We found 93468 price guide item(s) matching your search
There are 93468 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
93468 item(s)/page
Lot 102
Ladi Kwali (Nigerian, circa 1925-1984)Tankard stamped 'Abuja' in Arabic/ 'LK' (base)glazed stoneware14.5 x 13 x 10cm (5 11/16 x 5 1/8 x 3 15/16in).Footnotes:ProvenanceA private collection. The present work a unique and rare example of Ladi Kwali's where she has opted not to use sgraffito in her work. Innovative nonetheless, the present work seems to bear a white slip and then a black slip on top of this, resulting in this rich dripping appearance we seen on it's surface. Given the colour technique that Ladi Kwali has opted for, the use of an 'AA' glaze (which is clear glaze) would enable the rhythmic flow of the slips to be experienced without any additional colour added by pigmentation in the glaze.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Lot 106
Asibi IdoFive Small Bowls all bear stamp 'A.I' and 'Abuja' in Arabic (to the bases)glazed stoneware 4.5 x 15 x 15cm (1 3/4 x 5 7/8 x 5 7/8in). (all measure the same)(5)Footnotes:Honoured by being selected to present President Azikiwe with one of her pots upon his visit to the Training Centre and further to her invitation to accompany Michael O'Brien (who worked at the Training Centre following Cardew) on a visitation to Britain in 1989, it is clear that Asibi Ido was a potter held in high regard within the Training Centre. Meticulously decorated with each dish possessing its own individuality, it appears that the 5 works were thrown, given Cardew's introduction to the centre of the pottery wheel, it could be argued that the sgraffito marks on the work were completed when the dishes were still spinning and clay still wet, given their precision. Made in the darker clay of Body 49 base and a black slip, the combination of the two along with the addition of the ridges enables a red-brown pigment to appear along the lines, sealed by what appears to be an Abuja Slip-Glaze. Given the shine of the five dishes, it can be concluded that these dishes were fired under a high heat.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Lot 156
Nnenna Okore (Nigerian, born 1975)Ashjoke clay, ceramic and burlap 90 x 120cm (35 7/16 x 47 1/4in).Footnotes:ProvenanceAcquired from Stepping Stones Nigeria, 2010;A private collection.Formerly a student of El Anatsui, Nnenna Okore's art is similarly inspired by the utilisation of discarded objects in rural areas of Nigeria. Her work often employs ordinary media like magazines and newspaper, which are disposed of in the United States, but are considered usable commodities in her native Nigeria. This duality of the material is the artist's way of re-defining everyday waste. As well as natural materials, Nnenna's works consistently challenges environmental neglect, consumerism and globalisation. Her work therefore celebrates the transformation of discarded materials into cultural objects, forms, and spaces and brings a critical focus to bear on the consumption and recycling cultures in parts of Nigeria. It is this revitalisation of materials, that makes Nnenna one of her generation's most exciting and innovative artists working within the genre of urban recyclia.These discarded materials include newspapers, wax, cloth, rope, clay and sticks and she applies various repetitive and labour-intensive techniques such as weaving, twisting, sewing, dyeing, waxing and rolling. These techniques were learned by watching villagers perform everyday, traditional tasks. The results of these creative processes contributed to accentuating the colours, textures and other visceral qualities of her sculptural works. In the present lot, the differing shades of the moulded clay contributes to a flowing and rhythmic work, supported by its burlap backing.For further information on this lot please visit Bonhams.com
Lot 133
Stanley Faraday Pinker (South African, 1924-2012)Referendum, 1992 signed 'S7Pinker' (centre left); bears a Michael Stevenson & Deon Viljoen label (verso)oil and mixed media on canvas, wood and hardboard142 x 99cm (55 7/8 x 39in).Footnotes:ProvenanceA private collection.LiteratureMichael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004), p. 90. (illustrated)Born in what was then known as South West Africa (modern-day Namibia) in 1924, Stanley Pinker's work strongly embodies the political climate of his cultural context. The artist tackles and confronts issues of socio-politics and its implications and consequences. In the 1950s and 1960s, Pinker travelled to England where the growth of his career would start to bloom. In execution, his works adopt the early 20th century modernism that was popular for the time. Spending a significant amount of time in London, Pinker became strongly influenced by the Cubist movement. The present work is a testament to this early exploration and embodies a study of form, colour, and structure. Referendum (1992) was made in response to a precise event in South African history which took place on the 17th March 1992. This was the day of a whites-only referendum by which 68.6% of voters chose to proceed with negotiations to reform the constitution and therefore lifting the apartheid restrictions. Two years prior to the referendum, the State President, Frederik Willem de Klerk, had first proposed the ending of the apartheid. Capturing the mood of the time, Pinker seizes the feelings of angst and chaos of both sides of the referendum to the top of the piece, external to what could be considered as the traditional main body of the work being the more symmetrical lower half of the work. When addressing his tendency to explore art creation beyond the generic space of a canvas, Pinker commented, 'I've always thought of space as something 'tangible' and have been drawn to artists who have used mural-like space rather than artists who create an illusion of space through perspective'. (Stanley Pinker in Michael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004), p. 19.) Beyond the geometrical lower half of the work, Pinker has imbedded relevant symbolism and metaphorical techniques to communicate the contrasting angst of the people. With a colour palette relevant to the symbolism of the event that it being recounted, the small signs reading Yes! bear the colours of the old South African flag, and No! display the colours of the opposition, the ANC (African National Congress). Between the raging white figure, mouth open and with flushed cheeks, and the more demure Black figure with eyes averted to the left, a traditional mask of the Bwa people champions a figure holding an ANC flag and gong baton. Representing a victory of the ANC, the party would go onto govern the country from 1994 under the Presidential direction of Nelson Mandela. The main panel to the lower end of the work situates a different mood; playfully blissful and vibrant in palette and concisely organised in execution. This area of the work bears the intention of representing politicians. Assisted by the more ordered structure of painting, they appear emotionally passive and harmonious in comparison to the chaotic energy of the work outside of this geometrically even board. It is this contrast in mood that evokes a sense of the grandiose ignorance of the three representational birds to the reality of the tumultuous lives of the people prior to the end of the apartheid. This animated and socio-politically conscious work can be concluded as one of Pinker's most striking, cementing itself in a prominent position in his oeuvre.BibliographyMichael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 766
PAIR OF LATE 19TH CENTURY CIRCULAR CABINET PLATES, OF 'SEVRES' DESIGN the centre painted with exotic birds within a blue and gilt border, bear Sevres style marks to base23cm diameterQty: 2Both generally good. Ring true. The frist has a scratch to the border above the left hand side of the tree, also an area of dirt below reserve.Second has scuffs to left hand side of tree by the border, and further below. Apparent staining to central area - only seen when moved in light. Both subject to light wear including minor gilt rub.
