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Click here to subscribeA Victorian silver salver by Martin, Hall & Co, London 1890, of circular from with beaded and embossed border on three ball and claw feet, dual crests to centre depicting a dragon holding an axe and a speared hog within foliate wreaths and swags, inscription reading ?Presented to G.B.P. Spooner Hillingston Esqre. On the occasion of his marriage from the servants at Ferriby. Penzance. 6th June 1895?, 21cm wide, weight 11.32ozt
A Chinese jade pendant, Qing dynasty (1644-1911), of axe head form with a tube to the top, carved in the archaic style with a chilong among waves, the reverse with scrolls, 7cm longProvenance: The collection of David Widdicombe QC (1924-2019), purchased from Shanghai Antique & Curio Store on 24 March 1983;thence by descent. 清 玉雕斧形螭龙纹珮Condition report: General wear consistent with age.
A collection of four rare Chinese rank badges, Republic period, after 1911, of 'Yuan Shikai roundels', each embroidered with the symbols of sovereignty, including the fu surrounded by libation cups, fire, a constellation, a dragon, a mountain, a pheasant, an axe or a water weed, amongst clouds against a black satin ground, 20 to 21cm diameter, framed and glazed (4) After he became the first President of the Chinese Republic in 1912, Yuan Shikai had a desire to emulate the old Imperial ranking system. These roundels were made to be worn by officials during the traditional seasonal sacrifices he reinstated. The lower the status of the official, the fewer roundels on his robe, and the fewer traditional symbols of Imperial authority included in the roundel, with twelve being the highest number for roundels and symbols. For further examples of roundels of this type, displaying a varying numbers of symbols, see B Jackson and D Hughes, 'Ladder to the Clouds', Berkeley, 1999, pp. 286-9. Provenance: Two purchased from Christie's, New York, 19 Mar 2008, Lot 81.民国 补子 一组四件 Condition report: Did not examine outside of the frames. All with cocklings, loose or pulled threads, colours faded.Some details missing, stains. Frames with chips and scratches.
An antique mid 19th Century Victorian Gothic 8 day Skeleton clock of brass construction. Central pointed circular Roman numeral chapter ring with faceted hands. The open dial and sides revealing the inner workings with Fusee movement and single train. Striking on a bell to top with axe striker. Raised on scrolled brass feet supports. Set to a period glass dome. An impressive example complete with pendulum and key. Appears in working order, winds and chimes correctly. Glass dome in good condition also. Measures approx 45cm x 30cm x 17cm.
A group of various netsuke and inroThe second inro by a member of the Kajikawa family, the third inro by Haruyoshi, the third netsuke by Tatsumi Masaaki, Edo period (1615-1868), 17th to 19th centuryComprising: the first a black-lacquered four-case inro, details in takamaki-e and aogai, depicting a warrior on horseback giving chase to his foe, unsigned, 7.3cm (2 7/8in) high; the second a black-lacquered five-case inro, details in gold and coloured takamaki-e with insects among wind-blown grasses, signed Kajikawa saku, 8.4cm (3 5/16in) high; the third a gold-lacquered four-case inro in the form of a tied bundle of wood, a double-gourd and maple branch on one side, an axe and cherry blossom branch on the other, decorated in iro-e hiramaki-e, takamaki-e, and kirikane, signed in a rounded rectangular reserve Haruyoshi with a kao, 7.7cm (3in); the fourth an early gold-lacquered four-case inro, depicting a horse shown from behind, tethered to a pine tree, details in gold takamaki-e and kirikane, unsigned, 6.7cm (2 5/8in) high; the first netsuke in the form of a jingasa (war hat), the top lacquered black, decorated with two weapons, the underside polished wood, unsigned, 4cm (1 9/16in) diam.; the second netsuke in two sections, the roiro ground with gold togidashi maki-e and e-nashiji depicting moonlit grasses and flowers, 3.2cm (1¼in) high; the third netsuke of oval manju form, the roiro ground with nashiji, with a peony of gold hiramaki-e and an applied metal hanabishimon (flowery-diamond crest), signed Tatsumi Masaaki and a kao, 5.6cm (2¼in) long; the fourth netsuke a gold-lacquered Noh mask, possibly Otobide (Hornless Demon), unsigned, 4cm (1 9/16in); the fifth netsuke an octagonal manju of black persimmon and boxwood, inlaid with a pair of metal ducks, unsigned, 3.8cm (1½in) long. (9).Footnotes:Provenance:The second inro: purchased at Sotheby's, London, 1965.Edward Wrangham Collection, no.458.Purchased from these rooms, 15 May 2012, lot 236.For further information on this lot please visit Bonhams.com
Corgi Toys 456 ERF Dropside Lorry, lemon cab/chassis, metallic blue back, shaped spun wheels, in excellent original condition, a couple of tiny paint chips, plain/yellow blue cars box, with 456 labels, in good original condition, plus boxed 109 Pennyburn workman’s trailer (missing pick-axe, unboxed 100 drop side trailer, red/cream, 2 x Corgi Cargoes 1487 Milk churns & 1486 Marston brick load .(5 items)
* Roman Empire. Julius Caesar, AR Denarius, c.49-48 B.C. Military Mint Travelling With Caesar, Elephant trampling serpent to right, CAESAR in exergue. Rev: Emblems of the pontificate, ladle, sprinkler, axe, priest's hat. 17-19mm, 4.1g. VF, struck slightly right, a clear elephant with an attractive toneQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESThe depiction of an elephant trampling a serpent is thought to refer to Caesar’s victories in Gaul.
