RARE POTTERY BEAKER
WESTERN HAN DYNASTYRARE POTTERY BEAKER
WESTERN HAN DYNASTY ?? ????of tapering cylindrical form supported on a pedestal foot, two incised bands decorating the upper part of the body(1)18.7cm highProvenance: Blitz Chinese Ceramics & Works of Art, 25 Nov 2013, with a photocopied receipt.Dr. Kenneth P. Lawley's inventory number: Cer.155.Note: Pottery beakers of this form are after examples made of precious materials, such as jade, lacquer or precious metals. Two smaller polychrome pottery goblets, Western Han dynasty, of comparable form and with decoration mimicking vessels made of more precious materials such as lacquer or bronze, are in the Metropolitan Museum of Art, accession no. 1994.605.34.Stem cups of this form made of precious materials, such as jade, during the Western Han dynasty, were items of the highest prestige produced for the imperial house, local royalty and a privileged elite connected to these courts. Several jade beakers of this type during this period, have been discovered at some of the period’s most important residential and burial sites, and were in tombs placed in prominent positions. Observes Regina Krahl, in 'Vermillion Birds for Immortality', catalogue note for an extremely rare and important jade 'twin bird' stem cup, Western Han dynasty, sold at Sotheby's Hong Kong, 9 October 2020, lot 16. Despite the elaborate decoration, another related important and very rare early carved greyish-green jade beaker with gold and silver-decorated bronze mount, Western Han dynasty, note the similarity in shape, is illustrated in Giuseppe Eskenazi, 2012, A Dealer's Hand: The Chinese Art World Through the Eyes of Giuseppe, London: Scala Publishers Ltd, pl. 155, and sold at Christie's New York, 19 Sep 2006, lot 175. Excavated lacquered stem cups or beakers are rare. [1] Compare to a related pair of gold foil-embellished and painted-lacquer goblets with gold-inlaid bronze mounts, previously in Sir Joseph Hotong's collection, sold at Sotheby's Hong Kong, 9 Oct 2022, lot 168; For bronze examples, one Eastern Han dynasty, see the Metropolitan Museum of Art, accession no. SL.1.2017.17.8, one Warring States period, sold at Sotheby's New York, 17 September 2013, lot 9, and one Western Han dynasty, sold at Sotheby's Hong Kong, 28 July 2022, lot 3037. There are three grey gritty pottery cups, dated to the Warring States period, with comparable texture, colour and seemingly the quality of this lot, in the Heyuan Museum.[1] Hong Shi, 2020, 'Xihan yinjiuju yanjiu: yi qiqi wei zhongxin (shang)', Palace Museum Journal, 224(12), pg. 68-69.Please note this lot will be offered with no reserve. ???????
TWO FINE REGENCY GLOBES ON MAHOGANYTWO FINE REGENCY GLOBES ON MAHOGANY STANDS, BY WILLIAM AND THOMAS M. BARDINEach with a cartouche, Sir Joseph Banks, Bart K.B., President of the Royal Society, this New British Terrestrial Globe...1807; The Rev. Nevil. Maskelyne, D.D.F.R.S, Astronomer royal, This New British Celestial Globe ...c. 1800. The terrestrial globe containing all the latest discoveries and communications from the most correct and authentic observations and surveys to the year 1799 by Capt. Cook.. engraved from an accurate drawing by Mr. Arrowsmith, Geographer...W. & T. M. Bardin...Additions to 1807-1814. The New British celestial globe, containing the positions of nearly 6000 stars, clusters, nebulae, planetary nebulae & c., correctly laid down to the present period from the latest observations...W. 7 T. Ma. Bardin (c 1800. Each globe measures 18 inch in diameter).
Both on identical floor stands with compass', raised on brass casters. Fitted with brass meridian rings, the terrestrial globe with brass hour circle at the north pole. The horizon circles for both globes have engraved paper zodiacal rings with calendar.
Bardin's 18 inch globes were the largest produced by this distinguished firm, and were among the finest globes available in the period, introduced in 1798. New revised editions were published until at least the 1820s. All editions were offered with a choice of furniture styles, of which those with mahogany floor stands, such as these were the most luxurious. Paired examples of Bardin's 18 inch globes are almost never offered on the market, particularly with the original tripod stands. A similar pair can be seen at the Smithsonian Museum in Washington, D.C.
