Vase, 18th century, Qing dynasty (1644–1911). Rose quartz. H. 5 7/8 in. (14.9 cm); W. 4 1/4 in. (10.8 cm); D. 3 5/8 in. (9.2 cm). Gift of Heber R. Bishop, 1902, 02.18.856. © 2000–2016 The Metropolitan Museum of Art.
Vase, 18th century, Qing dynasty (1644–1911)
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Flower holder with pomegranate, Qing dynasty (1644–1911)
Flower holder with pomegranate, Qing dynasty (1644–1911). Rose quartz. H. 5 7/8 in. (14.9 cm); W. 4 1/4 in. (10.8 cm); D. 3 5/8 in. (9.2 cm). Gift of Heber R. Bishop, 1902, 02.18.856. © 2000–2016 The Metropolitan Museum of Art.
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Famous Rolls-Royce 'More like the Throne Room at Versailles than a car' for sale at Bonhams
1926 Rolls-Royce Phantom I. Coachwork by Brougham De Ville. Registration no. YE 939. Chassis no. 76TC. Estimate £500,000 - 700,000 (€560,000 - 790,000). Photo: Bonhams
LONDON - A unique Rolls-Royce Phantom I built in 1926 for the American businessman Clarence Gasque as a gift for his wife Maude, is one of the star lots at Bonhams Bond Street Sale in London on 4 December. It is estimated at £500,000-700,000.
Maude Gasque, a Woolworth's heiress, had a passion for French 18th century history and design and her husband, who was the Finance Director of Woolworth's UK operation, wanted the car's interior to have a French theme. (He also stipulated that it should be grander and more lavish than the Rolls-Royce Silver Ghost made for his Woolworth colleague Surefire Snow). Setting no limit on the budget, he left the details to the Wolverhampton based coachbuilders, Charles Clark and Sons. Clark's owner, John Barnett, had the inspired idea of using a Marie Antoinette sedan chair he had come across at the Victoria and Albert Museum as a model. The result was a spectacular confection more resembling the throne room at Versailles than the inside of a car. On delivery, the Rolls-Royce cost £6,500, of which £4,500 had been spent on the interior - (£500 was enough in 1926 to buy a house).
Mr and Mrs Gasques beside their art-filled Rolls-Royce in the 1920s. Photo: Bonhams.
Craftsmen from the famous carpet makers, Aubusson, in France, spent nine months working on a tapestry for the rear seats at a cost of £500. In keeping with a car that would come to be known as The Phantom of Love, naked cherubs featured prominently in the exotic interior, appearing in painted scenes on the ceiling and as lighting supports at the rear corners. Additional lighting was concealed behind the ceiling's carved and gilded cornice. A bow-fronted drinks cabinet, reminiscent of an antique commode or chiffonier, was mounted on the internal division, concealing fold-down, inward-facing occasional seats - also upholstered in tapestry - in cupboards at either side. Surmounting this elaborate division was a small French ormulu clock and two French porcelain vases containing gilded metal and enamel flowers. In honour of the Gasque family's French origins, Barnett devised a faux coat of arms at his client's request, which was applied to the rear doors.
Sadly, Clarence died in 1928 and in 1937 Maude – who lived until 1959 and spent the rest of life promoting vegetarianism – put The Phantom of Love into storage. She sold it in 1952 to the well-known Rolls-Royce car collector Stanley Sears, and it subsequently passed through the hands of enthusiasts in Japan and the USA before returning to the UK and its most recent owner.
Bonhams Senior Motor Car Specialist Rob Hubbard said, "Extensively illustrated and described in numerous books and magazine articles about the Rolls-Royce marque, The Phantom of Love is, arguably, the most famous surviving Rolls-Royce after 'Axe 201', the factory owned 1907 Silver Ghost. Unique and well documented, it is of the highest quality and without question one of the very finest examples of art and craftsmanship applied to an automobile. The Phantom of Love would grace any important private collection or make a wonderful exhibit for a museum display."
