine glass to his hand. Signed to the corner ' F. Perez ' in red. Set within an ebonised frame with decorative border. An incredible opportunity to own a Perez. Condition is fine. Measures approx; 71cm x 63cm total size. Provenance; purchased by the vendor in 2012 from Blue Dot Fine Art Ltd, Portishead, and is supplied with a Certificate / Receipt from them. Δ = ARR (Artist Resale Rights) will be applicable on this lot (see sale terms for full info)
Lot 68
A collection of three 18th / 19th Century wine drinking glasses comprising an 18th Century Georgian firing glass, an 18th Century plain stem ale glass along with a beautifully engraved Georgian style double series opaque twist wine glass. Good collection. Largest measures 15.5cm. No visible damage.
Lot 69
An antique 18th Century Georgian mahogany cellarette / cellaret of sarcophagus form having a stepped top lid with sloped sides. The hinged lid opening to reveal a fitted interior with wine or other bottle storage. The sides gently taper into the canted plinth base. Measures approx; 47cm x 67cm x 40cm.
Lot 768
A set of five 20th Century Bohemian champagne / wine drinking glasses in the manner of Moser having circular conical bowls, elegant faceted stems and raised on tapering circular foot. Each decorated with engraved flowers, leaves and geometric borders with gilded highlights. Measures approx; 13cm tall.
Lot 808
An antique early 20th Century Scottish two tone stoneware wine / whisky flagon barrel of typical form with content. The flagon itself being stamped / marked for Buchan & Co Portobello Scotland, Stamped for D A Rhind & Co, Leith & London, no 4509. Contents appears full. Measures approx; 38cm x 26cm.
Lot 76
CHEN CHUNYU (ACTIVE 19TH CENTURY)Orchid Pavilion, cyclically dated Wushen year (1848) Handscroll, ink and colours on silk depicting scholars amidst a mountainous landscape, cups flowing down a stream, colophon and seals of Hu Tong'en (active mid 19th Century) cyclically dated to the Jiayin year (1854) and seals. The calligraphy 95cm (37 1/2in) long x 21.5cm (8 1/2in) high; The landscape 131cm (51 1/2in) high x 21.5cm (8 1/2in) high.Footnotes:陳春雨 蘭亭修褉圖 一八四八年作 絹本設色 手卷Provenance: an English private collection來源：英國私人收藏Hu Tong'en 胡彤恩 (late Qing dynasty), studio name Wu'an (勿庵), was from Sanshui in Guangdong Province. Little is known of his life except that he became a jinshi degree holder during the Guangxu reign, and was an official in the Department of Criminal Justice.The literati gathering in Orchid Pavilion near Shanyin (present day Shaoxing) in 353 CE, became a symbolic event in literati cultural history, immortalised by the writings of the sage of calligraphy Wang Xizhi (303-361). Wang Xizhi wrote the canonical work of calligraphy 'Preface to Orchid Pavilion', for the poetry written by 42 literati engaged in a drinking contest. As the present lot shows, wine cups were floated down a small winding creak as the men sat along its banks; whenever a cup stopped, the man closest to the cup was required to empty it and write a poem. Apart from the calligraphy of Wang Xizhi, the event itself encapsulated an elegant and poetic lifestyle that generations of scholars forever after strove to emulate and represent in paintings such as the present lot. For an ink rubbing of a related scene of the Orchid Pavilion Gathering, see G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.28.For further information on this lot please visit Bonhams.com
Lot 19
A RARE TIBETAN-STYLE LACQUERED EWER AND COVER, DUOMUHU18th century The tall cylindrical body issuing a curved spout, divided into three sections by raised bands decorated with floral scrolls, finely decorated and the body with gilded designs of leafy branches and floral balls, all on a gilded speckled background, the circular cover with designs of blossoming lotus borne on meandering stem. 42.5cm (16 6/8in) high. (2).Footnotes:十八世紀 黑漆描金花葉紋多穆壺The duomuhu shape is derived from a Tibetan prototype known as the bey lep, which was used for storing milk tea in Lamaist monasteries. Towards the end of the 17th century, following the Kangxi emperor's renewal of interest in Tibet and Tibetan Buddhism, vessels featuring the duomu form appeared in metalwork and in porcelain; these were were usually decorated with enamels and used to store butter, milk and wine. See for example, a cloisonné enamel duomuhu ewer, 17th century, illustrated by H.Brinker and A.Lutz, Chinese Cloissone: The Pierre Uldry Collection, Zurich, 1989, pl.159.Compare with a related purple-lacquer milk pot with a gold-painted vine-and-lotus design, mid Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Qing Dynasty, Shanghai, 2006, p.182, no.135.For further information on this lot please visit Bonhams.com
Lot 25