The geography of the terrestrial globe is up to date, and is largely taken from the work of Aaron Arrowsmith, the most accomplished mapmaker of the early 19th century. Arrowsmith's North American geography greatly influenced Lewis and Clark and Bardin shows the continent based on Arrowsmith on the eve of the publication of the discoveries of these great explorers. The discoveries of Hearne, Mackenzie, Cook and other great explorers of the preceding decades are also shown in detail. An excellent description of the celestial globe can be found in Dekker, taken from the example of the 1814 edition at the National Maritime Museum, Greenwich.
William Bardin and his son Thomas M. Bardin were important globe and instrument makers in the late 18th century. Both were professional cartographers and their globes show an elegance and style often lacking in their English competition.
42 x 24 in. diam.
Condition
The terrestrial globe with old restorations, minor staining and losses on the south pole. Minor losses and a repair to the horizon band. The celestial globe with minor age cracks on the north pole with minor restorations. Compass needles and paper in facsimile. Both with minor spotting and some oxidation to old color with expected wear and nicks to the feet with minor pitting to the brass meridians. Structurally sound.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
Advertising. Poster - Lockwood BreweryAdvertising. Poster - Lockwood Brewery Huddersfield Estd. 1795 Proprietors Bentley & Shaw Limited, c1900, lithograph in colour, printed by Sir Joseph Causton & Sons Ltd London, 71.5 x 97.5cm, contemporary oak frame and two enamel advertising signs - Brooke Bond Dividend Tea and (unsigned) pictorial beers, wines and spirits (3) More Information Poster with vertical stains from backboards and slightly creased, long undisturbed in frame with wooden backboards
Nine Canadian Historical BiographiesNine Canadian Historical Biographies C.P. Stacey
A VERY DOUBLE LIFE: THE PRIVATE WORLD OF MACKENZIE KING
Toronto, Macmillan of Canada, 1976
A.Y. Jackson
A PAINTER'S COUNTRY
Toronto, Clarke, Irwin & Co., 1963
Leon J. Ladner
THE LADNERS OF LADNER
(first edition, author signed presentation inscription)
Vancouver, Mitchell Press Ltd., 1972
Shirley E. Woods, Jr.
THE MOLSON SAGA, 1786-1986
presentation inscription signed by Eric H. Molson, numbered edition 107/1000
Toronto, Doubleday Canada Ltd., 1986
Robert Laird Bordon
LETTERS TO LIMBO
Toronto, University of Toronto Press, 1971
Emerson Bristol Biggar
ANECDOTAL LIFE OF SIR JOHN A. MACDONALD
Montreal, John Lovell & Son
Donald Creighton (two works)
JOHN A. MACDONALD: THE YOUNG POLITICIAN and THE OLD CHIEFTAIN
Toronto, Macmillan Company of Canada Ltd., 1952 & 1955
Sir Joseph Pope
MEMOIRS OF THE RIGHT HONOURABLE SIR JOHN ALEXANDER MACDONALD
Toronto, Oxford University Press, 1930
Sir Joseph Paxton (British, 1803-1865)Sir Joseph Paxton (British, 1803-1865) \"Botanicals\", suite of six hand-colored engravings, London, 1834, sight 9\" x 6\". Glazed, matted and presented in carved silvered wooden frames.
28 PC. LEATHER BOUND & EXPLORERS BOOK28 PC. LEATHER BOUND & EXPLORERS BOOK COLLECTION: Including but not limited to titles such as; Undaunted Courage, Harry S. Truman, Lewis & Clark, Sir Joseph Banks, Untamed Places, In Tuscany, Voyage in the Pandora, and many more. Largest Approx. 11.25'' h x 8.25'' l x 1.5'' w.
CONDITION: Gently used condition.