Interior views of the 1926 Rolls-Royce Phantom I. Coachwork by Brougham De Ville. Registration no. YE 939. Chassis no. 76TC. Estimate £500,000 - 700,000 (€560,000 - 790,000). Photo: Bonhams
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A façon de Venise latticinio wine glass, probably Dutch, late 17th century
Lot 14. A façon de Venise latticinio wine glass, probably Dutch, late 17th century. Estimate £1,600 - 2,000 (€1,800 - 2,200). Photo: Bonhams.
The conical bowl, spiral 'propeller' stem and conical foot all decorated with vetro a fili and a retorti, 15.8cm high
Provenance: Sotheby's sale June 1994, lot 381
From the estate of a Swiss collector.
Bonhams. BRITISH AND EUROPEAN CERAMICS AND GLASS, 10:30 GMT - LONDON, KNIGHTSBRIDGE
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A rare façon de Venise winged wine glass, late 17th century
Lot 15. A rare façon de Venise winged wine glass, late 17th century. Estimate £3,000 - 4,000 (€3,400 - 4,500). Photo: Bonhams.
The conical bowl with white combed-thread or pulled-thread decoration of marvered loops, the hollow baluster stem below two mereses applied with two yellow trailed 'wings' with clear glass pincered ornament, on a wide folded foot, 16.5cm high (one tiny piece of pincering missing)
Provenance: From the estate of a Swiss collector, purchased from Francis Walther, July 1995.
Note: A similar glass is in the Fitzwilliam Museum, Cambridge, Glass Catalogue p.71, fig.153b. For other related glasses see the Cinzano Glass Collection, Catalogue no. 3, The Golden Age of Venetian Glass (1979), p.84, cat. no.133 and Glass in the Rijksmuseum, Vol.1 (1993), p.50, no.59.
Bonhams. BRITISH AND EUROPEAN CERAMICS AND GLASS, 10:30 GMT - LONDON, KNIGHTSBRIDGE
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A Netherlands façon de Venise winged wine glass, early 17th century
Lot 16. A Netherlands façon de Venise winged wine glass, early 17th century. Estimate £2,500 - 3,000 (€2,800 - 3,400). Photo: Bonhams.
With diamond-point engraved decoration, the shallow cup-shaped bowl engraved with formal flowers and foliate scrollwork including two highly-stylised birds, the hollow knopped and baluster stem applied with bright blue winged handles edged with pincered ornament in clear glass, the folded foot with further engraving in diamond-point, 12.2cm high, the bowl 12.7cm diam.
Provenance: From the estate of a Swiss collector.
Note: A similar glass was sold by Bonhams 12 December 2012, lot 3. A very similar example in the Bayerischen Nationalmuseum, Munich is illustrated by Rainer Rückert (1982), pl.13, fig.53. Other glasses of similar form are in the collection at Veste Coburg see Anna-Elisabeth Theuerkauff-Liederwald (1994), pp.310-311. Another of identical form without engraving in the British Museum is illustrated by Hugh Tait, The Golden Age of Venetian Glass (1979), fig.90.
Bonhams. BRITISH AND EUROPEAN CERAMICS AND GLASS, 10:30 GMT - LONDON, KNIGHTSBRIDGE
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A Venetian or Netherlands façon de Venise wine glass, 17th century
Lot 17. A Venetian or Netherlands façon de Venise wine glass, 17th century. Estimate £1,500 - 2,000 (€1,700 - 2,200). Photo: Bonhams.
In clear cristallo, the conical bowl on a small merese and hollow double-knopped stem, on a spreading folded foot, 13.6cm high.
Provenance: From the estate of a Swiss collector.
Bonhams. BRITISH AND EUROPEAN CERAMICS AND GLASS, 10:30 GMT - LONDON, KNIGHTSBRIDGE
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A reverse-painted glass picture by Nikolaus Michael Spengler, signed and dated 1764
Lot 28. A reverse-painted glass picture by Nikolaus Michael Spengler, signed and dated 1764. Estimate £3,000 - 5,000 (€3,300 - 5,600). Photo Bonhams.