Lot 230
Late 19th century Black Forest hall stand Late 19th century Black Forest hall stand, carved with a large bear with glass eyes stood holding the base of a tree trunk and two bear cubs playing in the branches above, the base with a stick well having a carved perimeter, raised on carved supports 202cm high
Lot 166
"The Surprising Caravan" by Enid Blyton, illustrated by Eileen A. Soper, Brockhampton Press, 1946 first edition; "Boris the Lop-Sided Bear" by Gladys Schmitt, Collier Books New York, 1966 first edition ex library; "Escape from the Amazon" by Margaret Atkinson & Ronald Searle, Perpetua Books, 1964 first edition, ex library
Lot 249
FOURTEEN VARIOUS TEDDY BEARSincluding Paddington with a blue duffle coat and red wellies, Cooperstown Teddy 1951 New York Giants, Gund Abiner Smoothie, Gund jointed bear, Lavender Scented Bear, Poppy Bear, Elvis 50th Anniversary Bear, Emerald Buddies Bear, Panda, Puffin and two Wire Fox Terriers (14)
Lot 362
Wolff,L.: Musica Choralis Franciscana Tripliciter divisa in Medullam Cantus Gregoriani, Sive ejusdem principia Generalia: In Cantorale Tonorum communium In Provincia FF. Min. Recoll. Coloniensi Usitatorum: et in Processionale Romanum & Ordinis. Köln, Caspar Drimborn 1726. 12°. (4) Bl., 242 S., (7) Bl., 16 S. Leder. Incredibly rare first edition of a Franciscan music pocketbook by Leopold Wolff, an organist at the Franciscan convent Ad Olivas near Cologne. It contains lyrics and musical notes, including a chart depicting the notes and keys. The book would be especially fascinating to anyone interested in the history of music. Leather with two clasps, one defective. Former monastery library book with sticker on spine and stamp inside. Boards rubbed. Binding firm. Typical darkening and foxing of paper due to age. Three pages bear stickers meant to serve as bookmarks. Text block well-preserved and clean. An outstandingly preserved copy. (56)
Lot 176
Full title: A pair of Chinese famille verte 'Emperor Yang' dishes, KangxiDescription:Dia.: 34,5 cm Provenance:- By repute, from the Collection of Duchess Isabella Lubomirska (nee Czartoryska) (1736-1816), Lancut Castle, Poland.- The Counts Potocki, Lancut Castle, Poland, until circa 1944.- Paul-Louis Weiller (1893-1993), and thence by descent.- An important European private collection. Ref.: - Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp. 30-33.- Emperor Yang of the Sui dynasty (éš‹ç‚€å¸, r. 606-18) is known for many achievements, such as linking the Yellow and Yangzi Rivers with the man-made Grand Canal, leading successful military campaigns expanding the Sui territory, and being accomplished in the arts. Despite those, Emperor Yang is also considered to have brought disaster to the country and misery to the people late in his life with his unwise rule and decadent and debauched lifestyle with his concubines. In the West Park, outside Luoyang, his consorts (wives who ranked lower than his primary wife, the empress) often organised his concubines to do equestrian performances and variety shows to entertain the emperor and please his inflated ego. One of the best known of these vignettes was the procession of Lady Wang Zhaojun (王æ˜å›, c. 52 – c. 15 BCE) in a moonlit night. (Lady Wang Zhaojun was one of the legendary Four Beauties of Ancient China. She had been in the harem of Emperor Yuan of the Western Han dynasty [汉元å¸, 206 BCE – 8 CE]. He eventually sent her off by horseback in a procession to marry a Central Asian tribal chieftain.) The elderly Emperor Yang is often depicted enthusiastically observing his elegant court ladies showing off their riding skills in the spirit of Lady Wang, while anticipating further antics to follow. This scene has often been mistaken as ‘female generals of the Yang family’(æ¨é—¨å¥³å°†) by many art historians. However, Dr Yibin Ni has found that historical woodblock illustrations such as that of the novel Romance of Sui and Tang (éš‹å”演义), and New-Year prints such as Wang Zhaojun’s Galloping Horses (新彩æ˜å›è·‘马) bear similar scenes with clear written titles which reveal that the scene is actually meant to be a cautionary tale for rulers. Chu Renhuo (褚人获)’s Romance of Sui and Tang fictionalises the historical events leading to the fall of the Sui dynasty and the subsequent rise of the Tang. (source: tutuhaoyi.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 15
Kim Novak signed colour 10 x 8 inch photo to Sam. American retired film and television actress and painter. Her contributions to cinema have been honoured with two Golden Globe Awards, an Honorary Golden Bear, and a star on the Hollywood Walk of Fame. Novak began her career in 1954 after signing a contract with Columbia Pictures, and quickly became one of Hollywood's top box office stars, appearing in Picnic (1955), The Man with the Golden Arm (1955), and Pal Joey (1957). She gained prominence for her performance in Alfred Hitchcock's thriller Vertigo (1958), which is recognized as one of the greatest films ever made. Other notable films include Bell, Book and Candle (1958), Strangers When We Meet (1960), and Of Human Bondage (1964). Although still relatively young, Novak withdrew from acting by 1966 and has only sporadically worked in films since. She appeared in The Mirror Crack'd (1980) and had a regular role on the primetime series Falcon Crest (1986-1987). Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 180
MAITREYA IN THE TUSHITA HEAVEN, AN EXTREMELY RARE GILT-BRONZE FIGURE, XUANDE INCISED SIX-CHARACTER MARK AND OF THE PERIOD, CHINA, 1425-1435Expert's note: Maitreya is visualized here in his manifestation as a princely bodhisattva, teaching in the Tushita heaven, thus with his hands held in dharmachakra mudra, the teaching pose (turning the wheel of the second law), after which Maitreya will leave the Tushita heaven and come upon earth to 'establish the lost truths in all their purity.' Maitreya's face is imbued with compassion, the essential quality of the bodhisattva, with a downward gaze and gentle smile. Maitreya is the only Boddhisattva who is popular among all sects of Buddhism, such as the Mahayana, the Hinayana, and the Vajrayana, and he is often shown with his long hair hanging over his shoulders, such as in the present portrayal.Superbly cast, the bodhisattva seated in vajraparyankasana on a double-lotus base with beaded edges, his hands held in dharmachakra mudra, wearing a dhoti with exquisitely carved folds gathered at the waist and fastened by a beaded girdle and a scarf around the bare shoulders flowing over the arms, revealing the chest adorned with beaded pendent jewelry. The upper surface of the base is engraved with a six-character mark da Ming Xuande nian shi and of the period.Provenance: Spink & Son, London, United Kingdom, c. 1966. Adrian Maynard, London, United Kingdom, acquired from the above and thence by descent within the family. A noted Hungarian collector, acquired from the above after 2015. Adrian Maynard joined Spink & Sons in 1947, where he was appointed Director from 1962 and eventually Deputy Chairman until his retirement in 1984. He was a man of enormous drive and undoubtedly the most flamboyant character to take charge of the Asian art department, which he took to the height of its success. Maynard believed firmly that "a dealer, whose fortune and good name depends on knowing