A RARE TWELVE LEAF COROMANDEL LACQUER DOUBLE-SIDED SCREEN18th century Finely decorated on both sides with garden scenes depicting numerous Immortals and figures from Daoist folklore, one side with Laozi riding his ox, poets, fairies and mythical animals, the reverse with further mythical figures including the Queen Mother of the West, the Star Gods inspecting the Taiji Diagram and the birthday celebration for Guo Ziyi, a Tang dynasty hero, surrounded by arriving guests crossing the footbridge to approach the central pavilion where the hero is also entertained by dancers and musicians, in the courtyard groups of military and civilian officials waiting their turn to pay respects, surrounded by noble families, all below rectangular and circular reticulated panels set on diaper grounds, within a floral border interspersed with rectangular, fan-shaped and circular cartouches depicting further figures and flowers. Each leaf 292cm (115in) high x 54cm (21 1/4in) wide (12).Footnotes:十八世紀 款彩樓閣園遊圖十二開屏風Provenance: a US West Coast private collection來源：美國西岸私人收藏The term 'Coromandel lacquer' was originally coined for this type of Chinese lacquer by Europeans who mistakenly thought that it originated from the Indian Coromandel Coast, as a result of its passing through the trading ports whilst en route to the West. These screens were highly expensive and laborious to produce, and were intended for use by high-ranking officials, scholars and gentry who commissioned them to commemorate important events such as birthdays. The present lot contains numerous allusions to auspicious events in Chinese myth and legend, and would have been an appropriate birthday gift. One panel, for example, shows the Queen Mother of the West descending from the clouds on a phoenix. She presided over the mythical Orchard of Immortality, whose peaches could rejuvenate Immortals. In time, motifs of the Queen Mother of the West came to represent the wish for longevity.Another scene on the screen depicts a reception or banquet given by General Guo Ziyi (697-781), a celebrated figure who was credited with saving the Tang dynasty by putting down the An Shi rebellion. He was later made a prince and eventually deified in popular culture as a God of Wealth and Happiness. Depictions of Guo Ziyi and his numerous offspring celebrating his birthday were also frequently employed on screens of this kind. There is also a scene of the poet Tao Yuanming (AD 365-427) renowned for his love of wine and chrysanthemums which later, due to his poetry, became a symbol of rustic autumnal retirement. It is probable that the scenes on this screen derived from woodblock prints in popular novels. Several Coromandel lacquer screens decorated with similar scenes of palaces and processions, Kangxi, are illustrated by W.De Kesel and G.Dhont in Coromandel: Lacquer Screens, Gent, 2002, pp.40-44. See also further examples illustrated by M.Beurdeley, Le Mobilier Chinois: Le Guide du Connaiseur, Fribourg, pp.135-142.Compare also with a related twelve-leaf screen with palatial scenes, Kangxi, dated 1691, which was sold at Sotheby's London, 7 December 2016, lot 61.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 1
A VERY RARE ARCHAIC BRONZE RITUAL WINE VESSEL, GULate Shang DynastyThe tall vessel crisply cast with a flared mouth and pedestal foot, the central section decorated in relief with a band enclosing two taotie masks between narrow bowstring borders and two narrow bands of circles, the upper band below a further bowstring band, the foot cast with a pictogram within a shaped cartouche, the smooth mottled-green patina with scattered cuprite encrustations. 25.7cm (10in) high.Footnotes:商晚期 青銅饕餮紋觚The inscription reads 亞獏父丁 'Yamo fuding [made as sacrifice to] ancestor Fuding of Yamo family'Provenance: Liang Shangchun (active 1930-1940s)Arthur M. Sackler (1913-1987), New YorkStephen Junkunc III (d.1978), IllinoisChristie's New York, 21 September 1995, lot 294An important European private collectionPublished and Illustrated: Liang Shangchun, Yanku jijin tulu (Illustrated Catalogue of Archaic Bronzes in Yanku Collection), Beijing, 1944, fig.1.51R.W.Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Cambridge, 1987, p.303, fig.49.12The Institute of Archaeology, CASS, Yinzhou jinwen jicheng (A Compendium of the Shang and Zhou Bronze Inscriptions), Beijing, 1984-94, no.7231T.Wang and Y.Liu, A Selection of Early Chinese Bronzes with Inscriptions from Sotheby's and Christie's Sales, Shanghai, 2007, p.234Z.F. Wu, Shangzhou qingtong ji mingwen ji tuxiang jicheng (Corpus of Inscriptions and Images of Bronzes from the Shang & Zhou Dynasties, Shanghai, 2016, vol.24, p.131, pl.13217來源：梁上椿舊藏紐約亞瑟・M.