A GILT BRONZE FIGURE OF MANJUSHRI, 18TH CENTURY 十八世紀銅鎏金文殊菩薩Tibetan-Chinese. Finely cast seated in dhyanasana atop a double lotus base with beaded edges, holding aloft the hilt of his sword in his raised right hand, the left hand held in vitarka mudra. The bodhisattva clad in a voluminous dhoti with neatly incised foliate hems and richly adorned with billowing sashes and beaded jewelry. His serene face with sinuously lidded eyes below arched brows centered by a raised circular urna, his bow-shaped lips forming a subtle smile, flanked by elongated ears with chakra earrings, the hair arranged in a high chignon topped by a lotus finial behind the foliate tiara in front of a high chignon topped by a lotus finial. The base sealed, the seal plate incised with a double vajra.Provenance: A private collection in Hungary. Galerie Zacke, Vienna, 8 December 2018, lot 66, sold for EUR 5,100 or approx. EUR 6,400 (adjusted for inflation at the time of writing). A private collection in Portugal, acquired from the above.Condition: Very good condition with minor wear and casting irregularities. Small nicks, some scratches, minor rubbing to gilt. The sword blade lost.Weight: 1,067.2 gDimensions: Height 15.5 cm Auction result comparison: Type: Closely related Auction: Christie's New York, 11 September 2019, lot 379 Price: USD 6,250 or approx. EUR 6,800 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Manjushri, Tibeto-Chinese, 18th century Expert remark: Compare the closely related modeling with similar pose, expression, base, and jewelry. Note the more extensive wear to the gilding, the sword, and the related size (17.2 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 September 2021, lot 349 Price: USD 7,560 or approx. EUR 7,700 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Manjushri, Tibeto-Chinese, 18th century Expert remark: Compare the related modeling with similar pose, expression, and base, as well as the loss to the sword. Note the stone inlays, lotus blossom supporting the book, and much smaller size (11.1 cm). 十八世紀銅鎏金文殊菩薩漢藏。文殊菩薩全跏趺坐於蓮座之上，面部豐滿，下頜微尖，雙目微闔，面容肅穆；頭戴五葉寶冠，耳後繒帶上卷，圓形耳璫作寶相花形；雙肩披天衣，兩側尾端對稱搭於蓮座之上，線條流暢自然，斜掛聖帶，於胸前打結，胸前點綴各類釧環、瓔珞；右手上舉結斯克印，持智慧劍劍柄，左手於胸前結說法印；下身著長裙，褶皺自然寫實，裙擺一匝花紋裝飾。來源：匈牙利私人收藏。Galerie Zacke，維也納，2018 年 12 月 8 日，拍品 66，售價 5,100 歐元或約 6,400 歐元（根據撰寫本文時的通貨膨脹情況進行調整）；葡萄牙私人收藏，購自上述拍賣。 品相：狀況非常好，有輕微磨損和鑄造不規則。小刻痕，一些劃痕，瑬金輕微摩擦。劍刃丟失。 重量：1,067.2 克 尺寸：高 15.5 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年9月11日，lot 379 價格：USD 6,250（相當於今日EUR 6,800） 描述：十八世紀漢藏文殊菩薩鎏金銅像 專家評論：比較非常相近的模型、姿勢、表情、底座和珠寶。請注意此像鎏金磨損較明顯，以及相近的尺寸(17.2厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2021年9月20日，lot 349 價格：USD 7,560（相當於今日EUR 7,700） 描述：十八世紀漢藏文殊菩薩鎏金合金像 專家評論：比較相近的模型、姿勢、表情、底座，以及劍缺失。請注意內嵌石、蓮花支撐著書本，以及尺寸較小(11.1厘米)。
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A LARGE SANDSTONE HEAD OF A MALE DEITY, ANGKOR PERIOD, KHLEANG STYLEKhmer Empire, 10th-11th century. Sensitively carved, the serene face with narrow almond-shaped eyes below gently arched eyebrows, a broad nose, and full bow-shaped lips, the finely incised hair arranged in braided rows rising to a conical chignon decorated with a floral pattern and secured by a foliate tiara.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, structural cracks, old repairs, minor nicks and scratches. Weight: 29 kgDimensions: Height 37 cm (excl. stand), 54 cm (incl. stand)Mounted to a metal stand. (2)Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2004, lot 67 Price: USD 41,825 or approx. EUR 63,500 converted and adjusted for inflation at the time of writing Description: A large sandstone head of a deity, Khmer, Angkor period, Khleang style, late 10th/early 11th centuryExpert remark: Compare the closely related modeling and manner of carving with similar expression, facial features, and headdress. Note the related size (34.8 cm).Auction result comparison: Type: Related Auction: Christie's New York, 20 September 2006, lot 203 Price: USD 28,800 or approx. EUR 41,000 converted and adjusted for inflation at the time of writing Description: A sandstone head of a deity, Khmer, Angkor period, Khleang, 10th centuryExpert remark: Compare the closely related modeling and manner of carving with similar expression, facial features, and headdress. Note the smaller size (26.6 cm).