what to buy, has a much greater responsibility to be right about the objects that come into his hands than, say, an academic, who never handles large sums of money." Condition: Good condition with expected old wear. Minimal casting flaws, few minuscule nicks, and remnants of old pigment and varnish. The base retains the original sealing.Weight: 1,520 g Dimensions: Height 18.2 cm Maitreya is richly adorned with further fine bodhisattva jewelry including a foliate crown framing the forehead and tied with billowing sashes at the ears, circular studded earrings, and beaded bracelets, armbands, anklets, and foot adornments. The serene face with a benevolent expression, the eyes with heavy sinuous lids below gently arched brows centered by a raised circular urna. The smiling mouth with full bow-shaped lips, the neatly incised hair drawn up in a knotted jatamakuta topped by a cintamani jewel and falling elegantly in tresses to the shoulders. The base is sealed with a plate, neatly incised with a visvavajra emblem.During the Yuan Dynasty in the 13th and 14th centuries, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals. At the beginning of the 15th century, the Buddhist fervor of the Ming court encouraged a cultural exchange between Tibet and China through Imperial patronage. Bronze sculptures in the Tibeto-Chinese style were first produced during the reign of Emperor Yongle (1403-1424) and are highly distinguished for their unsurpassed craftsmanship, overall refinement, and gracefulness. Emperor Yongle (1403-1425), a devout Buddhist himself, bestowed generous patronage to Buddhist monasteries and artistic ateliers, fostering the production of artworks depicting Tibetan Buddhist deities and imagery in a highly refined style, executed with the highest level of technical mastery. Gilt bronzes were commissioned from the Imperial workshops in Beijing for personal religious practices and as gifts for the many Tibetan emissaries invited to the court.Fewer examples bear the reign mark of Xuande (1425-1435) and the present lot is closely related to its Yongle predecessors, both stylistically and technically. The present figure was made at the Imperial ateliers in Beijing, probably during the early phase of the Xuande period, by the same craftsmen who continued their work from the Yongle period.Literature comparison: Very few other figures of Maitreya from this group of reign-marked, early-15th-century gilt-bronzes have been published. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pl. 343F. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in The Chang Foundation, Buddhist Images in Gilt Metal, Taipei, 1993, cat. 22. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, 147E (later restored without a vase and now in the Aschmann collection). For a related Xuande-marked gilt-bronze figure of Vajrasattva, see The Complete Collection of Treasures of the Palace Museum, Buddhist Statues of Tibet, p. 230, no. 219.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 9 July 2020, lot 2702 Price: HKD 4,325,000 or approx. EUR 516,000 converted and adjusted for inflation at the time of writing Description: A very rare and finely cast gilt-bronze figure of Maitreya, incised Yongle six-character presentation mark and of the period Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark and the related size (20 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 7 October 2010, lot 2144 Price: HKD 6,020,000 or approx. EUR 989,000 converted and adjusted for inflation at the time of writing Description: A fine and rare gilt-bronze seated Maitreya, mark and period of Yongle Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark. 明代宣德六字款罕見銅鎏金兜率天彌勒坐像彌勒佛結跏趺坐於雙層蓮花座上，雙手結法輪印，底座上表面刻有“大明宣德年施"六字款。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 22
AN EXCEPTIONAL YELLOW JADE FIGURE OF A BEAR, HUANGXIONG, HAN DYNASTY, CHINA, 202 BC - 220 ADExpert's note: At peace with itself and the world, the bear appears to be enjoying the moment and is wholly lacking the ferocity that typifies most Han-dynasty representations of bears, tigers, and other wild beasts, marking this as an astonishingly rare and naturalistic sculpture. The stone is calcified throughout, but a single patch of the original jade fades from a fine yellow tone through a deep orange into a remarkable cinnabar red, exemplifying the fact that jade can have almost any color.Special care seems to have been given to this jade bear after its rediscovery. Not only has the stone been finely polished by a dedicated craftsman after it's retrieval from the earth - extensive soil encrustations remain visible all over the exterior - but it was also repaired with a neatly lacquered replacement piece meticulously inserted to the lower jaw. This lacquer repair, likely Japanese in origin, interplays nicely with the red shades on the left hind leg of the bear. The conclusion of this author is that the present lot was probably found at some point around the 18th century, where it was treated as described above, and eventually brought to Japan, where the red lacquer repair has been carried out. From there it made its way to Europe, probably at some point in the earlier part of the 20th century. Also note that until 1945, the German Reich and the Japanese Empire were close allies, exchanging on many different levels of culture.The small yet compelling sculpture represents a plump bear seated on its haunches in a moment of repose. The round eyes gazing forward and flanking the nose, the forehead with a central line below the attentively raised ears, the spine extending to the short, peach-form tail with very fine incised lines on either side, the haunches well rounded and extending to the muscular legs and clawed paws, with one tucked underneath. The opaque jade is of a deep yellow hue with orange, red and russet shades, covered almost entirely in ancient calcification.Provenance: From a German private estate, by repute acquired by an unknown ancestor long time ago and in the family ever since. Condition: Good condition, commensurate with age, displaying exceptionally well. Signs of wear and weathering, losses, nicks, calcification and encrustation as a result of an extended period of burial. An ancient red lacquer 'Kintsugi' style repair to the lower jaw, most likely applied in Japan a long time ago. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The calcification also covers most of the incision work, which becomes apparent from looking at the tail which is not completely calcified.Weight: 212 g Dimensions: Height 6.6 cmAuction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2018, lot 108 Price: HKD 6,700,000 or approx. EUR 859,000 converted and adjusted for inflation at the time of writing Description: An exceedingly rare and important white and russet jade carving of a bear, Western Han dynasty Expert remark: Note the related facial features of this jade bear. Note the size (5.7 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 20 Price: EUR 247,500 or approx. EUR 283,000 adjusted for inflation at the time of writing Description: A rare celadon-yellow jade bear, Song dynasty or earlier Expert remark: Compare the closely related subject. Compare also the fine detailing and incision work. Note the slightly smaller size (5.1 cm) and celadon-yellow color.Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 18 Price: EUR 4,207,500 or approx. EUR 4,818,000 adjusted for inflation at the time of writing Description: A rare yellow jade mythical animal, Song dynasty or earlier Expert remark: Compare the closely related pose. Compare also the related carving with similar drooping chest and rotund belly as well as the fine detailing and incision work. The mythical animal has a bear-like appearance with the addition of wings and horns. Note the slightly smaller size (5 cm) and yellow color. Note also that this jade was previously published and exhibited by J. J. Lally & Co., Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others, New York, 1993, cat. no. 85.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 268
