Lot 13. A rare bronze double-owl-form ritual vessel (you), Shang Dynasty. Estimate 400,000 — 600,000 USD. Photo: Sotheby's

of oval section in the form of two addorsed owls, their rounded bodies supported on four stout legs, the sides cast in low relief with four wings sweeping back from each rounded breast to a pair of loops attached to the rope-twist swing handle, the domed fitted cover crisply cast on each side with the head of an owl, each with a pair of round protuberant eyes centered on a sharp hooked beak, the heads further adorned with two pairs of hooked ears, all below a segmented bud-shaped finial, the smooth silvery-green patina with malachite encrustation, the interior of the vessel with a single pictogram, Japanese wood box (4) - Height with handle 6 3/4  in., 17.1 cm

Provenance: Collection of J. Eguchi, Osaka.

Exhibited: Kodai Chugoku Seidouki Meihin ten [Exhibition of Ancient Chinese Bronzeware Masterpieces], Daimaru Department Store, Osaka, 1960, cat. no. 7. 
Toyo Kan Kaikan Kinen Toyou Bijutsu Ten / Exhibition of Eastern Art Celebrating the Opening of the Gallery of Eastern Antiquities, Tokyo National Museum, 1968, cat. no. 240.

Literature: Rong Geng, 'Shang Zhou yiqi tongkao [The bronzes of Shang and Zhou]', Yenching Journal of Chinese Studies, vol. II, no. 17, 1941, p. 337, fig. 647.  
Sueji Umehara, Nihon shucho Shina kodo seikwa / Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol. 1, Osaka, 1964, pl. 41. 
Minao Hayashi, Inshu Jidai Seidoki no Kenkyu [Studies on Shang and Zhou Period Bronzes], Tokyo, 1986, pl. 287, fig. 7.

Notes: You vessels of double-owl form are generally known in two types: those with extensive surface decoration, and those with plain surfaces such as the present example. Two related vessels, one in the Hubei Yingxing Wenhua Guancang and the other in the Shanghai Museum, are illustrated in Zhongguo qingtongqi quanji, vol. 4, Beijing, 1998, pls 156 and 157 respectively; and another is included in Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington DC., 1987, pl. 63, where the author discusses the development of this vessel type from the naturalistic to more abstract forms: ‘the beaks have become inorganic projections that belong to the lid rather than the owls and the metamorphosis of the owl’s head into a taotie face is complete’ (see p. 370).  Two further vessels of this type were sold in these rooms, 20th March 2012, lot 13, and 21st September 2005, lot 157.

A related vessel with similar abstract swirl design, but without a handle, in the Asian Art Museum of San Francisco, San Francisco, is illustrated in Rene Lefebvre d’Argence, Bronze Vessels of Ancient China in the Avery Brundage Collection, San Francisco, 1977, pl. XV; another, in the Shanxi Provincial Museum, is published in Zhongguo qingtongqi quanji, vol. 4, Beijing, 1998, pls 154-55; and a third example was sold at Sotheby’s New York, 5th April 1956, lot 45, and again in these rooms, 15th/16th September 2015, lot 104. Compare also a double-owl you without handle, cast in its natural form with hooked beak, flat ears and plump body, its breast and wings covered with feather-like patterns, in the Freer Gallery of Art, Washington D.C., published in Robert W. Bagley, op. cit., p. 371, fig. 63.4.

Among the many animal motifs used in early Chinese art, the representation of the owl is one of the most prominent yet mysterious images. As early as the Yangshou culture (c. 5500-3500BC), potters were clearly fascinated by this bird and created various representations of it. Jade carvings of small owl-like birds at sites of the Hongshan culture (c. 4000-3000BC) in northeast China in tombs of community chiefs or religious figures suggest they were part of the religious system. During the final phase of the Shang dynasty (c. 1300-1046BC), its capital was moved to Yinxu (present day Xiaotun in Anyang, Henan province), where bronze manufacturing reached its peak under royal patronage. With the developing knowledge of and skills in metal working came remarkable innovations in bronze production. Many new types of vessels were introduced and increasingly sophisticated schemes were applied to the surface decoration.

The terrifying screech and nocturnal behaviour of the owl would have perfectly suited the archaic perception of abnormality in ritual and magic, while its physical appearance is reminiscent of a warrior. It is thought that the mythical blackbird (xuanniao) from which the Shang people were believed to have originated was an owl, and that the mythical ancestor Di Jun can be identified with the bird deity who was also the agriculture protector and solar god for the Shang people. For further details on the owl in early China, see Wang Tao, ‘The Owl in Early Chinese Art: Meaning and Representation’, Chinese Art through the Eye of Sakamoto Goro. A Bronze Owl Hu, Sotheby’s New York, 18th March 2014, pp 24-28.

According to some scholars, the main decorative motifs on Shang bronzes are concerned with metamorphosis. As Wu Hung notes in Monumentality in Early Chinese Art and Architecture, Stanford, 1995, p. 48, the taotie motif often combines features from different animals which never become naturalistic representations or formulated icons. Instead, ‘these varying images seem to attest to a painstaking effort to create metaphors for an intermediate stage between the supernatural and reality – something that one could depict but not portray’ (see p. 53). Many Shang bronzes were clearly inspired by the owl motif, either in the form of a vessel or as surface decoration. For example, a fangjia, formerly from the collection of the Albright-Knox Gallery, sold in these rooms, 19th/20th March 2007, lot 507.

Sotheby's. Chinese Art Through the Eye of Sakamoto Gor: Early Chinese Art, New York, 13 Sep 2016, 10:00 AM

De Beers. Albert Bridge necklace.

De Beers. 10.06-ct G-coloured round brilliant solitaire.

De Beers. A rare grey diamond is the centrepiece of the Caress ring in the 1888 Master Diamonds collection.

De Beers. The ornate Adonis Rose necklace is adorned with a pink diamond pear drop adding a touch of colour to the flowing marquise diamond design.

Delicate pavé diamonds surround this beautiful pear cut diamond De Beers diamond ring engagement.

De Beers.

De Beers.

Han Gan (Chinese, active ca. 742–756), Night-Shining White, 唐 韓幹 照夜白圖 卷, ca. 750, Tang dynasty (618–907). Handscroll; ink on paper. Image: 12 1/8 x 13 3/8 in. (30.8 x 34 cm) Overall with mounting: 14 in. x 37 ft. 5 1/8 in. (35.4 cm x 11.4 m). Purchase, The Dillon Fund Gift, 1977. The Metropolitan Museum of Art, 1977.78 © 2000–2016 The Metropolitan Museum of Art. 

A leading horse painter of the Tang dynasty, Han Gan was known for capturing not only the likeness of a horse but also its spirit. This painting, the most famous work attributed to the artist, is a portrait of a charger of Emperor Xuanzong (r. 712–56). With its burning eye, flaring nostrils, and dancing hoofs, the fiery-tempered horse epitomizes Chinese myths about Central Asian "celestial steeds" that "sweated blood" and were actually dragons in disguise. The seals and inscriptions added to the painting and its borders by later owners and appreciators are a distinctive feature of Chinese collecting and connoisseurship. The addition of more than one thousand years of seals and comments offers a vivid testimony of the work's transmission and its impact on later generations.

