There are 123896 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeFrench - late-19th century 8-day drum clock, in a Belgium slate and variegated marble case with a two-piece enamel dial and visible Brocot escapement, count wheel striking movement striking the hours on a bell.Dimensions: Height: 23cm Length/Width: 35cm Depth/Diameter: 18cmCondition Report:Some cracks and repairs to the case. No pendulm or key.
French - late 19th-century 8-day ebony and faux tortoiseshell mantle clock, waisted shaped case with brass inlay raised on rococo feet, two-part dial with a recessed gilt centre and enamel chapter ring, Arabic numerals, minute markers and fleur di Lis steel hands, with a twin train rack striking movement, striking the hours on a bell. With pendulum.Dimensions: Height: 38cm Length/Width: 23cm Depth/Diameter: 12cm
American - 8-day mahogany drop dial wall clock c 1890, with an inlaid wooden dial bezel, carved ear pieces and pendulum viewing door, painted dial with Roman numerals, minute track and maltese cross hands within a spun brass bezel and flat glass, two train striking movement striking the hours on a bell. With pendulum.
French - 8-day late 19th-century mantle clock in a Belgium slate case, with a flat top, rouge marble relief and incised chasing on a stepped plinth, two-part enamel dial with a visible dead-beat brocot escapement, Roman numerals, minute track and steel spade hands, two train movement striking the hours and half-hours on a bell. With pendulum.Dimensions: Height: 28cm Length/Width: 26cm Depth/Diameter: 17cm
New Haven - American late 19th-century 8-day walnut and parquetry inlaid wall clock, with a carved pediment over a fully glazed door flanked by ring-turned pilasters with pendant finials, ogee-shaped base with conforming parquetry inlay, painted dial with Roman numerals, minute track, steel spade hands and silvered sight ring, with red felt-backed open fretwork, gilt-framed mirror and visible cylindrical pendulum beneath, with a spring driven countwheel striking movement striking on a bell. Dimensions: Height: 90cm Length/Width: 35cm Depth/Diameter: 14cm
French - late 19th century 8-day marble and Belgium slate mantle clock, with a flat top, break front case on a broad plinth with contrasting variegated sienna marble panels, enamel dial with Roman numerals, minute track and steel spade hands, striking movement with a recoil anchor escapement, striking the hours and half hours on a bell. No pendulum.Dimensions: Height: 23cm Length/Width: 22cm Depth/Diameter: 13cm
A PAIR OF GILT AND POLYCHROME-DECORATED COPPER REPOUSSE PLAQUES DEPICTING 'PRECIOUS ELEPHANTS', HASTIRATNA, 17TH-18TH CENTURYTibet. Each caparisoned elephant shown standing with the head turned to one side, the back supporting the Three Jewels over an elaborate saddle cloth decorated with foliate scroll and suspending beaded and floral jewelry, wearing a bell around the neck, finely detailed with red and green pigment. (2)Provenance: Collection de Monsieur E., a private collection of Tibetan bronzes in France. Condition: Very good condition with minor wear and manufacturing irregularities, rubbing to gilt and pigments, few small dents and tiny nicks.Weight: 402 g (total) Dimensions: ca. 29 x 27 cm (each)Elephants are symbols of majesty, power, endurance, self-control, and gentleness in Buddhism. The present lot more specifically represents the Precious Elephant, which is one of the Seven Treasures of the chakravartin, or 'universal monarch'. The mythical concept of the Buddhist chakravartin originated in India, where rulers rode elephants in both battle and peaceful processions. For further discussion of the chakravartin, see Beer, The Encylopedia of Tibetan Symbols, 1999, page 163.Auction result comparison: Type: Related Auction: Bonhams, 2 October 2012, lot 1639 Price: USD 6,250 or approx. EUR 7,500 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy bronze 'precious elephant', hastiratna, Tibet, 17th centuryExpert remark: Compare the closely related subject. Note that the lot comprises only a single elephant, cast in the round, and is of much smaller size (20.3 cm). Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2012, lot 1793 Price: USD 20,000 or approx. EUR 23,500 converted and adjusted for inflation at the time of writing Description: A Gilt Repousse Copper Plaque of a Caparisoned Elephant, Ming Dynasty (1368-1644)Expert remark: Compare the related subject, and the repousse technique. Note the similar size (25.4 cm) and the fact that this example may be slightly earlier than the present lot.十七至十八世紀一對銅鎏金錘鍱彩繪象寳西藏。大象頭轉向一側，站立，背部支撐著三顆珠寶，上面是精心製作的鞍座，上面裝飾著纏枝如意紋並懸掛著瓔珞和花卉首飾，脖子上戴著一個鈴鐺，上面飾有紅色和綠色顏料。(2) 來源：法國Monsieur E.私人收藏，這是一個專注於西藏青銅器的收藏。 品相：狀況極好，有輕微磨損和製造瑕疵、鎏金和顏料有磨損、少量小凹痕和微小刻痕。 重量：總402 克 尺寸：每一件約 29 x 27 厘米 大象在佛教中是威嚴、力量、忍耐、自製和溫柔的象徵。寶象是轉輪聖王的七寶之一。佛教轉輪聖王的神話概念起源於印度，那裡的統治者在戰鬥和和平遊行中都騎著大象。關於轉輪聖王可參閲Beer，The Encylopedia of Tibetan Symbols，1999年，第163頁。 拍賣結果比較： 形制：相近 拍賣：邦瀚斯，2012年10月2日，lot 1639 價格：USD 6,250（相當於今日EUR 7,500） 描述：十七世紀西藏銅合金象寳 專家評論：比較非常相近主題。請注意此僅有一尊象，圓形邊緣雕刻，以及尺寸小很多(20.3 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月23日，lot 1793 價格：USD 20,000（相當於今日EUR 23,500） 描述：明鎏金銅寶象掛屏 專家評論：比較相近主題和錘鍱技巧。請注意相似 尺寸(25.4 厘米)，以及年代稍早。
