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Lot 112
A George III sampler, worked by Mary Knight, Finished This Piece of Work in the Eleventh Year of her age 1811, incorporating a house, family figures with a Naval father (by a ship), animals, verse, other motifs, within a floral meander border, 43.5 x 60.5 cmA little browned, which should be visible, no major holes or repairsProvenance: A Wiltshire country house
Lot 86
A VERY FINE CHINESE CANTON ISLAMIC MARKET PORCELAIN CHARGER, beautifully decorated with central calligraphic panel, emanating with further painted panels of figures and flora with birds and butterflies, on a blue ground with finely enamel painted lotus flower motifs and heightened with gilded highlights, 40.5cm diameter. Provenance: Geneve, Vente Aux Encheres Publiques, Salons de l'Hotel President, 24th April 1983, lot 38 (catalogue included with this lot).
Lot 146
ink and watercolour on paper, signed mounted, framed and under glass image size 27cm x 37cm, overall size 41cm x 51cm Note: James Harrigan is a graduate of Glasgow School of Art where he studied Painting and Printmaking between 1956 and 1961. He was born in Ayr in 1937 and has continued to live in Ayrshire all his life. He taught Art for many years and was an inspiring teacher with many of his pupils going on themselves to develop successful careers as artists. In recent years James has spent time in the West Indies and in Brazil but he never tires of painting the landscape and coastline around his Ayrshire home and elsewhere in Scotland. He is known mainly as a landscape artist but his landscapes are almost invariably informed by a human presence and day to day activities, a sense of life being lived. This may be actual figures or it may be a suggestion of human life through buildings, gardens, boats.... He is an expressive painter working mainly in oils, using the rich, luscious quality of the paint to great effect. He exhibits widely and has work in many collections including those of the House of Lords, Glasgow University, P & O Cruises, Wigtownshire Education Trust and the Maclaurin Gallery. He is a past winner of the prestigious Laing Landscape Competition and the Scotsman Art Competition. In The Scottish Contemporary Art Auction of 10th November 2022, lot 52 "Girvan Harbour" a 48 x 58cm oil on board (dated 1998) by James Harrigan sold for £2200 (hammer). Since then "Sailing at Elie" a 50 x 75cm oil (by James Harrigan) sold in our auction of 13th December 2023 (lot 10) for £2400 (hammer) and in our 9th May 2024 auction lot 175 Summer Morning (View to Arran) a 51 x 77cm oil (by Harrigan) sold for £3000 (hammer).
Lot 284
mixed media on board, signed, titled and dated 1996 verso framed and under glass image size 134cm x 56cm, overall size 150cm x 73cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Lot 26
Late Period, Ca. 664 - 332 BC. A mummy shroud composed of faience seed-shaped and tubular beads. It has a detailed face, a winged scarab, and the four Sons of Horus. The face is rendered with black, green, white and red beads. Below it, a scarab symbolises rebirth, whilst the four figures guard the organs. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition. Size: 310mm x 130mm; Weight: 74.7g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Lot 321
Ca. AD 1400. A medieval British silver gilt iconographic ring with a round hoop divided by high mid-rib embellished with gilt geometric motifs. The bezel is adorned with two figures of extremely stylised saints represented frontally. For similar see: MET Museum, Accession Number L.2015.72.12.; The British Museum, Museum Number AF.915. Size: D:15.7mm / US: 5 / UK: J 1/2; Weight: 3.2g Provenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 390
Ca. 1200 - 800 BC. An elaborate horse bit decorated with cheek pieces with an openwork central figure scheme. In the centre, a standing winged stag with long curved horns resting on the body of a dead animal, made in an idealised manner. The figures are pierced with a large hole in the belly. For similar see: The Metropolitan Museum of Art, Accession Number: 1979.352.3. Size: 120mm x 175mm; Weight: 555g Provenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 86
Ca. 340 - 330 BC. A pelike attributed to the circle of the Darius Painter. On Side A, a soldier is shown resting on a rock in heroic nudity. Before him, a Maenad offers a large patera beneath a flying Nike. The bodies are depicted with high naturalism, and the Maenad’s drapery, marked by horizontal folds, reflects the style of the early Darius Painter. On Side B, offering figures appear, likely within a temple. Their drapery is rendered with simple vertical black lines. The side decoration includes a meander motif below the main scene, an intricate palmette motif beneath the vertical handles, and a stylised rosette pattern encircling the neck. For similar see: Trendal A.D., The Red-Figured Vases of Apulia, Plate XI, n 1-2. Size: 400mm x 240mm; Weight: 2.68kg Provenance: Property of a central London gallery, previously acquired on the Dutch art market; previously acquired on the Belgian art market; Hugo Lievens, Brussels 1982. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Lot 25
Late Period, Ca. 664 - 30 BC. A pair of faience ushabtis covered in layers of reflective pale green-hued glaze. The figures stand in mummiform with fused legs and feet; a long Nemes surround the head and a stylised false beard hangs from the chin. For similar see: MET Museum Accession Number: 30.8.193., Christie's, Live Auction 6060, Antiquities, lot. 305. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition. Size: 125.7-126.9mm x 34.4-36mm; Weight: 141.3g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Lot 138
Ca. 400 - 300 BC. A bronze ring with a round hoop in D-section, connected to a round bezel engraved with two man figures, probably Komastoi, during the dance of the ritual. Size: D:19.56mm / US: 9 3/4 / UK: T; Weight: 12.4g Provenance: Private London collection; formerly with A.R., acquired on the UK art market 1990s.