The acquisition of this image, arguably the greatest equine portrait in Chinese painting, marked the Director's early commitment to revitalizing the Department of Asian Art under the curatorial leadership of Wen Fong and with the dedicated support of trustee Douglas Dillon.

This work is exhibited in the "Masterpieces of Chinese Painting from the Metropolitan Collection" exhibition, on view through October 11th, 2016. 

Attributed to Zhong Shaojing (Chinese, active ca. 713–41), Spiritual Flight Sutra, 唐 傳鍾紹京 楷書靈飛經 冊, ca. 738, Tang dynasty (618–907). Album of nine leaves; ink on paper. Each leaf: 8 3/16 x 3 1/2 in. (20.8 x 8.9 cm). Purchase, The Dillon Fund Gift, 1989. The Metropolitan Museum of Art, 1989.141.1a–i © 2000–2016 The Metropolitan Museum of Art. 

The copying of sutras, the sacred texts of Buddhism and Daoism, was an act of devotion as well as a means of propagating the faith. It required a special brush, paper of a conventional size with a vertical grid, and the use of the strictest, most formal script. This hallowed fragment of a Daoist religious text meets all of those requirements yet has an elegance and fluency that elevate it beyond normal sutra writing.

Commissioned in 738 by Princess Yuzhen, a daughter of Emperor Xuanzong (r. 712–56), this writing exemplifies the sophisticated court style of the High Tang period. The small script is balanced and harmonious, with every hook, stroke, and dot perfectly defined and executed. Applied with a stiff, long-pointed brush, each stroke shows clean, crisp movements and graceful, saber-sharp turns. Individual characters are straight, upright, and firmly built, with a rectangular frame of supports and walls. The construction of the characters reveals an analytical process: different types of brushstrokes are seen as forces (shi) in a dynamic composition, each having a perfect form and a “method” (fa) of interacting with the other strokes; each character, with its elegant, carefully considered deployment of those forces, exemplifies a model of physical equilibrium and spiritual repose.

In the early seventeenth century, this sutra was acquired by the influential painter, calligrapher, and theorist Dong Qichang (1555–1636), who regarded it as one of the finest extant examples of Tang-dynasty small writing. Dong reluctantly lent the sutra to a Mr. Zhen for inclusion in a set of rubbings of model calligraphies, the Bohai cangzhen, but held back twelve columns for safekeeping. Dong was justified in his apprehension; the surviving forty-three columns that we celebrate today are those that were removed from the sutra by the unscrupulous Mr. Zhen.

This work is exhibited in the "Masterpieces of Chinese Painting from the Metropolitan Collection" exhibition, on view through October 11th, 2016. 

Unidentified Artist Chinese, active mid-12th century, Emperor Xuanzong's Flight to Shu, 南宋 佚名 明皇幸蜀圖 軸, mid-12th century. Hanging scroll; ink, color, and gold on silk. Image: 44 3/4 × 32 5/8 in. (113.7 × 82.9 cm) Overall with mounting: 95 1/2 × 54 in. (242.6 × 137.2 cm) Overall with knobs: 57 1/2 × 95 1/2 in. (146.1 × 242.6 cm). Rogers Fund, 1941. The Metropolitan Museum of Art, 41.138 © 2000–2016 The Metropolitan Museum of Art. 

In 745, after thirty-three years of able rule, the Tang emperor Xuanzong (r. 712–56) fell in love with the concubine Yang Guifei and became indifferent to his duties. When Yang’s favorite general, An Lushan, rebelled in 755, she was blamed. Forced to flee from the capital at Xi’an to the safety of Shu (Sichuan Province), the emperor was confronted by mutinous troops demanding the execution of his lover. Reluctantly assenting, Xuanzong looked on in horror and shame and abdicated soon after. This painting depicts the somber imperial entourage after the execution. While the accoutrements of the figures 

This work is exhibited in the "Masterpieces of Chinese Painting from the Metropolitan Collection" exhibition, on view through October 11th, 2016. 

Unidentified Artist Chinese, active late 10th–11th century, Palace banquet, 五代/北宋 佚名 乞巧圖 軸, Five Dynasties (907–960) or Northern Song (960–1127) dynasty. Hanging scroll; ink and color on silk. Image: 63 5/8 × 43 5/8 in. (161.6 × 110.8 cm) Overall with mounting: 10 ft. 4 in. × 44 3/8 in. (315 × 112.7 cm) Overall with knobs: 10 ft. 4 in. × 49 1/2 in. (315 × 125.7 cm). Ex coll.: C. C. Wang Family, Gift of Oscar L. Tang Family, 2010. The Metropolitan Museum of Art, 2010.473 © 2000–2016 The Metropolitan Museum of Art. 

This large painting is one of the earliest surviving examples of the “ruled-line” (jiehua) genre of architectural renderings. It offers an intimate view of the women’s quarters of a palace where elegant rooms face onto private courtyards graced with trees and blossoming lotus, an indication of the summer season. Activity centers around a second-story terrace where women at a banqueting table point skyward or concentrate on threading needles. On the seventh day of the seventh month, women traditionally decorated their homes, set out fruits, and competed in threading needles as part of the festivities celebrating the one night each year when the Herd Boy and the Weaving Maid, legendary lovers immortalized as constellations, are allowed to meet. Behind the banquet, a woman knocks at a gate, beyond which, to the left, another woman claps her hands beside a bed to awaken its occupant. A third woman, to the right, gazes out beneath two trees that have grown intertwined—a symbol, perhaps, of the fateful union about to occur. At the upper right, two women prepare to open the gate to a visitor. 

The painting alludes to the love affair between the Tang emperor Xuanzong (r. 712–56) and his consort, Yang Guifei, who famously slept all day to arise refreshed at night. In 755, a rebellion broke out as a consequence of the emperor’s inattention to rulership. Xuanzong was forced to flee, and the palace guards blamed Yang Guifei for the insurrection. They forced the emperor to execute her before escorting him to safety. Bai Juyi’s (772–846) epic poem, The Song of Everlasting Sorrow, describes the tragic story, beginning with the fateful tryst alluded to by the painting. Both poem and painting may be read as admonitions against neglecting state affairs.

This work is exhibited in the "Masterpieces of Chinese Painting from the Metropolitan Collection" exhibition, on view through October 11th, 2016. 