A RARE BRONZE LION BELL TERMINAL, EASTERN JAVANESE PERIOD, 12TH CENTURYA finely cast bronze figure of a lion, almost certainly the upper portion of an important ritual temple bell, and part of a rather small corpus of surviving Javanese bronzes depicting the powerful feline. The gazing eyes outlined below folds of skins, ears of spade-form, mane with three stylized rows of curls, the figure standing erect above a primitive lotus-form base, with claws unsheathed and ready to strike.Provenance: The Marcel Marnat Collection, Paris, France. A collector in Chicago, USA, acquired from the above. Marcel Marnat (b. 1933) is a French musicologist, journalist, and radio producer. He has written books about Maurice Ravel, Joseph Haydn, Igor Stravinsky, Antonio Vivaldi, and Giacomo Puccini, and published articles on Modest Mussorgsky, Michelangelo, D. H. Lawrence, Paul Klee, and Ludwig van Beethoven. His book on Giacomo Puccini was honored by the Academie des Beaux-Arts and received the prix Pelleas as well as a prize for a musical biography of the SACEM at the Deauville book festival. He was an assiduous visitor to Hôtel Drouot for a long time and has built an eclectic collection including Southeast Asian and Indian works of art.Condition: Very good condition, commensurate with age. Extensive wear, minor losses and nicks, shallow surface scratches, expected casting flaws, signs of weathering and erosion, and encrustations. Superb, naturally grown patina.Weight: 1,127 gDimensions: Height 16.5 cm (excl. stand) and 21.7 cm (incl. stand)Mounted on a modern stand. (2)Javanese bronze images of lions are rare, but thankfully several large stone guardians remain scattered across ancient temple sites, such as the pair at the eastern staircase in Borobudur. These ancient stone guardians give us important clues for stylistic dating comparisons. The rarity of bronze lions probably stems from the fact that images of lions in Java were likely imported from Sri Lanka when Gunadharma, the great 9th-century architect, designed Borobudur for King Samaratungga of the Sailendra Dynasty. The depiction of these lions follows a clear evolution from the early examples at the palace of King Ashurnasirpal II in Assyria to the pair carved two millennia later at Yapahuwa Castle in Sri Lanka.Expert's note: The bronze has an attractive, deep patina that is characteristic of early Javanese metal works exposed to the tropical climate of Indonesia for many centuries.Literature comparison: Compare a closely related demon-form top of a bell, 12.5 cm high, also dated to the Eastern Javanese period, ca. second half of the 12th to early 13th century, in the Metropolitan Museum of Art, accession numbers 1987.142.17. Compare a closely related demon-form top of a bell, 11.8 cm high, also dated to the Eastern Javanese period, 14th century, in the Metropolitan Museum of Art, accession number 1982.460.2. For an in-depth discussion and comparison of the iconography of guardian lions across Asia through the ages, see Masatoshi Iguchi, Java Essay: The History and Culture of a Southern Country, Leicester, 2015.Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 2 December 2002, lot 173Price: EUR 7,768 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A Javanese bronze temple bell, 13th/14th centuryExpert remark: This comparable confirms that the size of the present lot is within the appropriate range for a bell-handle element. Compare also the similarities in both the patina and the archaic pointed lotus petal-form base surrounding the figures.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 25 October 2007, lot 198Price: GBP 11,875 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A bronze lion terminal, probably India, 14th centuryExpert remark: A similar type of rampant lion-form bronze handle. By comparison, the Javanese example can be viewed as a stand-alone object, and not primarily as a fragment, and is much more desirable in that regard. Seeing similar objects from other regions also further solidifies the iconographic power that the lion held across ancient cultures as discussed by Masatoshi Iguchi.
A GILT BRONZE FIGURE OF SADBHUJA MANJUSRI, NEPAL, DATED 1853, PUBLISHED BY SCHROEDERPublished: Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, page 392, no. 108C (illustrated).The three-headed and six-armed bodhisattva seated in lalitasana on a double lotus base with beaded upper rim, holding a vajra and bell in his primary hands and a sword, lasso, flower, and jewel emblem in the others. Wearing loose-fitting robes and richly adorned with beaded jewelry, his faces with heavy-lidded eyes, arched brows, urna, and full lips, flanked by long pendulous earlobes with large circular earrings. The hair piled up into a topknot with jewel finial behind the foliate tiara, his diminutive consort seated on one of his legs, all backed by a double-layered arched flaming mandorla.Inscriptions: The back of the base with a lengthy dedicatory inscription, and dated 'Newari Samvat 957' (corresponding to 1853).Provenance: From the Folker