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14783 Los(e)/Seite
Los 402
Elamite, Ca. 1100-540 BC A bronze flat axe with a narrow back, expanding to the curved blade. To the rear a round socket with an elongated flange from which a decorative cast recumbent ram protrudes. Size: L:240mm / W:90mm ; 245g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Los 442
Ca. 900-1000 AD A forged-iron axe head of a sizeable form with a lengthy neck, a verticle blade with flared tips, and a wide socketing shaft with slightly flared upper and lower edges. Mounted on a custom-made display stand. Size: L:150mm / W:97mm ; 510g Provenance: Formerly in the private collection; previously acquired from G. Mullins in London, 2017.
Los 485
Ca. 1500-1000 BC A cast bronze war axe head featuring an undecorated, cylindrical shaft. The flattened blade, drawn out from the top of the shaft, broadens out towards the cutting edge which is slightly convex. Beautiful green and olive patination covers the surface of the weapon. Size: L:70mm / W:120mm ; 425g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Los 486
Ca. 1200-700 BC A bronze axe head with a curved blade, triangular cheek and a circular socket with a flange. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual contexts. An axe head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axe heads were common votive offerings in shrines. For a similar see The Louvre Museum, Inventory number: AO 22932. Size: L:40mm / W:90mm ; 160g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Los 487
Ca. 1200-700 BC A cast axe head comprising of a tubular socket with incised decoration, a narrow cheek and a crescentic-shaped blade. An axe head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Size: L:70mm / W:95mm ; 210g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Los 492
Ca. 1200-700 BC A finely modelled cast bronze double axe head, composed of a tubular socket, a convex axe blade and an adze blade to the rear. Size: L:70mm / W:250mm ; 1.59kg Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Los 495
Ca. 1200-700 BC A cast bronze double axe head featuring a short cylindrical shaft hole and a vertical blade with a curved cutting edge and an adze blade to the rear. Size: L:55mm / W:160mm ; 385g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Los 34
VAJRAMUDGARA (MARTEAU RITUEL) EN ALLIAGE DE CUIVRE DORÉCHINE, XVIIE SIÈCLEHimalayan Art Resources item no. 4641 30.9 cm (12 1/8 in.) highFootnotes:A GILT COPPER ALLOY VAJRAMUDGARA (RITUAL HAMMER)CHINA, 17TH CENTURY中國 十七世紀 銅鎏金金剛鎚 Published:Arman Neven, Le tantrisme dans l'art et la pensee, 1974, p. 69, no. 321Exhibited:Le tantrisme dans l'art et la pensee, Palais de Beaux-Arts, Bruxelles, 7 March - 10 April 1974.Provenance:With Claude de Marteau, Brussels, by 1970sThe vajramudgara, or adamantine hammer, is one of several indestructible armaments wielded by meditational deities such as Vajrabhairava and Kalachakra. In esoteric Buddhist practice, the hammer demarcates the sacred boundaries of a mandala during the preparatory stages of its ritual creation, either by driving triple-edged stakes (phurbas) into the ground or striking down hostile forces. Each decisive blow is a reflection of the practitioner's wisdom, tempered so as to glance off ignorance and delusion. Splendid, with rich gilding and brightly-colored inset stones, this ornate ritual implement likely derives from the famed ironwork foundries in Derge, East Tibet as commissioned by the Chinese imperial court between the 16th and 17th centuries. On the one hand, the present work stylistically connects with ritual objects made of damascened iron, such as a Yongle vajra-axe in the Cleveland Museum of Art (1978.9.1) and a brazier in the Metropolitan Museum of Art, New York (1992.257.2) in its application of ring-punched decorations, vajra enclosures, and octagonal segments. On the other hand, closer inspection of the vine-encircling flowers, double vajra (visvavajra), and fork-tailed ruyi clouds on the neck and face of the hammer reveal identifiable motifs from the Late Ming period, such as nearly identical cloud forms decorating a cinnabar lacquer box dated 1589 to the Wanli