Unidentified Artist Chinese, active 12th century, after Fan Kuan (Chinese, active ca. 990–1030), Landscape in the style of Fan Kuan, 北宋 佚名 倣范寬山水圖 軸, early 12th century, Song dynasty (960–1279). Hanging scroll; ink and color on silk. Image: 65 3/8 × 41 1/8 in. (166.1 × 104.5 cm) Overall with mounting: 9 ft. 8 1/2 in. × 49 3/4 in. (295.9 × 126.4 cm) Overall with knobs: 9 ft. 8 1/2 in. × 53 3/4 in. (295.9 × 136.5 cm). Gift of Irene and Earl Morse, 1956. The Metropolitan Museum of Art, 56.151 © 2000–2016 The Metropolitan Museum of Art. 

Once considered a work of the Ming period (1368–1644), this monumental landscape in the style of Fan Kuan can be dated stylistically to the twelfth century. A mountainscape built up in three stages, the painting shows a boat landing at the foot of a tree-covered bluff in the foreground; travelers heading toward a temple retreat in the middle ground; and mountain peaks rising in the background. The composition, showing mountain masses floating amid and unified by mist, compares closely to works firmly dated to the twelfth century. For example, the depiction of rocks and trees partially obliterated by mist and the blurring and fusing of texture strokes of different ink values reveal the artist’s familiarity with the paintings of Guo Xi (ca. 1000–ca. 1090). The angular rock faces with “raindrop” texture dots and the scrubby foliage on the peaks are characteristic of paintings in the style of Fan Kuan. 

This work is exhibited in the "Masterpieces of Chinese Painting from the Metropolitan Collection" exhibition, on view through October 11th, 2016. 

Huang Tingjian (Chinese, 1045–1105), Biographies of Lian Po and Lin Xiangru, 北宋 黃庭堅 草書廉頗藺相如傳 卷, ca. 1095, Northern Song dynasty (960–1127). Handscroll; ink on paper. Image: 13 1/4 in. × 60 ft. 4 1/2 in. (33.7 × 1840.2 cm) Overall with mounting: 13 1/2 in. × 71 ft. 5 5/8 in. (34.3 × 2178.4 cm). Bequest of John M. Crawford Jr., 1988. The Metropolitan Museum of Art, 1989.363.4 © 2000–2016 The Metropolitan Museum of Art. 

Poet, calligrapher, and Chan (Zen) Buddhist adept, Huang Tingjian believed that calligraphy should be spontaneous and self-expressive—“a picture of the mind.” Containing nearly twelve hundred characters, this handscroll is a master­piece of cursive-script writing. It transcribes an account of a rivalry between two officials: Lian Po, a distinguished general; and Lin Xiangru, a skilled strategist. Huang’s transcription ends abruptly with Lin’s words: “When two tigers fight, one must perish. I behave as I do because I put our country’s fate before private feuds.” Read in the context of Song political infighting, Huang’s transcription becomes a powerful indictment of the partisanship that led to his own banishment in 1094.

This work is exhibited in the "Masterpieces of Chinese Painting from the Metropolitan Collection" exhibition, on view through October 11th, 2016. 

Unidentified Artist Chinese, active 11th century, Portrait of Bi Shichang, from the set Five Old Men of Suiyang, 北宋 佚名 睢陽五老，畢世長像 冊頁, before 1056, Northern Song dynasty (960–1127). Album leaf; ink and color on silk. Image: 15 3/4 x 12 5/8 in. (40 x 32.1 cm). Rogers Fund, 1917. The Metropolitan Museum of Art, 17.170.1 © 2000–2016 The Metropolitan Museum of Art. 

This portrait is one of a set that commemorates a gathering of five retired gentlemen at Suiyang, Henan Province. The sensitive delineation of features in contrast to the thick shaded brush lines of the garment reflects Tang dynasty conventions of official portraiture and a conservatism appropriate to the subject. Equally formal is the inscription written in regular script-a style also used for steles and official documents.

Two portraits from this set of five are at the Freer Gallery, Washington, D.C., and two are in the collection of the Yale University Art Gallery, New Haven, Connecticut. 

This work is exhibited in the "Masterpieces of Chinese Painting from the Metropolitan Collection" exhibition, on view through October 11th, 2016. 

Li Gonglin (Chinese, ca. 1041–1106), The Classic of Filial Piety, 北宋 李公麟 孝經圖 卷, ca. 1085, Northern Song dynasty (960–1127). Handscroll; ink and color on silk. Overall (a, painting): 8 5/8 x 187 1/4 in. (21.9 x 475.6 cm) Overall (b, colophons): 10 3/8 x 208 5/8 in. (26.4 x 529.9 cm) Overall (c, modern copy preserving seventeenth century silk restorations): 9 1/8 x 196 in. (23.2 x 497.8 cm). Ex coll.: C. C. Wang Family, From the P. Y. and Kinmay W. Tang Family Collection, Gift of Oscar L. Tang Family, 1996. The Metropolitan Museum of Art, 1996.479a–c © 2000–2016 The Metropolitan Museum of Art. 

Song scholar-artists believed that painting was not just a record of sensory experience but also a reflection of the artist's mind, a revelation of his personality, and an expression of deeply held values. In giving form to this ideal, Li Gonglin fundamentally transformed Chinese art. Prior to Li's time, painting served a public function: it was primarily decorative or didactic in intent. With Li, painting joined music, poetry, and calligraphy as a medium of self-expression. Li's revolutionary new style established the three essential desiderata of scholar-painting: moral purpose, learned stylistic references to the past, and expressive calligraphic brushwork.

The Classic of Filial Piety, composed between 350 and 200 B.C., teaches a simple but all-embracing lesson: beginning humbly at home, filial piety not only ensures success in a man's life but also brings peace and harmony to the world at large. During the Song dynasty, the text became one of the thirteen classics of the Neo-Confucian canon and remained a cornerstone of traditional Chinese moral teaching until modern times.

Purposefully restrained and without the decorative appeal of color, Li's paintings alternate with his transcriptions of brief chapters from the Classic. The images do more than illustrate the text; using his art to criticize, exhort, and subvert, Li presents subtle commentaries on the Classic's moral relevance to the Song world. Like the paintings, the calligraphy is executed in an archaic style instantly recognizable to the connoisseur as a sophisticated plea for a return to simple virtues and plain-living rectitude.

Codognato. Skull ring. Photo © Codognato

Bague en or et émail représentant un crâne traversé par un serpent – Création Codognato – Collection particulière © Andrea Melfi

A. Codognato, Venise. Bague en argent noirci, l'anneau stylisant un tibia supportant une tête de mort aux orbites diamantées coiffée d'une araignée en or au corps de rubis. Signé. Poids brut : 10,60 g TDD : 54 VE. 

A. Codognato, Venise. Bague en or, l'anneau stylisant un tibia suppor­tant une tête de mort aux orbites diamantées coiffée d'un papillon rehaussé de diamants et d'un rubis rond facetté. Signé. Poids brut : 14 g TDD : 55 VE.

Codognato, Skull ring Photo © Codognato

Codognato. A spectacular rubellite, tourmaline, diamond and coloured diamond skull ring, by A. Codagnato, ca. 1970.