A RARE AND LARGE SANDSTONE FIGURE OF RADIATING LOKESHVARA, KHMER EMPIRE, ANGKOR PERIODLate 12th to early 13th century. Boldly carved, the round face with a serene expression, framed by a prominent hairline and flanked by elongated earlobes, with heavy-lidded eyes, thick brows, and full bow-shaped lips. The hair neatly arranged in a high chignon, secured by a string of beads and centered by a diminutive figure of the Buddha Amitabha. The body with eight arms, the upper body and arms covered in bands of small buddhas with larger buddhas placed at the center of his chest and back, as well as above his short pleated sampot secured by a broad belt above the anchor-shaped fold.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Good condition, commensurate with age. Extensive wear, losses signs of weathering and erosion, encrustations, few structural cracks, chips, nicks, scratches.Weight: 104 kg (total)Dimensions: Height 125 cm (excl. stand) and 135 cm (incl. stand)Mounted on an associated metal stand. (2)Lokeshvara appears in inscriptions from the Khmer Empire as 'Lord of the Worlds'. Known from the earliest days of Khmer art, it was however during the reign of the Buddhist king Jayavarman VII (1182-1220), that the cult of Lokeshvara enjoyed its greatest popularity. The present figure is characterized by its eight arms and a skin whose pores exude Buddhas that will transmit the benefits of Buddhism to the whole of creation. This radiant chainmail effect symbolizes the universality of Buddhist compassion, in all directions of space and in all worlds. Torso, arms and even hair are entirely covered with a myriad of small images of meditating Buddhas, suggesting the intense compassionate radiance of this bodhisattva and his cosmic character. Masked beneath its envelope of tiny Buddhas, the torso appears slender and elegant, while the legs have a certain robustness typical for sculptures from the reign of Jayavarman VII.Literature comparison:Compare a closely related figure of Radiating Lokeshvara, also dated late 12th to early 13th century, in the Musee Guimet, accession number MG 18139, included in the exhibition Angkir Naissance d'un mythe. Louis Delaporte et le Cambodge, 16 October 2013-13 January 2014. Compare a closely related torso of Radiating Lokeshvara in the Honolulu Museum of Art, accession number 4483.1.
A KHMER SANDSTONE FIGURE OF A MALE DEITY, ANGKOR PERIODKhmer Empire, 12th century. Carved in a dancing posture, one of his right hands raised holding an implement, dressed in a short sampot carved with parallel pleads and secured at the waist by a belt. The face with a gentle smile, downcast eyes below a thin brow, the bow shaped mouth with a moustache, the face flanked by elongated earlobes with slits and surmounted by a floral tiara in front of a conical headdress decorated with bands of upwards facing leaves and florets.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, structural fissures, nicks, and scratches.Weight: 49.5 kg (total)Dimensions: Height 74 cm (excl. stand) and 92 cm (incl. stand)Mounted on an associated metal stand. (2)Auction result comparison: Type: RelatedAuction: Christie's Amsterdam, 18 October 2005, lot 152Price: EUR 26,290 or approx. EUR 39,500 converted and adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, sandstone dancing male deity, 12th centuryExpert remark: Compare the related modeling with similar pose and crown, albeit a different sampot and only two arms. Note the size (55 cm).