period, in the Tokyo National Museum (Carved Lacquer, 1984, p. 139, no. 196). These aforementioned decorations are not only found on Chinese lacquer, but also appear on 16th/17th century textiles, paintings, porcelain, and cloisonné, including a Ming cloisonné bowl with floral scroll decorations in the Metropolitan Museum of Art, New York (29.110.88) and a 16th-century dish incised with a double vajra, published in Brinker, Chinese Cloisonné: The Pierre Uldry Collection, 1989, no. 73a. Furthermore, the use of inset coral and incised lines to enhance each flower petal bears worthwhile comparison to a Tibetan gold mandala gifted to the Shunzhi emperor in 1652 (Precious Deposits: Relics from Tibet, China vol. 4, pp. 14-5, no. 4), suggesting that the hammer coincides with the period of artistic transition between the Ming and Qing dynasties.For further information on this lot please visit Bonhams.com
Los 49
STATUETTE DE MANJUSHRI EN ALLIAGE DE CUIVREDYNASTIE QING, RENAISSANCE PALA, XVIIIE SIÈCLEInscribed with the Buddhist Creed ('ye dharma hetu...') in Tibetan on the back of the mandorla.Himalayan Art Resources item no. 4643 12 cm (4 3/4 in.) highFootnotes:A COPPER ALLOY FIGURE OF MANJUSHRIQING DYNASTY, PALA REVIVAL, 18TH CENTURY清 帕拉復興 十八世紀 文殊菩薩銅像Provenance:With Claude de Marteau, Brussels, by 1970s Manjushri, the bodhisattva of infinite wisdom, displays a sutra and the traces of an iron sword above his head. Certain characteristics, including his mandorla, axe-shaped ribbon ties, and looped cloth tied behind his girdle all recall the style of bronzes from the Late Pala period. However, the crisp outlines of his armlets and sash, together with a seated Buddha located behind the crown, stylistically deviate from 12th/13th century examples. This suggests a Qing artist's unique reimagining of earlier forms, or archaism, that was popularized by the antiquarian gentry and emperors of the Song dynasty (960-1279). Compare with a standing Tara image executed in the 'Pala Revival' style in the Palace Museum, Beijing (Wang (ed.), The Complete Collection of Treasures of the Place Museum: Buddhist Statues of Tibet, 2003, p. 257, no. 246), and a Vajradhara image with similarly soft features, sold at Bonhams, New York, 17 September 2014, lot 49.For further information on this lot please visit Bonhams.com
Los 382
A GEORGE III MAHOGANY SIDE TABLE Of serpentine outline, and on square chamfered moulded legs 87cm high, 162 cm wide, 78cm deep Provenance: Supplied by Christopher Gibbs Condition Report: Marks, knocks, scratches, abrasions consistent with age and use Old splits and cracks, some chips and losses, The drawers have been lined with baize previously, there is some remains of this attached with old glue deposits Overall solid and stable The top with old marks and stains, including water damage and ring marks The axe-head handles are of differing sizes to each side, one set are particularly small in gauge and appear to be later replacements, the others are larger and more in keeping with the overall appearance, there is no guarantees these are original or not Please refer to additional images for visual reference to condition Condition Report Disclaimer
Los 310
FIVE BOXES OF CERAMICS AND ORNAMENTS, to include a boxed pair of Poole Pottery Jasmine Birds, an Axe Vale Pottery jug and pot, two small Beswick ponies, a Hornsea Pottery Squirrel vase, two Bristolia children figurines, boxed ceramic wall art length 45cm x width 19cm, a mid- century turquoise Empoli Glass Genie bottle in the wave pattern, a Johnson Bros 'Eternal Beau' pattern dinner set with napkins and placemats, an orange and brown 1970s Palissy butter dish, six Midwinter 'Riverside' pattern dinner plates, two Royal Doulton 'Forest Flower' pattern plates, a Portmeirion 'Cypher' pattern sugar bowl, tea pots, drinking glasses, etc (s.d) (5 boxes)
Los 185