Collection, Denmark. Mr. Folker, an industrialist and well-known collector of Himalayan art, bought from Danish dealers and noted auctioneers such as Lau Sunde and Bruun Rasmussen. Condition: Good condition with minor wear, some casting irregularities, small losses, minor dents, minuscule nicks, the base unsealed. Weight: 1,207 g Dimensions: Height 17.5 cmThe back of the base and mandorla left ungilded and with a fine and rich copper-brown patina. Note that the figure is cast only, with no repousse elements.Literature comparison: Compare a closely related gilt bronze figure of Sadbhuja Manjusri with consort, 12.5 cm high, dated by inscription to 1819, in the British Museum, registration number 1952,1021.1, illustrated by Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 391, no. 107F. Another example of Sadbhuja Manjusri with consort, which also shares the double-layered arch, is illustrated ibid., p. 389, no. 106F.Auction result comparison: Type: Closely related Auction: Bonhams Paris, 14 June 2022, lot 40 Estimate: EUR 25,000 Description: A gilt copper alloy figure of Manjuvara and Prajnaparamita, Nepal, dated 1779Expert remark: Compare the closely related poses, attributes, base, double-layered arched mandorla, manner of casting and gilding, and dedicatory inscription with dating. Note the larger size (32.5 cm).1853年尼泊爾銅鎏金文殊菩薩 描述：此尊文殊菩薩像三面、六臂，雙身形，膝上坐明妃。三面均頭戴寶冠，頂結圓形高髮髻，髻頂安半。面龐圓潤，彎眉細目，鼻樑高挺，雙目低垂，呈寂靜相。正面雙耳垂圓環，上身袒露，下身著裙，薄裙貼體，腰間束帶，並飾臂釧、腕釧。主臂左手持鈴於膝頭，表示以清淨法音警覺世人；主臂右手當胸托金剛杵，表示一切煩惱皆消滅。其餘各臂手中各執寶劍、花蔓、等法器，均無遺失。文殊菩薩結全跏趺坐於雙層束腰仰覆蓮花座之上，蓮座精美，仰覆蓮對稱分佈，層次豐富。台座上緣飾連珠紋一周。背光的纏枝紋刻劃繁密，但層次分明。其明妃一面二臂，左手當胸做說法印，右手做與願印，舒坐于文殊左腿上。 款識：底座背面有款識 'Newari Samvat 957' (1853年)。 出版：Ulrich von Schroeder，《Indo-Tibetan Bronzes》，香港，1981年，第392頁，圖 108C。 來源：丹麥Folker私人收藏。Folker先生是一位實業家和著名的喜馬拉雅藝術收藏家，從丹麥經銷商和著名拍賣商如 Lau Sunde 和 Bruun Rasmussen 處購買。 品相：狀況良好，有輕微磨損，一些鑄造不規則，小缺損，輕微凹痕，微小刻痕，底座未密封。 重量：1,207 克 尺寸：高17.5 厘米 底座和曼陀羅的背面未鍍金，帶有精美而細膩的銅棕色銅銹。請注意，此像只是鑄造，沒有錘鍱元素。 文獻比較： 比較一件非常相近的1819年鎏金文殊菩薩與明妃像，12.5 厘米高，收藏於大英博物館，館藏編號1952,1021.1，見by Ulrich von Schroeder，《Indo-Tibetan Bronzes》，香港，1981，頁391，編號107F。另一件鎏金文殊菩薩與明妃像，見前書，頁389，編號106F。
A MAJAPAHIT VOLCANIC STONE FIGURE OF NANDI, JAVA, 13TH - 15TH CENTURYThe divine bull in a recumbent pose atop a double lotus base with three feet tucked under the body and the right front leg raised with the knee bent. The head turned and the tail swept to one side, adorned with a necklace suspending a large bell, the face with almond-shaped eyes, a floral ornament to his nose ridge, and flanked by long ears.Provenance: The collection of Anacleto Spazzapan. Paolo Bertuzzi, acquired from the above. Anacleto Spazzapan (born 1943) is a noted Italian archaeologist who, after retiring, became a successful furniture designer in Italy. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition, commensurate with age. Expected losses, few chips and nicks, signs of weathering and erosion, structural cracks, and encrustations.Dimensions: Length 54 cm, Height 43.5 cmNandi is Shiva's mount and the gatekeeper of Shiva in Hindu mythology. He is seen as full of joy (nandi) in the presence of his master. An image of controlled virility and devotion, he would typically be placed in front of a Shiva temple facing a shrine.Literature comparison:Compare a related andesite statue of Parvati standing on Nandi, East Javanese period, 14th century, in the collection of the Metropolitan Museum of Art, accession number 2001.407.
A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, WAT TRA KUAN STYLE, SUKHOTHAI KINGDOMNorthern Thailand, late 14th to early 16th century. Seated in dhyanasana with his right hand lowered in bhumisparsha mudra and his left resting on his lap, wearing a tight-fitting sanghati draped over his left shoulder. His serene face with heavy-lidded eyes painted white with dark pupils, below thick, elegantly arched brows, his full lips forming a subtle smile, flanked by long pendulous earlobes. The hair arranged in tight curls over the ushnisha surmounted by a conical jewel.Provenance: French trade. A noted Belgian private collection, acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, signs of weathering and erosion, and encrustations. The bronze with a rich, naturally grown, solid patina with distinct areas of malachite and cuprite encrustations.Weight: 1,938 g (incl. stand) Dimensions: 22.5 cm (excl. stand) and 25.5 cm (incl. stand)Mounted on an associated modern wood stand. (2)The Buddhist temple complex Wat Tra Kuan was built by the Sukhothai Kingdom in the Old City of Sukhothai, north of Wat Mahathat. The ruins today consist of a main bell-shaped stupa and a chapel surrounded by a ditch. The original name of the temple has not survived, and according to a theory of Vajiravudh, the sixth monarch of Siam under the Chakri dynasty as Rama VI (r. 1910-1925), Tra Kuan is a Khmer term for Morning Glory. The temple is mentioned in a stone inscription discovered in 1955 at Wat Sorarsak, known as Inscription no. 49.Literature comparison: Compare a closely related bronze figure of Buddha, with similar painted eyes, illustrated in Lopetcharat, Thailand, A History in Buddha Image, vol. 1, Bangkok, 2006, p. 299.