A SIX-PIECE 'CHRYSANTHEMUM' 900/1000 SILVER TEA & COFFEE SERVICE, OVER 2 KG TOTAL WEIGHT, LATE QING DYNASTYInscribed: Several pieces stamped with 'IS' and '90'China, late 19th to early 20th century. All pieces made from solid silver 900/1000. Comprised of a coffeepot, a teapot, a cream jug, a sugar bowl, a stand and a burner, each vessel is set with a bamboo-form handle and decorated with chrysanthemums in high relief. The hinged covers are further incised with bamboo leaves and have finials in the form of bamboo stalks. The handles bear circular insulators carved from organic material. (6)Provenance: Property from the private collection of Walter Knoke (1885-1952), assembled in China during the 1920s and 1930s, and thence by descent in the same family.Condition: Very good condition with minor wear, few small nicks, light scratches, and minuscule dents. The larger teapot missing the covers hinge pin.Weight: 557.2 g (smaller teapot), 268.2 g (sugar bowl), 189.9 g (cream jug), 702.4 (larger teapot), 344.2 (stand and burner) Dimensions: Length 26.7 cm (smaller teapot), 16.8 cm (sugar bowl), 15.1 cm (cream jug), 23 cm (large teapot) Auction result comparison:Type: RelatedAuction: Sotheby's London, 5 November 2014, lot 335Price: GBP 11,875 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: An Export Silver Tea Set Qing Dynasty, 19th CenturyExpert remark: Note that this set also contains a silver tray. 清末六件菊花紋茶或咖啡杯具，900/1000 銀，重2公斤多中國，十九世紀末至二十世紀初。純銀 900/1000 製成。由咖啡壺、茶壺、奶油壺、糖罐、支架和爐組成，每件器皿均配有竹形手柄，並飾有高浮雕菊花。 鉸接蓋竹葉紋，並具有竹杆狀的流。手柄帶有由有機材料雕刻而成的圓形絕緣體。 (6) 款識: 可見'IS' 與 '90'字樣 來源：Walter Knoke（1885-1952 年）私人收藏，於上世紀二十年代至三十年代在中國收藏，並由同一家族傳承。 品相：狀況極好，有輕微磨損、少量小刻痕、輕微劃痕、微小凹痕。較大的茶壺缺少蓋子鉸鏈銷。 重量：557.2 克 (小茶壺)，268.2克 (糖罐)，189.9克 (奶油罐)，702.4克 (大茶壺)，344.2克 (底座和燃器) 尺寸：長26.7 厘米 (小茶壺)，16.8 厘米 (糖罐)，15.1 厘米 (奶油罐)，23 厘米 (大茶壺) 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2014年11月5日，lot 335 價格：GBP 11,875（相當於今日EUR 18,000） 描述：清十九世紀外銷銀菊紋茶器一套 《恒昌造》款 專家評論：請注意此茶具套有一件銀盤。
Lot 598
A SILVER-INLAID BRONZE CROSSBOW FITTING, WARRING STATES PERIODChina, 475-221 BC. Of rounded rectangular form, the hollow fitting has a square base and an aperture at the back for mounting it to the weapon. It is decorated overall with a geometric design of lozenge silver inlays with C-scrolls and stylized leafy scrolls. The top has a raised oval that extends down the side and is covered in the same design.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Good condition, commensurate with age. Signs of wear and weathering, dents, scratches, extensive rubbing to one side, soil encrustations, losses, corrosion. The inside seems to bear small remnants of fabric. Naturally grown patina with solid malachite encrustations overall.Weight: 201.4 g Dimensions: Width 5.5 cm Literature comparison:Compare a related corner fitting, 5.8 cm long, dated 4th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1605. Compare a related finial with gold and silver inlays, 6.3 cm long, dated 5th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2236. Compare a pair of bronze finials with silver inlays decorated with a similar geometric design, 6 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1677.1-2.Auction result comparison: Type: Related Auction: Christies New York, 16 March 2017, lot 865 Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Silver-Inlaid Bronze Circular Ornament, Warring States Period (475-221 Bc) Expert remark: Note the similar inlay work and size (6 cm). 戰國錯銀銅十字弓配件中國，公元前475-221年。中空配件呈圓角矩形，有一個方形底座，背面有一個孔，用於將其安裝到武器上。 整體裝飾採用菱形銀色鑲嵌幾何設計，帶有卷葉紋。頂部有一個凸起的橢圓形，向下延伸到側面，並覆蓋有相同的紋飾。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：品相良好，有磨損和風化跡象、凹痕、劃痕、一側有大面積磨損、土壤結殼、損失、腐蝕。內部似乎有少量織物殘留。自然包漿，整體帶有堅固的結殼。 重量：201.4 克 尺寸：寬 5.5 厘米 文獻比較： 比較一件相近的西元前四至三世紀十字弓配件，5.8 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1605。比較一件相近的西元前五至三世紀錯金銀鑲嵌矛，6.3 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.2236。比較一對西元前五至四世紀錯銀鑲嵌相似的幾何設計頂端，6 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1677.1-2。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年3月16日，lot 865 價格：USD 9,375（相當於今日EUR 10,500） 描述：戰國銅錯銀圓飾 專家評論：請注意相似的鑲嵌和尺寸(6 厘米)。
Lot 60
A MOLDED AND CARVED 'DRAGON' FAMILLE ROSE PORCELAIN SNUFF BOTTLE, SIGNED LIQUAN, CHINA, 1853-1864Of pear shape with a wide mouth, finely carved and molded and brightly enameled to depict a fierce five-clawed dragon in high relief with sinuous scaly body chasing a flaming pearl amid colorful swirling clouds. The base with a neatly painted iron-red four-character mark.Inscriptions: To the base, 'Liquan zi zhi' (made by Liquan himself).Provenance: Collection of John Ault. Robert Kleiner & Co. Ltd., London, United Kingdom, 2005. A private collection in the United Kingdom, acquired from the above. A copy of the original invoice from Robert Kleiner & Co. Ltd., dated 5 July 2005, confirming the dating above, and stating a purchase price for the present lot of GBP 4,250 or approx. EUR 10,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. John Ault (d. 2014) was a British intelligence officer, novelist, and avid collector of Chinese snuff bottles. Robert Kleiner (1948-2014) was an important expert of Chinese snuff bottles, beginning his long career at Sotheby's in London. Along with Hugh Moss and Bob Hall, he became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles.Condition: Very good condition with only minor old wear, few expected manufacturing irregularities, remnants of gilt around the mouth. The jade stopper with natural fissures.Some rubbing to enamels.Stopper: Celadon jadeWeight: 72.5 g Dimensions: Height incl. stopper 74 mm. Diameter neck 21 mm and mouth 11 mm Expert's note: Only one other bottle with the mark “made by Liquan himself" has been recorded, see Robert Kleiner, Chinese Snuff Bottles, The White Wings Collection, 1997, number 81. Several near-identical bottles do exist, however, these are all molded only (and not additionally carved) and bear the mark Guangyao neizao “made in the official kilns". It is likely that the whole series was made during the Taiping Rebellion (1853-1864), when the Imperial kilns and surrounding areas were under the control of the rebels, raising considerable problems of protocol in marking porcelains. As Robert Kleiner explains, it is possible that Liquan was the director of the kilns during this time. There is only one further molded and carved version known, but this one is signed Rongjing zuo (made by Rongjing), lacks the enamels, is in the Victoria and Albert Museum since 1883, and was illustrated by Helen White, Snuff Bottles from China, The Victoria and Albert Museum Collection, page 243, number 1. The signature on this bottle also lacks the term for “himself" which could mean that Rongjing may not have been as important as Liquan. It also seems likely that only the carved bottles bear the “made by" marks, while the more common molded bottles bear the official kiln mark.