A carved ironwood knobkerrie, having a typical bulbous head on a helix shaped shaft, Zulu People, Natal Province, South Africa, early 20th century, 64cm; An Oceanic Ula type club, carved from the natural growth of a native hardwood tree root stock with spherical head and plain handle, possibly Fijian, early 20th century, 64.5cm; A Polynesian ceremonial axe, the shaped head decoratively bound in rattan mounted on a tapering wooden haft, Solomon Islands, early 20th century, L. 61cm; and A hand carved black palm-wood ceremonial spear, the tip of flattened leaf shape with remains of polychrome decoration, 193cm, together with one other smaller example and a palm-wood hunting bow, Lower Sepik Peoples, Papua New Guinea, mid-19th century
Los 133
A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BCOpinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。器體呈梯形，長方形內直，肩部平直，兩側有對稱的長方形孔，弧刃，兩側略外張，器身中部有較大的圓孔，肩下及兩側各飾夔紋，柄上有饕餮紋。由於字數限制，完整中文敘述請至www.zacke.at查看。
Los 408
A collection of silver jewellery, including a double curb link charm bracelet with charms; a 42mm circular silver Celtic design brooch, Edinburgh 1964; a silver ice axe pendant, 50mm, Sheffield 1978; A Victorian silver nurses buckle, Birmingham 1899, 60mm; a silver vesta case, Birmingham 1910, 45mm; garnet ring; base metal Egyptian Revival style brooch, 65 x 40mm; Kigu Shantung pattern powder compact; mother-of-pearl scent bottle holder and pair of opera glasses; brass matchbox holder; silver fork and spoon etc.
Los 60
Attributed to Charles George Hood Kinnear (1830-1894) Album of salt prints from calotype negatives, c.1846-8 containing 120 photographic salt prints from calotype negatives, pasted onto rectos only of thick paper leaves, photograph dimensions mainly approx. 15.5 x 11.5cm or similar (leaf dimensions 27 x 22cm), many with bevelled corners, a few arch-topped or in octagonal, oval or circular form, with pencilled captions, dates and foliation, prints towards rear within brown ink frames, the album retaining two initial blanks, one with partial list of subjects, one with ownership inscription reading in part 'Letham Grange, Arbroath, the photographs comprising: 32 portraits of sitters of various social classes, including 'a poacher', 'a smith', various other tradesmen or farmhands (e.g. a man seated with horse tack, a man holding a trowel, and a man holding a log and axe), and smartly-dressed figures, several named, including 'R. Rutherford', 'Dr Burt, 'Capt Maitland R.N.', 'J. G. Murray' (this figure holding a shotgun), Robert Murray (2 portraits), 'An A.R.S.A.' (identified in list at front as J[ohn] C[rawford] Brown [Scottish painter, 1805-1867]), a young woman in a patterned dress (2 portraits), a young boy with a riding crop, a boy seen through a gate in a garden wall, and a man in top-hat posing in stone Gibbs-surround doorway; studies including a still life of game; 2 smaller prints on one mount, respectively titled 'Lacock Abbey, Wilts, from a Talbotype;' and 'Shakespeare's house from a Talbotype'; 14 prints not from life (i.e. from prints or paintings); and numerous views of Kinloch House and its grounds and outbuildings, Collessie (village in Fife), Kames House (Berwickshire), Cunnoquhie House, Falkland Palace, Inchrye Abbey, and Edinburgh (Scott Monument, St George's Church, St John's Chapel, High School, Pitt statue, gaol, and similar); together with 4 photogenic drawings of tree-leaves or grasses (these not from negatives, and in addition to the 120 mentioned). Contemporary fine-diaper cloth album, gilt-lettered 'Calotypes' on front cover, rebacked and recornered, endpapers renewed with bookplate (containing arms of the Kinnear family) reimposed to front pastedown, a few mounts stained from adhesive, a few prints with pencilled embellishments in some cases adding architectural detail, final 11 leaves detached but remaining conjugate, lacunae in foliation indicating a few leaves excised.The album is sold with an extensive collection of related material, including:1. 4 additional photograph albums:a & b) Two albums respectively containing 60 and 25 albumen prints mainly of architecture in Scotland and Northumberland, 1890 & 1892, all approx. 15 x 20cm, mounted rectos only on stiff card, and including Drygrange House and Compstone House, both designed by Kinnear's architectural firm Peddie & Kinnear (with captions to that effect, i.e. 