賽克勒（1913-1987年）舊藏伊利諾伊州史蒂芬・瓊肯三世（1978年逝）舊藏紐約佳士得，1995年9月21日，拍品編號294歐洲重要私人收藏出版著錄：梁上椿，《巖窟吉金圖錄》，北京，1944年，圖版1.51R.W.Bagley，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，英國劍橋，1987年，頁303，圖版49.12中國社會科學院考古研究所，《殷周金文集成》，北京，1984-94年，編號7231汪濤，劉雨，《流散歐美殷周有銘青銅器集錄》，上海，2007年，頁234吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2016年，卷24，頁131，圖版13217Remarkable for its tall, elegant shape and complex high-relief decoration with leiwen spirals, this gu is an outstanding example of the late Shang dynasty.Gu vessels were used as sacrificial wine receptacles and were among the most important objects used in State rituals during the late Shang dynasty. Although reference to the name gu is frequently found in early ritual texts, it became associated with the present vessel type in the catalogues of antiquities produced by Song dynasty scholars (960-1279). The shape appears to have originated in pottery production of the Neolithic period, which came in various sizes and shapes. The bronze version, however, probably emerged in the Erligang period (c.1510-1460 BC) and became popular during the Yinxu period (1250-1192 BC), when it became an important component of ritual vessels. While gu vessels produced during the early phases of the Shang dynasty were short and stout, decorated with simple taotie designs merely suggested by eyes amidst linear decoration, the refinement of shape and ornamentation took place towards the later phases of the Shang dynasty, as bronze-casting technique gained in skill and experience. By the time that the Shang capital moved from Zhengzhou to Anyang in Henan Province, gu vessels depicted more detailed taotie designs, which were often complemented with new animal shapes. While retaining some early features of the Erligang phase of the Shang dynasty, notably the sturdy trumpet-shaped body, the finely-detailed and lively taotie masks depicted with bulging eyes on the frieze convey a distinctive sculptural appearance and point to a casting finesse more typical of the later phases of the Shang dynasty. A number of comparable examples of gu vessels dating to the late Shang period have been excavated in Henan, Shanxi, Hubei and Anhui Provinces. Compare with a related bronze gu vessel, 13th-11th century, displaying a similarly-shaped body and taotie decoration on the frieze, illustrated by Wang Tao, Chinese Bronzes from the Meiyintang Collection, London, 2009, p.39, no.13. See also another archaic bronze gu vessel, Late Shang Dynasty, from the collection of Mr and Mrs Kress, Finland, illustrated by P.K.M.Kwok, Dialogue with the Ancients. 100 Bronzes of the Shang, Zhou, and Han Dynasties. The Shen Zhai Collection, Singapore, 2018, pp.222-223, no.42C.another bronze gu vessel, 13th century BC, illustrated by R.Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington DC, 1987, pp.258-9, no.40. A related bronze gu vessel, late Shang dynasty, was sold at Christie's New York, 20 September 2010, lot 1472.觚，為盛酒之禮器，是商周宗廟祭祀的代表器之一。此種器型始見於新石器時代陶器，商早期二里崗上層出土了現存最早的青銅觚，至商晚期逐漸盛行，殷墟有大量出土。商早期的青銅觚矮而寬，紋飾簡單，之後器型不斷變細加高，頸部腹部逐漸收束，兩者直徑趨於一致，裝飾紋樣也益發繁複。本器侈口，長頸，中腹微鼓，圈足外撇，足底直緣。腹飾獸面紋，獸眼鼓脹凸出，上下飾連珠紋帶，是商晚期的典型器物。類似商晚期的例子於河南、山西、湖北和安徽等地多有出土。對比一件公元前十三至十一世紀青銅觚，器型及紋飾與本例相似，收錄於汪濤著，... For further information on this lot please visit Bonhams.com
Lot 15
A VERY RARE ARCHAIC BRONZE RITUAL WINE VESSEL AND COVER, YOUEarly Western Zhou Dynasty, 10th century BCThe vessel of oval section fitted with a pair of loops attached to the arched handle ending with animal-mask terminals, cast in shallow relief on each side with a pair of kui dragons confronting an animal mask, all reserved on a leiwen band between two rows of circles, the cover similarly decorated beneath a segmented finial, both the inner body and cover cast with an eight-character inscription reading Menge Shou zuo fuyi zunyi, the surface with light malachite and cuprite encrustations. 30cm (11 6/8in) high. (2).Footnotes:西周早期，公元前10世紀 青銅夔龍紋獸首提梁卣The inscription Douge Shou zuo fuyi zunyi 鬥戈 守作父乙尊彝 may be translated as 'Dou made this precious ritual vessel as a sacrifice for ancestor Father Yi'.Provenance: Major-General Sir Neill Malcolm (1869-1953), KCB, DSOCaptain Dugald Malcolm (1917-2000), CMG, CVO, TD Sotheby's London, The Malcolm Collection: Ancient Bronzes, 29 March 1977, lot 17Hartman Rare Art, New YorkChristie's London, 10 December 1990, lot 2Christie's New York, 18 September 1997, lot 324 An important European private collectionExhibited: Dartington Hall, Exhibition of Chinese Art, 9 July- 14 August 1949, Catalogue, no.1Oriental Ceramic Society, Exhibition of Early Chinese Bronzes, 1951, Catalogue, no.70Published: Dartington Hall, Chinese Art, 1949, Catalogue, no.1Oriental Ceramic Society, Exhibition of Early Chinese Bronzes, 1951, Catalogue, no.70Y. Liu and Y. Lu, Jinchu yinzhou jinwen jilu (Corpus of Recently Discovered Inscriptions from the Yin & Zhou Dynasties), vol.3, Beijing, 2002, pl.597, p.57T. Wang and Y. Liu, A selection of early Chinese bronzes with inscriptions from Sotheby's and Christie's sales, Shanghai, 2007, pl.146Z. F. Wu, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Corpus of Inscriptions and Images of Bronzes from the Shang & Zhou Dynasties), Shanghai, 2016, vol.24, p.131, pl.13217The Malcolm Collection of Chinese early bronzes, ceramics and works of art was one of the most important private collections of its type formed in England during the 1920s-1940s. As described by Captain Dugald Malcolm in the foreword to the 1977 Sotheby's catalogue, his father Sir Neill Malcolm first went to China in 1896. Starting from Leh in Kashmir, the journey to Beijing took seven months. His first purchases were made in Berlin in 1919 and then later when he served in Singapore (1921-1924). Between the First and Second World Wars he visited Beijing a number of times and made a few purchases, although the bulk of the collecting took place in London. Sir Neill Malcolm was a member of the Executive Committee of the 1935-1936 Exhibition at the Royal Academy and lent 16 pieces himself. Since 1953 and prior to being sold in 1977, the collection was on loan to London University, first to the Courtauld Institute and then at the Percival David Foundation, which made the collection available for study to scholars.