A BRONZE ELEPHANT BELL, KHMER EMPIRE, ANGKOR PERIOD12th-13th century. The ovoid body encircled with two disk shaped ridges finely worked with geometric bands, surmounted by a loop surrounded by radiating lotus petals with upturned tips, the bottom with a pierced opening with four lappets, two of which are finely decorated with beast masks, and the edges with lines and geometric designs. The bronze with a rich, naturally grown, solid patina with distinct areas of malachite, azurite, and cuprite encrustations.Provenance: From an old German private collection, assembled in the 1980s. Condition: Good condition, commensurate with age. Wear, small losses, cracks, minor dents, and encrustations.Weight: 2,350 g (excl. stand), 3,970 g (incl. stand) Dimensions: Height 17.7 cm (excl. stand), 41.9 cm (incl. stand)Hanging from a hooked metal stand. (2)Elephant bells such as the present lot hung from the elephant's saddle or around the neck, ringing as the animal moved. The prominent ridges projecting from the surface serve to keep the main body of the bell from touching the elephant's skin thereby dulling its tone.Literature comparison:Compare a related Khmer bronze elephant bell, 22.8 cm high, dated late 12th to early 13th century, in the Hartenberger World Music Collection of Historical Instruments, catalog number 2AS-IDST-76. Compare a related Khmer bronze bell, 6.7 cm high, dated to the Angkor period, 12th century, in the CB National Museum, inventory number NMC.437. Compare a related Khmer bronze bell, 19 cm high, dated to the Angkor period, late 12th to early 13th century, in the CB National Museum, inventory number NMC.436.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 2003, lot 44Price: USD 9,560 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: An unusual bronze bell, Khmer, Angkor Period, 12th/13th centuryExpert remark: Compare the closely related form. Note the size (35.5 cm).
A BRONZE FIGURE OF SAMANTABHADRA RIDING AN ELEPHANT, MING DYNASTYChina, 1368-1644. Seated on the back of a recumbent elephant with the feet resting on a lotus base, his left hand holding a scroll, his right hand raised in shuni mudra, clad in long robes tied at the waist and open at the chest revealing a beaded necklace with ruyi and pendants, the serene face with downcast eyes centered by an urna, flanked by elongated earlobes embellished with floral earrings, the hair tied behind a floral and beaded tiara and flanked by elaborately tied bows. The elephant is embellished with beaded gear and a bell collar.Provenance: Norwegian trade. Condition: Good condition commensurate with age. With some old wear, small dents, light scratches, losses, corrosion, and casting flaws.Weight: 4,520 g Dimensions: Height 33.7 cmSamantabhadra is the bodhisattva associated with the practice of Buddhist teaching and joins Manjushri, the lord of transcendent wisdom, in a trinity with Shakyamuni Buddha. The bodhisattva is borne by a white elephant, symbolic of the strength achieved through the practice of Buddhism. The bronze is typical of later Ming works, finely cast and of rich color, and made with elegant reference to antiquity, the heavy and elaborate jewelry and voluminous undulating robes echoing the classical styles of Northern Qi through Song period sculpture.Literature comparison: There is a long tradition of depicting the bodhisattva Samantabhadra in bronze. A Song dynasty figure of Samantabhadra in the collection of the Palace Museum, Beijing, is illustrated as one of a pair, together with the Bodhisattva Manjusri in Zhongguo meishu quanji. Diaosu bian (The complete collection of Chinese art: Sculptures), vol. 5, Beijing, 1989, pls 153-154.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 9 October 2020, lot 3653Price: HKD 277,200 or approx. EUR 33,500 converted and adjusted for inflation at the time of writingDescription: A gilt-lacquered bronze figure of Samantabhadra, late Ming dynastyExpert remark: Note the similar size (31.5 cm)明代普賢騎象銅像中國，1368-1644年。普賢菩薩面相方正清秀，額頭白毫凸起，彎眉細目，眼瞼微啟，嘴唇飽滿。髮髻高聳，戴寳冠，身著天衣綢裙，瓔珞釧環等裝飾刻劃精美，帔帛繞臂飄拂。普賢左手舉起持書卷，右手結耐心印置於腿上。菩薩法相妙然，沉穩祥和。菩薩脚踏蓮花，坐於臥象上。大象飾有串珠和鈴鐺。 來源：挪威古玩交易。 品相：良好的條件，有一些舊磨損、小凹痕、輕微劃痕、缺損、腐蝕和鑄造缺陷。 重量：4,520 克 尺寸：高33.7 厘米 普賢菩薩象徵理德、行德，與文殊菩薩的智德、正德相對。這兩位菩薩是娑婆世界釋迦牟尼佛的右、左脅侍，被稱為“華嚴三聖”。普賢菩薩被認爲 “恩惠無所不在”，代表佛法和慈悲。菩薩由一頭白象承載，象徵通過修行獲得力量。銅像為典型的晚明造像，鑄工精細，仿古典雅，精美的首飾和寬大的長袍承襲北齊至宋代雕塑的古典風格。 文獻比較： 用青銅鑄造普賢菩薩的傳統由來已久。北京故宮博物院藏宋代普賢菩薩像，與文殊菩薩為一對，見 《中國美術全集雕塑編》，卷5，北京，1989年，圖153-154。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2020年10月9日，lot 3653 價格：HKD 277,200（相當於今日EUR 33,500） 描述：明末漆金銅普賢菩薩像 專家評論：請注意相似的尺寸 (31.5 厘米)。