Lot 391
Ca. 1200 - 800 BC. An elaborate horse bit decorated with cheek pieces with an openwork central figure scheme. In the centre, a standing winged stag with long horns is made in a naturalistic manner, with muscles in evidence, especially on the back part. Around the neck, a collar probably with a bell. The figures are pierced with a large hole in the belly. For similar see: The Metropolitan Museum of Art, Accession Number: 1979.352.4. Size: 130mm x 175mm; Weight: 455g Provenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 27
Late Period, Ca. 664 - 332 BC. A mummy shroud composed of faience seed-shaped and tubular beads. It has a detailed face, a winged scarab, and the four Sons of Horus. The face is rendered with black, green, white and red beads. Below it, a scarab symbolises rebirth, whilst the four figures guard the organs. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition. Size: 220mm x 115mm; Weight: 55.24g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Lot 30
Late Period, Ca. 664 - 30 BC. A collection of 10 faience ushabtis covered in layers of reflective pale green-hued glaze. The figures stand in mummiform with fused legs and feet; a long Nemes surround the head and a stylised false beard hangs from the chin. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition. Size: 61.9-73.1mm x 20.7-20.7mm; Weight: 102.7g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Lot 5
Middle Kingdom, Ca. 2055 - 1790 BC. A marvellous carved black stone ritual mortar of relatively cylindric form with high walls. The deep basin was perhaps able to hold ample amounts of material, from food and medicinal ingredients to substances pulverised into colourful pigments. On the external surface, in high relief, two standing figures, probably priests, represented frontally with a long skirt covering the lower part of the body and with the other naked and wearing a long wig alternating to vertical lines of hieroglyphic inscription. For similar see: Change and Innovation in Middle Kingdom Art. Proceedings of the MeKeTRE Study Day held at the Kunsthistorisches Museum, Vienna (3rd May 2013), Middle Kingdom Studies 4, London, 2016, Fig. 45-49. Size: 240mm x 210mm; Weight: 18.29kg Provenance: Prince collection, 1990s-2014; Ex. Nagel Auktionen, Sale 50T, 27 May, 2008, Lot 3401. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 193
Tang Dynasty, Ca. AD 618-907. A pair of terracotta female musicians. The figures are dressed in long dresses with a short-sleeved cropped overcoat, the outfits are painted with red pigments. Each figure is seated while holding their instruments: a panflute and guqin respectively. Size: 250-250mm x 135-135mm; Weight: 2.4kg Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. The figure on the right has been precisely dated using a thermoluminescence analysis carried out by Ralf Kotalla. The report will accompany the lot.
Lot 196
Tang Dynasty, Ca. AD 618-907. A pair of female musicians. The figures are dressed in long dresses with a short-sleeved cropped overjacket, the outfits are painted with brown pigments, with their hair arranged in a high topknot. The standing figures are playing the flute and cymbals respectively. Female musicians were often employed directly at court as skilled performers. These ladies may come from noble families or were selected according to their outstanding performance. They would perform in ceremonies, festivities as well as banquets, highlighting the Tang court's appreciation for music. Size: 350-360mm x 110-110mm; Weight: 2.5kg Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. The figure on the left has been precisely dated using a thermoluminescence analysis carried out by Ralf Kotalla. The report will accompany the lot.
