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Click here to subscribeArt Deco style brooch with a bow tie design in grey gold (18 carat) with ca 1,30 carat of brilliant cut diamonds and ca 1 carat of rubies (invisible setting) || Fraaie strikvormige broche in Art Deco-stijl gerealiseerd in grijs goud (18 karaat) en versierd met gestileerde bloemvormen, bezet met briljant, op een veld met onzichtbaar gezette robijnen - in totaal : ca 1 kt robijn en ca 1,30 kt briljant
Ca. 200-300 AD.A bronze-cast phalera mount in the form of Cupid (Greek Eros) with fleshy features and curly hair. His cheeks chubby portray the features of youth, his stylised wings between his shoulders. An important object possibly a military phalera, with the upper body of Cupid in high relief. This was likely to have been worn on the breastplate of a soldier or formed part of a chariot fitting. Objects formed of bronze were ubiquitous in the Roman world, being used by the Roman military, for instance, for both practical and decorative purposes. The phalera is the sculptured disk (typically formed of bronze) on the breastplate, which was worn by Roman soldiers as a reward for the outstanding service, or as representation of military rank. In Roman mythology, Cupid (known as Eros to the Greeks) was the god of love. He is generally represented as an aesthetically chubby boy with wings, who carries a bow and a quiver of arrows. He is normally shown as a follower or acolyte of the goddess Aphrodite.Size: L:148mm (with stand) / W:110mm ; 735g.Provenance: Property of a North London professional; previously acquired on the UK art market in early 1990s.
Ca. 100-300 AD.Modeled with thin features, the face with a serene expression, with heavy-lidded downcast eyes and bow-shaped lips, his crescent-form rippling curls pulled over the domed ushnisha. His ears elongated showing intricate form, a large central hole for urna which would have been a precious stone. Mounted on a custom-made stand.Size: L:220mm / W:145mm ; With stand: 3.2kg.Provenance: Property of a London Ancient Art Gallery; previously with a London gentleman; formerly with Mahboubian Gallery, London, UK; acquired before 1972; accompanied by an old museum-quality photograph; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10795-177900.
Ca. 200-300 AD.A remarkable example of Kushan artistry, richly carved in grey schist, combines the naturalism of the classical Greek style with the Asian serenity of Buddhist art. The head is finely carved with a gentle bow-shaped mouth, straight nose, heavy-lidded eyes, elongated ears, and rippling hair over the wide nimbus, affirming his divinity.Size: L: 410mm / W:260mm ; With stand: 16Kg.Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
New Kingdom, Dynasty 18-20, Ca. 1550-1070 BC.A fine Ancient Egyptian glazed faience ‘wedjat-eye’ amulet, more commonly known as the ‘Eye of Horus’, featuring a loop at the top for suspension, mounted in a 22kt gold oval eye-shaped pendant with suspension loop connected to a necklace. Horus was one of the most significant Ancient Egyptian deities, most commonly depicted with the head of a falcon, and the body of a man. The eye of Horus, also known as ‘Wedjat’, was an ancient symbol of protection, particularly for the afterlife, and was also used to deflect evil. For this reason, it was often worn or hung on the deceased at the burial. This symbol was highly influential in Egyptian life, with ancient sailors painting the image on the bow of their vessels to ward off evil. For a similar see Flinders Petrie, Amulets.Size: L:21.5mm / W:19.2mm; 2.25g.Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.
Ca. 1550 AD.This sword could loosely be termed as a ‘Swept Hilted Rapier’ The hilt has no pommel as such, and the grip (which survives) resembles a modern kitchen knife handle flaring at one edge. The grip is textured and resembles a stag horn, three circular protrusions suggest that two halves of the grip may have been riveted together. The cross guard is roughly S-shaped. A portion of which forms a horizontal cross guard before dropping downwards, decoratively, parallel to the blade. The other end of the guard sweeps upwards and outwards, presumably to protect the fingers before coming to an abrupt halt, just before the flaring out of the end of the grip. The Pommel, Grip and Cross guard are very much an integrated unit on this rapier. The unit is completed by the addition of a further, knuckle bow, attached to the cross guard but hovering over the hilt, the whole circular plate is in line with the blade. The blade is one-sided, but sharply triangular in shape from the guard to the tip. There is some inlay into the blade, enhancing the value and prestige of an already valuable sword. Dating is difficult, but circa or later, the mid 1550’s is not, too far out. There is a little discoloration of the patina of the sword, there are some nicks into the acutely sharp blade, all in all the condition of this artifact is excellent. The item comes with an academic report written by Russel Scott; famous lecturer, reenactor, and expert of Viking and medieval artifacts.Size: L:1000mm / W:90mm ; 1.06KgProvenance: Property of a London private collector; formerly in a European collection; acquired from Peter Ing till collection in early 2000s (Vienna). Formerly in an old Austrian collection.