A THANGKA OF EKADASHAMUKHA AVALOKITESHVARA, EASTERN TIBET OR YUNNAN, 17TH -18TH CENTURY, CIRCLE OF CHOYING DORJE (1604-1674) 西藏東部或雲南十七至十八世紀十一面觀音唐卡Expert's note: In 1645, the Tenth Karmapa, Choying Dorje (1604-1674), fled Tibet, eventually taking refuge in the city of Lijiang (Yunnan province) until his death. There, according to his biographies, he created a copy of a famous set of silk arhat paintings kept at Gangkar monastery in Sichuan province, called the Drakthokma Arhats (Arhats atop Rocks). The eccentric style in which these copies were executed shares some characteristics with the present work. Compared to most Tibetan thangkas, both have a strong Chinese aesthetic, adopting not only traditional figural and floral elements, but also Chinese brushwork techniques and the medium of monochromatic ink on silk, with only few pale pigments added to the present work for accentuation.In fluid lines, this remarkable painting creates a dynamic image of the eleven-headed and eight-armed deity standing in samabhanga atop a lotus dais. His principal hands are clasped together in anjali mudra, the secondary hands radiate around him, holding the dharma wheel, a water vessel, a mala (prayer beads), a lotus blossom, and a bow and arrow, and one held out in varada mudra. He is wearing a layered dhoti cascading in graceful folds as well as a billowing scarf draped over both shoulders, and richly adorned with fine jewelry.Black ink and pigment on cloth, with an ancient silk brocade frame, mounted as a hanging scroll with a wood handle.Provenance: From an old private collection in Budapest, Hungary, acquired during the first half of the 20th century. Condition: Good condition with some wear, soiling, creases and small losses. Some tears and losses to the mounting. The ink is still crisp, the pigments are intentionally pale.Dimensions: Image size 31.2 x 24.5 cm, Size incl. mounting 66.9 x 37.1 cmAvalokiteshvara is backed by a red mandorla with rainbow-colored borders and flanked in the lower register by Green and White Tara seated on lotus thrones, surrounded by a verdant mountainous landscape with large lotus and peony blossoms, and thick swirling clouds beneath the moon and sun.The bodhisattva Avalokiteshvara (Chenrezig) is the patron deity of Tibet, embodying the compassion of all the Buddhas of the ten directions and three times. In the standing form, Ekadashamukha Avalokiteshvara (Eleven faced Avalokiteshvara) is closely associated with Lakshmi, the goddess of abundance and fortune. 西藏東部或雲南十七至十八世紀十一面觀音唐卡布本水墨設色，絲綢錦框，木柄掛軸。線條流暢，十一面八臂觀音站在蓮花台上，主手合十結印，副手呈放射狀，手持法輪、水器、念珠、蓮花、弓箭，另一隻手結施予印。觀音身穿袈裟，下身著長裙，雙肩披帔帛，項圈、長鏈、耳環、手鐲、臂釧裝飾全身。 來源：匈牙利布達佩斯私人收藏，購於二十世紀上半葉。 品相：狀況良好，有一些磨損、污垢、摺痕和小缺損，裱有一些水漬、缺損，墨色依然清晰，顏料變淺。 尺寸：畫面 31.2 x 24.5 厘米，總 66.9 x 37.1 厘米
A THANGKA OF AVALOKITESHVARA SAHASRABHUJA Tibet, 18th century. Distemper and gold on cloth. Standing atop a cushion resting on a large lotus flower, richly adorned with beaded jewelry and voluminous robes, his principal hands in anjali mudra at the chest, five of his secondary hands holding a lotus, rosary, dharmachakra, bow and a vase, the remaining 993 hands radiating around him. The central figure is surrounded by several attendant bodhisattvas, and deities at the bottom, the upper register with buddhas and the sun and moon.Provenance: From a noted private collection. The back inscribed at the top, 'Tibetan eleven-headed Avalokitesvara' and with an inventory number '37' and a copy of a publication of the related thangka in the Victoria & Albert Museum, where it is dated to the 18th century. Condition: Very good condition with minor wear, little creasing, and light soiling.Dimensions: Image size 59.8 x 39.5 cm, Size incl. frame 75.4 x 55 cmMounted in a gold-lacquered wood frame. Literature comparison: Compare a related thangka depicting Thousand-Armed Avalokiteshvara, dated to the 19th century, in the Vicotria & Albert Museum, accession number IM.412-1914. Compare with an example in the National Palace Museum, Beijing with similar treatments of the floral forms and the overall composition, published in Gu gong bo wu yuan cang wen wu zhen pin quan ji; 59: Zang chuan fo jiao tang ka, Hong Kong, 2003, p. 134, no. 123.Auction result comparison: Type: RelatedAuction: Bonhams New York, 17 September 2014, lot 43Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A thangka of Avalokiteshvara Sahasrabhuja, Tibet, 18th centuryExpert remark: Compare the related motif and size (63.5 x 40.6 cm).