來源：爵級司令勳章及傑出服務勳章获勋人Neill Malcolm少將（1869-1953年）舊藏聖米迦勒及聖喬治勳章三等勳爵士Dugald Malcolm上尉（1917-2000年）舊藏倫敦蘇富比，「Malcolm收藏中國青銅禮器」專場拍賣，1977年3月29日，拍品編號17紐約古董商Hartman Rare Art倫敦佳士得，1990年12月10日，拍品編號2紐約佳士得，1997年9月18日，拍品編號324歐洲重要私人收藏展覽記錄：Dartington Hall，「Exhibition of Chinese Art（中國藝術展）」，1949年7月9日-8月14日，《圖錄》，編號1倫敦東方陶瓷學會，「Exhibition of Early Chinese Bronzes（早期中國青銅器展）」，1951年，《圖錄》，編號70出版著錄：Dartington Hall，《中國藝術圖錄》，1949年，編號1倫敦東方陶瓷學會，《早期中國青銅器展圖錄》，1951年，，編號70劉雨，盧岩，《近出殷周金文集錄》，卷三，北京，2002年，頁57，圖版597汪濤，劉雨，《流散歐美殷周有銘青銅器集錄》，上海，2007年，圖版146吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2016年，卷24，頁131，圖版13217Malcolm氏的高古青銅器和陶瓷等中國藝術品收藏，乃是上世紀二十至四十年代英國最為重要的中國藝術私人鉅藏之一。如Dugald Malcolm上尉在1977年蘇富比專拍圖錄前言中所述，Neill Malcolm少將於1896年首次進入中國，但直至1919年才在柏林購入第一件藏品。其於1921至1924年在新加坡履職，一戰及二戰期間也曾多次造訪北京，購買古董，但其大部分收藏還是購自倫敦。1935至1936年，中國藝術國際博覽會於倫敦皇家藝術學院舉辦，Malcolm少將任執行委員會委員之一，並借展了所藏16件藏品。1953年Malcolm少將逝世後，其藏品先後出借於倫敦大學下屬的考陶爾德學院與大維德中國藝術基金會，供學者們研究學&... For further information on this lot please visit Bonhams.com
Lot 30
A RARE ARCHAIC BRONZE RITUAL VESSEL, ZHIEarly Western Zhou Dynasty, 11th/10th century BCThe elegant pear-shaped body flaring to a wide trumpet mouth, raised on a high spreading pedestal foot bound with a double bowstring, cast with a further bowstring below a band of eight zoomorphic crested birds centred with relief bovine heads featuring broad notched ears forming the handles, the interior cast with a two-character inscription, the surface with a glossy patina beneath bright green malachite, blue azurite and red cuprite encrustations. 21.6cm (8 1/2in) high.Footnotes:西周早期，公元前11至10世紀 青銅鳥紋觶Provenance: a Japanese private collectionSotheby's London, 18 November 1998, lot 803Sotheby's London, 14 November 2000, lot 2An important European private collectionPublished and Illustrated: Wang Tao and Liu Yu, A Selection of Ancient Chinese Bronzes with Inscriptions from Sotheby's and Christie's Sales, Shanghai, 2007, no.152 來源：日本私人收藏倫敦蘇富比，1998年11月18日，拍品編號803倫敦蘇富比，2000年11月14日，拍品編號2歐洲重要私人收藏出版著錄：汪濤，劉雨，《流散歐美殷周有銘青銅器集錄》，上海，2007年，編號152Zhi vesels such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their living offspring, which they could positively influence if provided with the correct necessities for their own afterlife; see J.Rawson, 'The Power of Images: The Model Universe of the First Emperor and Its Legacy', in Historical Research, no.75, 2002, pp.123-154.According to literature dating to the Song dynasty (960-1279), zhi vessels were ring-footed bronze cups. Compared with other forms of wine vessels the zhi form was a late arrival, probably first appearing in the Yinxu period (1250-1192 BC) but not yet common in Shang burials. By the early Western Zhou period the zhi was part of the regular wine vessel set, along with the jue and gu vessles, and its use appears to have continued after the disappearance of these latter forms; see Wang Tao, Chinese Bronzes from the Meiyintang Collection, London 2009, p.38.Zhi vessels appear to have been cast in two designs: the first type a slender cup similar to the gu beaker; the second form, such as the present example, a fairly low cup, oval in cross-section, with a concave neck and often a lid. The types seem to have co-existed throughout the late Shang and Western Zhou dynasties. The inscription on the vessel fu yi, meaning 'Father Yi', also appears on three bronze jue vessels, 10th/11th century BC, illustrated by N.Barnard and Cheung Kwong-Yue, Rubbings and Hand Copies of Bronze Inscriptions in Chinese, Japanese, European, American, and Australasian Collections, Taipei, 1978, vol.6, nos.937-939.Zhi vessels decorated with a single band of decoration, such as the present examples, appear to be rare. Compare with a bronze zhi vessel, 11th/10th century BC, in the Metropolitan Museum of Art, New York, acc.no.49.135.14. See also a related bronze zhi vessel, 11th/10th century BC, illustrated by J.Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Harvard MA, 1990, no. 101.Copare with a related archaic bronze ritual vessel and cover, zhi, which was sold at Bonhams Hong Kong, 24 November 2013, lot 571.本器侈口，束頸，梨形腹微鼓，圈足較高，足底外撇。頸部一周鳥紋飾帶，以中軸相對，首尾相連，兩側浮雕牛首為鈕，下再起弦紋一匝。圈足另飾弦紋兩匝，餘無他飾。器內鑄「父乙」銘文，應為宗廟內祭祀「父乙」而製。觶為酒器，其名早在先秦文獻中已有記載，用於定名此類器物則始於北宋《博古圖》，此後學界一直沿用。觶較觚、爵等其他類型的青銅酒器出現較晚，最早見於殷墟時期，但商代未見大量出土。西周早期開始流行，並逐步取代觚的地位，成為酒器基本組合的核心物品。參汪濤著，《玫茵堂藏中國銅器》，倫敦，2009年，頁38。青銅觶通常分為扁體和圓體兩類，商代和西周時期並存於世。圓體者形似侈口的小壺，較細較長，有些形制比例甚至與觚相似；扁體者則如本例，形狀為橢扁體，下腹鼓出。商晚期的扁體觶頸腹比例各異，西周早期則大多為寬頸垂腹式，呈現如本例腹部下垂較深的式樣。紐約大都會藝術博物館藏一件公元前十一至十世紀青銅觶，藏品編號49.135.14，與本例同樣在頸部飾鳥紋一周，可資比對。另參考一例公元前十一至十世紀青銅觶，見J.Rawson著，《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，麻省劍橋，1990年，編號101。一例西周青銅蕉葉紋觶，售於香港邦瀚斯，2013年11月24日，拍品編號571，可為... For further information on this lot please visit Bonhams.com