AFTER WILLIAM CURTIS AND SIR JOSEPHAFTER WILLIAM CURTIS AND SIR JOSEPH PAXTEN, TWO BOTANICAL LITHOGRAPHS, FRAME: 21-1/4 X 17 INAfter William Curtis and Sir Joseph Paxten, Two Botanical Lithographs, Frame: 21-1/4 x 17 in
RORY MCEWEN (SCOTTISH, 1932-1982) JAMESRORY MCEWEN (SCOTTISH, 1932-1982) JAMES WILD, SIR JOSEPH PAXTON AND ADONIS TULIPS WATERCOLOR AND GRAPHITE ON VELLUM: 15 3/4 X 10 3/4...RORY MCEWEN, (SCOTTISH, 1932-1982) JAMES WILD, SIR JOSEPH PAXTON and ADONIS TULIPS, Watercolor and graphite on vellum: 15 3/4 x 10 3/4 in. (sheet) Framed; lower right signed: Rory McEwan and verso inscribed "Started Cambridge Spring 1955/Finished (from notes) February 23 1962 at Marchmont/Tulips left to right facing picture (blooms)/James Wild/Sir Joseph Paxton/Adonis/All from Wakefield Tulip Growers Assoc. "I paint flowers as a way of getting as close as possible to what I perceive as the truth, my truth of the time in which I live" Rory McEwen
[TRAVEL]. A group of 38 works regarding[TRAVEL]. A group of 38 works regarding travel, travelogues, and history related to various regions throughout the world, including:
MENPES, Mortimer et al. World's Children. L, [1903]. FIRST EDITION. -- FORREST, A.S. et al. Morocco. L, 1904. -- LAMPLOUGH, A.O. et al. Cairo and its Environs. L: Sir Joseph Causton & Sons, Ltd., 1909. -- MENPES, Mortimer. China. L: Adam and Charles Black, 1909. -- PACKARD, Winthrop. Florida Trails. Boston, 1910. FIRST EDITION. -- HICHENS, Robert. The Near East. NY, 1913. Glassine. FIRST EDITION. -- [EASTMAN, George]. Chronicles of an African trip. [NY]: Privately printed for the author, 1927. FIRST EDITION. -- And another copy. -- KEESEY, W.M. Tales of Old Inns. L: Trust Houses Limited, 1927. -- BORDEN, John, Mrs. The Cruise of the Northern Light. NY, 1928. Dust jacket. FIRST EDITION. PRESENTATION COPY, INSCRIBED BY BORDEN. -- FROST, Jack. Fancy This a New England Sketch Book. Boston, 1938. FIRST EDITION, LIMITED EDITION, number 186 of 300 of which 283 were sold, INSCRIBED BY FROST. -- And 27 others. Together, 38 works in 44 volumes, various sizes, most illustrated, most in original cloth, many FIRST EDITION, condition generally good. Complete list available upon request.
A commemorative 'Gold Medal' of theA commemorative 'Gold Medal' of the Louisiana Purchase Exposition 1904; a 'Commemorative Medal' for the same event, both by by Adolph A Weinman; a large bronze medallion designed by John Pinches, the obverse cast bust portrait of Frank Bowcher in relief and inscribed J.D.H., LXXX, the reverse inscribed To Sir Joseph Dalton Hooker MDRN GCSI CB DCL LLD PPRS FLS FGS in recognition of services to sciences from the Linnean Society of London, 1898, 7.5cm diameter; a silver medallion for the Internatio
SIR JOSEPH NOEL PATON (1821-1901)
STUDYSIR JOSEPH NOEL PATON (1821-1901)
STUDY OF A KNIGHT AND A MAIDEN pencil, red chalk and oil on paper, later inscribed to the mount SIR JOSEPH NOEL PATON27cm x 19.5cmProvenance: Campbell Wilson Fine Art
? FINE AND RARE CERAMIC 'SYDNEY COVE? FINE AND RARE CERAMIC 'SYDNEY COVE MEDALLION' BY JOSIAH WEDGWOOD
THE ORIGINAL ISSUE, 1789 modelled from dark brown unglazed earthenware, with crisply moulded decoration depicting a female figure, emblematic of Hope, wearing classical robes and standing on rocks before an anchor, extending her right hand to Peace, Art and Labour; the figures stand on the shores of a bay, in the distance a ship sails; the female figure of Peace holds an olive branch in her right hand with a horn of plenty at her feet; Art is modelled as a female, with a palette in her right hand; Labour is depicted as a bearded figure, wearing a loin cloth and holding a sledge hammer over his shoulder; 'ETRURIA / 1789' is inscribed below the scene in raised letters; the reverse impressed 'MADE BY / IOSIAH WEDGWOOD / OF CLAY / FROM / SYDNEY COVE'5.7cm diameter, 0.2cm depth, 5.6cm internal diameter of the encircling ringFrom a private UK collectionTHE FIRST FLEET AND THE SYDNEY COVE MEDALLIONAn object of great importance in ceramic history and the history of travel and exploration, the Sydney Cove Medallion is an original artefact from the voyage of the First Fleet under Captain Arthur Phillip, which marked the beginning of European settlement in Australia.Phillip landed at Botany Bay in January 1788 with orders to establish a penal colony, which he did some twelve miles north at Sydney Cove, now Sydney Harbour. The settlement he founded is the direct ancestor of the modern Australian state and has been viewed favourably by historians as a model of just and pragmatic governance.Exhibiting a fineness of detail made possible by the unique qualities of the Sydney Cove clay, the medallion is a superb embodiment of the ingenuity of one of 18th century Britain’s leading industrialists.The medallion was made at Wedgwood's Etruria factory in 1789. It was designed by Henry Webber and modelled by Wedgwood’s principal modeler, William Hackwood. It is moulded in bas-relief with a classical scene depicting Hope, encouraging Peace, Art and Labour, to work for the prosperity of the new young settlement. The original medallions range in colour from pale biscuit to a dark brown, almost