A. Codognato, Venise. Vanité couronnée Grande bague en or ciselé et argent représentant une vanité de style renaissance rehaussée d'émail ivoire et de cristal de roche taillé en roses. Signé, vers 1980 Poids brut : 28,20 g TDD : 55,5 VE.

Attilio Codognato. Enamel Onyx Diamond Skull on Tray Memento Mori Ring. Renaissance style Memento Mori skull ring made with champleve multicolored enamels, a round onyx, and rose cut diamonds. Mounted in 18Kt gold. Signed A. Codognato Venezia. Weight: 34 gr. Finger size: 7. Bernardo Antichita', Ponte Vecchio 44 & Four Seasons Hotel, Firenze, 50125, Italy, +39 0399300198

Johann Zoffani (1733-1810), Francis I (1708-1765), 1776-77, canvas 232 x 149 cm © KHM-Museumsverband.

VIENNA.- As part of the 125th anniversary celebrations of the Kunsthistorisches Museum the Coin Collection is showing a special exhibition featuring selected gold coins from the Imperial Numophylaciums, the Emperor’s coin collection. 

Renowned for its size and the quality and rarity of its holdings, the world-famous collection in Vienna owes its fame to generations of Austrian rulers and their love of collecting. 

From gold coins in everyday circulation to veritable gold giants (singular commemorative issues commissioned by the Emperor for representational purposes) to so-called “splendid” medals (Prunkmedaillen) made exclusively as gifts for the Emperor, the exhibition showcases the collection’s exceptional range of historical gold coinages and looks at “The Emperor’s Gold” in all its glittering facets. 

Valentin Jameray Duval's Monnoies en or, 1759. Oldest collection catalogue © KHM-Museumsverband.

FROM CLASSICAL ANTIQUITY TO THE MODERN AGE 
Far outstripping all other metals in value in classical antiquity, gold played a seminal role in trade and the economy. In addition to regular gold coins large multipla (gold coins weighing several times their facevalue) were issued; they represented an extremely large amount of purchasing power and frequently featured specially selected images rendered with a wealth of details made possible by their size, all of which suggests that many of them were intended as gifts for high-ranking dignitaries.  

Drawer with bohemian gold coins © KHM-Museumsverband

“SPLENDID“ MEDALS (PRUNKMEDAILLEN) 
Prunkmedaillen form one of the highlights of this exhibition. Over time, more and more ordinary patrons made use of the medium of medals, which meant that high-ranking recipients were best honoured by being presented with a Prunkmedaille; they differ from ordinary medals because of their exceptional size, their impressive weight and the large amount of precious metal needed to mint them. Only a few, sometimes only a single example was produced and dedicated to the ruler or some other high-ranking dignitary, making their singularity something of a prerequisite. 

One of the highlights of this part of the collection, which grew to its present impressive size over five centuries, is the official medal of honour presented to Emperor Francis Joseph (r. 1848-1916) on December 2, 1908 to celebrate the 60th anniversary of his accession to the throne (vitrine 5). The medal features a shallow relief, which is typical for the time. The city of Vienna invited selected artists to participate in a competition, which was eventually won by the design presented by the Viennese medallist Ludwig Hujer. Only a single gold medal was ever produced, and this was presented to the Emperor on November 30, 1908 by a delegation of city councillors led by Mayor Lueger. Shortly afterwards the Emperor deposited the medal in the Coin Collection, where it forms the centrepiece of this section. 

Coin Cupboard © KHM-Museumsverband

HOARDS AND TREASURES 
Most of the extant ancient multiples (i.e. gold coins in commonly used denominations weighing several times their face-value), including some veritable gold giants, come from spectacular hoards. Probably the most important treasure comprising gold coins from Late Antiquity was discovered at Szilágysomlyò in Transylvania (Romania); it was acquired for the imperial collection in 1797. Among other things it included the largest extant ancient gold medal, which weighs over 400 grams. 

Also on show are coins incorporated into jewellery that was part of a hoard found in 1805 at Petrijanec (Croatia), as well as two gold bars from a treasure discovered in 1887 at Czófalva (Romania). The two gold bars were presented to the imperial collection by Baron Karl Bachofen von Echt in 1906.  

Maximilian I (r. 1486–1519): festive gold coin minted in Antwerp, 1509, 25 ducats (86,71 g), Inv.-No. 47bα, Ø 52,4 mm © KHM-Museumsverband

IMPERIAL COLLECTORS AND CONNOISSEURS 
Rivalled only by the one in Paris, the Vienna Coin Collection was already regarded as the foremost collection of its kind in the world at the turn of the 19th century. Two seminal collectors still stand out today: Emperor Charles VI (r. 1711-1740) and Emperor Francis Stephen I (r. 1745-1764). The former collected primarily medals, the latter added a new approach to imperial coin collecting by focusing on contemporary, i.e. modern coinages, and he assembled a collection unrivalled in Europe. After his death, his successor ordered the amalgamation of the different collections, resulting in the birth of the Vienna Coin Collection as we know it today. The inventory commissioned in 1766 lists almost 500.000 objects, including 21.000 ancient medals alone. 

Although this continues to shape the appearance of the collection, a number of unique holdings were subsequently added. In the exhibition we showcase the private collection assembled by the imperial chancellor of state Count (from 1764 Prince) Wenzel Anton Kaunitz-Rietberg; among many other things his collection comprised Russian gold medals weighing the equivalent of 4.117 ducats (over 14 kilograms), which entered the collection through his heirs. We also look at the holdings of Crown-Prince Rudolf of Habsburg (1859-1889), which bear witness to the amount of important dedication- and commemorative medals a highranking dignitary could assemble. 

Principality of Transylvania: Michael Apafi (r. 1661–1690), unknown mint, 1677, 100 ducats (346,72 g), Inv.-No. 68bβ, Ø 85 mm © KHM-Museumsverband

HE BIRTHPLACE OF NUMISMATICS 
The late 18th century saw the compilation of comprehensive catalogues raisonnés, both of the classical and the modern sections of the collection. They made the holdings accessible to international experts, and these scholarly descriptions were highly praised. The curators developed classification criteria and systematisations that remain valid and in use today, making the Vienna Coin Collection the birthplace of numismatics as an independent scientific discipline. 

Grand Medal on the occasion of the meeting of Emperor Francis I Stephen with Landgrave Ludwig VIII. Medalist: Anton Schaeffer (1722–1799), Landgraviate of Hesse-Darmstadt: Louis VIII (r. 1739–1768), 1764, 100 ducats (348,97 g), Inv.-No. 80bβ, Ø 90,2 mm © KHM-Museumsverband.

Conquest of Smolensk durch Sigismund III. Kingdom of Poland, Sigismund III Wasa (r. 1587–1632), 1611. Unknown artist (Goldsmith or badge maker, working in southern Germany or Bohemia). Cast, 315 ducats (1104,46 g), Inv.-No. 276bβ, Ø 135 mm © KHM-Museumsverband.