Lot 36
A RARE ARCHAIC BRONZE RITUAL WINE VESSEL AND COVER, HULate Spring and Autumn Period, late 6th-5th century BCThe slender pear-shaped body rising from a spreading foot, crisply cast in relief with four bands of S-scrolls with curled tips within plain borders, all below a band of upright flat-cast blades around the tall waisted neck, the shoulders set with a pair of taotie-mask loop handles suspending loose rings, each ring with a chain to a dragon-shaped handle, all under a light green encrustation. 36cm (14 1/8in) high. (2).Footnotes:春秋晚期，公元前六至五世紀晚期 青銅羽翅紋提梁鏈壺Provenance: an important European private collection來源：歐洲重要私人收藏According to the 'Rites of Zhou' Zhou Li, hu ritual vessels such as the present lot were used as wine containers during the performance of sacrificial ceremonies in Bronze Age China.Wine vessels were cast in a variety of designs. Vessels like the present example, set on a low ring foot patterned to resemble a twisted rope, with the lid attached to a long chain handle and four movable rings at the neck, have been mainly excavated from central and southern Chinese provinces including Henan, Hebei, Shandong, and Guangdong Province. These excavations have shown that actual ropes were passed between the rings around the neck and the corresponding ones on the lid, to hold the lid firmly in place while the vessel was being carried; see Wang Tao, Chinese Bronzes from the Meyingtang Collection, London, 2009, p.96; and J.So, Eastern Zhou Ritual Bronzes from the Arthur Sackler Collections, New York, 1995, vol.3, p.250.Compare with a related bronze hu vessel and cover, 4th century BC, of similar form and proportions but with an undecorated body, excavated from Qufu Xian M3 site in Shandong Province, illustrated by J.So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, New York, 1995, vol.3 p.277, fig.49.2. See also another bronze hu vessel and cover, 4th-3rd century BC, with flat-cast decorative bands and taotie-mask loose ring handles on the lower body, excavated in Jiangling Yutaishan, Hubei Province, illustrated in Ibid., p.287, fig.51.3.A very similar bronze ritual wine vessel and cover, hu, late Spring and Autumn period, late 6th-5th century BC, was sold at Christie's New York, 21 March 2014, lot 2023.長頸，口微侈，球形腹，圈足。蓋呈穹頂，上有雙環。肩部一對獸頭鋪首耳，上銜鍊和提梁。提梁扁圓，兩端飾獸首，與銅環套接而成的鏈相連。頸飾卷雲紋，肩上一周蕉葉蟬紋，腹飾四周羽翅紋。壺為酒器，形如本例的提梁鏈壺在中國中部及南部，包括河南、河北、山東、廣東等省份，皆有發現。考古出土的提梁鏈壺，提鏈大多穿過蓋頂銜環，使器蓋和器身連在一起，使用時不至缺失。參見汪濤著，《玫茵堂藏中國銅器》，倫敦，2009年， 頁96；及蘇芳淑著，《Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collections》，卷三，紐約，1995年，頁250。比較一例山東曲阜出土公元前四世紀青銅提梁鏈壺，形制類似本例，惟無紋飾，收錄於蘇芳淑著，《Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collections》，卷三，紐約，1995年，頁277，圖版49.2。另有一例湖北江陵雨台山出土公元前四至三世紀提梁鏈壺，下腹另有四隻鋪首銜環耳，出處同上，頁287，圖版51.3。一件春秋晚期，公元前六至五世紀晚期青銅提梁鏈壺，售於紐約佳士得，2014年3月21日，拍品編號2023，可資比對。For further information on this lot please visit Bonhams.com
Lot 45
A VERY RARE ARCHAIC BRONZE COPPER-INLAID WINE VESSEL, BIANHUWarring States PeriodThe vessel with flattened oval sides raised on a spreading rectangular pedestal foot, the main faces cast in relief with panels of tight abstract curling patterns arranged in five horizontal bands within copper-inlaid borders, the sides similarly decorated and applied with two taotie masks suspending a ring handle, all below a narrow band on the waisted neck and a copper band on the flared mouth, the body covered with light-green encrustation. 33cm (13in) high.Footnotes:戰國 青銅羽翅紋扁壺Provenance: J.J. Lally & Co., Oriental Art, New YorkAn important European private collectionPublished, Illustrated and Exhibited: J.J. Lally & Co., Oriental Art, Archaic Chinese Bronzes, Jades and Works of Art, New York, June 1994, no.56來源：紐約古董商J.J. Lally & Co., Oriental Art歐洲重要私人收藏展覽著錄：J.J. Lally & Co., Oriental Art，《Archaic Chinese Bronzes, Jades and Works of Art》，紐約，1994年六月，編號56Bianhu vessels first appeared as in the Warring States period (457-221 BC), when they formed an important part of religious and cultural rituals aimed at presenting food and drink offerings to the ancestors of powerful families. At the time, various social and political changes were bringing old rituals to an end. One such change was the increasing presence in China of nomadic peoples, and it is likely that the bianhu was inspired by practical vessels used for carrying water on horseback; see J.Rawson, 'Ordering the Exotic: Ritual Practices in the Late Western and Early Eastern Zhou', in Artibus Asiae, vol.73, no.1, 2013, pp.5-76.The intricate interlacing designs noted on the present vessel testify to a highly-developed method of mechanical production that appears