Lot 227
Ming Dynasty, Ca. AD 1368-1644. A group of three terracotta figures. They appear to be attendants, dressed in aubergine-glazed and green-glazed robes respectively, each standing on a square pedestal. Size: 170-190mm x 50-60mm; Weight: 805g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 33
Ca. AD 1200. A superb bronze bowl of circular form and extra-large size with elaborate Kufic calligraphy and engraved details of an army running around the internal rim, set amongst geometric and floral motifs. Decorated internally with the image of a seated couple recieving toasts and blessings, possibly inspired by Persian illumination. In the late 12th century, subjects such as hunting scenes and human figures drinking wine, which refer to the function of the vessel; appeared as decorations on objects. Size: L:85mm / W:200mm ; 1.78kg Provenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 158
Ca. AD 200 - 300. A schist relief panel with the seated Buddha attended by Brahma and Indra, as well as two Bodhisattvas. It is an exquisite ensemble of sculptures that emanates an aura of spiritual significance and artistic brilliance. The central figure of the triad portrays the Buddha Shakyamuni, the historical Buddha who attained enlightenment. Sitting in the meditative lotus position, Shakyamuni Buddha exudes an aura of tranquility. The facial features are expertly sculpted, with almond-shaped eyes that convey a profound sense of compassion and wisdom. The finely chiseled nose, gently curved lips, and hair pulled up into a topknot further add to the figure's harmonious countenance. Flanking the central Buddha is Brahma and Indra and two attendant Bodhisattvas, emanating an aura of reverence and devotion. All of these figures are embodying the compassionate ideal of Buddhism, and stand in a poised posture. Adorned in ornate robes that drape gracefully over their bodies, the Buddha figures in the triad are resplendent with richly detailed patterns and textures. The folds and drapery of the garments are skillfully rendered, capturing the subtle movements and fluidity of the fabric. This Triad panel exemplifies the spiritual devotion and artistic mastery of its creator. The harmonious composition and the delicate balance of forms evoke a sense of awe and reverence, inviting contemplation and deepening one's connection to the Buddhist teachings. This triad stands as a testament to the enduring influence of Buddhism and the remarkable artistic legacy it has left behind. Size: 580mm x 540mm; Weight: 78.35kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Japan; previously in 1970s Japanese collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 195
Tang Dynasty, Ca. AD 618-907. A pair of dancing ladies. The figures are dressed in long skirts, with a midi overcoat, and their hair arranged in a high double knot. Their upper bodies are slightly bent to the side, with one arm in the air, indicating motion in their dancing. Dances during this period was diverse, influences by the interaction with neighboring areas, including Central Asia, Persia and India. Size: 300-300mm x 145-145mm; Weight: 2.4kg Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. The figure on the right has been precisely dated using a thermoluminescence analysis carried out by Ralf Kotalla. The report will accompany the lot.
Lot 101
Ca. 11th - 13th century AD. A group of metalwork comprising a bucket-shaped bronze mortar, decorated with four frontal bird figures, possibly hawks, and two opposing ridges with handles, one of which is pierced. Included in the group is a large Ghaznavid brass magic bowl, high in zinc and copper content, adorned with twelve portrait heads in roundels, connected by crescent panels, each featuring incised Arabic calligraphy below. Also featured is a Ghaznavid brass shallow bowl, centrally engraved with a war elephant carrying an armed rider with banners, surrounded by the twelve zodiac signs, each inscribed with its Arabic or Farsi name around the circumference. Finally, a Khorassan brass ewer of typical form is included, decorated with engraved images and calligraphy, notably without any silver or copper inlay. Size: 50mm-390mm, 160mm-340mm; Weight: 7.4kg Provenance: Previous property of an Islamic art professional. Previously apart of the Henri René d’Allemagne Collection, 1979. Acquired by Ahuan U.K Ltd. from M. Roderick d’Allemagne, grandson of Henri René d’Allemagne (1836 - 1950.) Reza Attigechi, Tehran, 1978. Provenance: Purchased by Riaz Babar, 1990. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 194
Tang Dynasty, Ca. AD 618-907. A pair of terracotta female musicians. The figures are dressed in long dresses with a short-sleeved cropped overcoat, the outfits are painted with red, green and black pigments. Each figure is seated while holding their instruments: a flute and cymbals respectively. Size: 250-260mm x 135-135mm; Weight: 2.5kg Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. The figure on the right has been precisely dated using a thermoluminescence analysis carried out by Ralf Kotalla. The report will accompany the lot.
Lot 13
Iran, Ca. 12th century AD.On conical foot, the globular body rising to a tapering neck and scalloped edged mouth, the painted decoration consisting of seated figures within large roundels, the shoulder and neck with dotted decoration, the rim decorated with a pseudo calligraphic register. Size: 355mm x 185mm; Weight: 1.3kgProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK.
Lot 117
Ca. 19th century AD. A group comprising a Qajar or Turkish glazed pottery kashkul of hemispherical form, decorated with pink roses in blue vases on either side, with two lozenge-shaped motifs on top, one open and the other adorned with floral patterns and two suspension loops in the shape of bird heads. Previously acquired by Ahuan U.K. Ltd from Dr. Ziya Sofu, London, 23 July 1975. included is a Qajar pearlescent seashell, likely a large oyster shell, engraved with a court scene showing a seated ruler among courtiers in a garden with flowering plants and birds, framed by scrolling arabesques, and inscribed "Amal Isfahan" (Made in Isfahan). Such shells, often containing loose pearls, were a speciality of Isfahan. Prior Reza Attigechi, Tehran, 1976. The group also contains a Qajar lacquer mirror case or shallow box, engraved on one side with eight seated figures in a landscape and six figures in a similar setting on the reverse. Completing the collection is a Qajar enamelled copper bowl with a wide rim, featuring eight waist-length portraits of youths, two wearing crowns, against a blue ground within oval lozenges, separated by vase-shaped panels with birds in flowering bushes. The outer bowl showcases two lozenges with portraits of blue-robed youths on a pink ground, over two panels with pairs of figures in a landscape. Purchased from Brimo de Laroussilihe, Paris. 8 December 1976. Size: 200mm-240mm, 120mm-200mm; Weight: 1.85kg Provenance: Previous property of an Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
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