Star-shaped Klippe. House of Austria, Leopold I. (reg. 1658–1705) minted in Klausenburg, 1694, 10 ducats (34,19 g), Inv.-No. 806bα, Ø 53 mm © KHM-Museumsverband

Crescent-shaped Klippe, House of Austria, Leopold I (r. 1658–1705) minted in Klausenburg, 1694, 10 ducats (34,77 g), Inv.-No. 807bα, Ø 45,9 mm © KHM-Museumsverband.

Huldigungsmedaille of the city of Vienna on the 50-year jubilee of the ascension of the throne of Franz Joseph I. Medalist Anton Scharff (1845–1903). Cast und engraved by Karl Waschmann, 1898. Cast, made of two halves, 115½ ducats (404 g), Inv.-No. 140777, Ø 136,5 mm © KHM-Museumsverband.

So-called Mnaieion (equal to 100 silver drachms), Ptolemy II Philadelphus for Arsinoë II, minted between 253–246 v. Chr. in Egypt, octuple gold drachm = 100 silver drachms (27,95 g), Inv.-No. GR 23513, Ø 27,95 mm © KHM-Museumsverband.

36- Solidus of Valens (r. 364–378), found in 1763 in the Danube in Hungary, minted between 364–367 in Rome. Rev: The emperors Valentinian I. und Valens enthroned frontally (178,9 g), Inv.-No. RÖ 32473, Ø 178,9 mm © KHM-Museumsverband.

Goldmedallion after the model of Valens from the find of Szilágysomlyó (Transylvania). Obv: Portrait of Valens (r. 364–378), (412, 47 g), Inv.-No. RÖ 32481, Ø 98 mm © KHM-Museumsverband.

Quintuple Aureus of Carus and Carinus. From the find of Petrijanec (Croatia), minted 283 in (Croatia), No. RÖ 32467, Ø 98 mm © KHM-Museumsverband

Goldbar from the find of Czófalva (Transylvania). Cast around 379 A. D., probably in Sirmium (Serbia), (499,86 g), Inv.-No. RÖ 37443, Ø 174 x 23 mm © KHM-Museumsverband

HONG KONG.- Tokyo Chuo Auction will hold its 2016 Autumn Sales at Tokyo Dome Hotel from 30 August to 4 September, featuring an Evening Sale of Important Chinese Art, Ancient Bronzes from the Hayashibara Collection, Fine Chinese Classical Paintings and Calligraphy, Fine Chinese Modern Paintings, Fine Chinese Works of Art, Rubbings, Rare Books & Manuscripts, Scholar’s Objects and Ichigo Ichie - The Art of Tea Ceremony. More than 2,000 Chinese works of art with excellent provenance will be offered in the sales. 

Important Chinese Art Evening sale 
Among the exceptional paintings featured in the Important Chinese Art Evening Sale is The Tale of Zhao Feiyan painted by Qiu Ying (1494-1552) and inscribed by Wen Zhengming (1470-1559) (Estimate: JPY 15,000,000-20,000,000). The Tale of Zhao Feiyan, written by Ling Xuan in the Han dynasty, was about an intrigue in the court of Emperor Cheng and the Zhao sisters. It was written with the intention to warn people of the danger of losing one’s life and power due to infatuation with women. Combining Qiu Ying’s meticulously rendered painting and Wen Zhengming’s famed standard-script calligraphy, the present lot has been highly appreciated by collectors for its artistic and historical value. It bears numerous collectors’ seals and colophons, including those of Pan Zuyin, Shen Shuyong, Wu Changshuo, Pei Jingfu and Feng Shu, all expressing their admiration for the work. 

Lot 107.  Qiu Ying (1494-1552), The Tale of Zhao Feiyan, 1450, inscribed by Wen Zhengming (1470-1559). Estimate: JPY 15,000,000-20,000,000. Photo Tokyo Chuo Auction

Another notable lot is Recluse's Chamber along the Stream by Qi Baishi (1863-1957) (Estimate: JPY 15,000,000-25,000,000). It was painted in 1922 when Qi was residing in Beijing and actively exploring his own style. Featuring the classical “one river, two shores” composition with willow trees in the foreground and two houses against rolling hills in the background, the painting conveys freshness and tranquility. The two inscriptions by the artist clearly show his fondness for the work and express how he longed to lead a free and peaceful life in the country. 

Lot 117. Qi Baishi (1863-1957), Recluse's Chamber along the Stream, 1922, 73x33.5cm. Estimate: JPY 15,000,000-25,000,000. Photo Tokyo Chuo Auction

The Evening Sale also offers a select array of rare Imperial Chinese ceramics. One of the gems of the sale is a rare Ming blue-and-white “dragon” plate, Hongzhi six-character mark and of the period (1488-1505) (Estimate: JPY 30,000,000-40,000,000). Porcelain produced by the Imperial kilns during Emperor Hongzhi’s reign largely inherited the superb craftsmanship and the use of exceptional materials from the reign of the previous Emperor Chenghua (1465-1487), a period famous for its fine porcelain. Decorated in an even cobalt blue throughout, this precious plate depicting a five-clawed dragon amidst fire and cloud scrolls is a prime example of Hongzhi porcelain that displays the legacy of the Chenghua period. 

Not only is the dragon plate of superb quality, it also has a prestigious provenance, having previously been in the collection of the renowned porcelain dealer and collector Mr YC Chen. YC Chen was a major dealer in the Asian art market for decades along with other legendary dealers and collectors such as Edward T. Chow. It was not until YC Chen passed away in 2012 that this plate, as well as the rest of his valuable collection, reappeared in the market, causing a sensation in the collecting world. 

Lot 126. A rare Ming blue-and-white “dragon” plate, Hongzhi six-character mark and of the period (1488-1505). Height 4.5cm; diameter 22cm. Estimate: JPY 30,000,000-40,000,000. Photo Tokyo Chuo Auction

Another highlight is a turquoise-ground famille-rose and gilt “floral scrolls” vase, Jiaqing six-character mark and of the period (1796-1820) (Estimate: JPY 15,000,000-18,000,000). With its balanced and elegant shape, graceful intertwining lines, intricate decoration and vibrant colours, this vase harks back to ancient designs and is undoubtedly one of the finest vases produced by the Jiaqing kilns. According to documents from the Qing court, this type of fine and rare object, which displays the influences of the Qianlong style, is attributed to the first few years of Jiaqing’s reign after Qianlong abdicated as emperor.  

Lot 124. A turquoise-ground famille-rose and gilt “floral scrolls” vase, Jiaqing six-character mark and of the period (1796-1820). High 27cm. Estimate: JPY 15,000,000-18,000,000. Photo Tokyo Chuo Auction.