A SGRAFFIATO-GROUND FAMILLE-ROSE 'LU DONGBIN' WINE CUP, QING DYNASTY, DAOGUANG PERIODChina, 1821-1850. Of bell shape, rising from a short foot to a flaring rim, painted in bright enamels with Lu Dongbin on his raft to one side, the reverse with a flying crane, a pavilion above celestial clouds and Lu Dongbin's sword wrapped with a ribbon, all above a neatly incised wave patterned ground.Provenance: From a private collection in North London, United Kingdom, and thence by descent within the same family. Condition: Good condition with minor wear and a few small hairlines to base and rim. Manufacturing flaws including dark spots and a light indentation above the foot.Weight: 70.7 g Dimensions: Length 6.4 cmLu Dongbin is a legendary scholar and poet said to have lived during the Tang dynasty. He is widely considered to be one of the earliest masters of neidan, or internal alchemy. In Chinese art, Lu Dongbin is generally depicted dressed as a scholar carrying a sword that dispels evil spirits.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 29 September 2021, lot 903Price: USD 27,720 or approx. EUR 28,500 converted and adjusted for inflation at the time of writingDescription: A sgraffiato-ground famille-rose 'immortal' wine cup, Qing dynasty, Daoguang periodExpert remark: Compare the related form, sgraffiato decoration, figural motif, and size (6.6 cm). Note the gilt rim and mark to the base.道光時期軋道粉彩呂洞賓圖酒杯中國，1821-1850年。軋道粉彩描繪呂洞賓身佩寶劍，腳踏竹筏於波濤之上，身旁瑞鶴飛舞，祥雲中可見樓閣。 來源：英國倫敦北部，在同一家族保存至今。 品相：狀況良好，輕微磨損，底部和邊緣有一些細小的髮際線。製造缺陷包括黑點和足部上方的淺凹痕。 重量：70.7 克 尺寸：長6.4 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2021年9月29日，lot 903 價格：USD 27,720（相當於今日EUR 28,500） 描述：清道光白地軋道粉彩仙人圖盃 《嶰竹主人造》款 專家評論：比較相近的外形，軋道粉彩、人物主題和尺寸 (6.6 厘米)。請注意鎏金邊緣和底部有款。
A BRONZE TEMPLE BELL, CHINA, 17TH CENTURYWell cast in barrel form, decorated in high relief with horizontal and vertical lines, bands of bosses, and flowerheads, surmounted by a twin dragon loop handle topped by a conch-form knop. The bronze bell lacquered black.Provenance: From the estate of Robert Schiffman, New York, USA. Condition: Very good condition with some wear, minor nicks, expected casting irregularities, and traces of use.Weight: 2,260 grams Dimensions: Height 24 cm (the bell), Length 30.5 cm (the gong stick)With an associated gong stick dating from the 20th century. (2)Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 May 2019, 718 Price: HKD 25,000 or approx. EUR 3,100 converted and adjusted for inflation at the time of writing Description: A bronze temple bell, 17th-18th century Expert remark: Note the related size (27 cm).十七世紀中國銅鐘此銅編鐘器形呈圓酒桶形，下口平齊，鑄造精良，飾有水平和垂直線條，頂部是雙龍形鈕，頂部是海螺。銅鐘漆成黑色。 來源：美國紐約Robert Schiffman舊藏。 品相：狀況極好，有一些磨損、輕微劃痕、鑄造瑕疵和使用痕跡。 重量：2,260 克 尺寸：高24 厘米(鐘)，長30.5 厘米(鐘杵) 二十世紀鐘杵。 (2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年5月29日，718 價格：HKD 25,000（相當於今日EUR 3,100） 描述：十七至十八世紀銅交龍鈕鐘 專家評論：請注意相近尺寸(27 厘米)。
A 'GANESHA' BRONZE BELL, KHMER EMPIRE, ANGKOR PERIOD, 11TH-12TH CENTURYHeavily cast, decorated with ribs to the lip and at the shoulder, the finial with two floral lappets enclosing the seated figure of Ganesha and a central arch with decorative ridges. The bronze with a fine, solid patina with malachite encrustations.Provenance: A private collection in Paris, France. LP Collection, Paris, France, acquired from the above. Condition: Very good condition with minor old wear, some weathering and erosion, expected casting flaws, few nicks, light scratches, and encrustations. Good malachite-green patina overall.Weight: 2,076 g Dimensions: Height 22.4 cmLiterature comparison: Compare a related Khmer bronze altar bell with Ganesha, 19.4 cm high, dated to the 12th century, in the Minneapolis Institute of Art, accession number 91.22.2.
AN EXTREMELY RARE GUAN-TYPE FIGURE OF A HOUND, QIANLONG PERIODChina, 1736-1795. Finely modeled seated on its haunches with front legs placed on the ground, the tail curled, the jaw agape revealing tongue and teeth, a bell hanging from the collar around its neck, covered overall in a thick pale gray glaze suffused with a dense network of dark gray and transparent crackle.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The underside with several old labels, 'Art Ancien de Chine & Extrême-Orient Geneve', 'Kien-Lung 1736-1795', '434', and '4237/2'. The wood stand with two old labels, '4237/2' and 'Chine celadon XVIIIe'. Condition: Very good condition with expected old wear and some firing irregularities, an obvious larger glaze recess to the right haunch, minor nicks, one paw with a smoothened area, probably inherent to the manufacture.Weight: 711 g (excl. stand) Dimensions: Height 13.8 cm (excl. stand)With a well-carved and fitted wood stand, possibly zitan. (2)Expert's note: Guan-type or crackle-glazed figures of animals are extremely rare, with only very few other examples found in public or private collections. Most ceramic animal figures of the period were made for export, but the glaze on the present figure is much more in line with the taste of the Qing Emperors (and thus the entire court) of the 18th century.Auction result comparison: Type: Related Auction: Sotheby's London, 22 February 2022, lot 81 Price: GBP 5,292 or approx. EUR 6,200 converted and adjusted for inflation at the time of writing Description: A celadon-glazed seated hound, Qing dynasty, Qianlong periodExpert remark: Compare the closely related modeling with similar pose and open mouth revealing tongue and teeth. Note the celadon glaze, which like the present lot reflects the Qing court taste, and the size (19 cm).