black colour, as represented by the example being offered.In 1770 Captain James Cook discovered the Australian continent and claimed part of it for Britain. With the loss of British colonies in North America, the British were keen to expand their territories in other parts of the world and the government decided to found a settlement in Australia. In 1788 Captain Arthur Phillip became First Governor of the state of New South Wales, where he had been commissioned by George III to create a penal colony, as a way of dealing with the overcrowding in British prisons and prison ships. Eleven ships, carrying over a 1000 people, including 850 convicts and 200 officers, put down anchor at Sydney Cove on 26th Jan 1788. This is now known as ‘The First Fleet’. In November of that same year Captain Phillip wrote to Sir Joseph Banks, who was president of the Royal Society and had accompanied Captain Cook on his 1768 expedition, to inform him that he had found minerals and white clay in the area. He sent samples of these to Banks at the end of 1788. Banks directed the minerals to the relevant scientists, and he sent the clay directly to his friend and fellow Royal Society and Lunar Society member, Josiah Wedgwood, for him to investigate its potential for ceramic production. Wedgwood worked with the clay and was very pleased with its qualities. Two batches of medallions were produced from the clay sent back to Sir Joseph Banks. From the first batch of medallions Wedgwood sent an example to Banks and on 12th March 1790 Wedgwood wrote to him:“I have the pleasure of acquainting you, that the clay from Sydney Cove, which you did me the honour of submitting to my examination, is an excellent material for pottery, and may certainly be made the basis of a valuable manufacture for our infant colony there. Of the species of ware which may be produced from it, you will have some idea from the medallions I have sent for your inspection.” [1]Medallions from the first batch were to be sent to Sydney Cove, for the attention of Governor Phillip, on the ‘Second Fleet’ and they were to be distributed at his discretion. By November 1789, a second batch of medallions had been completed. Wedgwood’s friend, the physician and poet Erasmus Darwin, was the recipient of one. He wrote to Wedgwood:“I have received great pleasure from your excellent medallion of Hope. The figures are all finely beautiful and speak for themselves.” [2]In Nov 1789, an account of ‘The Voyage of Governor Phillip to Botany Bay’ was printed by the publisher John Stockdale. On the title page there is an engraving of the Sydney Cove Medallion and a description of it:“The elegant Vignette in the title-page was engraved from a medallion which the ingenious Mr Wedgewood caused to be modelled from a small piece of clay brought from Sydney Cove. The clay proves to be of a fine texture, and will be found very useful for the manufactory of earthenware. The design is allegorical; it represents Hope encouraging Art and Labour, under the influence of Peace, to pursue the employments necessary to give security and happiness to an infant settlement.” [3]It is unknown how many medallions of the original issue were produced. The whereabouts of 12 are currently known. [4] As the medallions would have taken considerable time and skill to make Richard Smith suggests in his Sydney Cove Medallion essay that:“Wedgwood would have made no more than was necessary for the publicity value. One for Erasmus Darwin; a few for Sir Joseph Banks as President of the Royal Society for his own distribution; perhaps fifteen or twenty for Governor Phillip’s distribution. The total production may have been somewhere around two dozen, probably no more.”Despite having carried out thousands of ceramic experiments over many years, it appears that Wedgwood was proud of creating the Sydney Cove medallion, producing a special issue to commemorate the settlement at Sydney Cove. These medallions record the start of a new chapter of colonial history as well as symbolising Wedgwood’s skill and technical innovation, which was at its height at this time. The medallions are fine and fragile in nature. Surviving examples are rare and are seldom seen on the market.[1] Robin Reilly, Wedgwood, published by Stockton Press, 1989, volume 1, p. 127[2] L.Richard Smith, The Sydney Cove Medallion, The Wedgwood Press, Sydney, Third Edition, 1987, p.6[3] From the Account of the Vignette in The Voyage of Governor Phillip to Botany Bay, printed for John Stockdale, Piccadilly, London, 1789, p.vi[4] The whereabouts of twelve original issue medallions is known at the time of writing. In addition to the medallion being offered for sale, three are in UK museums: one in the British Museum; one in the Lady Lever Art Gallery; one at the Potteries Museum and Art Gallery, Stoke-on-Trent. Others are in Australian museums and institutions: five in the Mitchell State Library, New South Wales; one in the National Museum of Australia, Canberra; one with the Sydney Living Museums Corporation; one in the Silent World Foundation. In 2014 a medallion was offered for sale by an Australian antiques dealer and is now in private ownership.