Not to be missed is a pair of imperial zitan openwork tables with auspicious design, Qianlong period (1736-1795) (Estimate: JPY 80,000,000-120,000,000). Currently owned by a private collector in America who acquired them from Mr Lai Loy, they were once in the collection of a distinguished family in Hong Kong. The tables are of simple yet tasteful design, with plain, smooth tops. The labyrinthine wood grain is clearly visible, displaying the natural beauty of the material. The tables mark the perfect marriage between East and West: the essence of Chinese furniture making is seen in the use of exquisite zitan wood and the firm, rectangular shape; whilst the ornate openwork on the tables points to Western influences at the time. 

From the mid-Qing dynasty there was a shortage of zitan, giving rise to the saying “An inch of zitan is worth an inch of gold”. Today high-quality antique zitan pieces are even rarer, and the current lot is even more remarkable by being a pair. Only one comparable pair is known, in the Forbidden City in Beijing, making this a once-in-a-lifetime opportunity for discerning collectors.

Lot 136. A pair of imperial zitan openwork tables with auspicious design, Qianlong period (1736-1795). Length 192cm; width 46cm; height 85.5cm x 2. Estimate: JPY 80,000,000-120,000,000. Photo Tokyo Chuo Auction. 

Fine Chinese Classical Paintings and Calligraphy 
The star lot in the Fine Chinese Classical Paintings and Calligraphy sale is The Tao in Pursuit of Reclusion by Wu Zhen (1280-1354) (Estimate: JPY 80,000,000-120,000,000). As one of the great painters of the Yuan dynasty, Wu was highly respected by different generations of literati who avidly sought his works. This album bears numerous inscriptions, colophons and seal marks belonging to artists and scholars from the Ming and Qing dynasties, as well as modern collectors. It is composed of eight leaves, six of which are landscapes depicting Chinese scholars’ ideal life in nature. The sixth painting features an inscription by the artist stating that it was rendered in the style of Mi Fu.

Lot 561. Wu Zhen (1280-1354), The Tao in Pursuit of Reclusion, Yuan dynasty. Estimate: JPY 80,000,000-120,000,000. Photo Tokyo Chuo Auction. 

Fine Chinese Modern Paintings 
Qi Baishi’s paintings are famed for their simplicity and rich connotations, qualities that are both found in one of the top lots of this sale, Loquats (Estimate: JPY 10,000,000-20,000,000). Known as “auspicious golden fruits” by the Chinese, loquats are unusual among fruit trees in that the flowers appear in autumn or early winter, and the fruits ripen in early spring or early summer. Qi’s native province Hunan produced a large quantity of loquats every year. Possibly because of his familiarity with the fruits, they are frequently featured in his paintings to express his homesickness.

Lot 319. Qi Baishi (1863～1957), Loquats, vertical color on paper, 177.5 x 47.5cm. Estimate: JPY 10,000,000-20,000,000. Photo Tokyo Chuo Auction.

Magpies amid the Red Plum Blossoms was created by Xu Beihong (1895-1953) in spring 1939 (Estimate: JPY 6,700,000-7,000,000). The painting was an expression of the artist’s good wishes and optimism at Chinese New Year. Close observation of the birds reveals that while most of their bodies are painted with thick brushwork and deep black ink, some parts are rendered in light ink and colour in order to enhance their depth. Dedicated to merging Western painting elements into traditional Chinese painting throughout his artistic life, Xu particularly emphasised the mastery of light and shadow and the anatomy of portrayed objects as prerequisites of fine painting.

Lot 360. Xu Beihong (1895-1953),  Magpies amid the Red Plum Blossoms, spring 1939, 73 x 25.5cm. Estimate: JPY 6,700,000-7,000,000. Photo Tokyo Chuo Auction.

chigo Ichie: The Art of Tea Ceremony Sale 
Leading the Ichigo Ichie - The Art of Tea Ceremony sale are a Jian “hare's fur” Tenmoku tea bowl and a tixi rhinoceros horn bowl stand, Song to Yuan dynasty (960-1368) (Estimate: JPY 4,500,000-5,500,000). Here, the bowl stand acts as the Chinese equivalent of a Western saucer, with the tea bowl as the teacup. This exquisite bowl stand is a virtuosic display of the craftsman’s mastery, with deep carving resulting in layered yet clear patterns covered in rich lacquer. Coated in “hare’s fur” glaze, the tea bowl is a fine example of porcelain from the Jianyao kiln; the thick glaze is concentrated at the top of the bowl and gradually fades as it moves down, revealing the brown porcelain underneath, providing variance in colour and texture.  

Lot 945. A Jian“hare's fur” Tenmoku tea bowl and a tixi rhinoceros horn bowl stand, Song to Yuan dynasty (960-1368); bowl high 6cm; diameter 13cm; tea cup high 8.5cm. Estimate: JPY 4,500,000-5,500,000. Photo Tokyo Chuo Auction.

Also on offer is a piece of fine kgara agarwood (Estimate: JPY 5,000,000-6,000,000) of excellent quality. The most captivating quality of this is its intriguing aroma: it first gives off the scent of seawater; but the longer you smell it, the rare original fragrance of kgara becomes more obvious and intense, making it a very unusual piece. 

Lot 966. A piece of fine kgara agarwood. Length 23cm; width 9cm. Estimate: JPY 5,000,000-6,000,000. Photo Tokyo Chuo Auction.

Fine Scholar’s Objects 
A tianhuang stone square seal (Estimate: JPY 1,500,000-2,500,000) in the sale, whilst largely cuboid in appearance, has a relatively freely-shaped top. The seal is predominantly amber in colour, with the upper parts fainter and leaning more to a white tone. This combination of colours creates a “silver wrapped by gold” effect. The touch of the seal is warm and delicate, with the vein lines in the stone clearly visible, and the distinct “red square-patterns” showing through the translucent stone. With such qualities, the present lot is undoubtedly a tianhuang stone seal of superb quality that is seldom seen on the market. 

Lot 1124. A tianhuang stone square seal. Length 1.7cm; width 2.3cm; 3.5cm height. Estimate: JPY 1,500,000-2,500,000. Photo Tokyo Chuo Auction.

An exquisite ink cake made by the famed ink maker Fang Yulu in the Wanli reign (1573-1619) of the Ming dynasty (Estimate: JPY 2,000,000-3,000,000) is a further highlight. It was used in the tea ceremony held by Heiankai to celebrate the completion of the new Kyoto Art Club building in 1919. The tools used in Japanese tea ceremonies, including tea utensils and scholar’s objects, are all valuable art objects representing the taste and aesthetic knowledge of the host.  

Lot 1411. An exquisite ink cake made by the famed ink maker Fang Yulu, Wanli reign (1573-1619), Ming dynasty. Length 2.5cm; width 1cm; high 8.5cm. Estimate: JPY 2,000,000-3,000,000. Photo Tokyo Chuo Auction.