Late Period, Ca. 664-332 BC.A fine wedjat-eye amulet, also called the Eye of Horus, mounted in a 22kt gold eye-shaped pendant with a suspension loop connected to a modern necklace cord. Horus was one of the most significant Ancient Egyptian deities, most commonly depicted with the head of a falcon, and the body of a man. The eye of Horus, also known as "Wedjat", was an ancient symbol of protection, particularly for the afterlife, and was also used to deflect evil. For this reason, it was often worn or hung on the deceased at the burial. This symbol was highly influential in Egyptian life, with ancient sailors painting the image on the bow of their vessels to ward off evil. For similar examples, see Flinders Petrie, Amulets, Plate XXV.Size: L:21.2mm / W:16.7mm ; 4gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. 100-300 AD.A wearable gold ring with an ellipsoid hoop widening at the shoulders, which are embellished with parallel grooves, and a bezel with inset oval garnet gemstone with an intaglio depicting a left-facing female bust, flanked by quiver and arrows; the latter lead to identifying this female portrait as a depiction of the Roman goddess Diana. Good condition, repaired. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemmological and historical report by an independent specialist Anna Rogers. In Roman art, Diana usually appears as a huntress with a bow and quiver, accompanied by a hound or deer. In Rome, the most important temple of Diana was on the Aventine. This temple housed the foundation charter of the Latin League and was said to date back to King Servius Tullius (6th century BC). Another important centre for the worship of Diana was Ephesus, where the Temple of Artemis (or Diana) was one of the Seven Wonders of the World.Size: D: 16.51mm / US: 6 / UK: M; 10.5g.Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed in the 1980s.
Italien - Herzogtum Parma : Herzogtum Parma: Geschenksäbel Herzog Carlo III. di Borbone - Parma (1849 - 1854) an General Antonio Crotti.Eisernes Bügelgefäß mit in Gold tauschiertem Wappen des Herzogtums Parma und der gekrönten vergoldeten Chiffre Herzog Karl II. von Bourbon - Parma (reg. 1849 - 1854. Auf dem Bügel Medaillon mit der vergoldeten Bezeichnung in Fraktur: "GEN. A.C." (General Antonio Crotti, Brigadegeneral und letzter Kommandeur der Armee des Herzogtums Parma.Griff in Rochenhaut. Die gekehlte Rückenklinge mit reicher beidseitiger Zierätzung von Waffentrophäen und Arabesken. Auf der Quartseite die Herstellersignatur: "Cio Sassi Milano". Glatte Eisenscheide mit zwei Tragringen. Gesamtlänge: 103 cm. Klinge 88 cm. Schöne und bedeutende Blankwaffe von größter Seltenheit und Wichtigkeit für die Geschichte des Herzogtums Bourbon - Parma. Ferdinand Karl III. von Parma (* 14. Januar 1823 in Florenz; ? 27. März 1854 in Parma) war von 1849 bis 1854 Herzog von Parma. Ferdinand Karl war der einzige Sohn von Herzog Karl II. Ludwig von Parma (1799?1883) und Prinzessin Maria Theresia (1803?1879), Tochter des Königs Viktor Emanuel I. von Sardinien-Piemont und dessen Gattin Maria von Modena. Nachdem sein Vater zu seinen Gunsten abgedankt hatte, kehrte er im August 1849 unter dem Schutz österreichischer Truppen aus London nach Parma zurück und errichtete ein reaktionäres Willkürregime, das ihn derart verhasst machte, dass er im März 1854 in Parma auf offener Straße von einem Unbekannten erdolcht wurde. Für den noch unmündigen Thronerben Herzog Robert (1854?1859/60) übernahm dessen Mutter, die gebürtige französische Bourbonen-Prinzessin Louise Marie von Bourbon, die Regentschaft. Italy - Herzogtum Parma : Duchy of Parma: Presentation sabre from Duke Carlo III di Borbone - Parma (1849 - 1854) to General Antonio Crotti. Iron bow hilt with the coat of arms of the Duchy of Parma inlaid in gold and the crowned gilded cipher Duke Charles II of Bourbon - Parma (r. 1849 - 1854. On the bow medallion with the gilded inscription in fracture: "GEN. A.C." (General Antonio Crotti,Brigadier General and last commander of the army of the Duchy of Parma). Handle in ray skin. The fullered single-edged blade with rich decorative etching of weapon trophies and arabesques on both sides. The maker's signature on the quarterside: "Cio Sassi Milano". Smooth iron scabbard with two suspension rings. Total length: 103 cm. Blade 88 cm. Beautiful and important blank weapon of great rarity and importance for the history of the Duchy of Bourbon - Parma. Ferdinand Charles III of Parma (* 14 January 1823 in Florence; ? 27 March 1854 in Parma) was Duke of Parma from 1849 to 1854. Ferdinand Charles was the only son of Duke Charles II Louis of Parma (1799-1883) and Princess Maria Theresa (1803-1879), daughter of King Victor Emmanuel I of Sardinia-Piedmont and his wife Maria of Modena. After his father abdicated in his favor, he returned to Parma from London in August 1849 under the protection of Austrian troops and established an arbitrary reactionary regime that made him so hated that in March 1854 he was stabbed to death in the open street in Parma by an unknown man. The heir to the throne, Duke Robert (1854-1859/60), who was still underage, was succeeded by his mother, the French-born Bourbon princess Louise Marie of Bourbon.