SIX SIR JOSEPH PAXTON LITHOGRAPHS. FirstSIX SIR JOSEPH PAXTON LITHOGRAPHS. First half 19th century. Hand-colored lithographs from "Paxton's Magazine of Botany and Register of Flowering Plants." Published 1848. Toning and edge loss. 9.5" x 6.5".
British School (Mid-19th Century) "BotanicalBritish School (Mid-19th Century) "Botanical Specimens", suite of six hand-colored engravings by Sir Joseph Paxton, sight 8-1/2" x 6". Glazed, matted and handsomely framed en suite.
Louis-Marie Moris or Morise (FrenchLouis-Marie Moris or Morise (French 1818-1883) equestrian Bronze of The Emperor Napoleon on Horseback (Study for a Monument?) c. 1857 signed "Morise" on top of terrasse between hind feet of horse with very fine and clear foundry seal between forefeet reading "BRONZE GARANTI AU TITRE. PARIS." height 25 in. Note: A pupil of the famous Jean-Jacques [called James] Pradier (1790-1852) and the lesser-known Justin Lequin (1826-1882) Morise was very strongly influenced for this beautiful design by an exactly parallel monument conceived by Alfred-Emilien Comte de Nieuwerkerke (1811-1892) who was so distinctly a favorite of Napoleon III (1808-1873 reigned 1852-70) that he became successively Director-General of the Museums of France (1848) a member of the Académie des Beaux-Arts and the Institut de France (1853) and finally Surpintendant des Beaux-Arts Impérials (1863). Nieuwerkerke's great Equestrian Monument to Napolèon I (1854) stands in the center of the former Place d'Armes (now the Place Napoléon) at La Roche-sur-Yon in the Atlantic province of Vendée; later table-sized reductions of it (10 in. h.) also exist. Since Morise's version of the same theme-which is two-and-a-half times the size of the reductions-differs only in the horse's raised head and unbound tail (and his shifting of the reins to the grand empereur's right hand while his left holds a spyglass) it cannot be coincidental that Nieuwerkerke's Napoleon dates from 1854 and Morise made one of his rare appearances at the Salon in 1857. His splendid equestrian group-which must have been issued in a very small edition-was nearly identically copied interestingly enough in a slightly smaller bronze (h. 20 in.) of The Duke of Wellington on Horseback attributed to Sir Joseph Boehm R. A. (1834-1890). References: Bénézit; The Fine Art Society Gibson to Gilbert: British Sculpture 1840-1914 London 1992 p. 52 no. and pl. 4; Suzanne Gaynor "Nieuwerkerke " Grove Dictionary of Art Jane Turner ed. 34 vols. London 1996 vol. 23 pp. 126-127; Edward Horswell 200 Years of the Horse in Bronze Sladmore Gallery London 2000 p. 9 fig. 5.
Two Stevengraph woven silk images ofTwo Stevengraph woven silk images of the Crystal Palace; one a point of purchase advertising ribbon/bookmark, the other a postcard featuring the architectural splendor designed by Sir Joseph Paxton. Ribbon: 10 3/4"L. Good condition, light foxing to card.
Five historic silver prize medals beingFive historic silver prize medals being one King Edward VI Christ's Hospital two Sir Joseph Banks 1899 and 1900 an Edward VII City and Guilds 1901 and a Universal Cookery medal c. 1920.
Sir Joseph Paxton (British 1803-1865)Sir Joseph Paxton (British 1803-1865) Magazine of Botany: Allamanda Catharticat 7 Linum trigynum (with another botanical print) handcolored lithograph Largest 8 3/4 x 5 3/4 inches.