Fine Chinese Works of Art 
A stone figure of a seated Buddha from Gandhara, 2nd to 3rd century (Estimate: JPY 6,000,000-8,000,000), is a particularly notable lot in the sale. Gandhara, at the starting point of the ancient Silk Road, is one of the places where Buddhism originated and it left lasting and profound influences on the rise of Buddhist art in China and Japan. This Buddha figure has well-crafted, charming facial features, creating a gentle yet solemn expression. The wavy hair is combed back to form the iconic ushnisha. The urna between the brows is clearly visible, with the Buddha’s eyes slightly opened, lips tightly shut, and the earlobes loosely hanging down. This remarkable work is believed to be a sculpture from the 2nd to 3rd century, when Gandhara Buddhist art was at its height. 

Lot 1369. A stone figure of a seated Buddha, Gandhara, 2nd to 3rd century. High 96cm. Estimate: JPY 6,000,000-8,000,000. Photo Tokyo Chuo Auction.

Of particular interest is a blue-green glazed “three sheep” zun, Yongzheng mark and period (1723-1735) (Estimate: JPY 60,000,000-80,000,000). The even tone of the blue-green glaze gives the zun a lustrous quality, which creates a calming effect and makes this a particularly enchanting piece. The elegant lines of this zun give it a well-proportioned and graceful shape.  

The “three sheep” motif has always been employed as an auspicious motif in Chinese art. Although a new creation of Yongzheng’s imperial kilns, this “three sheep” zun was in fact inspired by and modelled on bronze zuns from the Zhou (c.1100-256 BC) or Han (206 BC-AD 220) dynasties. It is accompanied by a carved stand, and a two-layer wooden box made specially for it. Both layers of the box are carefully labelled, detailing the attributes relating to the zun. All this reflects the effort and care that have been dedicated to this work of art, making its appearance on the auction market very special. 

Lot 1342. A blue-green glazed “three sheep” zun, Yongzheng mark and period (1723-1735). High 33cm. Estimate: JPY 60,000,000-80,000,000. Photo Tokyo Chuo Auction.

Rubbings, Rare Books & Manuscripts 
Shizhong Shanfang Yinju (Selected Seals from the Shizhong Shanfang Studio) (Estimate: JPY 8,000,000-10,000,000) is a set of 60 woodblock printed books of seal impressions compiled by the famed Qing dynasty connoisseur and epigraphist Chen Jieqi (1813-1884). Although two seal marks are clearly displayed on each page inside, there are no corresponding explanations or content pages, making it possible that this set was a draft. Shizhong Shanfang Yinju was compiled and underwent several editions from 1872 to 1884. Given the complexities of the editing, Chen unfortunately did not manage to finish the books before he passed away in 1884. 

Lot 736. Chen Jieqi (1813-1884), Shizhong Shanfang Yinju (Selected Seals from the Shizhong Shanfang Studio). Length 21cm; width 14.5cm x 60. Estimate: JPY 8,000,000-10,000,000. Photo Tokyo Chuo Auction.

Letters and Comments (Estimate: JPY 1,800,000-2,800,000) is an album of 16 leaves containing 32 pieces of official correspondence and orders written by famed officials in the late Qing dynasty, Zeng Guofan (1811-1872) and Peng Yulin (1817-1890). The contents cover discussions on military tactics, appointments of officials, orders given regarding awards and punishments etc. Among the 32 pieces, 14 were by Zeng Guofan and the remaining 18 by Peng Yulin. 

Lot 722. Zeng Guofan (1811-1872) and Peng Yulin (1817-1890), Letters and Comments, late Qing dynasty, 23.5 x 34cm x 16. Estimate: JPY 1,800,000-2,800,000. Photo Tokyo Chuo Auction.

1950 Frazer-Nash Le Mans Replica. Registration no. VHX 839, Chassis no. 421/100/120 - (numbered 127 as new). Estimate £580,000-640,000 (€670,000 - 740,000). Photo: Bonhams.

CHICHESTER.- In 1951, the celebrated British racing driver, Roy Salvadori, debuted his glorious new Frazer-Nash Le Mans Replica at Silverstone for the BRDC International Trophy Meeting. 

It was the race that would forever haunt himdue to a crash that very nearly ended his fledgling racing career. 

“I was leading, a big thing for me then, ahead of Bob Gerard, Tony Crook and the other Frazer-Nashes. So I was feeling pretty good about life,” Salvadori told Motorsport magazine in 2008. “…we came up to lap a group of slower cars which were having their own battle. I tried to overtake them all, but it couldn’t be done.” 

The car slid wide and clipped with a cement-filled oil drum, causing the car to roll several times. 

“At Northampton hospital they decided they could do nothing for me, and pushed me into a corner. They rang my parents, but told them I was unlikely to be alive by the time they got there. A priest was summoned and gave me the last rites.” 

Miraculously, Salvadori survived, later claiminghe had no memory of the crash that almost claimed his life. “Well, that’s thebest way to have an accident you know,” he later said in a TV interview. “I’ve had very many accidents and those that never worry me are the accidents whichmay be horrific, but I don’t remember anything about them. I don’t remember thestart of the day; I don’t remember anything about that particular day in my life.” 

“Shortly thereafter, the Frazer-Nash wassuccessfully rebuilt to the latest 1951 Le Mans Replica specification,” said James Knight, Bonhams International Group Motoring Director. “Salvadori recovered and resumed racing in the very same Frazer-Nash later that year onOctober 6, 1951, at Castle Combe, immediately finishing a strong third overallin the unlimited-capacity sports car event.” 

Salvadori went on to campaign the car in 1952, winning the 2-litre class andfinishing sixth overall in a return to Silverstone at the May Meeting'sProduction Sports Car event. He later came fourth and second in class to Mike Hawthorn in the May 29 British Empire Trophy event at Douglas, Isle of Man, andsecond to Ken Wharton's works Mark II Le Mans car in the 100-mile sports carrace at Boreham on August 2. 

The famous racer always recalled 'VHX 839'with great affection: "I decided I really needed a car I could use on theroad, and that's why I bought the Le Mans Rep. It was a super car to drive.Unfortunately, I nearly wrote myself off in it at Silverstone but I was racingit again less than a year later. It was a lovely car and I adored driving it…” 

Essex-born Salvadori was of Italiandescent, and had immense charm and charisma. Well respected in the sport, hecompeted in an incredible 47 world championship Formula One Grands Prix in hislifetime. Now offered at Bonhams Goodwood Revival Sale on 10 September, the1950 Frazer-Nash Le Mans Replica is estimated at £580,000-640,000. 

1950 Frazer-Nash Le Mans Replica. Registration no. VHX 839, Chassis no. 421/100/120 - (numbered 127 as new). Estimate £580,000-640,000 (€670,000 - 740,000). Photo: Bonhams.

Further auction highlights: 

The Ferrari 275 GTB is one of the finest classic sports cars ever designed. The front-engined Gran Turismo features sleek curves and a powerful engine, and has a bevvy of loyal fans, including the king of cool, Steve McQueen, who famously owned a GTB/4 model. 