Ausländische Orden & Ehrenzeichen - Russland/Zarenreich : Russia: Kammerherrenschlüssel aus der Regierungszeit Zar Nikolaus I. (1825-1855)-Feuervergoldete Bronze. Die Räude (Reide) in Form des russische Doppeladler mit Brustschild mit der Chiffre Zar Nikolaus I. besonders fein ziseliert. Der Bart kanneliert und mit gewundenen Eichenblättern verziert. Der Bart in Form des russischen Andreaskreuzes. Auf der polierten Rückseite großer Bügel zum Durchzug für das Kämmererportepee. Besonders prächtiger, früher russischer Kammerherrenschlüssel in feinster Goldschmiedearbeit. In dieser Qualität und Erhaltung sehr selten.Foreign Orders & Decorations - USSR/Russia : Russia: Chamberlains Key from the Reign of Czar Nicholas I (1825-1855).Fire-gilded bronze key features the bow in the form of a Russian double eagle with the breastplate featuring the cypher of Tsar Nicholas I. The bow in the form of Saint Andrew's Cross is particularly finely chased and the bit is fluted and embellished with oak leaves in a serpentine pattern. The polished backside features a large loop for threading the Chamberlain's portepee. Particularly magnificent, early Russian Chamberlain's key of the finest goldsmith's craftsmanship. In this quality and condition, very rare.
Orden & Ehrenzeichen Deutschland - Preußen : Preußischer Kammerherrnschlüssel, 1. Hälfte 19. Jhd. Silber - vergoldet. Mit original vernähter Kämmererschleife aus feiner hellblauer Moiréeseide. Im schönen und seltenen Originaletui mit goldgeprägtem Deckel, Innenteil mit weißer Seideneinlage, bzw. Futter. Sehr schönes Exemplar in bester Anfertigungsqualität und im Etui selten.German Orders and Medals - Kingdom of Prussia : Kingdom of Prussia: Chamberlain's Key, 1st half of then 19th century. Silver - gold plated. With original sewn bow made of fine light blue moiré silk. In beautiful and rare original case of issue with gold embossed lid, inner part with white silk inlay, resp. lining. Very nice example in the best quality of manufacture and rare in the original case.
Ausländische Orden & Ehrenzeichen - Frankreich : St. Ludwigs Orden: Ritterkreuz.Ritterkreuz aus der Zeit der Restauration (1815-1830). Gold und Emaille, am schönen langen Originalband mit genähter Bandschleife. Exemplar in besonders feiner Juweliersqualität. Kleine Haarrisse im weißen Emaille, insgesamt jedoch schöne Erhaltung. Foreign Orders & Decorations - France : Order of Saint Louis: Knight's Breast Badge.Knight's Breast Badge from the period of the Restoration (1815-1830). Gold and enamel, on the beautiful long original ribbon with sewn ribbon bow.Example in especially fine jeweller's quality. Small hairline cracks in the white enamel, but overall beautiful condition.
Orden & Ehrenzeichen Deutschland - Bayern : Königreich Bayern: Theresien - Orden. Das Ordenskreuz Gold und Emaille. An besonders schöner, genähter Originalschärpe aus feinster Moiréeseide. Das Monogramm "T" der Stifterin im vorderseitigen Medaillon mit geschliffenen Diamanten besetzt. Die Kreuzarne in besonders gewölbter Ausführung. Die hohl geprägte Krone mit rückseitigem Tragebügel zur Befestigung an der Schärpe, bzw. Bandschleife. Dieses Exemplar wurde an Melania Taparelli d'Azeglio verliehen. Prachtexemplar in feinster Juweliersqualität und makellosem Erhaltungszustand.German Orders and Medals - Kingdom of Bavaria : Kingdom of Bavaria: Order of Theresa. The sash badge gold and enamel. On particularly beautiful, sewn original sash of finest moiré silk. The monogram "T" of the founder on the obverse center set with rose cut diamonds. The arms of the cross in a particularly bulbous design. The hollow embossed crown with a carrying handle on the back for attachment to the sash or ribbon bow. Splendid specimen in finest jeweler's quality and immaculate condition.
Ausländische Orden & Ehrenzeichen - Russland/Zarenreich : Abzeichen der Kaiserin Katharina II. Hochschule für adelige DamenGold, an originaler, genähter Bandschleife. Auf der rückseitigen Bügelöse russische Meistermarke "TA" sowie Goldpunze "56" und Stadtmarke von St. Petersburg. Sehr schönes und außerordentlich seltenes Abzeichen dieser exklusiven Hochschule.Foreign Orders & Decorations - USSR/Russia : Badge of Empress Catherine II. Institute for Noble Ladies. Gold, on original sewn ribbon bow. Russian master's mark "TA" and gold hallmark "56" and city mark of St. Petersburg on the back loop. Very nice and extraordinarily rare badge of this exclusive university.