A FINE THANGKA DEPICTING USHNISHAVIJAYA, TIBET, 18TH-19TH CENTURYDistemper and gold on cloth. The three-headed and eight-armed goddess bearing a fierce expression, seated in dhyanasana on a lotus cushion, holding a four-pronged vajra before her, above a water vessel held in her lap, while lifting up a small image of the Buddha Amitabha, two other hands holding a bow and arrow. She is robed in voluminous silks and backed by a large nimbus and green halo. The central figure is surrounded by images of several buddhas, bodhisattvas, and wrathful deities, centered at the top by Tsongkhapa.Provenance: Acquired by the father of the present owner in Tibet around 1970 and thence by descent. Dr. David Templeman, a scholar of Tibetan Buddhism and Adjunct Research Fellow at Monash Asia Institute, Monash University in Melbourne, Australia, has previously appraised the present lot.Condition: Wear, light fading, creases, folds, fraying to edges, minor losses to pigments, soiling, and stains, presenting very well.Dimensions: Size 154 x 123.5 cmUshnishavijaya is one of the most beloved deities in Tibetan Buddhism and is often seen together with the other two long-life deities, Amitayus and White Tara. This group is known as the Three Long Life Deities or tse lha nam sum. There are other deities associated with long life and healing but these three are commonly referred to as the principal deities and form their own group.Auction result comparison: Type: Related Auction: Christie's New York, 15 March 2016, lot 212 Price: USD 20,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A painting of Ushnishavijaya, Tibet, 18th century Expert remark: Compare the closely related subject and related manner of painting. Note the smaller size (49.3 x 31.1 cm). 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A LARGE THANGKA OF AVALOKITESHVARA SAHASRABHUJA, TIBET, 18TH-19TH CENTURYDistemper and gold on cloth. Finely painted with eleven faces and a thousand arms, the main hands raised at the chest and holding a conch, the secondary hands holding a rosary, a scepter with the dharma wheel, a lotus, a bow and arrow, and kundika, the other 992 hands radiating around him. He is robed in a deerskin and the lower part of his body is covered with fine silks. The central figure is surrounded by Lamas, bodhisattvas, and wrathful deities in a verdant mountainous landscape with swirling clouds.Inscriptions: To the back, 'Om Ah Hum'. Provenance: Acquired by the father of the present owner in Tibet around 1970 and thence by descent. Dr. David Templeman, a scholar of Tibetan Buddhism and Adjunct Research Fellow at Monash Asia Institute, Monash University in Melbourne, Australia, has previously appraised the present lot.Condition: Wear, light fading, creases, folds, fraying to edges, minor losses to pigments, soiling, and stains, overall presenting well. Dimensions: Size 154 x 125.5 cmOne prominent Buddhist story tells of Avalokiteshvara vowing never to rest until he had freed all sentient beings from samsara. Despite strenuous effort, he realizes that many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitabha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteshvara tries to reach out to all those who needed aid but found that his two arms shattered into pieces. Once more, Amitabha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.Literature comparison:Compare a related thangka of Avalokiteshvara Sahasrabhuja, 83.8 x 113 cm, dated to the 19th century, in the Rubin Museum of Art, accession number F1997.17.8.