乾隆時期罕見仿官窯坐犬中國，1736-1795年。犬成坐姿，前腿著地，尾巴捲曲，嘴巴張開，露出舌頭和牙齒，脖子上掛著鈴鐺，通體施厚厚的淡灰色釉，上面佈滿了密密麻麻的開片紋。 來源：瑞士日内瓦私人收藏，建立於上世紀六十年代，保存至今。這個收藏重要的一部分長期在日内瓦亞非博物館展出。底部有幾個標籤，'Art Ancien de Chine & Extrême-Orient Geneve'，'Kien-Lung 1736-1795'，'434'與 '4237/2'。木底座上有兩個標籤 '4237/2' 與 'Chine celadon XVIIIe'。 品相：狀況極好，有磨損和一些燒製不規則，右側腰部有明顯較大的釉面凹陷，輕微劃痕，一隻爪子有磨光區域，可能是燒製時產生的。 重量：711 克 (不含底座) 尺寸：高 13.8 厘米 (不含底座) 木底座，或爲紫檀。(2) 專家注釋：官釉或開片釉中的動物像極為罕見，在公共或私人收藏中只有極少數的例子。這一時期的陶瓷動物雕像大多用於出口，但本雕像的釉料更符合 十八 世紀清宮的品味。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2022年2月22日，lot 81 價格：GBP 5,292（相當於今日EUR 6,200） 描述：清乾隆青釉犬擺件 專家評論：比較非常相近的堆塑和姿勢，以及露出舌頭和牙齒。請注意此擺件的青瓷釉體現出清宮的品味，以及尺寸(19 厘米)。
A BRONZE TEMPLE BELL, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. The waisted body with a flared base, the domed top surmounted by a twin dragon loop handle with a bud finial, the sides with a raised key-fret band.Provenance: Swedish trade. Condition: Good condition with old wear, naturally grown patina, few small nicks and dents, and some casting irregularities. The bell produces a good, long sound when struck.Weight: 1,050 g Dimensions: Height 19.2 cm Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 12 March 2013, lot 5190Price: USD 4,375 or approx. EUR 5,400 converted and adjusted for inflation at the time of writingDescription: A Chinese bronze bell, 17th/18th centuryExpert remark: Note the size (24.7 cm)明末清初銅鐘中國，十七至十八世紀。喇叭形鐘口銅鐘，鐘鈕上圓形頂珠，兩側龍形伏獸。鐘體中央一道雙層雷紋飾。 來源：瑞典古玩交易。 品相：狀況良好，有磨損，自然包漿，少量小刻痕和凹痕，以及一些鑄造不規則。敲擊時，鐘會發出美妙而悠長的聲音。 重量：1,050 克 尺寸：高 19.2 釐米 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2013年3月12日，lot 5190 價格：USD 4,375（相當於今日 EUR 5,400） 描述：十七/十八世紀銅鐘 專家評論： 請注意尺寸 (24.7厘米)。
A LARGE PARCEL-GILT IRON VAJRA, TIBET, 12TH - 13TH CENTURYThe eight-pronged vajra with a central knob of compressed globular form, flanked to each side by four stylized beast masks, the recessed geometric decorations covered with gilt lacquer, a loose ring attached to the interior central pole to either end of the vajra, the prongs terminating in pointed finials. Provenance: British trade. Condition: Very good condition with expected wear from centuries of handling and worship, minor nicks and dents here and there, some casting flaws, light scratches.Weight: 666.9 g Dimensions: Length 25.4 cmThe vajra, a symbol of indestructibility and power, is one of the primary ritual symbols in Tibetan Buddhism. Derived from Sanskrit and translating to both thunderbolt and diamond, the vajra consists of two sets of prongs from which lotus petals emanate, flanking a central sphere. Often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2014, lot 58Price: USD 52,500 or approx. EUR 62,500 converted and adjusted for inflation at the time of writingDescription: An Iron Vajra with Gold InlayExpert remark: Compare the related form, parcel gilt decoration, and size (25.4 cm)Auction result comparison:Type: RelatedAuction: Sotheby's New York, 20 March 2013, lot 220Price: USD 25,000 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An Iron VajraExpert remark: Compare the related form and size (25.7 cm). Note the lack of gilt.十二至十三世紀西藏大型局部鎏金鐵金剛杵九股金剛杵，雙八字形，弧線流暢，八楞菱形中股，摩羯首銜之，兩側各有一個蓮臺，一個鬆動的環連接在金剛杵兩端的內部中股上。 來源：英國古玩交易。 品相：狀況極好，有磨損和小刻痕和凹痕，一些鑄造缺陷、輕微的劃痕。 重量：666.9 克 尺寸：長 25.4 厘米 金剛杵是堅不可摧和力量的象徵，是藏傳佛教的主要法器之一。金剛杵源自梵語，意為閃電和鑽石，由兩組叉子組成，蓮花瓣從叉子中散發出來，位於中央球體的兩側。金剛杵經常與代表女性智慧的金剛鈴組合使用，象徵著善巧方便或慈悲的男性屬性。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2014年3月19日，lot 58 價格：USD 52,500（相當於今日EUR 62,500） 描述：錯金鐵金剛杵 專家評論：比較相近的外形、鎏金裝飾和尺寸(25.4 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2013年3月20日，lot 220 價格：USD 25,000（相當於今日EUR 30,000） 描述：鐵金剛杵 專家評論：比較相近的外形和尺寸(25.7 厘米)。請注意沒有鎏金。
A LARGE PARCEL-GILT COPPER REPOUSSE PLAQUE OF A SNOW LION, 17TH-18TH CENTURYTibet. The striding beast with a fierce expression, bulging eyes below flaming brows, the mouth revealing a set of sharp fangs below a ruyi shaped snout. The finely detailed flaming mane, tail, mouth, and bell nicely picked out. The head and body cast separately and joined with rivets. Provenance: From the private collection of Jan Finch. Jan Ellen Finch (1952-2021) was a celebrated art and antiques dealer who started out in Portobello Market during the 1980s. Her company Finch & Co became one of the best-known and most charismatic dealerships of the modern era. The firm's rigorously researched and hugely informative catalogs became the mainstay of many dealers' and collectors' libraries. Her private collection included numerous curiosities and rare examples of Asian and ethnographic art, European sculptures, and modern British art. Condition: Good condition, commensurate with age and the generally fragile nature of repousse works, with some old wear, minor tears and small losses, dents and nicks, minute cracks, some added pinholes for suspension, few malachite encrustations. Remnants of ancient pigment.Weight: 2,590 g (excl. base), 5,600 g (incl. base) Dimensions: Length 42.6 cmMounted to a modern metal base. (2) Auction result comparison:Type: Closely relatedAuction: Christie's New York, 31 March 2005, lot 193Price: USD 9,000 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A Gilt Copper Repousse Lion, Tibet, circa 17th centuryExpert remark: Compare the closely related pose and picked-out details. Note the related size (47 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 14 May 2009, lot 159Price: GBP 13,200 or approx. EUR 24,500 converted and adjusted for inflation at the time of writingDescription: A pair of gilt-copper repousse 'lion' panels, Tibet, 19th centuryExpert remark: Compare the related motif. Note that the lot comprises two pieces of larger size (62.7 cm).