Ausländische Orden & Ehrenzeichen - Frankreich : Insignie der Vereinigung der Eroberer der Bastille (Médaille - Insigne de L'Association des Vainqueurs de la Bastille).Das Zentrum aus Zinn, in aus Silber gefertigtem Rahmen in Form eines Lorbeerkranzes. Am besonders schönen, langen Originalband mit genähter Bandschleife. Mit altem Sammlungsetikett der Collection Laissus. Aufgrund der revolutionären Umstände, insbesondere der Annahme der Verfassung vom 10. August 1793, wurde das Tragen von Auszeichnungen als Symbol der verhaßten vergangenen Epoche der Unterdrückung und der Tyrannei (Ancien Régime) betrachtet. Durch Dekret der Nationalversammlung vom 20. August und vom 18. November 1793 wurden die ursprünglich an die Eroberer der Bastille verliehenen Dekorationen (Couronne Murale und Médaille d'Or des Gardes Francaises) abgeschafft und die Rückgabe der Dekorationen und deren Verleihungsurkunden bei den örtlichen Behörden angeordnet. Aus diesem Grund schlossen sich viele der ursprünglich 1054 als Eroberer der Bastille anerkannten Personen ( 100 Gardes Francaises und 954 Vainqueurs Bourgeois) zu einer Vereinigung, der Association des Vainqueurs de la Bastille zusammen, deren Mitglieder das hier angebotene Abzeichen trugen. Literatur: André Souyris - Rollande, Histoire des distinctions et des récompenses nationales, Band 1, S. 30 - 31. Schönes und sehr seltenes Originalexemplar aus einer der rennomiertesten Sammlungen zur Geschichte der Französischen Revolution. Foreign Orders & Decorations - France : Medal of the Association of the Conquerors of the Bastille (Médaille - Insigne de L'Association des Vainqueurs de la Bastille). The center made of pewter, frame made of silver in the form of a laurel wreath. On it's particularly beautiful, long original ribbon with sewn ribbon bow. With old collection label of the Collection Laissus. Due to the revolutionary circumstances, especially the adoption of the Constitution of August 10, 1793, the wearing of decorations was considered a symbol of the hated past era of oppression and tyranny (Ancien Régime). By decrees of the National Assembly of August 20 and November 18, 1793, the decorations originally awarded to the conquerors of the Bastille (Couronne Murale and Médaille d' Or des Gardes Francaises) were abolished and the return of the decorations and their award certificates to the local authorities was ordered. For this reason, many of the original 1054 recognized as conquerors of the Bastille ( 100 Gardes Francaises and 954 Vainqueurs Bourgeois) formed an association, the Association des Vainqueurs de la Bastille, whose members wore the badge offered here. Literature: André Souyris - Rollande, Histoire des distinctions et des récompenses nationales, vol. 1, pp. 30 - 31. Beautiful and very rare original copy from one of the most renowned collections on the history of the French Revolution.
Two pairs of blue and white Delft vases, 18th/19th century, each of shaped baluster form, the first pair painted with a shepherd and his flock, unmarked; the second a gentleman with bow and arrow and a lady, each in a landscape, painted marks (all four lacking covers and a/f). Heights c. 27cm (4)
A COPPER ALLOY REPOUSSE PLAQUE OF A 'PANCHA RAKSHA' PROTECTOR GODDESS 鎏金銅錘鍱五部護法Tibet, 18th-19th century or slightly earlier. Seated in lalitasana atop a double lotus base with beaded upper edge, the right foot on a small lotus support. Her main left hand holds the dharmachakra at her chest and her main right grasps her billowing scarf, the other six hands radiating around her held in karana mudra and holding a sword, bow, arrow, trident, vajra, and axe. Her face with almond-shaped eyes, thick brows, urna, and full lips, flanked by three further heads. Backed by a flaming mandorla. The reverse neatly incised with a short inscription. Inscriptions: To reverse, 'Khung Nak la Namo' ('Greetings to Khung Nak')Provenance: From a private collection in southern Germany, acquired before 2007, and thence by descent.Condition: Very good condition with minor old wear, minuscule nicks, light scratches, small dents. Weight: 268.0 gDimensions: Height 15.3 cmThe Pancha Raksha, or five protector goddesses, are a group of female deities who are personifications of five early Buddhist sutras, the oldest of which dates to the 4th century. Principle among the five deities are Maha Pratisara, Maha Sahasrapramardini, Maya Mayuri, Shitavati and Mantra Manudharani. Each has specific functions directed towards accomplishing worldly welfare and happiness, preventing and surviving natural disasters, curing snakebites, overcoming fear, and averting pestilence and epidemics.The iconography for the Pancha Raksha varies with local practice, and each can differ in color, attributes, and number of faces and arms, making it difficult to identify any representation of these deities with a particular sutra.鎏金銅錘鍱五部護法西藏，十八至十九世紀或更早。五部護法呈游戲姿坐於雙層蓮座上，左腳踩在一個小蓮台上。左主手在胸前握住法輪，右手握住飄帶，其他六隻手分別持不同法器，如劍、弓、箭、三叉戟、金剛杵和斧頭。細眉長目，雙眉之間有白毫，旁邊還有三首，後有光背，背面有款。 款識：Khung Nak la Namo（向Khung Nak問好） 來源：德國南部私人收藏，購於2007年，保存至今。 品相：品相極好，輕微磨損，微小的劃痕和小凹痕。 重量：268.0 克 尺寸：高15.3 厘米
