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Lot 456
AN ELECTROPLATE FRAMED SHAVING MIRROR, ON ADAPTED RUSSIAN ELECTROPLATED BULBOUS BASE, 13 ½"" (34.3cm) HIGH, AN F.B ROGERS BUTTER DISH, with revolving cover and raised on four lion mask capped feet, A MODERN CIGARETTE CASE, COFFEE SPOON, MEDALLION, HOR D`OEUVRES STICK AND RUSSIAN CREAM JUG AND TWO HANDLE SUGAR BASIN
Lot 280
A pearl ring, Justa, centred with a pearl measuring 7,3mm, in 14ct gold; a Victorian double-sided locket, of circular form; a stick pin, highlighted with a gold-plated leaf terminal initialled ""M""; a hardstone and simulated pearl pendant necklace, drop-set with two mottled blue hardstones, highlighted with five oval simulated pearls, in 9ct gold; and a 9ct gold crucifix pendant, on a fine 9ct gold chain, 4g (5)
Lot 288
A George V ring, centred with an oval painted portrait, in 18ct gold, 8g; an open-ended gem-set bangle, terminating at each end with an oval stone, probably blue topaz, highlighted with a single-cut diamond, in 9ct white and yellow gold, 7,4g; a cigarette holder, the bakelite body mounted with a 9ct rose gold collar; an unmarked gold brooch, pin lacking, 2,5g; an unmarked gold Mizpah stick pin; a gold-plated stick pin, with horse-shoe terminal; an unmarked gold locket pendant frame; two unset cameos, one damaged; etc (13)
Lot 294
An Edwardian style emerald and diamond ring, set with five graduated round emeralds, highlighted with eight diamond chips, in unmarked 9ct gold; two 9ct gold stick pins, one terminating with a pearl, the other with a pearl-set horse-shoe motif; three pairs of 9ct gold earrings, studs; a pair of gold-plated pearl earrings; etc (13)
Lot 309
A 10ct gold tie clip, of textured form, highlighted with a pearl, 2g; a 15ct gold brooch, of scrolling form, centred with a pearl, 2,6g; a 9ct gold box-link chain, 2g; a 9ct gold bar brooch, highlighted with an amethyst, 1,6g; a pair of pearl earrings, with 9ct gold screw fittings; a gold-plated stick pin, terminating with a pearl; and a silver gilt cameo pendant/brooch, carved with the profile of a lady (8)
Lot 185
A Chinese ornamental jade Group, late Qing dynasty, carved in 18th century style with a vessel amongst leafy branches of Buddha`s finger citron with large and small fruits, and with a feng perched on a lingzhi, the head turned back and biting on a branch of peach, the stone of green-grey tone with russet speckling, one chip, 16.5cm, silver wire-inlaid hardwood stand (2) This scholar`s desk object may have originally had a cover on the vase - or it may have been intended as a brush pot. ?? ????????, Chip to one frond of a fruit tendril, a hairline inclusion running laterally through the base of the carving. Vessel probably lacking a cover. Brown discolouration. Some slight abrasions and some sharp edges. Stand has missing end section and large deposits of soft composition (possibly to stick jade to stand). Possibly some old repairs, but hard to tell.
Lot 302
A lacquered wood Incense Clock, early 19th century, in the form of a red-headed and red-tailed dragon, its black body printed and painted with figures in a garden, zinc lining, 74.5cm ?????? ?????????????, The zinc liner rim is all bent and undulating. 4 of the 7 incense stick rests are missing. Join where main body meets tail and neck of the dragon is split but structurally sound. The odd chip to the laquer especially to the edges.
Lot 369
A pair of bamboo Incense Stick Holders, Republic Period, 1924, each cylinder carved with figures in rocky landscapes and under trees, 30.5cm (2) ?? ????????????? ??:? ?? ?????????, One sun bleached and with 5cm split to the rear, the other with a small water mark and two small, fine splits to the rear.
Lot 56
Three rare Dehua blanc de chine miniature Incense-Stick Holders, late 17th century, each as a rider on horseback or on an elephant, chips to holders, 5.1 to 6.5cm (3) Numerous similar figures are illustrated by P J Donnelly, `Blanc de Chine`, 1969. ?????? ????????? ????, Figure on elephant missing spill holder. Both rims on other spills with chips.
Lot 57
A famille verte biscuit porcelain Dignitary, c.1680, holding a hu, and wearing a robe of complex embroidery, beard repaired and hat damaged, 24.5cm, and two Incense-Stick Holders, c.1700, in the form of scholars` rocks, one with a bird, the other a tree rat, and splashed in green, yellow and aubergine, chipped, 16.3 and 16cm (3) ????1680? ?????? ?????1700? ?????????, The dignitary - section of Huban restored and missing, left side facial whisker missing, decoration to crown of headdress missing. Incense stick holders - birds heads missing to one, both with some losses and chips
Lot 58
A pair of enamelled biscuit Buddhist Lion Incense-Stick Holders, Kangxi, c.1700, each on its haunches, one with a brocade ball, one with a pup, and coloured in runny aubergine, green and turquoise, on pierced high plinth, damage and restoration, 22.3 and 21cm (2) ????1700? ???????? ?? , Right hand lion - chip to top of one hair scroll, two fangs missing. Left hand lion - extensively restored throughout the upper half, front and rear. Ball broken and glued with some parts missing. Left paw claws chipped.