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 25 April 2004, lot 822 Price: HKD 95,600 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A molded famille rose porcelain snuff bottle, 1851-1865 Expert remark: Compare the closely related form and decoration. Note the 'Guanyao neizao' (made by the official kilns) mark and the size (60 mm). Also note that this is the more common, molded only version. 1853-1864年粉彩堆塑龍紋鼻煙壺，“子靜自製"款梨形，廣口，堆塑精美，明亮琺瑯彩，描繪一條矯健的五爪龍，龍身蜿蜒，雲中戲珠。 款識：子靜自製 來源： John Ault 收藏；Robert Kleiner & Co. Ltd.，英國倫敦，2005 年；英國私人收藏，購自上述機藝廊。隨附 Robert Kleiner & Co. Ltd. 於 2005年 7 月 5 日開具的原始發票副本，確認了斷代，以及當時的售價為 4,250 英鎊或約 10,000 歐元（在撰寫本文時已根據通貨膨脹進行換算和調整）。John Ault（2014 年去世）是一位英國情報官員、小說家和中國鼻煙壺收藏家。Robert Kleiner（1948-2014）是一位重要的中國鼻煙壺專家，他在倫敦蘇富比中國藝術部門度過漫長的職業生涯。他與Hugh Moss和Bob Hall一起成為Mary 與 George Bloch收藏的重要顧問，Robert撰寫並製作了他們的第一個鼻煙壺目錄。 品相：狀況非常好，只有輕微磨損，壺口部周圍有鎏金殘留，壺蓋帶有天然裂紋。部分琺瑯有摩擦。 壺蓋：青玉 重量：72.5 克 尺寸：總高 74 毫米，頸部直徑21 毫米，壺口11 毫米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2004年4月25日，lot 822 價格：HKD 95,600（相當於今日EUR 17,500） 描述：1851-1865年官窯內造粉彩鼻煙壺 專家評論：比較非常相近的外形和裝飾。請注意'官窯內造'款和尺寸 (60毫米)。請注意這是更常見的、僅模製的版本。
Lot 623
A SILVER-INLAID BRONZE FIGURE OF A TORTOISE AND YOUNG, ATTRIBUTED TO SHISOU, LATE MING DYNASTYChina, 17th century. Well cast as a mother tortoise standing foursquare and lifting its head as its young clambers on her back. Both with their carapaces finely inlaid with silver wire, the mother's deeply incised as well, their faces neatly detailed. Provenance: From a private French collection in Bordeaux. Condition: Very good condition with minor wear and casting irregularities, few small nicks, light scratches, minor losses to inlays. Fine, naturally grown patina overall.Weight: 365.7 g Dimensions: Length 10.4 cm Little is known about the historical figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists'). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity'). Although the present piece is unsigned, the high quality of the casting and fine silver-wire inlays make an attribution to Shisou or a related workshop more than reasonable.The tortoise is one of the Four Fabulous Animals, the most prominent beasts of China. They govern the four points of the compass, with the Black Tortoise as the ruler of the north, symbolizing endurance, strength, and longevity. The tortoise and the tiger are the only real animals of the four, although the tortoise is sometimes depicted with supernatural features such as dragon ears, flaming tentacles, and a long hairy tail - such as the present lot - representing seaweed and the growth of plant parasites found on older tortoise shells that flow behind the tortoise as it swims. The Chinese Imperial Army carried flags with images of dragons and tortoises as symbols of unparalleled power and inaccessibility, as these animals fought with each other but both remained alive.Literature comparison: For an earlier inlaid bronze tortoise-form weight, dated 3rd-2nd century BC, see Christie's New York, The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection, 16 September 2010, lot 907. For an inlaid bronze tortoise-form weight dated Yuan to Ming dynasty, see Christie's Hong Kong, Important Chinese Ceramics and Works of Art, 27 November 2013, lot 3584. A lacquer-gilt bronze model of a turtle, also dated to the 17th century, was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 6 March 2021, lot 430.Auction result comparison: Type: Related Auction: Zacke, 16 October 2021, lot 346 Price: EUR 1,150 or approx. EUR 1,350 adjusted for inflation at the time of writing Description: A silver-inlaid bronze 'turtle' weight, attributed to Shisou, late Ming dynasty Expert remark: Compare the closely related manner of casting, silver wire inlay decoration, and size (10 cm). Note that this is a figure of the mother turtle only, not showing the young. 明末錯銀銅龜携子，或爲石叟中國，十七世紀。 一隻母龜呈四足著地立姿，抬頭；一隻小龜爬在她的背上。龜甲上精美錯銀線，面部細節生動，活靈活現。 來源：法國波爾多私人收藏。 品相：狀況極好，有輕微磨損和鑄造不規則，局部小刻痕，輕微劃痕，鑲嵌物有輕微損失。整體包漿細膩。 重量：365.7 克 尺寸：長10.4 厘米 文獻比較： 一件西元二至三世紀銅鑲嵌龜鎮，見紐約佳士得，「The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection」，2010年9月16日，lot 907。一件元至明代銅鑲嵌龜鎮，見香港佳士得，《Important Chinese Ceramics and Works of Art》，2013年11月27日，lot 3584。一件十七世紀漆金鎏金銅龜，售於Zacke，《Fine Chinese Art，Buddhism and Hinduism》，2021年3月6日，lot 430。 拍賣結果比較： 形制：相近 拍賣：Zacke，2021年10月16日，lot 346 價格：EUR 1,150（相當於今日EUR 1,350） 描述：明末錯銀銅龜鎮紙 專家評論：比較非常相近的鑄造風格，銀鑲嵌裝飾和尺寸(10 厘米)。請注意此龜鎮紙只有母龜，沒有小龜。
Lot 640
A MANCHU OFFICIAL'S BRONZE SEAL, QIANLONG MARK AND PERIOD, DATED 1747 BY INSCRIPTION, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEOf rectangular form with a tapering columnar handle. The top and base of the seal are inscribed in Manchu and Chinese, while the two long sides bear exclusively Chinese script, numbering and dating the seal.Inscriptions: To the top and the seal face, in Manchu and Chinese: 'Zhang jia kou tai zhan you lu jun li bu zao' [The official in charge of] Zhangjiakou, commissioned by the Ministry of Rites.To the first long side, in Chinese 'Number 1336 of Qian'.To the second long side, in Chinese 'On the […] day of the sixth month in the twelfth year of the Qianlong period'.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Good condition with expected old wear, some casting irregularities, corrosion, occasional scratches, few minuscule nicks, and small dents. Remnants of red seal paste. The bronze with a fine, naturally grown, dark patina.Weight: 1,082 g Dimensions: Size 8.9 x 8.8 x 6 cm Zhangjiakou, also known as Kalgan and by several other names, is a city in northwestern Hebei province. Since ancient times, it has been a stronghold of military significance and vied for by multiple sides, hence nicknamed the 'Northern Gate of Beijing'. Due to its strategic position on several important transport arteries, it is a critical node for travel between Hebei and Inner Mongolia and connecting northwest China, Mongolia, and Beijing. Dajingmen, an important gate and junction of the Great Wall of China is located here. From 1727 it was a major station for the Kyakhta trade between Russia and China. In early autumn long lines of camels would come in from all quarters for the conveyance of the tea chests from 'Kalgan' (Zhangjiakou) to Kyakhta across the Gobi Desert. Each caravan usually made three journeys in the winter. In the 19th century, some Russian merchants had permanent residences and warehouses just outside the gate.The Ministry of Rites (Libu) was one of the Six Ministries of government in Imperial China. It was first formed during the Tang dynasty in the 7th century and lasted for well over a thousand years, until the 1911 Xinhai Revolution. It was responsible for state ceremonies, rituals, and sacrifices, overseeing the registers for Buddhist and Daoist priesthoods and even the reception of envoys from tributary states. It also managed imperial examinations as well as China's foreign relations prior to the establishment of the Zongli Yamen in 1861.Literature comparison:Compare a closely related bronze Manchu official's seal of Zhongzheng dian Nianjin chu tu Ji (Chanting place of Zhongzheng hall), 9.1 x 5.6 x 5.6 cm, dated 1729, illustrated in Chan Hou Seng, The Life of Emperor Qian Long, Macao Museum of Art, 2002.