A RARE ALBUM OF TWELVE BODHI LEAF PAINTINGS, 19TH CENTURY 十九世紀菩提葉彩繪人物圖冊頁十二幅China. Each bodhi leaf skillfully hand-painted with exceptional detail depicting individual portraits of Qing court members, including a royal couple, each seated on a dragon throne, dressed in opulent robes decorated with a dragon emblem, and holding a ruyi scepter. Another bodhi leaf with an imperial bodyguard wearing a hat with peacock feather, holding arrows in his left and a bow in his right.Provenance: From the collection of Dr. S.R.S. Laing, Hampshire, United Kingdom. A copy of an original letter from Christie, Manson and Woods Ltd., dated 19 November 1976, addressed to Dr. S.R.S. Laing, dating the present lot to the 19th century, and signed by hand with 'Christie, Manson + Woods', accompanies this lot. In this letter, Christie's thanks the potential consignor for sending in his album (the present lot) and offers to put it up for auction. Condition: Very good condition with some old wear, the dried Bodhi leaves with very minor age-related losses and tears, the paper with foxing, the pages loosened. The fabric on the album cover with minor old wear, soiling and loose threads.Dimensions: Size 24.3 x 17.5 cmFurther depictions include a diplomat dressed in blue robes and an official's hat, a military official in armor, noble ladies, and courtiers. Mounted within a silk cover decorated with bands of wan symbols within hexagons. (2)The bodhi tree, also known as the ficus religiosa, is one of the most sacred trees in Buddhism. Special religious significance is given to this form of leaf painting because the Historical Buddha Shakyamuni (circa 563-483 B.C.E.), also known as Siddhartha Gautama, obtained enlightenment under the bodhi tree at Bodhgaya in India. Many temples throughout China planted Ficus religiosa, a tree known for its great size and longevity, and a tradition of leaf art emerged for copying sutras or painting Buddhist images.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 29 May 2019, lot 2702Price: HKD 250,000 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: An Album of Bodhi Leaf Paintings, 18TH-19TH century Expert remark: Compare the exceptional quality of the bodhi leaves. Note that the paintings depict Buddhist motifs.十九世紀菩提葉彩繪人物圖冊頁十二幅中國。此畫冊以菩提樹葉為繪製素材媒介，設色描繪清朝官員、將軍及宮婦肖像。 來源：英國漢普郡Dr. S.R.S. Laing收藏。隨附1976年11月19日佳士得、Manson和Woods公司寫給Dr. S.R.S. Laing的信，上面注明此冊頁來自十九世紀。在信中，佳士得還感謝Dr. S.R.S. Laing把冊頁寄給他們，並提出將其拍賣。 品相：品相良好，有一些磨損，乾燥的菩提葉有非常輕微的老化損失和撕裂，紙張有褐變，頁面鬆散。專輯封面上的面料有輕微的舊磨損、髒污和鬆線。 尺寸：24.3 x 17.5厘米菩提樹是原生於印度的一種大葉棕櫚科樹木，2500年前因釋迦摩尼在菩提樹下證道，故被視為智慧之樹，在佛教中被稱為聖樹。菩提葉呈心形，葉脈紋理精美，是“大徹大悟”的象徵。古印度每個寺院都種有菩提，落下的葉子被僧侶視為聖物，在造紙技術還未普及前，印度僧人將其與貝葉樹的葉子一起，製成梵夾（即用貝葉重疊，以板木夾兩端，用繩串結）用於寫經，後世將菩提樹和貝葉樹葉子所書寫和繪製的佛教經籍和圖像統稱為“貝葉經、貝葉畫”。拍賣結果比較： 形制：相近 拍賣：香港佳士得，2019年5月29日，lot 2702 價格：HKD 250,000（相當於今日EUR 32,500） 描述：十八至十九世紀貝多羅葉羅漢冊 專家評論：比較菩提樹葉的特殊品質。請注意此畫冊描繪的是佛教圖案。
A LARGE BLUE AND WHITE 'HUNTING SCENE' DISH, KANGXI PERIOD 康熙時期青花開光《狩獵圖》大盤China, 1662-1722. The shallow rounded sides rising from a short tapered foot to a wide flaring rim. Finely painted to the interior with equestrian hunters brandishing spears, swords, and a bow and arrow, amid craggy rockwork and two white hares, encircled by a diaper border and a band of alternating birds and floral sprays between lines.Provenance: From a private collection in London, United Kingdom.Condition: The rim with extensive frits, some with associated old repairs, and a small hairline (only visible under strong blue light), the foot with some fritting as well.Weight: 1,580 gDimensions: Diameter 36.3 cmThe rim with rectangular reserves divided by diaper borders and enclosing birds and flowers, encircled by another diaper border. The exterior rim with evenly spaced floral sprays. The base with a parasol mark in a shaped reserve within a double circle.During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks and double circles. The mark found on the present lot, in the form of a parasol, an important Buddhist symbol, appears to be very rare but is clearly part of the same group.Auction result comparison: Compare a related blue and white dish with a hunting scene, with a Chenghua mark and also dated to the Kangxi period, at Christie's Amsterdam in Chinese Ceramics and Works of Art on 3 May 2005, lot 182, sold for EUR 9,600. Compare also a related blue and white brushpot painted with a hunting scene, with a Xuande mark and also dated to the Kangxi period, at Christie's New York in Important Chinese Ceramics and Works of Art on 24 September 2021, lot 802, sold for USD 125,000. 