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A LIMESTONE HEAD OF BUDDHA, TANG DYNASTY, CHINA, 7TH - EARLY 8TH CENTURY 唐代七至八世紀初石灰石佛頭Expert's note: The present monumental Buddha head, carved from the hard, dark gray limestone generally found in Henan province and associated with Buddhist carvings from the Longmen caves, is a superb example of the High Tang style of the late 7th to early 8th century.Finely carved, the serene face with a pair of heavy-lidded downcast eyes with sinuous lids, below gently arched brows, above pursed bow-shaped lips with a pronounced philtrum, the hair arranged in tight curls, the head surmounted by a domed ushnisha.Provenance: An old Danish private collection. Bruun Rasmussen, Copenhagen, 9 December 2015. A Danish private collector, acquired from the above. A copy of a provenance statement from Bruun Rasmussen, dated 9 December 2015, written and signed by Ralph Lexner, Head of the Asian & Islamic Department, confirming that the present lot came from an old Danish private collection, accompanies this lot. Condition: Good condition, commensurate with age. Extensive wear, predominantly from centuries of worship within the culture. Signs of weathering and erosion, encrustations, shallow surface scratches, nicks, losses, remnants of ancient pigment. Fine, naturally grown patina overall, thus displaying remarkably well.Weight: 15.4 kg (incl. stand) Dimensions: Height 41.7 cm (incl. stand) and 28.5 cm (excl. stand) Mounted on a massive white marble base, dating from the 20th century. (2)Literature comparison:Compare a related limestone head of the Buddha, 43.1 cm high, dated to the Tang dynasty, illustrated by Osvald Siren, Chinese Sculpture: From the Fifth to the Fourteenth Century, 1925, pl. 466A, and sold by Sotheby's New York, 3 September 2013, lot 8. Compare a related Buddha head in the collection of the Museum fuer Ostasiatische Kunst, Cologne, illustrated by Gunhild Gabbert, Buddhistische Plastik aus China und Japan, Wiesbaden, 1972, pl. 89; two published in R. L. d'Argence, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, San Francisco, 1974, pls. 104 and 106; and a further example depicted in situ published in Longmen liusan diaoxiang ji, Shanghai, 1993, p.104, pl. 41, the main Buddha in the Santa Dong (Three Tower Cave) complex.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2004, lot 115 Price: USD 95,600 or approx. EUR 140,000 converted and adjusted for inflation at the time of writing Description: A gray stone head of Buddha, Tang dynasty, circa 700, Longmen Caves Expert remark: Compare the related manner of carving with a similar roughly hewn surface. Note the size of the head (34.3 cm). 唐代七至八世紀初石灰石佛頭佛頭頭頂飾有小螺髮，肉髻平緩，面部豐滿而圓潤，頭額寬平，兩眼細長，唇部飽滿，嘴角上揚，笑意盈然，神情恬靜親切。 來源：丹麥私人舊藏；哥本哈根Bruun Rasmussen，2015 年 12 月 9 日；丹麥私人收藏。家，購自上述。隨附一份由亞洲與伊斯蘭部門負責人Ralph Lexner 於2015 年12 月9 日撰寫並簽署的Bruun Rasmussen 出處聲明副本，確認本拍品來自丹麥私人舊藏。 品相：品相良好，大面積磨損，風化和侵蝕、結殼、淺表面劃痕、刻痕、缺損、顏料殘留。整體細膩包漿。 重量：15.4 公斤 (含底座) 尺寸：高41.7 厘米 (含底座) 與 28.5 厘米 (不含底座) 安裝在巨大的白色大理石底座上，其歷史可追溯至二十世紀。 (2) 文獻比較： 比較一件相近的唐代石灰石佛頭，高43.1 厘米，見Osvald Siren，《Chinese Sculpture: From the Fifth to the Fourteenth Century》，1925年，圖466A，以及售於紐約蘇富比，2013年9月3日，lot 8。比較一件相近的佛頭，見科隆東亞藝術博物館，見Gunhild Gabbert，《Buddhistische Plastik aus China und Japan》，Wiesbaden，1972年，圖89。兩件見R. L. d'Argence，《Chinese，Korean and Japanese Sculpture in the Avery Brundage Collection》，舊金山，1974年，圖104和106。另一件例子發表於《龍門流散雕像集》，上海，1993年，頁104，圖41，主佛在三塔洞（三塔洞）建築群中。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2004年3月24日，lot 115 價格：USD 95,600（相當於今日EUR 140,000） 描述：約700年龍門唐代灰石佛頭 專家評論：比較相近的雕刻風格，以及相似的切割技巧。請注意佛頭尺寸 (34.3 厘米)。