Lot 56
Three rare Dehua blanc de chine miniature Incense-Stick Holders, late 17th century, each as a rider on horseback or on an elephant, chips to holders, 5.1 to 6.5cm (3) Numerous similar figures are illustrated by P J Donnelly, `Blanc de Chine`, 1969. ?????? ????????? ????, Figure on elephant missing spill holder. Both rims on other spills with chips.
Lot 57
A famille verte biscuit porcelain Dignitary, c.1680, holding a hu, and wearing a robe of complex embroidery, beard repaired and hat damaged, 24.5cm, and two Incense-Stick Holders, c.1700, in the form of scholars` rocks, one with a bird, the other a tree rat, and splashed in green, yellow and aubergine, chipped, 16.3 and 16cm (3) ????1680? ?????? ?????1700? ?????????, The dignitary - section of Huban restored and missing, left side facial whisker missing, decoration to crown of headdress missing. Incense stick holders - birds heads missing to one, both with some losses and chips
Lot 185
A Chinese ornamental jade Group, late Qing dynasty, carved in 18th century style with a vessel amongst leafy branches of Buddha`s finger citron with large and small fruits, and with a feng perched on a lingzhi, the head turned back and biting on a branch of peach, the stone of green-grey tone with russet speckling, one chip, 16.5cm, silver wire-inlaid hardwood stand (2) This scholar`s desk object may have originally had a cover on the vase - or it may have been intended as a brush pot. ?? ????????, Chip to one frond of a fruit tendril, a hairline inclusion running laterally through the base of the carving. Vessel probably lacking a cover. Brown discolouration. Some slight abrasions and some sharp edges. Stand has missing end section and large deposits of soft composition (possibly to stick jade to stand). Possibly some old repairs, but hard to tell.
Lot 280
A pearl ring, Justa, centred with a pearl measuring 7,3mm, in 14ct gold; a Victorian double-sided locket, of circular form; a stick pin, highlighted with a gold-plated leaf terminal initialled ""M""; a hardstone and simulated pearl pendant necklace, drop-set with two mottled blue hardstones, highlighted with five oval simulated pearls, in 9ct gold; and a 9ct gold crucifix pendant, on a fine 9ct gold chain, 4g (5)
Lot 288
A George V ring, centred with an oval painted portrait, in 18ct gold, 8g; an open-ended gem-set bangle, terminating at each end with an oval stone, probably blue topaz, highlighted with a single-cut diamond, in 9ct white and yellow gold, 7,4g; a cigarette holder, the bakelite body mounted with a 9ct rose gold collar; an unmarked gold brooch, pin lacking, 2,5g; an unmarked gold Mizpah stick pin; a gold-plated stick pin, with horse-shoe terminal; an unmarked gold locket pendant frame; two unset cameos, one damaged; etc (13)
Lot 294
An Edwardian style emerald and diamond ring, set with five graduated round emeralds, highlighted with eight diamond chips, in unmarked 9ct gold; two 9ct gold stick pins, one terminating with a pearl, the other with a pearl-set horse-shoe motif; three pairs of 9ct gold earrings, studs; a pair of gold-plated pearl earrings; etc (13)
Lot 309
A 10ct gold tie clip, of textured form, highlighted with a pearl, 2g; a 15ct gold brooch, of scrolling form, centred with a pearl, 2,6g; a 9ct gold box-link chain, 2g; a 9ct gold bar brooch, highlighted with an amethyst, 1,6g; a pair of pearl earrings, with 9ct gold screw fittings; a gold-plated stick pin, terminating with a pearl; and a silver gilt cameo pendant/brooch, carved with the profile of a lady (8)
Lot 2056
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), BOATBUILDING - PORT SETON (1964) oil on board, signed 53cm x 76cm Framed Note: It is well established that John Bellany painted on hardboard or wood until 1969 and never thereafter. The transition to using canvas was ``a struggle`` for several months and his style of painting evolved into a more modern and overtly expressionist style. More precisely, the completion of his second triptych ``Homage To John Knox`` (1969) was the last time he used board. This very specific point in Bellany`s career is hugely significant as it defines his early body of work which is noted for meticulous handling of paint and glazes. His use of cool colours reflects the harsh and cold conditions of the fishing villages he grew up in. His early work often combines an element of realism with a sense of mystery and even hauntedness and his characteristic bland backgrounds from this period contrast strongly with his later work. The commercial and academic appreciation of Bellany`s pre 1969 ``on board`` work, whilst always strong, has increased since his sad death in 2013 and recent auction results reflect this with figures of £24.000 (hammer), £49,250 (premium) and £57,500 (premium) all being achieved in 2014 for pre 1969 examples of varying sizes. The respected art establishment figure Charles Booth-Clibborn of Paragon Press who knew John Bellany and commissioned work from him sold ``Boatbuilding, Port Seton`` to the current owner with a handwritten letter dating the work to 1964 (copy of letter accompanies this lot). This painting is one of two of the same fundamental scene. The other painting, a slightly larger 90cm x 120cm oil on board is in The Scottish Government Art Collection. There are a considerable number of differences between the two pictures but perhaps the most interesting being the small dark figure of a man wearing a hat and walking with a stick to the left of the bows of the two boats. We don`t know who this figure is but it`s possible that it`s John`s grandfather (who owned a boatbuilding yard). In the version belonging to The Scottish Government Art Collection, this same figure is now almost obscured by the bow of the rear boat. This may have strong symbolic meaning relating to the passing of time or indeed, the passing of whoever the figure might be. However, nothing was ``without significance`` with Bellany and the ``progression`` of this figure between the two paintings enables us to be very confident that the SGAC picture is a later version of the painting offered here.
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