十七至十八世紀大型銅鎏金浮雕雪獅西藏。神情凶狠的雪獅，火紅的眉毛下雙眼圓睜，鋒利的獠牙，如意形鼻子，脊梁挺直，黑色的火焰狀鬃毛，細節刻畫精緻。頭部和身體分開鑄造，並用鉚釘連接。 來源：Jan Finch私人收藏。Jan Ellen Finch (1952-2021年) 曾是一位著名的藝術品及古董商，她於 1980 年代在波多貝羅市場起家。她的公司 Finch & Co 成為當代最著名且最具魅力的經銷商之一。該公司經過嚴格研究並提供大量信息的目錄成為許多經銷商和收藏家圖書館中的不可缺少的書籍。她的私人收藏包含亞洲和民族志藝術、歐洲雕塑和現代英國藝術，其中不乏奇珍異寶和稀有例子。 品相：狀況良好，錘鍱作品普遍脆弱，有一些磨損、輕微撕裂和小缺損，可見凹痕和刻痕、微小裂縫、一些用於懸掛的額外針孔，少量孔雀石綠結殼，古代顏料的殘餘。 重量：2,590 克 (不含底座)，5,600 克 (含底座) 尺寸：長 42.6 厘米 現代金屬支架 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2005年3月31日，lot 193 價格：USD 9,000（相當於今日EUR 13,000） 描述：十七世紀銅鎏金錘鍱獅牌 專家評論：比較非常相近的姿勢和細節。請注意相近尺寸 (47 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2009年5月14日，lot 159 價格：GBP 13,200（相當於今日EUR 24,500） 描述： 十九世紀一對銅鎏金錘鍱獅牌 專家評論：比較相近的主題。請注意此牌為一對和尺寸 (62.7 厘米)較大。
Ruscha (Ed).- Edward Ruscha (Ed-Werd Rew-Shay) Young Artist, first edition, one of 2000 copies, paper browned, hinges weak (lower repaired), original pictorial green glazed boards, a little rubbed, Minneapolis, Minneapolis Institute of Art, 1972 § Mountains and Portraits, 9 notecards with envelopes, loose as issued in original wrappers, signed by Ruscha on upper cover, Anthony d'Offay Gallery, 2000 with Stephenson (David) & Richard Bell. I Want To Hang Out With Ed Ruscha, CD in plastic case, one of 500 copies, signed by Ruscha on back of case, 2000 § Wakefield (Neville) & Dave Hickey. [Words Without Thoughts Never to Heaven Go] Ed Ruscha: New Paintings..., signed by Ruscha on title, original cloth, dust-jacket, Anthony d'Offay, 1998 § Goode (Joe) Edward Ruscha, 2 photographs of gunpowder drawings by Ruscha loosely inserted, original pictorial wrappers, Balboa, Balboa Pavilion Gallery, 1968, illustrations, some colour; and c.45 others by or about Ruscha, exhibition catalogues etc., v.s. (c.50)
Fine walnut and floral marquetry-cased 8-day longcase clock George Murgatroyd, London, circa 1700, the 12-inch square brass dial having silvered Roman chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and inner quarter hour track, additionally signed Geo: Murgatroyd, London framing a matted centre with ringed winding arbors, silvered subsidiary seconds ring and calendar aperture within engraved scroll border, within crown and twin cherub supporters to spandrels, engraved signature 'George Murgatroyd London' to lower edge,the four (formerly five) finned pillar movement with anchor escapement, inside countwheel striking on a bell, regulated by seconds pendulum, the case with floral marquetry-inlaid caddy top, hood door, throat moulding, long trunk door (with oval lenticle) and base, the trunk door incorporating an urn, birds, tulips and other flowers, scrollwork etc, the plain hood sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk sides with two line-edged panels within crossbanded borders, on conforming panel outline marquetry fronted plinth base with moulded skirt, 227cm high (sold with two weights plus pendulum and winder)George Murgatroyd is recorded in Britten, F. J., 'Old Clocks and Watches and their Makers' as working in London circa 1710 - however, features such as the convex throat moulding to the case, and ringed winding holes coupled with stylised sword-hilt half hour markers to the dial, would suggest a date just prior to this for the current lot.Dial - general tarnishing to silvered chapter ring. Discolouration to edges of brass dial. Movement - one hole to front plate is unused (so something has been removed). There is packing to upstands beneath seatboard.Case - damage and depletions commensurate with age, including (but not limited to):Superstructure (over caddy) may be an old replacement, and has been reattached. Front corners of caddy surmount appear to be separate sections, of slightly different colourGlazed side panels of hood are replacedSime cracking to moulding beneath hood door.Losses and fading to vertical edges of hood door- mainly from handling.Veneer and carcase losses to one front corner of throat moulding.Losses to inlay at top of trunk doorSome wrinkling to veneer surrounding trunk door.Lock is later and applied (originally did not have a lock)Base has moulding loss to back edge at one side.Horizontal cracks to sides of base.Later plinth cuts through base of inlaid panel.Small losses to crossbanded border.Some old drill holes to backing.