康熙時期青花開光《狩獵圖》大盤中國，1662-1722年。折沿，淺腹，圈足。盤内中央開光描繪馬上狩獵圖，獵人揮舞著長矛、劍和弓箭，追趕著兩隻野兔。四周開光描繪花鳥卷葉紋。來源：英國私人收藏。 品相：邊緣有大量熔塊，有一些相關舊時修復，還有一條細小的裂紋（僅在強藍光下可見），足部也有一些熔塊。 重量：1,580 克 尺寸：直徑36.3 厘米 拍賣結果比較: 比較一件相近的成化款康熙時期青花《狩獵圖》大盤，見阿姆斯特丹佳士得Chinese Ceramics and Works of Art 2005年5月3日 lot 182, 售價EUR 9,600；另一件宣德款康熙時期的青花《狩獵圖》筆筒，見紐約佳士得Important Chinese Ceramics and Works of Art 2021年9月 24 日lot 802, 售價USD 125,000。
A CLAIRE DE LUNE GLAZED ROULEAU VASE, QING DYNASTY, 18TH CENTURY 十八世紀天藍釉棒槌瓶Expert's note: The soft and gentle clair-de-lune-glazed wares were highly prized in the Qing dynasty and the color was strictly reserved for imperial porcelain. The glaze was first developed in the Xuande (1426-1435) period, as evidenced by the excavated Xuande-marked stem bowl illustrated by S. Liang, Yuan's and Ming's Imperial Porcelains Unearthed from Jingdezhen, Beijing, 1999, page 256, no. 257. However, the glaze did not gain prominence until the Kangxi period, when it was used mostly for scholar's objects.China. The cylindrical body rising from a short straight foot to a tubular neck with a galleried rim, the neck encircled by a distinct bow string. The exterior covered overall in a smooth and remarkably even pale blue glaze, the everted rim and interior glazed in white. The recessed base with a double circle in underglaze blue.Provenance: The Strong National Museum of Play, accession number 78.17.33 (lacquered to base). Margaret Woodbury Strong (1897-1969) grew up in a prosperous family of collectors. Her interests ranged so widely that by 1960 she had amassed more than 27,000 collectible items and works of art. The vast majority of her collections related in some way to play and as her accumulation grew, Margaret planned a museum to house her collection. It eventually opened to the public in 1982, and grew dramatically over the following decades, expanding its collections, facilities, and resources, now spanning over 285,000 square feet. Today, the Strong National Museum of Play (known as just The Strong Museum or simply The Strong) is the only collections-based museum in the world devoted solely to the study of play. Condition: Excellent condition with minor old wear and some manufacturing flaws, including dark spots.Weight: 817.9 g Dimensions: Height 25.1 cmDuring the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including empty double circles. The usage of some of these marks continued well into the later Kangxi era and then started again in the 19th century, mostly on Kangxi revival pieces. Auction result comparison:Type: Closely relatedAuction: Christie's London, 28 March 2018, lot 273Price: GBP 7,500 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A clair-de-lune bottle vase, 18th-19th centuryExpert remark: Compare the closely related glaze and similar size (29.2 cm). Note the different form.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 12 September 2019, lot 732Price: USD 62,500 or approx. EUR 64,500 converted and adjusted for inflation at the time of writingDescription: A Small Clair-De-Lune-Glazed Meiping, 18th centuryExpert remark: Compare the closely related glaze. Note the different form size (18.7 cm).十八世紀天藍釉棒槌瓶中國。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。外壁施天藍色釉，瓶口和瓶内白釉，圈足内青花雙圈款。 專家注釋：清代天藍釉質輕色柔，為宮廷瓷器所用。該釉最早出現於宣德（1426-1435）年間，有出土的宣德款高足碗，見梁穗《景德鎮出土元明官窯瓷器》（北京，1999年，第256頁，圖257）。然而，直到康熙年間，釉色才得到重視與發展，當時它主要用於文人用品。 來源：紐約Strong 國立美術館，收藏編號 78.17.33 (見瓶底)。 品相：狀況極好，有輕微磨損和一些製造缺陷，包括黑斑。 重量：817.9 g 尺寸：高25.1 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE ARCHAISTIC 'SHANG BRONZE IMITATION' JADE VESSEL, ZHI, LATE SONG TO EARLY MING DYNASTY 宋末至明初罕見仿商青銅酒杯玉觶China, 13th-15th century. Of flattened form, the pear-shaped body rising from a spreading foot carved with a raised bow-string band, the waisted neck with archaistic dragons and whorl motifs. The semi-translucent stone of a pale celadon tone with russet veins, cloudy inclusions, and few dark specks, mostly reserved to one side of the vessel which has been further heightened with cinnabar lacquer (extremely rare) to imitate the natural patina of the bronze prototype, cleverly presenting the archaistic jade to one side and its ancient inspiration to the other. Exhibited: On loan to the High Museum of Art, Atlanta, September 1973 to September 1980. Provenance: From the