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 15 October 2021, lot 53 Price: EUR 9,480 or approx. EUR 11,000 adjusted for inflation at the time of writing Description: A bronze Manchu official's seal, Guanfang, dated 1796 by inscription, Jiaqing mark and period, the seal face inscribed in Manchu and Chinese Expert remark: Compare the closely related form and inscriptions. Note the gilding, later date, and the size (11.1 x 9.7 x 6.3 cm). 乾隆款及年代1747年清代滿族官員銅印銅質精良，方形，圓柱鈕。印台四周及台面相間鐫刻滿文，漢文。 款識：乾字一千三百三十六號：乾隆十二年六月日；張家口台站右路軍第三臺參領圖記；禮部造 來源：英國西伯克郡，當地貿易，據説來自知名私人遺產。品相：狀況良好，有磨損、一些鑄造不規則、腐蝕、局部劃痕、一些微小的刻痕和小凹痕。紅色印章殘餘。銅印有細膩、自然的包漿。 重量：1,082 克 尺寸：8.9 x 8.8 x 6 厘米 文獻比較： 比較一件非常相近的1729年銅製「中正殿念經處圖記」，9.1 x 5.6 x 5.6 厘米，見Chan Hou Seng，《懷抱古今‧乾隆御筆》，澳門藝術博物館，2002年。 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke，維也納，2021年10月15日，lot 53 價格：EUR 9,480（相當於今日EUR 11,000） 描述：嘉慶内務府三旗護軍營參領關防 專家評論：比較非常相近的外形和款識。請注意鎏金，年代較晚和尺寸 (11.1 x 9.7 x 6.3 厘米)。
Lot 665
A GILT BRONZE FIGURE OF THE RATNASAMBHAVA BUDDHA, TIBET, 17TH-18TH CENTURYHeavily cast, seated in dhyanasana atop a double lotus throne with beaded edges, his right hand lowered in varada mudra and his left held above the lap in dhyana mudra. He is wearing a diaphanous sanghati draped over the left shoulder with neatly incised floral hems, gathering at the shoulder and at the top of the base before a vajra. His serene face with sinuously lidded downcast eyes below arched brows, his full bow-shaped lips forming a calm smile, flanked by pierced elongated earlobes. The hair arranged in tight curls over the ushinsha topped by a jewel. The base sealed, the copper seal plate finely incised with a double vajra.Provenance: Dutch trade.Condition: Good original condition, commensurate with age, showing significant wear and expected casting irregularities. Scratches, nicks, dents, and rubbing to gilt. Minor corrosion. Remnants of ancient pigment.Weight: 2,868 gDimensions: Height 24.8 cm Ratnasambhava, the 'jewel born', is one of the Five Symbolic Tantric Buddhas described in the ancient anuttarayoga literature. The Buddha is identified by the open palm of his right hand facing outward in the gesture of charity (varada mudra). Ratnasambhava is the Tathagata of the South and the father of the Jewel family of Vajrayana Buddhist deities, associated with the element of earth and the enlightened activity of equanimity. He is sometimes pictured together with the other four Tathagata Buddhas: Akshobya of the East, Amitabha of the West, Amoghasiddhi of the North, and Vairocana of the Central direction. These primordial Buddhas all bear an appearance like that of the historical Buddha Shakyamuni, unadorned, in the garb of an ordained monk.Auction result comparison: Type: RelatedAuction: Christie's New York, 23 March 1999, lot 161Price: USD 7,475 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of a medicine Buddha, Tibet, 17th/18th centuryExpert remark: Compare the related modeling, manner of casting, gilding, and size (26.5 cm). 西藏十七至十八世紀銅鎏金寶生佛坐蓮像寶生佛像身著菩薩裝，髮髻雕刻精細成螺髻，面相豐滿，雙目細瞇，雙眼之間有白毫，長耳垂，嘴角含笑。袒上身，肩披帛帶，下裙褶紋起伏，流暢自如。右手結與願印，左手結禪定印，全跏趺坐。仰覆蓮座蓮瓣尖端上卷，上下邊緣飾聯珠紋。 來源：丹麥古玩交易。 品相：狀況良好，有磨損和鑄造不規則，劃痕、刻痕、凹痕和鎏金摩擦，輕微腐蝕，顏料殘留。 重量：2,868 克 尺寸：高 24.8 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，1999年3月23日，lot 161 價格：USD 7,475（相當於今日EUR 13,000） 描述：十七至十八世紀西藏鎏金銅藥師佛 專家評論：比較相近的模型、鑄造風格、鎏金和尺寸(26.5厘米)。
Lot 676
A SILVER-INLAID BRONZE FIGURE OF GUANYIN, SHISOU MARK, CHINA, 19TH CENTURYFinely cast, seated in rajalilasana with her head slightly lowered and her hands folded on top of her raised knee, the right holding a scroll, clad in long flowing robes falling into voluminous folds and neatly decorated with silver wire inlay. Her serene face with heavy-lidded eyes, a raised circular urna, and slightly pursed lips. Her finely incised hair piled up into a high topknot.The base inlaid in silver wire with a two-character Shisou mark.Provenance: Collection of Sigurd Yngve Euren, and thence by descent. Bukowskis Auktioner, 3 June 2019, lot 651. A private collection in Finland, acquired from the above. The catalog entry from Bukowski, dated 5 June 2019, confirms the dating above. Sigurd Yngve Euren (1890-1990) was a Swedish engineer, who initially visited China in 1917 in order to set up a net of radio masts. After this, Euren began constructing bridges primarily along in the Yangtze River and its many offshoots. After a couple of years, he moved to Shanghai and set up his own tea export company which was located along the Bund (Waitan). After some time, Euren and his family moved back to Sweden, bringing a large collection of Chinese art with them. Condition: Good condition with expected old wear, minuscule nicks and minor casting flaws. Light surface scratches to the base. Some areas with faint loss of patina.Weight: 2,478 g Dimensions: Height 21.4 cm Little is known about the historic figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity').Auction result comparison: Type: Related Auction: Bonhams London, 7 November 2019, lot 13 Price: GBP 12,562 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A silver-wire-inlaid bronze figure of Guanyin, inlaid Shisou two-character mark, Qing dynasty Expert remark: Compare the closely related manner of casting and modeling. Note the size (29.3 cm high). 十九世紀銅錯銀觀音，石叟款鑄工精美，觀音成轉輪王坐姿，頭微低，雙手交疊於膝上，右手持書卷，身著飄逸袈裟，上鑲有銀線。面容平靜，雙眼微閉，嘴唇微抿，長髮盤成高髻。底座鑲銀線，“石叟"款。 來源：Sigurd Yngve Euren 收藏，傳承至今；Bukowskis Auktioner拍賣，2019 年 6 月 3 日，拍品 651；芬蘭私人收藏。，購自上述拍賣行。Bukowski 的拍賣目錄日期為 2019 年 6 月 5 日，證實了上述日期。 Sigurd Yngve Euren（1890-1990）是一位瑞典工程師，他於 1917 年首次訪問中國，目的是建立無線電網。此後，Euren開始沿著長江及其許多支流修建橋樑。 幾年後，他搬到了上海，並在外灘成立了自己的茶葉出口公司。不久之後，Euren和他的家人帶著大量的中國藝術品搬回了瑞典。 品相：狀況良好，有磨損、微小刻痕和輕微鑄造缺陷。底座表面有輕微劃痕。一些區域有輕微的包漿損失。 重量：2,478 克 尺寸：高21.4 厘米拍賣結果比較： 形制：相近 拍賣：倫敦邦翰斯，2019年11月7日，lot 13 價格：GBP 12,562（相當於今日EUR 19,500） 描述：清銅嵌銀觀音坐像，嵌銀絲「石叟」款 專家評論：比較非常相近的鑄造風格和模型。請注意尺寸(高29.3 厘米)。
Lot 709
A SANDSTONE BUST OF A DEMON, ASURA, ANGKOR PERIODThe Asuras are a class of demons within Indic religions. They are described as power-seeking demons related to the more benevolent devas in Hinduism. According to Hindu scriptures, the asuras are in constant battle with the devas, which was a popular motif in Khmer art, especially during the Angkor period. The south gate of Angkor Thom is lined with life-size sculptures of asuras forming a demon army across from an army of devas. Many of these massive sculptures bear a striking resemblance to the present sandstone sculpture.Khmer Empire, 12th-13th century. Well carved with a bare muscular torso, adorned with an intricate jeweled necklace centered by a flowerhead. His face with a fierce expression, round bulging eyes, and full lips. The hair arranged in a high cylindrical chignon behind the elaborate feather crown.Provenance: From a private collection in New England, United States. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, few structural cracks, losses, chips, and scratches.Weight: 5,088 g (incl. stand) Dimensions: 32.1 cm (excl. stand) and Height 36.6 cm (incl. stand) Mounted on a metal stand. (2)Literature comparison: Compare a related sandstone head of an asura, dated late 12th to early 13th century, in the Dallas Museum of Art.