A GILT BRONZE FIGURE OF GUANYIN, PROBABLY TANG DYNASTYChina, 618-907 or later. The deity seated in rajalilasana, one hand resting on her leg while the other is raised to her shoulder, her head leaning slightly to the side in a pensive expression. Dressed in pleated long flowing robes pooling voluminously at her feet and adorned with fine jewelry. Her serene face with heavy-lidded downcast eyes and bow-shaped lips, all below thick locks pulled into a high chignon centered by a diminutive Buddha Amitabha.Provenance: Swiss private collection. A private collection in New York, USA, acquired from the above.Condition: Good condition, commensurate with age. Wear and casting flaws. Signs of weathering and erosion, minor losses, small nicks and dents, and light scratches. Extensive wear to gilt.Weight: 776.5 gDimensions: Height 15.8 cmExpert's note: The present figure exhibits clear characteristics and stylistic features of the Tang dynasty but cannot be firmly dated to the period for lack of closely comparable sculptures. The bronze does however show unmistakable signs of age, with distinctive wear and casting flaws as well as an inimitable patina indicating it was made at least five hundred years ago.Literature comparison: Compare a related gilt bronze figure of Guanyin dated to the Tang dynasty, 8th century, 27.3 cm high, in the St. Louis Art Museum, object number 36:1933.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A LACQUERED WOOD FIGURE OF GUANYIN, MING DYNASTYChina, 15th century. Seated in dhyanasana on a beaded double lotus base, the hands held in aakash and varada mudras, wearing loose-fitting robes opening at the chest to reveal an elaborate jeweled necklace of several beaded chains, the face with a serene expression with heavy-lidded eyes and bow-shaped liueps forming a calm smile, flanked by long pendulous earlobes, the hair piled up into a high chignon secured with a foliate tiara centered by a small image of the Buddha Amitabha.Provenance: Dutch trade. A private collection in Portugal, acquired from the above.Condition: Good condition with wear and natural imperfections including minor age cracks and signs of worm or insect activity. One thumb and one finger with old repairs. Remnants of gilt. The lotus stems rising from the elbows are lost. The lacquer commensurate with age and with several layers which have been renewed over a long period of time. The wood with a rich, dark patina.Weight: 1,497 gDimensions: Height 36.4 cm
A BRONZE FIGURE OF AN IMMORTAL, LATE MING DYNASTY 明末仙人銅像China, 16th-17th century. Well modeled standing on a naturalistically cast rocky base, made in openwork, wearing loose-fitting robes revealing his emaciated chest. His right hand is raised with the index finger pointing upward and his left hangs at his side, enveloped in the voluminous sleeve. His serene face with heavy-lidded eyes and bow-shaped lips forming a calm smile. His hair is tied with a ribbon falling elegantly over his shoulders.Provenance: Bluett & Sons, London, United Kingdom, 1942. Collection of Major Edward C. Radcliffe, acquired from the above and thence by decent in the same family. Listed in the family archive as 'J3.' The back with an old collector's label, 'Radcliffe Collection, J3', and an old label, 'The British Antiques Dealers Association, certified for customs purposes only, over 100 years old.' Copies of an old photo of the present lot and handwritten notes from the Radcliffe family archives, reading 'J3. Bronze figure of a man meditating, one arm uplifted. Bluett 1942. My husband loved this. He thought it so peaceful (…)' accompany this lot. Major Edward Copleston Radcliffe (1898-1967) served as a company commander with the British Expeditionary Force in France. He was wounded during the withdrawal at Dunkirk while holding the line at Calais. In 1948, he emigrated to South Africa for retirement as a successful artist. His collection became renowned only after his death, when several Imperial Chinese works of art were found in his house. Condition: Very good condition with expected old wear and casting flaws, few small structural cracks probably inherent to the manufacture, occasional light scratches, few small dents. The bronze with a fine, naturally grown, dark