to have become the norm during the Eastern Zhou dynasty. At this time, elaborate designs were produced using 'pattern blocks' made of clay, which were carved as the masters from which to impress strips of negative design to fill out the moulds. This method enabled the production of a large number of similarly-decorated vessels, probably intended to impress a socially-prominent audience. In a world of competing courts, conspicuous displays of every kind was the order of the day. For example, the lavish content of the tomb of Marquis Yi of Zeng, the ruler of a small state on the borders of the Chu kingdom, yielded spectacular wine hu containers, in addition to a magnificent set of sixty-five bronze bells; see Hubei Sheng Bowuguan, Zeng Hou Yi Mu, Beijing, 1989.A bronze bianhu, Warring States period, unearthed in 1977 from the tomb of King Cuo of the Zhongshan state, contained an alcoholic drink, further proving the function of this type of vessel at that time; see Liu Jiansheng, Warring States Treasures- Cultural Relics from the State of Zhongshan, Hebei Province, Hong Kong, 1999, p.44, no.7.The lack of a lid on the present example may be explained because many of these covers were originally made from perishable or fragile materials, such as wood or pottery. See a bianhu and cover, Warring States period, excavated in 1975 at Sanmenxia Shangcunling, Henan Province, now in the Henan Provincial Museum, Zhengzhou, illustrated in Zhongguo Wenwu Jinghua Dacidian, Qingtong juan, Shanghai, 1995, p.241, no.864. Compare with two very similar bronze bianhu vessels, Warring States period, late 4th-early 3rd century BC, in the Compton Verney collection, Warwickshire, acc.no.CVCSC 0218.1-2.A, and the example in Rijksmuseum, Amsterdam, illustrated in Asiatic Art in the Rijskmuseum Amsterdam, Amsterdam, 1985, p.38, no.10.A very similar copper-inlaid bronze ritual wine vessel, bianhu, Warring States period, was sold at Christie's New York, 24 March 2011, lot 1257.壺呈扁圓形，侈口，短頸，溜肩，長方形圈足。肩飾一對鋪首銜環耳。腹部以赤銅作五層長方形格欄，兩側六層，格內飾細密繁縟羽翅紋，紋飾層疊，繁而不亂。扁壺為酒器，約始見於戰國。一說其形制源於北方游牧民族盛水的皮囊，東周時期隨各民族文化交流而傳入中原。參見J.Rawson著，〈Ordering the Exotic: Ritual Practices in the Late Western and Early Eastern Zhou〉，收錄於《Artibus Asiae》，卷73，第一刊，2013年，頁5-76。中國北方少數民族白狄族鮮虞部在今河北省境內建立古中山國，其戰國時期王陵中曾見一件扁壺，出土時仍有半壺酒液，進一步佐證了此類扁壺的用途。見《戰國雄風——河北省中山國王墓文物展》，香港，1999年，頁44，編號7。部分扁壺最初使用時或配以木製或陶製壺蓋，這些材料易腐易碎，無法經歷漫長歲月而保存。如現藏於河南博物館、1975年於河南三門峽上村嶺出土一件青銅羽紋扁壺，形制紋飾皆似本例，且出土時同樣無蓋。見《中國文物精華大辭典·青銅卷》，上海，1995年，頁241，編號864。主體密集往復的浮雕裝飾，應使用模印法，即以印模在尚未全乾的陶胎上連續印製鑄成，是戰國時期青銅紋飾的典型例證。參考兩件極似本例的戰國時期青銅扁壺，分別藏於英國Compton Verney莊園博物館，館藏編號CVCSC 0218.1-2.A；及阿姆斯特丹荷蘭國立博物館A... For further information on this lot please visit Bonhams.com
Lot 54
A RARE PAIR OF ARCHAIC BRONZE RITUAL WINE VESSELS, HUWarring States PeriodEach vessel of pear-shaped body cast with three horizontal bands of interlocking and confronted dragons, divided by narrower bands decorated with stylised cicada and geometric designs, above a band of twisted-rope designs at the mouth, the neck set with two taotie masks suspending ring handles, the surface with a greyish-green patina with some areas of encrustation. 36cm (14 3/8in) high. (2).Footnotes:戰國 青銅蟠螭紋壺一對Provenance: Vanderven & Vanderven, LE 's-Hertogenbosch, n.180 (label)An important European private collection來源：荷蘭斯海爾托亨博斯古董商，Vanderven & Vanderven，n.180（標籤）歐洲重要私人收藏The present pair of hu vessels is a remarkable example of the creativity associated with Bronze Age design evolution, first developing in the Western Zhou period, after which ritual bronzes continued to become increasingly elaborate throughout the Eastern Zhou period.Bronze vessels hu served as wine containers during the performance of sacrificial ceremonies aimed at worshipping the ancestors. These elaborate vessels were reserved for the highest-ranking members of society and were thus powerful indicators of the power and wealth of their owner. Although hu vessels may have been in use since the Shang dynasty, they became popular during the Zhou dynasty, with many variants being produced at this time. The present vessel exhibits a dense sculptural decoration that is the direct result of the use of 'master decor stamps', also known as 'pattern blocks', which facilitated the mould-making process and brought about specialisation and mass production to meet the rapid commercialisation of the bronze industry. Hu vessels of similar shape to the present example, typically set on a low foot patterned to resemble a twisted rope, have been mainly excavated in Henan Province, in North China. See for example, a hu vessel, late 6th/5th century BC, excavated from an Eastern Zhou burial in Huixiang Zhaogu, Henan Province, illustrated by J.So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol.3, Washington DC, 1995, pp.248, fig.42.1.Compare with a similar bronze vessel hu, 5th century BC, in the Metropolitan Museum, New York, illustrated by D.Leidy, How to Read Chinese Ceramics, New York, 2015, p.22, fig.2.1. See also a similar bronze hu, Eastern Zhou dynasty, in the British Museum, London, no.1960.0724.1.A similar bronze ritual wine vessel, hu, late Warring States period, was sold at Christie's New York, 15 September 2011, lot 1129.壺侈口束頸，球形腹，圈足。肩部一對鋪首銜環耳。頸飾绹索紋一匝，腹部凸起四道變形蟬紋為界，其間飾三週蟠螭紋，繁密交纏。圈足各飾一周變形蟬紋。春秋及戰國時期，青銅器鑄造工藝大幅發展，紋飾風格也有別於商代的神秘奇詭和西周的質實典重，而愈加繁複綺麗。本例主體密集往復的浮雕裝飾，應使用模印法，即以印模在尚未全乾的陶胎上連續印製鑄成，是戰國時期青銅紋飾的典型例證。形似本例的青銅壺多見於中國北方如河南等省份，如河南輝縣趙固出土一件公元前六至五世紀青銅壺，收錄於蘇芳淑著，《Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collections》，卷三，華盛頓，1995年，頁248，圖版42.1。另可參考紐約大都會藝術博物館藏一件公元前五世紀青銅壺，與本例相似，見D.Leidy著，《How to Read Chinese Ceramics》，紐約，2015年，頁22，圖版2.1；以及倫敦大英博物館藏一件東周青銅壺，藏品編號1960.0724.1。一件戰國晚期青銅蟠虺紋壺，售於紐約佳士得，2011年9月15日，形制相仿，可資參考。For further information on this lot please visit Bonhams.com