collection of William S. Arnett, Atlanta, Georgia, USA, acquired prior to 1971, and thence by descent within the same family. William Sydney Arnett (1939-2020) was an Atlanta-based writer, editor, curator, and art collector who built an internationally important collection of African, Asian, and African-American art. In 1978, he co-authored the Three Rivers of Nigeria exhibition catalog for Atlanta's High Museum of Art. As Arnett's collection of African-American art grew, he became convinced that the so-called folk or outsider artists of the black American South were in fact a coherent cultural movement and constituted a crucial chapter in world art. He spent decades gathering extensive documentation and amassing a near-definitive collection of work crucial to the understanding of this cultural phenomenon.Condition: Excellent condition with minor old wear from centuries of handling. Some minuscule nibbling is probably part of the simulated overall wear inherent to the original carving. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 127.1 gDimensions: Height 8.3 cmWith a velvet-padded silk storage box. (2)The present vessel was inspired by an archaic ritual bronze prototype, zhi, which contained wine offerings presented to the ancestors during the performance of religious rituals.The interest of Chinese scholars in ancient artifacts can be traced back to antiquity, but the study of these artifacts, known as antiquarianism or jinshixue 金石學, literally meaning 'the study of metals and stones,' first developed during the Northern Song dynasty. The practice of collecting precious objects was spreading through China as well, and many lost pieces from the Shang dynasty and later were found at building sites. Song scholars established a formal system of dating these artifacts by examining their inscriptions, decorative motif styles, and physical shapes, introducing terms such as taotie which are still in use today. Two works of this period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu, were especially influential on later artists. Along with many other illustrated catalogs they were reprinted during the Ming and Qing dynasties, inspiring the production of archaic style bronzes and jades.Literature comparison: Compare a closely related jade zhi in the collection of the Minneapolis Institute of Art, dated to the Song dynasty, decorated with a similar band and bowstring, accession number 16.10.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 1 December 2016, lot 568Price: HKD 437,500 or approx. EUR 59,000 converted and adjusted for inflation at the time of writingDescription: A small light brown jade miniature archaistic vase, hu, Song dynasty Expert remark: Compare the closely related form and decoration as well as related size (7.2 cm). Note the different color of the jade and that the vessel form was incorrectly identified as a hu.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2021, lot 137Price: GBP 25,250 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An archaistic white jade vessel, zhi, Ming dynasty Expert remark: Compare the related form and size (9 cm) as well as the similar inclusions to the jade. Note the slightly different decoration.宋末至明初罕見仿商青銅酒杯玉觶中國，十三至十五世紀。小瓶狀，圓腹，侈口，圈足。頸部飾有螭龍和雲紋。半透明的淡青色玉，帶有赤褐色的脈紋和絮狀物以及少量黑色斑點，大部分聚集在玉觶一側，並用硃砂（極為罕見）進一步加強，模仿青銅的自然光澤。 展覽: High Museum of Art，亞特蘭大，1973年9月至1980年9月。 由於字數限制，完整中文敘述請至www.zacke.at查看。。
AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTY 商末至西周青銅觶China, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國，約公元前1050 年。器身細高，敞口，直唇，體呈橢圓形，下腹外鼓，喇叭形高圈足，頸部雷紋帶，圈足上兩道弦紋。該器壁勻薄，造型挺拔優美。青銅表皮自然生長的包漿，呈現出大面積深綠色的銅鏽。由於字數限制，完整中文敘述請至www.zacke.at查看。
A LARGE ANDESITE HEAD OF BUDDHA, INDONESIA, CENTRAL JAVA, 9TH CENTURYOpinion: The present andesite head epitomizes the ingenuity of the Central Javanese stone carvers of the time, with distinct characteristics such as the incised pupils, large and elongated ears, and masterful snail-shell curls, arguably the best-designed facial features across all Buddhist art. Furthermore, the present sculpture bears the telltale signs of smoothened areas where beholders were gripped with the overt temptation to caress the head, which combined with the porous nature of the stone give it a unique yet unmistakable and, without a doubt, inimitable appearance. Superbly and sensitively carved with a serene expression, marked by heavy-lidded downcast eyes below gently arched brows, centered by a raised circular urna, above a bow-shaped mouth with full lips forming a subtle smile, flanked by pendulous slit earlobes, the hair arranged in snail-shell curls over the domed ushnisha.Provenance: From