patina.Weight: 862.7 g Dimensions: Height 25.5 cm Literature comparison:Compare a related bronze figure of Li Tieguai, 22.5 cm high, dated 1550-1640, in the Victoria & Albert Museum, accession number 68-1889, illustrated in Rose Kerr, Later Chinese Bronzes, London, 1990 pp. 84, no. 66.Auction result comparison: Type: Closely related Auction: Christie's 6 April 2015, lot 157 Price: HKD 62,500 or approx. EUR 8,600 converted and adjusted for inflation at the time of writing Description: A bronze figure of a Daoist Immortal, late Ming dynasty Expert remark: Compare the related pose and voluminous robes. Note the facial differences. Note the size (28.5 cm) and the lack of a base.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 December 2015, lot 26 Price: HKD 68,750 or approx. EUR 9,400 converted and adjusted for inflation at the time of writing Description: A large bronze figure of an ascetic Luohan, Ming dynasty, 16th/17th century Expert remark: Compare the related rock pedestal. Note the different style of robes and the boldly cast head. 明末仙人銅像中國，十六至十七世紀。仙人站在鏤空岩石底座上，身穿寬鬆長袍，露出瘦弱的胸部。他的右手舉起，食指向上，左手垂在身側，包在寬大的袖子裡，衣紋流暢。現任面容平靜，雙眼微閉，露出平靜的微笑，頭髮用發帶繫起來，優雅地披在肩上。形象生動。 來源：英國倫敦Bluett & Sons藝廊，1942 年；Edward C. Radcliffe 少校收藏，由同一家族成員從上述人士處獲得，在家族檔案中編號為“J3”。背面帶有藏家標籤“Radcliffe Collection，J3”和標籤“The British Antiques Dealers Association，certified for customs pur姿勢s only，over 100 years old（英國古董交易商協會，僅用於海關目的認證，已有 100 多年曆史）。”目前拍品的一張照片和Radcliffe家族檔案中的手寫筆記，上面寫著“J3. Bronze figure of a man meditating，one arm uplifted. Bluett 1942. My husband loved this. He thought it so peaceful (…)（J3。 青銅人像正在沉思，一隻手臂舉起。 Bluett 1942。我丈夫喜歡這個。 他認為陪伴這群人是如此平靜（……）”。Edward Copleston Radcliffe（1898-1967 年）曾擔任駐法英國遠征軍連長。 他在敦刻爾克撤退時在加萊堅守陣地時受傷。 1948年，他作為一名成功的藝術家移民到南非退休。 直到他死後，他的收藏才開始聞名，當時在他的家裡發現了幾件中國御製藝術品。 品相：狀況極好，有磨損和鑄造缺陷，結構裂紋，輕微劃痕，小凹痕。銅像具有細膩的深色包漿。 重量：862.7 克 尺寸：高 25.5 厘米 文獻比較： 比較一件相近的1550-1640年鐵拐李銅像，高22.5 厘米，收藏於維多利亞和亞伯特博物館，館藏編號68-1889，見Rose Kerr，《Later Chinese Bronzes》，倫敦，1990 年，頁84，編號66。 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2015年4月6日，lot 157 價格：HKD 62,500（相當於今日EUR 8,600） 描述：晚明銅仙人立像 專家評論：比較相近的姿勢、寬大的長袍。請注意棉布不同和尺寸 (28.5 厘米) ，以及沒有底座。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年12月2日，lot 26 價格：HKD 68,750（相當於今日EUR 9,400） 描述：明十六 / 十七世紀銅苦行羅漢立像 專家評論：比較相近的岩石底座。請注意不同的長袍和光頭。
A GILT-LACQUERED BRONZE FIGURE OF BUDDHA, MING DYNASTYChina, 1368-1644. Finely cast, seated in dhyanasana with his hands folded in dhyana mudra, wearing robes that elegantly drape over the shoulders and fall in graceful folds, the serene face with heavy-lidded eyes, gently arched brows, bow-shaped lips, flanked by long pendulous earlobes. His hair is arranged in tight curls that continue up over the domed ushnisha topped by a jewel.Provenance: English trade.Condition: Good condition with some wear and casting flaws, losses, minor signs of weathering and erosion, flaking and losses to lacquer. The bronze with a rich, naturally grown, dark patina.Weight: 1,136.8 gDimensions: Height 19 cmAuction result comparison: Type: RelatedAuction: Sotheby's New York, 22 June 2021, lot 42Price: USD 27,720 or approx. EUR 29,500 converted and adjusted for inflation at the time of writingDescription: A gilt-lacquer bronze figure of seated Buddha, Ming dynastyExpert remark: Compare the related manner of casting and similar elongated earlobes and gilt-lacquer technique. Note the size (25.6 cm).Auction result comparison: Type: RelatedAuction: Christie's Amsterdam, 20 June 2012, lot 200Price: EUR 18,750 or approx. EUR 25,000 adjusted for inflation at the time of writingDescription: A Chinese gilt-lacquered bronze figure of Buddha, Late Ming dynastyExpert remark: Compare the related manner of casting and similar elongated earlobes and gilt-lacquer technique. Note the similar pleats below the chest. Note the size (36.5 cm).