Lot 70
A Mughal pale green jade ewer and coverIndia, 18th centuryThe pear-shaped body rising from a short foot, carved in low relief with sprays of blossoming flowers surrounded by meandering leaf stems beneath a band of pendent leaves, with similar designs repeated on the domed cover surrounding a lotus-bud-shaped finial, the body with an integral straight spout. 15cm (6in) long.Footnotes:十八世紀 青白玉雕痕都斯坦式蓋壺Provenance: an important European private collection來源：歐洲重要私人收藏This elegant jade wine ewer is of a rare but known form. The Mughal Empire in India (1526-1857) left a legacy of high-quality worked jades. The Qianlong emperor greatly admired the so-called 'Hindustan' jades, and in 1768, he wrote the Tianzhu wuyindu kaoe, a scholarly text on the geography of Hindustan and the derivation of its name. The area he identified was in what is today India, with the city of Agra at its centre. During the eighteenth century, this area was part of the Mughal Empire and thus the jades from this region are today often referred to as 'Mughal' jades. The decoration of the present vessel may have been inspired by Emperor Jahangir's visit to the beautiful flower-filled valleys of Kashmir in 1620, which prompted the introduction of a new style of drawing on botanical designs.Compare with a related jade ewer, 17th/18th century, in the collection of the National Palace Museum, Taipei, illustrated in Exquisite Beauty - Islamic Jades, Taipei, 2007, pl.96. A related white jade wine flask, India, 18th century, was sold at Christie's London, 8 October 2015, lot 143.痕都斯坦即指蒙兀兒帝國（1526-1857）；1768年，乾隆皇帝親自撰《天竺五印度考訛》一文，考證發音，定名「痕都斯坦」。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，並於十八世紀後期經新疆源源不斷貢入清廷，令乾隆皇帝讚歎不已。早期的伊斯蘭玉器造形多受金屬器、瓷器影響，本例細流纖長筆挺的造型或源於金屬器。器身的淺浮雕花葉紋，據說是受蒙兀兒帝國皇帝賈漢吉1620年造訪鮮花盛開的克什米爾峽谷後之啟發；以冷硬的玉料讚頌自然界蓬勃的生機，是為痕玉之獨特風格。台北國立故宮博物院一例清宮舊藏十七至十八世紀蒙兀兒帝國玉單柄壺，紋飾相仿，見鄧淑蘋著，《國色天香：伊斯蘭玉器》，台北，2007年，圖版96。 另對比一例印度十八世紀玉無柄壺，售於倫敦佳士得，2015年10月8日，拍品編號143。For further information on this lot please visit Bonhams.com
Lot 24
Y A late 19th century finely carved ivory seal as a skull above wine and grape decorated stem, probably French, blank seal matrix, 11.5cms high; and a bronze seal modelled as Father Time, 11.8cms high (2). Provenance: Berwick House, Shropshire Condition Report: Skull- will benefit from a clean- teeth missing may be original to manufacture, typical shrinkage cracks, Father time- lacking scythe- right hand rough and little finger with loss- screw hole to reverse of head. Condition Report Disclaimer
Lot 38
Late 18th/early 19th century drinking glasses including a dwarf ale glass, circa 1790, wrythen twist bowl, 12.8cms high; 4 similar wine glasses - slight height variances, small floral engraved wine glass, pair of cut jelly glasses (both with rim and foot damages) (8) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 39
Glass to include a George II wine glass, circa 1755, generous ogee bowl with hammered flutes on folded foot (foot cracked) 16.3cms high; another similar plainer; folded foot; two swizzle sticks and a small ladle; an amethyst double lip wine glass rinser, 10.5cms high; a George III glass with spiral bowl (8) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 42
Late 18th century wine glasses including an air twist wine glass with bell bowl, on shoulder knop stem, 17cms high (chip to foot); a Low Countries opaque-twist wine glass; an opaque twist wine glass with ogee bowl (chips to foot); an opaque twist wine glass with funnel bowl; an air twist wine glass with funnel bowl; a plain stemmed wine glass with bell bowl on folded foot (6) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 44
18th century wine glasses including an air twist ale glass, of drawn trumpet shape with hop spray, 17.5cms high (foot chipped); a near pair of air twist wine glasses of drawn trumpet shape (one foot repaired); an opaque twist wine glass with bell bowl on a double knopped stem (chip to foot) a pair of wine flutes on capstan stems (6) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 45
18th century drinking glasses including a plain drawn wine flute,15.8cms high (chipped); an opaque twist wine glass with ogee bowl (foot trimmed); a near pair of balustroid wine glasses with ogee bowls, swelling waist knops and folded feet; a plain stemmed cordial glass with floral border on folded foot (5) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 46