a European private collection, acquired before 2007, and thence by descent.Condition: Superb condition, commensurate with age. Extensive wear, expected losses, signs of weathering and erosion. Dimensions: Height 39 cm (excl. stand) and 48.5 cm (incl. stand)Mounted on an associated metal stand. (2)A Buddha image of ineffable quiet and stillness has been carved from rough volcanic rock. The profile and dome of the head are broad, allowing for a round tapering of the forehead, cheeks, and chin that, once finished with a polish, produce an overall impression of smoothness, belying the porous nature of the stone, which has resisted over a millennium of weather exposure with stunning ease. The sculptors working on the great stone monuments of 9th-century Central Java produced some of the most beautifully proportioned Buddhist sculptures of any period or medium.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Ngawen in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison:Three examples in the British Museum collected by Sir Thomas Stamford Raffles in the early 19th century demonstrate that not all Borobudur Buddha heads were created equal (1859,1228.175, 1859,1228.176, 1859,1228.177). Some have softer, more delicate brows while others show harder features and more pronounced monobrows. Some have spire-like ushnishas, while others are broader and more pleasing. Of the three British Museum heads, it is the most celebrated and widely exhibited one (1859,1228.176) that bears the closest resemblance to the present lot, illuminating its quality.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2012, lot 143Price: USD 170,500 or approx. EUR 207,000 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th centuryExpert remark: Compare the closely related curls, urna, and expression. Note the size (36.8 cm).
A 19th century mahogany small bow fronted chest of drawers. With four long graduated drawers, fitted with brass ring handles, on splayed feet, L62cm x D46.2cm x H72cm Condition Report: Structurally sound. The handles have been re-attached. Some cracks and residue to the interior of the drawers. Would benefit from a clean, water marks and residue to the top. Multiple scuffs and wear consistent with age and usage. Would benefit from a clean. Handles have discolouration.
An Edwardian aquamarine, pearl and diamond pendant/necklace/brooch. The frontispiece with a brooch fitting and designed as a small and delicate diamond ribbon tied bow and scrolling ribbon openwork panel of triangular outline, centred with an almost heart-shaped aquamarine, this section suspending an elongated pear-shaped drop centred with a pear-shaped aquamarine with small diamond collets at the cardinal points and millegrain set throughout with old-cut, single-cut and rose diamonds, the front on a removable fetter and three-back chain with two untested pearl three bead sections, and on a bolt ring clasp. In a shaped and fitted red Morocco case marked Skinner & Co... London W Condition Report: Near heart-shaped aquamarinhe measures approx. 9mm x 8.7mm x 4.5mm. The pear-sha-ped aquamarine measures 16.0mm x 7.8mm x 4.6mm
George III Mahogany bow front enclosed Dressing Table, the central hinged lid enclosing a ratchet adjustable mirror and three lidded sectioned compartments, flanked by two side hinged lids opening to an arrangement of lidded compartments, over a faux drawer, two cupboard doors and an arched kneehole, raised on square tapering legs and spade feet, 101cm long x 53cm deep x 80cm
An unusual Edwardian Burroughes & Watt's snooker scoreboard housed upon an Edwardian serpentine-fronted mahogany sideboard in mid-18th century style. The scoreboard with two revolving number markers and central blackboard flanked by the various colours of the balls. The sideboard with central bow-fronted top drawer with gilt-metal cast handles above two panelled doors and two further smaller ogee-shaped panelled doors engraved with ribbons and classical-style ornament enclosing shelves and above further open shelf space, raised on four cabriole squared front legs (122cm wide x 47cm deep). Together with mahogany cue-ball box with hinged four-panelled glass front.
An early to mid 20th century bow-fronted copper ship's lamp marked 'Bow, Port, Patt. 23' with circular hinged top (secures with a screw) and brass carrying handle (40cm highest).Condition Report: In reasonable overall condition, minor indentation some solder running from top to bottom at the left-hand side indicating probably original when it was made. Underneath looks good. In good original condition.
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