Miscellaneous copper and brass ware, to include ship's lanterns, kettle, miner's lamp, shell case, coaching horn, copper warming pan; together with three Bossons wall heads, resin figure of a dog, resin head of a dog, resin bookends, alabaster bookends, mantel clocks, barometers, flat iron, reproduction axe, etc Some wear, more extensive on some items, Bossons heads with chips and scratches, otherwise generally good
FIVE ARCHAIC JADE AND HARDSTONE CARVINGSNeolithic Period to Shang DynastyComprising a green and black jade axe blade, Neolithic period, 16.5cm (6 1/2in) long; two hardstone axe blades, Neolithic period, the largest 16cm (6 1/4in) long; a green and russet jade circular cong, Neolithic period, 9cm (3 1/2in) diam; and a serrated amber-toned jade bi disc, Neolithic period to Shang dynasty, 5cm (2in) wide.(5).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價新石器時代至商 玉斧、石斧、玉琮及玉璧 一組五件Provenance (the top right blade): Professor Max Loehr (1903-1988)J. J. Lally & Co., New York, 1993Sothebys' Paris, Early Chinese Jade and Hardstone Carvings Including The Collection Of Max Loehr, 15 December 2016, lot 22 (part lot)Published, Illustrated and Exhibited: J. J. Lally & Co., Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others, New York, 1993, no.11來源（右上石斧）：羅樾教授（1903-1988）舊藏紐約古董商J. J. Lally & Co.，1993年巴黎蘇富比，「中國古代玉及石器 - 包括羅樾珍藏」拍賣，2016年12月15日，拍品編號22（部分）展覽著錄：J. J. Lally & Co.，《Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others》，紐約，1993年，編號11Professor Max Loehr (1903-1988) was one of the most pre-eminent Western scholars of early Chinese art. His research embraced archaic jades, bronzes and classical Chinese paintings. Loehr was appointed curator of the Asian collections at the Museum für Völkerkunde in Munich in 1936, after obtaining his PhD in Far Eastern art at the University of Munich. In 1940, Loehr moved to Beijing and soon after was appointed director of the Sino-German Institute, where he remained until 1947 when he joined the faculty of Qinghua University until his return to Germany in 1949. During his time in China, Loehr put together a formidable collection of archaic jade and hardstone carvings, a slightly academic collecting area but one that linked to his interests and research in Chinese archaeology. In 1951, Loehr subsequently moved to the US, first accepting a professorship at the University of Michigan, and in 1960 becoming the first Abby Aldrich Rockefeller Professor and Curator of Oriental Art at the Fogg Museum at Harvard University until his retirement in 1974.Top left blade: Compare with a serpentine axe excavated from Sipo village in Lantian County, Xi'an, in 1986, illustrated in Fuxi Sun, Xi'an Wenwu Jinghua Yuqi, Xi'an, 2004, p.20. See also a further Liangzhu culture example illustrated in Shanghai Museum: Ancient Chinese Jade Gallery, Shanghai, 1998, p.7.Bottom left blade: Compare with a similar blade illustrated by Na Chih-Liang, Zhongguo Gu Yu Tushi, Taipei, 1990, pl.135B. Note also a blade illustrated in The Panlongcheng Site: Report of Archaeological Excavation from 1963–1994, vol.2, Beijing, 2001, pl.142, fig.2. See also a final example illustrated by A.Salmony, Archaic Chinese Jades from the Edward and Louise B. Sonnenschein Collection, Chicago, 1952, pl.XL11.1.For further information on this lot please visit Bonhams.com
Bronze South-India , 17th century Dimensions: Height 53 cm by 25 cm Weight: 10444 grams Hindu god Shiva in his form as Chandrashekhara, or Lord of the Crescent Moon. The figure has four arms, the upper two holding a battle axe and a prancing deer, the lower two making gestures of reassurance and teaching. The figure wears his hair piled high in the chignon of matted locks that identifies Shiva, with curling locks draping over his shoulders in the back. A crescent moon is just visible at the front of the chignon, pointing upward. The figure stands on a flaring lotus base with round holes pierced through the front and back to attach the sculpture to a litter or cart for transport during temple processions. Shiva Chandrashekhara is worshipped primarily in southern India, where he is often displayed with his consort, Parvati. The straight posture of this icon suggests that it was either worshipped without a consort image (couples often lean in toward one another) or that the consort image was cast and displayed somewhat separately. The battle axe and deer make reference to an episode in which Shiva was