18th century wine glasses including a plain stemmed wine glass, with fruiting vine border on folded foot, 15cms high (rim chip); another with fruiting vine on folded foot (rim chip); a pair of hexagonal jelly glasses; a fluted jelly glass with everted rim; four wrythen moulded ale glasses (9) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 50
18th century wine glasses including an air twist wine glass of drawn trumpet shape, circa 1760, with scrolling floral foliage border possibly later, 16cms high (slight chip to foot; an air twist wine glass with pan topped bowl; an air twist wine glass with fruiting vine border; a Low Countries opaque twist wine glass (chips); an opaque twist wine glass with waisted bucket bowl (chip to foot); an opaque twist wine glass with honeycomb moulded ogee bowl (chip to foot); a Low Countries opaque twist wine glass (chip to foot); an air twist wine glass with funnel bowl; an air twist wine glass- on double knopped stem (chip to foot) (9) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 51
18th century wine glasses including five plain stemmed wine glasses, 4 with folded feet, tallest 17.2cms (one foot chipped; and four plain stemmed wine glasses with bell bowls on folded feet (9) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 52
Four 18th century glasses including an opaque twist ale flute,18cms high; an opaque twist wine glass with ogee bowl. (chip to foot); an opaque twist wine glass, funnel bowl with hammered flutes; an opaque twist wine glass, ogee bowl with everted rim (4) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 53
18th century wine glasses to include five plain stemmed wine glasses, with funnel bowls, four with folded feet, tallest 16.2cms high; and two wine glasses similar but with ogee bowls (7) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 54
Six 18th century wine glasses including a plain stemmed glass, with floral engraved ogee bowl, 16cms high; a plain stemmed wine glass with hatched border and hammered flutes; another with ogee bowl with hatched border; another with engraved rounded bowl; another with funnel bowl with hammered flutes on folded foot; and a small drawn plain stemmed wine glass with hammered flutes and folded foot (6) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 56
Mid-18th century wine glasses including a pair of air twist wine glasses with bell bowls, on shoulder knop stems (one with chips) two air twist wine glasses with bell bowls; an air twist wine glass with bell bowl, stem with applied vermicular collar (foot and rim repaired); an air twist wine glass with bell bowl (foot chipped); an air twist wine glass with bell bowl shoulder knop stem and folded foot; an air twist wine glass with bell bowl (8) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 58
Eight 18th century and later engraved small wine glasses, each with ogee bowl and folded foot, tallest 14.5cms (8) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- damages noted in catalogue text Condition Report Disclaimer
Lot 59
Assorted glasses to include early 19th century jelly glass, short ale and later wine glasses, tallest 17.2cms (11) Provenance: Berwick House, Shropshire Condition Report: All have wear to feet and surface as per age, handling use and cleaning- facetted ale glass with foot chip Condition Report Disclaimer
Lot 64
Glass including a mid/late 20th century clear glass part drinking glass service, red wine glasses 15cms high; Prince of Wales investiture glass by David Withams; 5 19th century miniature decanters with stoppers and other items of drinking glass (quantity) Condition Report: Generally good- modern service showing little sign of use- miniature decanters with some chips and discolouration as per age and use Condition Report Disclaimer
Lot 121
Elizabeth II silver wine coaster, London 1976, together with a Waterford Comeragh crystal glass wine decanter, 33cm high Condition: Wood is a little dry on the wine coaster, some nibbles to the glass stopper - **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 320
Mahogany wine table, 75cm high x 45cm diameter Condition: Most likely to have converted from a polescreen, would benefit from a clean, various chips, knocks and scratches present in various places across the whole piece, small signs of cracking to the base, please check the extra images provided prior to bidding which may show some condition issues - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 556
Light oak eight bottle wine rack, 77cm high x 56cm wide Condition: various knocks, chips and scratches to the woodwork in various places across the whole piece, stains and discolouration present, please check the extra images provided which may show some condition issues. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
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