Lot 6
A fine Second War ‘North Africa 1943’ Immediate D.S.O. group of eight awarded to Brigadier H. Thorne Thorne, Royal Artillery Distinguished Service Order, G.VI.R., silver-gilt and enamel, reverse officially dated 1943, with integral top riband bar; 1939-45 Star; Africa Star, 1 clasp, 8th Army; Italy Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; General Service 1918-62, 1 clasp, Malaya, G.VI.R. (Brig. H. Thorne-Thorne. D.S.O. Staff.); Coronation 1953, unnamed as issued, mounted as worn, minor chips to wreaths of the first, otherwise nearly extremely fine (8) £2,600-£3,000 --- D.S.O. London Gazette 19 August 1943: ‘In recognition of gallant and distinguished services in the Middle East:- Major (temporary Lieutenant-Colonel) Houghton Thorne-Thorne, Royal Regiment of Artillery (Woking).’ The original recommendation for an Immediate D.S.O. was submitted by Brigadier H. K. Dimoline, C.R.A. 4th Indian Division: ‘Major (T/Lt-Col) Houghton THORNE-THORNE, 1st Field Regiment, Royal Artillery, 4 Indian Division. For outstanding ability, courage and devotion to duty during the battle for the GARCI feature on 20-22 April 1943. Lt-Col THORNE-THORNE acted in direct support on 5 Ind Inf Bde and controlled the fire not only of of his own Regt but that of Army Field Regts affiliated to the Bde. He acted throughout the 72 hours operation with coolness and outstanding ability bringing the fire of these Regts to bear time and again, upon concentration and assembly areas with speed and precision. Through his quick action and decision he beat off serious counter attacks with the fire of his guns alone. The marked efficiency of his ceaseless and untiring work was appreciated during the battle by more than one personal message from Bn Comds asking the C.R.A, to convey their thanks to him. Infantry exposed on the bare rocky hills to ceaseless mortar, shell and MMG fire have never been in a more precarious situation. It was in part measure due to Lt-Col THORNE-THORNE that this tired infantry held its ground and never yielded a yard.’ Houghton Thorne-Thorne was born on 12 April 1903, educated at Harrow and was a direct entry to R.M.A., Woolwich from school. Commissioned into the Royal Artillery on 30 January 1924, he retired on 21 May 1956, and died on 14 March 1982. Sold with original documents including warrant for D.S.O., M.I.D. Certificate (23 May 1946), named Buckingham Palace Certificate for Coronation medal, O.T.C. Harrow School Certificate “A”, commission document as Second Lieutenant 30 January 1924, a confidential report from 1933 when stationed in India, and contemporary copy of recommendation for D.S.O.
Lot 550
A fine Naval General Service Medal 1793-1840 awarded to Captain G. Cheyne, Royal Navy, who, having been taken prisoner following the Seagull’s ‘glorious resistance of 2 hours and 30 minutes’ against a far superior Danish flotilla off Norway in June 1808, was ‘employed with the Army under the Duke of Wellington near Bayonne’ in February-August 1814 - but only after he had managed to pass ‘the fearful bar of the Adour in an open boat with five men’, an example of ‘dashing intrepidity’ that won the admiration of his Admiral Naval General Service 1793-1840, 1 clasp, Algiers (George Cheyne, Lieut. R.N.) minor edge nicks, better than very fine £2,400-£2,800 --- Provenance: Dix Noonan Webb, December 2007. George Cheyne was baptised at St. Andrew’s Church, Edinburgh in March 1788 and entered the Royal Navy as a Midshipman in the Texel on 12 October 1804. Removing to the Seagull of 16 guns and 94 men, as Master’s Mate, under Commander Robert Cathcart, in September 1805, he was subsequently present at her loss off Norway: ‘The latter vessel was captured off the coast of Norway 19 June 1808, by a powerful Danish force, consisting of the Lougen, of 20 guns and 160 men, and of six gunboats, all heavily armed and manned, after a glorious resistance of two hours and 30 minutes, in which she lost eight men killed and 20 wounded, and was reduced to a sinking state. Mr. Cheyne was, with the rest of his shipmates, taken prisoner and confined until the following October’ (O’Byrne refers). A rather more informative account of this action, namely the official report submitted by Commander Cathcart, was published in the London Gazette of 17-20 September 1808: ‘I beg leave to acquaint you, that in His Majesty’s sloop Seagull, under my command, yesterday at 2 p.m., off Norway bearing W.N.W. seven or eight leagues, I discovered a brig inshore running to the eastward, and immediately made all sail in chase of her; at half-past four we came within gunshot and hoisted our Colours, which she answered by hoisting Danish Colours and opening fire on the starboard side. At this time it became nearly calm from a fresh breeze we had at W.S.W. and which obliged us to get our sweeps out, in order to get between her and the shore. At five we got within musket-shot of the enemy and commenced action; having now most of our sweeps shot away and a great part of the rigging. At twenty minutes past five we discovered several gunboats coming towards us, which had been concealed behind the rocks; and it being perfect calm, they had every advantage they could with in placing them. They took their position on each quarter, raking us every shot, while the brig had the same advantage on the larboard bow. At half-past six five of our carronades were dismounted on the larboard side (the only side we could bring to bear on the enemy), and several of the officers and crew killed or wounded. Every method was used to get the Seagull round, so as to bring the starboard guns to bear, but without effect; with our sweeps being all shot away, the gunboats hulling us every shot they fired, five feet of water in the hold, and all our sails and rigging cut to pieces, at half-past seven, from the sinking state of the ship, and also the great slaughter made by the gunboats, I considered it an indispensable duty for the preservation of the surviving officers and crew, to order the Colours to be hauled down. I have the satisfaction to acquaint you, there was scarcely sufficient time to remove the wounded out of the Seagull before she sunk. The force opposed to her was the Danish brig of war Lougen, mounting 20 guns (18 long-18-pounders and two long-6-pounders); six gunboats, most of them carrying two 20-pounders and from 50 to 70 men each. The action was fought close to the mouth of the harbour of Christiansand. I cannot speak in terms adequate to the defence of every officer and man under my command on this trying occasion. I received that support from Mr. Hatton, the First Lieutenant, I had every reason to expect from his general good conduct; and the officers and crew have my warmfelt thanks for their cool and steady behaviour; and I consider it a duty I owe them, to add, that never was more British valour displayed than on this occasion, although opposed to so very superior a force. The enemy must have suffered very considerably, but I have not been able to ascertain to what extent. Several of the Danes perished on board the Seagull, so precipitately did she go down; I herewith send to you a list of the killed and wounded on board the said sloop.’ Following his release in October 1808, Cheyne joined the Nightingale, under Captain William Wilkinson, while his subsequent appointments in the Ganymede (1809-10) and Alexandria (1810-11) were under his old C.O., Robert Cathcart, the whole on the Home or Baltic Stations; so, too, his time in the Victory under Sir James Saumarez (1812). Advanced to Lieutenant in the Defiance in December 1813, he removed in the same month to the Porcupine, under Captain John Coode and, in February 1814, to the sloop Woodlark. It was in this latter capacity, using a Spanish boat ‘destined to assist the operations of the Army under Marquess of Wellington’, that he made his courageous crossing of the ‘fearful bar’ of the Adour (Rear-Admiral Penrose’s despatch, as per London Gazette 15 March 1814, refers). Those duties discharged, Cheyne joined the Queen in the Mediterranean that September, prior to removing to another command of John Coode, the Albion, in December 1815, and in her was present at the bombardment of Algiers. Cheyne came ashore when the Albion was paid-off in May 1819, was advanced to Commander that August and, on half-pay, to post-rank in April 1832. Sold with extensive copied research.