attacked by non-believers and he caught both the weapon they threw at him and the wild stag that they sent to attack him. The deer became one of his great devotees and it represents the gods role as Lord of Animals. Bronze icons were made for display and worship on shrine altars inside temples but were often displayed during temple processions as well, and were occasionally transported to different temple buildings on special occasions. Bronze casting reached an apex in India in the tenth century under the patronage of the Chola dynasty of Tamil Nadu. Although masterful bronzes were made in this area for several centuries thereafter, those made in the tenth century are particularly prized for their balance of organic and ornamental qualities. Provenance: From the estate of Ali A. Abssi (1934-2020) and Florence Hall Abssi ( 1919-2014) Founders of the Ishtar Gate Gallery in the prestigious Houston Galleria. They were world travelers and dealers of electic art, jewellery , antiquities, and gems. Their friends, acquaintances, and customers included people from all continents, including sheiks, prime minister, royals, business leader , politicians, and oil magnates.
Collection of silver jewellery including Norwegian enamel flower brooch by Jacob Tostrup, enamel terrier brooch by Kenart, Irish clover pendant, two Scottish axe brooches by H Wright & Son, marcasite bracelet and necklace and two other brooches, all stamped or hallmarked (7)Click here to view further images, condition reports, sale times & delivery costs for this lot.
PREDYNASTIC EGYPTIAN FLINT HAND AXE EGYPT, LATE MESOLITHIC, c. 7,000 - 6,000 B.C. flint, formed of a warm caramel stone, the cutting edge knapped to a point, marked with two inventory numbers in black ink "#507" and "59.300"(14cm long)Footnote: Provenance: Robert De Rustafjell (1876-1943), acquired in Thebes prior to 1909. Deaccessioned from The Heckscher Museum of Art, Long Island, NY. Private New Jersey collection. Published: De Rustafjaell, R., The Stone Age in Egypt: A Record of Recently Discovered Implements and Products of Handicraft of the Archaic Nilotic Races Inhabiting the Thebaid, New York, 1914. Object 505 (scan provided upon request)
A George III Irish silver fiddle and thread pattern fish slice, maker's mark obscured, Dublin 1812, 28cm (11in) long; and a William IV Irish fiddle pattern fish slice by Richard Garde, Dublin 1835, engraved with a crest, 31.5cm (12 1/4in) long, 256g (8.25 oz) grossThe crest of a demi lion rampant proper holding its paws a battle axe, used by numerous families including ANNESLEY, EVANSON, GRANDISON, HANBURY, HENN, STEWART.
MARGARET HALL; an oil 'Liverpool Customs House and Albert Dock 1841', a coastal scene of fishing village and harbour by the same hand, both framed, unattributed; a watercolour of a 19th century harbour with church and buildings in the background, sailing ships in the foreground, framed and glazed and Esterel Beauchamp; a signed print 'The Axe and Compass' (5).
Runnaford Pottery - A Will Young 'Widecombe Fair' figural group 'Bill Brewer Has His Fortune Told At Widecombe In The Moor', signed to the base, approximately 19 cm (h).Condition Report: Some areas of slight loss including the ear of the dog below the table, the cooking pot stirrer, the axe handle and the characters whittling knife otherwise no apparent damage.
Brett (Simon) Axe of God, number 6 of 40 portfolios, 12 wood-engravings by Brett, each titled, numbered and signed in pencil, with explanatory booklet in original wrappers loose in pocket at beginning, loose as issued in original cloth drop-back box, folio, n.p., 2013.⁂ A reflective series of engravings begun in 1984 and originally issued as single prints in editions of 60 from 1987 onwards. In 2013 a further 40 sets were issued as portfolios to accompany the artist's retrospective exhibition An Engraver's Progress: Simon Brett - Fifty Years of Wood Engraving at the Bankside Gallery London, Oxford and the Holburne Museum, Bath.
Group of pieces including a 19th Century beadwork oval box, 7.25cm x 6cm, a stone axe head with label 'Stone Axe from Ronda Spain. Date c 2000 BC', 9cm long, a Chinese jade and white metal letter opener, 16.5cm and a few other pieces Condition: at present, there is no condition report for this lot. This in no way indicates a good condition. Please contact the saleroom for a full condition report
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