Numbered George II 30-hour brass dial single-hand longcase clock, Thomas Shinn, Mathan, No. 195, engraved 10-inch square dial, silvered Roman chapter ring with half hour divisions and inner quarter hour track, the movement with four knopped pillars, countwheel-striking on a bell, the cherry wood case, of good reddish patina, with flat hood and sunken columns, 198cm high (sold with weight and pendulum)
19th Century French brass and ormolu mantel clock with urn finial, Japy Freres & Cie, retailed by Guibal a Paris, 3-inch dial with Roman hours and Arabic minutes, behind bevelled convex glass and beaded bezel, the two-train movement outside countwheel-striking on a bell, the case with urn and swag surmount over leaf-capped scrolls and a bow-breakfront base on toupie feet, 21cm wide x 30.5cm high, sold with pendulum
Dated mid 19th Century French Sèvres-style porcelain and gilt metal mantel clock, P. H. Mourey, Paris, 1863, the 3-inch cellular Roman chapters on bleu celeste ring framing floral centre, the two-train movement, with Vincenti Exposition stamp and numbered 23118, outside countwheel-striking on a bell, the case with wreath-topped urn surmount and a pair of oval putto panels, on breakfront base with further panel, stamped verso '11 P H MOUREY 63' (for November 1863), 40cm high (sold with pendulum)
Mid 19th Century French gilt metal and porcelain-mounted mantel clock, anonymous, retailed by Bennett, 65 & 64 Cheapside, London, 3.5-inch cellular Roman dial with cherub musician, two-train movement numbered 1408, striking on a bell, breakfront case with oval portrait to ribbon surmount over foliate scrolls and seated cast cherubs, 33cm wide x 36.5cm high, on original giltwood breakfront base, 41.5cm high overallSome tarnishing and minor staining to gilding; fading to plush lining of base. Scuffing to rear of giltwood base. Sold with pendulum and winder.
Paul Garnier, inspected by Vulliamy - Second quarter 19th Century French brass repeater carriage clock, circa 1835, the silvered engine-turned dial with 3-inch Roman chapter ring framing a lobed segmented centre, the repeating twin bell-striking two-train movement with replaced lever platform escapement, signed and numbered on the backplate Paul Garnier, Paris, 270, further engraved beneath 'New Platform Escapement and Pendulum Spring work complete and new motion made by B. L. Vulliamy LONDON AD. 1853', the 'Series One' type case with removable bevelled glazed front and top panels, 17cm high (handle up), together with the original wine hide travelling caseFor similar examples, see: Sothebys London, 28th May 2009, lot 58 Christies London, 20th February 2008, lot 67Comparative literature: Allix, Charles & Bonnert, Peter, 'Carriage Clocks, Their History and Development', 1974, pp.56-58, pls.II / 19-22 Roberts, Derek, 'Carriage and Other Travelling Clocks', 1993, pp.42-60Wotruba, Tom and Adams, Doug, 'Paul Garnier, a Clever and Creative Carriage Clock Maker', NAWCC Bulletin, December 2007, pp.669-676.
Mid 19th Century Aubert & Klaftenberger (Geneve) engraved brass repeater carriage clock with alarm, inscribed white Roman dial with trefoil hands over alarm dial, two-train movement with original lever platform escapement, striking on a bell, backplate with English remarks in cursive script, in engraved case, 11.5cm high (ex. handle), in original gilt-tooled hide travel boxIn 1835, C.J. Klaftenberger of London commenced business with G.F. Aubert of Geneva. The Royal patronage of Queen Victoria and Prince Albert assisted the growth of the firm, who exhibited at The Great Exhibition in 1851. They were granted the Royal Warrant in 1859.
Late 19th Century French brass gorge cased carriage clock, white Roman dial with Breguet moon hands, inscribed beneath '***** & Co Regent Street London' (rubbed), two-train movement with later lever platform escapement, striking on a bell, the backplate stamped 'J. J. D. Brevet S.G.D.G.', in gorge case, 13.5cm (ex. handle)
Rochet Paris, a 19th Century rosewood marquetry inlaid portico bracket clock, of architectural form with an inlaid pediment supported by four strung columns with gilt metal capitals and bases, 9cm white enamel dial with Roman numerals signed Rochet, Paris, raised on a stepped plinth, eight day movement striking on a bell, under a glass dome on base with bun feet, clock 43cm high, 55cm high including dome, (pendulum)
A tin trunk, the handles inscribed "Milner's Liverpool", a set of Reuben Heaton & Sons "The Ever Ready" scales, a set of Gascoigne's scales, a modern brass bell, a pair of racing field glasses, a box of vintage door furniture, a stoneware dog's bowl by Moira Pottery Co. Ltd, a mid 20th Century leatherette covered roulette wheel and counters, various modern prints and a modern wall clock, etc
* Duke of Wellington. A George III period glass vase commemorating the Battle of Waterloo, of bell shape form engraved with a bust of Wellington facing left, the opposite side with scroll engraved with the motto 'La Belle Alliance' and dated 18 June 1815, on a pedestal stem with knop and circular spread foot, 17 cm highQTY: (1)
SELECTION OF FIVE TEDDY BEARScomprising a Chad Valley Winter Woolies 2002 with a burgundy jacket, 40cm high, Russ Berrie Alton Towers Hotel bear with a burgundy bowtie, 34cm high, Monty Bear for Debenhams bear with a red bow and bell, 35cm high and a white plush bear with a violet jumper, 36cm high (5)
Loading...