Lot 262
A fine and rare Second War Landing Craft Gun C.G.M. group of six awarded to Able Seaman T. H. R. Hills, Royal Navy, who took over as the coxswain of L.C.G.12 in Operation “FERDY” the fiercely opposed landings on the Italian Coast at Vibo Valentia; when an enemy shell burst just above the bridge leaving him the only person alive on the bridge, he took control and steered the craft through bursting shells and ammunition out of range of the enemy’s guns and brought her to safety Conspicuous Gallantry Medal, G.VI.R. (A.B. T. H. R. Hills. C/JX. 373402); 1939-45 Star; Atlantic Star; Africa Star; Italy Star; War Medal 1939-45, these last five privately engraved ‘A.B. T. H. R. Hills C.G.M. C/JX. 373402’, nearly extremely fine (6) £10,000-£14,000 --- C.G.M. London Gazette 25 January 1944: ‘For gallantry, leadership and undaunted devotion to duty under heavy and continuous fire from the enemy during landings on the Italian mainland.’ Conspicuous Gallantry Medal. ‘Able Seaman Thomas Henry Richard Hills, C/JX.372402 Able Seaman Hills was serving in a Landing Craft which was heavily damaged by a shell which burst just over the bridge. All the officers were killed or badly wounded and he was the only man left alive on the bridge. With complete coolness he took control and steered the craft through bursting shells and ammunition out of range of the enemy’s guns and brought her to safety.’ The original recommendation for this award in Admiralty Honours and Awards file H&A 1257/43 is in the National Archives under reference ADM1/14593 - Operations “Baytown” and “Ferdy” awards to personnel for services in support of the invasion of Sicily (sic). It reads: ‘L.C.G.12 - Operation “BAYTOWN” L.C.G.12 at “Ferdy”. This rating was the only person left alive on the bridge of L.C.G.12 at “Ferdy”. He took charge and brought L.C.G.12 out of range of the enemy’s guns.’ Fleet Honours Committee, Commodore Parker, 31st October, 1943, noted: ‘Concur. Propose Conspicuous Gallantry Medal. An outstanding act of gallantry and devotion to duty.’ Commander-in-Chief, Mediterranean, Admiral A. B. Cunningham, 2nd November, 1943, also noted: ‘Fully concur with the recommendation of the H & A Committee.’ Able Seaman Thomas Henry Richard Hills received his award of the Conspicuous Gallantry Medal at an Investiture on 19 November 1946. Operations “Baytown” and “Ferdy” Vibo Valentia is high up the ‘foot’ of Italy, midway between Reggio Calabria and Cosenza. Two landing attacks were planned by the Allies in September 1943, first across the Straits of Messina in operation “Baytown”, the first landing on the Italian mainland, and then further up the coast in operation “Ferdy” at Vibo Valentia. These were planned to disrupt enemy activities and to hasten their retreat north. Operation “Ferdy” was originally scheduled to take place on 6 September 1943. The object was to land 231 Brigade at Gioja, some miles behind enemy lines. This would help speed up the advance of XIII Corps, interfere with the enemy’s programme of withdrawal and road demolition, and, in the words of Flag Officer Sicily, ‘put some Germans in the bag’. Operation “Ferdy” was put into action on Tuesday 7 September, when the assembled force proceeded at 1830, to sail so as to arrive at Vibo Valentia Marina at 0530 on D-Day, 8 September. Paul Lund and Harry Ludlum take up the story in their War of the Landing Craft in the aptly named chapter The Guns of Vibo Valentia: ‘It had been thought that the landing at Vibo Valentia would be well behind the enemy’s lines and would only meet with slight opposition. But [...] the van of the German withdrawal happened to be passing when the landing occurred and this accounted for the large number of guns and machine guns brought to bear… And then it came, with a sound so full of bitter, impersonal hatred… the LCT’s ran the gauntlet of shell-fire into the harbour. The air was full of the sharp crack of the guns and the almost instantaneous explosion of the shells, which gave no preliminary whistle, for these were high velocity German 88-millimetre guns. We continued to stand, silent, clustered together in the tank space, watching the approach of several more landing craft, one of which carried a cargo of ammunition. As she now waddled towards the shore shells began to fall on either side of her. “Christ” said a low voice, “she only needs to get the next lot in that ammo, and there’ll be fuck-all left.” “There’ll be fuck all left of any of us, mate, if that lot goes up,” added another. But as we awaited what seemed like the inevitable fate of that LCT, there suddenly broke out to seaward the sound of gunfire followed by bursts of Oerlikon and pom-pom fire, which immediately drew the attention of the German gunners and dramatically eased the situation for the LCTs… It transpired that an LCG and an LCF had closed the shore and begun to engage the enemy defences. It was twelve minutes past six when LCG 12 opened fire with her two four-point-sevens at the battery of mobile German 88s, while LCF 4 sprayed the woods above the town where machine-gun nests were giving trouble. The effect of this intervention was instantaneous for the German gunners at once turned their attention on the LCG with her greater fire power and began to score hits. But LCG 12 stood her ground and continued to fire and so give the landing craft a chance to make good their escape from the harbour. Later[…] looking through their binoculars where LCG 12 had ceased firing. “She’s under way and she’s badly damaged” Snagge said. The three of us watched in silence as the LCG slowly headed away from the shore. As we made our way down the Italian coast with the warmth of the sun on our backs, each of us knew how much we owed to LCG 12. Months later, bit by bit, we heard the full story of Operation Ferdy and the part that LCG 12 and the LSTs and support craft had played. For 38 minutes LCG 12 had engaged the enemy shore batteries and during that time she was hit several times. Then, at 6:50 a.m. after most of the LSTs had left the beach, a shell exploded above the bridge killing all the craft’s officers and many of the crew. It was at that moment, when conditions aboard the gun craft had reached a critical state, with no one in control, with both her guns out of action and still under heavy fire, that Ordinary Seaman T. H. Hills with great presence of mind and under considerable difficulty took the craft out to sea and to safety. His coolness saved the LCG and the lives of the rest of her company. And the distraction that LCG 12 had provided during those 38 minutes had allowed nearly all the 16 LCTs to escape – only one being hit. But the operation was successful in fulfilling its main object for it greatly increased the speed of the enemy withdrawal and hardly a bridge was demolished on the long road to Sapri.’ Sold with copied research including Admiralty recommendation and extracts from various publications.
Loading...-
93468 item(s)/page