Of upright rectangular form and depicting The Alchemist after David Teniers the Younger, seated in a busy workshop and using a pair of bellows to blow air onto a fire which heats a distiller, other apparatus and his notebook spread around him, more figures in the background, one using a mortar and pestle, signed with monogram and dated 1764, wooden frame, 35.4cm x 27.6cm visible image
Provenance: From the estate of a Swiss Collector
Note: Nikolaus Michael Spengler (1700-1776) was among the most accomplished reverse-glass painters of his age. He learnt the technique at Konstanz and his earliest dated work is from 1727, around the time he settled in Darmstadt where he also served as Court painter to Counts Ernst Ludwig (1678–1739) and Ludwig VIII (1739–1768) of Hesse-Kassel. A typical tavern interior by Spengler, also after Teniers, is in the Corning Museum of Glass, no.2011.3.114. See also the Ryser Collection Catalogue, Reverse Paintings on Glass, nos.59-61.
Bonhams. BRITISH AND EUROPEAN CERAMICS AND GLASS, LONDON, KNIGHTSBRIDGE
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Vase with cover and base, 18th century, Qing dynasty (1644–1911)
Vase with cover and base, 18th century, Qing dynasty (1644–1911). Smoky quartz. H. 10 in. (25.4 cm). Gift of Heber R. Bishop, 1902 (02.18.858a–c) © 2000–2016 The Metropolitan Museum of Art.
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Seated Buddha, 18th–19th century, Qing dynasty (1644–1911)
Seated Buddha, 18th–19th century, Qing dynasty (1644–1911). Smoky quartz. Overall: H. 3 3/8 in. (8.6 cm); W. 3 1/2 in. (8.9 cm); D. 3 in. (7.6 cm). Gift of Heber R. Bishop, 1902 (02.18.859) © 2000–2016 The Metropolitan Museum of Art.
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Flower holder with floral design, 18th century, Qing dynasty (1644–1911)
Flower holder with floral design, 18th century, Qing dynasty (1644–1911). Carnelian and white agate. H. 5 in. (12.7 cm); W. 7 3/4 in. (19.7 cm); D. 4 in. (10.2 cm). Gift of Heber R. Bishop, 1902 (02.18.868) © 2000–2016 The Metropolitan Museum of Art.
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Water dropper in the shape of a crane, 18th century, Qing dynasty (1644–1911)
Water dropper in the shape of a crane, 18th century, Qing dynasty (1644–1911). Carnelian and white agate. H. 2 3/8 in. (6 cm); W. 3 1/8 in. (7.9 cm). Gift of Heber R. Bishop, 1902 (02.18.876a, b) © 2000–2016 The Metropolitan Museum of Art.
A crane holding a branch of peaches symbolizes longevity. The crane is believed to live for more than a thousand years and has been associated with immortals who would ride on its back. The peach is understood to have more potent life-extending power. In Chinese legend, the fruit grows on sacred trees in the garden of the Queen Mother of the West and ripens every three thousand years; a person who eats it will live forever.
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Amida Nyorai, Japon. Très probablement époque de Heian, ca 9°-12° siècle
Lot 92. Amida Nyorai, Japon. Très probablement époque de Heian, ca 9°-12° siècle. Estimation : 3 000 - 5 000 €. Photo Cornette de Saint-Cyr
Bois. H. 90 cm
En dépit d’une forte usure de surface due aux xylophages, cette belle sculpture présente encore des éléments stylistiques évoquant l’esthétique des statues de Buddha de l’époque de Heian. Bien que les mains soient absentes, l’avant bras droit relevé et le gauche incliné vers le bas trahissent l’iconographie classique des représentations d’Amida, le Buddha de la “terre pure” de l’ouest. Accidents et manques visibles, l’arrière est évidé et présente un beau travail à coups d’herminettes.