The Revival sale features a long-nosed model, the 1965 Ferrari 275 GTB/2 Cam Berlinetta, that has been lovingly cared for by the same owner for more than 15 years, now estimated at £1,100,000-1, 500,000. 

1965 Ferrari 275 GTB/2 Cam Berlinetta. Registration no. KPJ 233C. Estimate £1.1 million - 1.5 million (€1.3 million - 1.7 million). Photo: Bonhams.

The Lamborghini Diablo – named after the Spanish word for ‘devil’ – was the marques replacement for the outgoing Countach. It was the fastest, most advanced, and indeed, expensive model the marque had ever built. Bonhams auction offers a 1997 Lamborghini Diablo SV, estimated at #200,000-250,000. 

1997 Lamborghini Diablo SV. Registration no. R569 MGK, Chassis no. ZA9RE37ADWLA12872. Estimate £200,000 - 250,000 (€230,000 - 290,000). Photo: Bonhams.

Leading the sale is the fierce ‘Red Dragon’ Aston Martin Speed Model. The historical racing car has an outstanding competition history that includes multiple wins at the Italian Mille Miglia, the RAC Tourist Trophy in Ulster, and France’s famed Le Mans 24-Hour race. It is estimated at £1,600,000.  

The Ex-Works, Dick Seaman, Eddie Hertzberger, Dudley Folland, John Wyer, Colonel Ronnie Hoare, Jack Fairman. 1936 Aston Martin 2-Litre Speed Model 'Red Dragon'Sports-Racing Two-Seater. Registration no. FGY409. Chassis no. H6/711/U. Estimate £1.6 million - 2 million (€1.9 million - 2.3 million). Photo: Bonhams.

The fierce 'Red Dragon' Aston Martin Speed Model is revealed as an early consignment for Bonhams Goodwood Revival Sale, taking place 10 September 2016. The historical racing car has an outstanding competition history that includes the Italian Mille Miglia, the RAC Tourist Trophy in Ulster, and France's famed Le Mans 24-Hour race. It is estimated at £1,600,000-2,000,000.

Built in 1936, the 'Red Dragon' was tailor-made to be the ultimate 'Ulster' Aston Martin, the car created for the British driver, Richard 'Dick' Seaman, to challenge Germany's sophisticated new BMW 328s in the most important UK race of the period: the RAC TT on the Ards circuit in Northern Ireland.

Unfortunately, a win with the Aston wasn't to be. The car was subsequently sold to Dutch owner/driver, Eddie Hertzberger, a few years later. He competed in this Aston Martin in the 1,000-mile round-Italy Mille Miglia and also in both the Belgian Spa and French Le Mans 24-Hour races. Hertzberger also won at the 1937 Grand Prix des Frontiéres meeting in Belgium.

The wealthy Welsh amateur racing driver, Dudley Folland, acquired the car after the war. Carmarthenshire-born Folland had started his racing career under the alias 'Tim D. Davies', contesting in the 1935 Le Mans with a Frazer Nash, before graduating to the powerful Aston.

John Polson, Bonhams Motoring Specialist, said: "Folland chose 'Red Dragon' because it was the most competitive British built car available in the early years after the war.

"Having proven itself in Hertzberger's hands, it was the best British race car available, and Folland proved very competitive in it, finishing third in the Paris 12-hour race in Montlhéry in 1948, and holding 2nd in the Spa 24-hours before crashing dramatically very near the finish."

Both races were won by the new Ferrari 166 Spider Corsa V12, driven by Luigi Chinetti. Folland was so impressed by the Ferrari's speed and agility that despite his loss, he ordered one for himself, and in the meantime modified the Aston Martin after its Spa crash with lightweight bodywork resembling the Ferrari.

Today, the car still wears the famous Welsh racing driver's livery – proudly emblazoned with the Welsh red dragon.

Tim Schofield, Bonhams UK Motoring Director, said: "This is an incredibly historic Aston Martin. Having competed in so many of the most renowned great sports car races of the 1930s and 1940s, it is regarded as the ultimate 'Ulster' Aston Martin and its provenance, including Dick Seaman, Eddie Hertzberger and Dudley Folland, is impeccable."

The Ex-Works, Dick Seaman, Eddie Hertzberger, Dudley Folland, John Wyer, Colonel Ronnie Hoare, Jack Fairman. 1936 Aston Martin 2-Litre Speed Model 'Red Dragon'Sports-Racing Two-Seater. Registration no. FGY409. Chassis no. H6/711/U. Estimate £1.6 million - 2 million (€1.9 million - 2.3 million). Photo: Bonhams.

Bonhams Goodwood Revival Sale takes place in Chichester, West Sussex, on 10 September 2016.

Jarre (guan), 15e siècle, dynastie Ming (1368-1644), fours de Longquan, province de Zhejiang, grès porcelaineux è couverte céladon, Hauteur : 0.255 m, Diamètre : 0.24 m, don Georges Revoil. Sèvres, Cité de la céramique, MNC8667. Photo © RMN-Grand Palais (Sèvres, Cité de la céramique) / Martine Beck-Coppola

Plat à motif alvéolé, fin du 15e siècle, dynastie Ming (1368-1644), fours de Longquan, province de Zhejiang, grès porcelaineux à couverte céladon, Hauteur : 0.056 m, Diamètre : 0.27 m, don Georges Revoil. Sèvres, Cité de la céramique, MNC8671;MNC12189. Photo © RMN-Grand Palais (Sèvres, Cité de la céramique) / Martine Beck-Coppola

Hemmerle. Diamonds, gold, copper earrings. Photo © Hemmerle
Hemmerle inspiration - detail of a Roman labyrinth mosaic at the Museu Monográfico de Conímbriga, Portugal.

Hemmerle. Pearl, copper, gold earrings. Photo © Hemmerle
Hemmerle inspiration: detail of ‘Clothes on the Grass: Study for 'Bathers at Asnières'’, 1883 by Georges Seurat. Oil on wood. Photo credit: The National Gallery, London, On loan from Tate: Presented by Alex Reid and Lefevre 1926, © 2000 Tate

Bouteille hexagonale, 2e moitié 16e siècle, dynastie Ming (1368-1644), porcelaine bleu blanc, fours de Jingdezhen, Hauteur : 0.275 m, Diamètre : 0.084 m. Sèvres, Cité de la céramique, MNC6560. Photo © RMN-Grand Palais (Sèvres, Cité de la céramique) / Martine Beck-Coppola

Gargoulette (kendi) à bec à bulbe, début 17e siècle, dynastie Ming (1368-1644), porcelaine bleu blanc, fours de Jingdezhen, Hauteur : 0.175 m. Sèvres, Cité de la céramique, MNC6571. Photo © RMN-Grand Palais (Sèvres, Cité de la céramique) / Martine Beck-Coppola

AlmaKarina studio. At the studio today. Bulgari bracelet.

AlmaKarina studio. At the studio today. Chopard bracelet.

AlmaKarina studio. At the studio today. Chanel ring.