'Drygrange House - C.G.H.K. fecit'; 'Compstone House, Kirkcudbright, C.G.H.K. fecit'), and a few family portraits and non-architectural views, pencilled captions to mounts (in a similar hand to those in the calotype album);c) Album of 52 albumen prints, 1887, including Oxford colleges, Scottish houses including Drygrange (see above), jubilee celebrations at Kinloch, a portrait Wellwood Herries Maxwell of Munches House (Liberal politician, 1817-1900; Kinnear's wife was Jessie Jane Maxwell), outdoor scenes including three figures on a wooded path (one figure identified in a later hand as 'C. M. K.', i.e. Kinnear's son Charles Maxwell), and similar, all approx. 15 x 20cm or slightly smaller, pencilled captions throughout (in a similar hand to the preceding items);d) Album of approx. 60 silver gelatin prints, c.1902, mainly Scottish views and family scenes, including the Maxwell family at Munches House, puffins on Handa Island, etc.2) Album of architectural sketches, signed and dated C. G. H. Kinnear, Genoa, 1854, approx. 30 leaves + blanks, annotated pencil sketches on rectos and versos, including studies of architectural detail (tracery, mouldings, doorways, elevations, etc.) in both Genoa and Pisa;3) Charles George Hood Kinnear's diploma of election as associate of the Royal Scottish Academy, 1893, lithographic document on vellum, signed by Queen Victoria ('Victoria R');4) A large volume of Kinnear family documents and letters, 18th-20th century, approx. 200 in total, including letters from Charles's brother John Boyd Kinnear (1828-1920), Liberal politician, letter to John Boyd Kinnear from John Bright, various deeds (including sasines, on vellum), bonds, contracts, inventories, album of 15 watercolour views in France and Ireland, 1920s, scrap albums belonging to Elizabeth Anne Kinnear including a menu inscribed by ornithologist Peter Scott (1909-1989), and similarNote: Note:A highly important and newly discovered album by a pioneer of photography, dating from within a few years of Fox Talbot's invention of the calotype method and its introduction to Scotland in 1841 by Sir David Brewster.Charles George Hood Kinnear was born in 1830 at Kinloch House, near Collessie, Fife, into a wealthy banking family. In 1849 he was articled to Edinburgh architects William Burn and David Bryce. It is suggested in the Dictionary of Scottish Architects that he may have learnt photography from Bryce, though the dates in this album indicate that his photographic experiments pre-date their known professional association.Kinnear became a founding member of the Photographic Society of Scotland in 1856, and in the same year entered into partnership with Edinburgh architect John Dick Peddie. In 1857 he went on an architectural and photographic tour of northern France using a new form of camera with a conical bellows which 'set the pattern for nearly all subsequent cameras' (Schaaf & Taylor). His final public exhibition of photographs was in 1864, after which his architectural work absorbed most of his efforts; the firm of Peddie & Kinnear had become hugely successful, securing major commissions for private houses, public buildings and churches throughout Scotland which remain major landmarks to this day, including Edinburgh's Cockburn Street, and the hydropathics at Dunblane, Craiglockhart and Callander. He was elected associate of the Royal Scottish Academy in 1893, and died suddenly at his offices in Edinburgh in 1894.A full list of the contents of the main album in this lot is available on request. Lot 57 in the sale, the Kinnear family autograph album, contains letters to C. G. H. Kinnear from various figures including Fox Talbot.Further reading: Schaaf & Taylor, Impressed by Light: British Photographs from Paper Negatives, 1840-1860 (2007), p. 338.Provenance: Inherited by the vendor from Elizabeth Hay (née Kinnear, 1924-2017), descendant of C. G. H. Kinnear.
Los 79
A late 18th century Dutch blue and white delftware plaque, painted with fishing boats and bearing the inscription 'No 5 De Buysch op de Neering', mark on the back for De Porceleyne Bijl (The Porcelain Axe), 22cm wideMeasures 22cm x 22cm x 2.5cm. In good antique condition with some small rim chips and glaze wear commensurate with age - no restoration.
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14783 Los(e)/Seite