CORNETTE DE SAINT CYR PARIS. Arts d'Asie - Art Tribal - Documentation, le 09 Novembre 2016 à 14h30. 6, Avenue Hoche - 75008 PARIS. Expert : Cabinet Daffos-Estournel (Tel. : +33 6 09 22 55 13).
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Pendentif hei tiki, Maori, Nouvelle-Zélande
Lot 103. Pendentif hei tiki, Maori, Nouvelle-Zélande. Estimation : 10 000 € / 15 000 €. Photo Cornette de Saint-Cyr
Néphrite. H. 12 cm
Pendentif hei tiki, autrefois parure et signe d'autorité des personnes de haut rang. La figure adopte la position classique, la tête inclinée sur un coté, une main reposant sur la cuisse et l’autre sur la poitrine. Un orifice a été pratiqué au sommet du crâne pour la suspension. La surface plane de la face postérieure indique que comme cela est fréquent cet objet a été taillé dans une pierre de hache. La garniture de nacre des yeux est très certainement une reconstitution.
Provenance : - Collections d’une famille Française de grands amateurs d’Art.
- Logiquement acquis dans les années 1920 – 1930 et conservé depuis dans la famille.
CORNETTE DE SAINT CYR PARIS. Arts d'Asie - Art Tribal - Documentation, le 09 Novembre 2016 à 14h30. 6, Avenue Hoche - 75008 PARIS. Expert : Cabinet Daffos-Estournel (Tel. : +33 6 09 22 55 13).
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Erwin Olaf
Erwin Olaf, Music Lesson 01© Bank of Switzerland
Erwin Olaf, Music Lesson 02© Bank of Switzerland
Erwin Olaf, Violin Player© Bank of Switzerland
Erwin Olaf, Couple Drinking© Bank of Switzerland
Erwin Olaf, Boy with Flute© Bank of Switzerland
Erwin Olaf, Old Violin © Bank of Switzerland
Erwin Olaf, Vanitas© Bank of Switzerland
Erwin Olaf, Still life with wiolin © Bank of Switzerland
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Erwin Olaf
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Erwin Olaf, Still Life
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A large carved white-glazed baluster vase, Kangxi period (1662-1722)
Lot 51. A large carved white-glazed baluster vase, Kangxi period (1662-1722). Estimate GBP 10,000 - GBP 15,000 (USD 12,180 - USD 18,270). Photo Christie's Images Ltd 2016.
The vase is decorated with large peony flowers and leafy scrolls, with tall leaves surrounding the neck. 27 ¾ in. (70.5 cm.) high.
Christie's. Fine Chinese Ceramics and Works of Art, 8 November 2016, London, King Street
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A carved white-glazed 'dragon and phoenix' jar, Kangxi-Yongzheng period (1662-1735)
Lot 50. A carved white-glazed 'dragon and phoenix' jar, Kangxi-Yongzheng period (1662-1735). Estimate GBP 8,000 - GBP 12,000 (USD 9,744 - USD 14,616). Photo Christie's Images Ltd 2016.
The exterior of the vessel is carved with a phoenix and a dragon chasing a flaming pearl, amongst clouds and flames. 7 5/8 in. (19.4 cm.) high.
Christie's. Fine Chinese Ceramics and Works of Art, 8 November 2016, London, King Street
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A very large guan-type archaistic vase, hu, Yongzheng six-character seal mark in underglaze blue and of the period (1723-1735)
Lot 47. A very large guan-type archaistic vase, hu, Yongzheng six-character seal mark in underglaze blue and of the period (1723-1735). Estimate GBP 180,000 - GBP 220,000 (USD 219,240 - USD 267,960). Photo Christie's Images Ltd 2016.
The vase has a pair of stylised dragon handles and is decorated with raised archaistic straps and bosses, covered overall in a celadon glaze with a network of dark grey crackles. 19 5/8 in. (50 cm.) high.
Christie's. Fine Chinese Ceramics and Works of Art, 8 November 2016, London, King Street
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