A LARGE GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, KANGXI TO YONGZHENG PERIOD 康熙至雍正時期銅鎏金釋迦牟尼像China, 1662-1735. Superbly cast, seated in dhyanasana atop a double-lotus base finely detailed with scrolls to the petals and beaded edges. His right hand is lowered in bhumisparsha mudra and his left held above his lap in dhyana mudra. He is wearing a monastic robe neatly incised with foliate hems over an undergarment secured above the waist. His serene face with heavy-lidded eyes above gently arched brows centered by a raised circular urna, above bow-shaped lips forming a calm smile, flanked by pendulous slitted earlobes. His hair is arranged in tight curls over the high ushnisha topped by a jewel. Note the extremely fine beading to the edges, typical for Imperial Buddhist bronzes from the period.Provenance: Dutch trade. By repute from a private estate in Amsterdam.Condition: Good condition with expected old wear and minor casting irregularities, light surface scratches, and tiny nicks. The hollow interior with distinct red pigment. The hair with remnants of blue pigment. The seal plate and contents lost. The cavities with remnants of ancient varnish overall. Fine, naturally grown patina.Weight: 8,390 g Dimensions: Height 34.3 cm Displaying tremendous power and presence, this impressive figure of Buddha Shakyamuni is notable for the crisp casting and the meticulous attention to detail which is echoed in the gentle folds of the elegant monastic robes, finely embellished with foliate scroll.The figure of Shakyamuni is one of the most widely represented subjects in Buddhist art. Modeled in the earth-touching gesture or bhumisparsha mudra, the Buddha recalls the moment of his Enlightenment, in which he called upon the earth as his witness of his battle against the temptations and attacks of Mara and his demons. The serene countenance conveyed by the gentle facial features, with the eyes depicted half closed in meditation and the elongated earlobes symbolizing long life, follows the standard rules for the depiction of Buddha to ensure the deity was shown embodying maximum power.Literature comparison: Compare a related gilt-bronze figure of Bhaisajyaguru Buddha dated by inscription to the 21st year of Kangxi (1682), but with more elaborately decorated robes, illustrated in Gems of Beijing Cultural Relics Series, Buddhist Statues I, Beijing, 2001, pp. 212-13, no. 180 and 181. A related gilt-bronze figure of Buddha Shakyamuni, wearing similar robes, of smaller size (20.2 cm), dated to the 18th century, is illustrated in Buddhist Images in Gilt Metal, Chang Foundation, Taipei, 1993, p. 45, no. 15.Auction result comparison: Type: Closely related Auction: Christie's New York, 17 March 2017, lot 1030 Price: USD 211,500 or approx. EUR 243,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Buddha, Kangxi-Yongzheng period Expert remark: Compare the closely related manner of casting, modeling with remarkably similar base, and near-identical gilding. Also note the identical size (34.3 cm). Note the somewhat different face, with slightly wider features and a gentle widow's peak, and that the robe is draped over only one shoulder. 康熙至雍正時期銅鎏金釋迦牟尼像中國，1662-1735 年。鑄造精美，釋迦牟尼結跏趺坐坐於雙層蓮座上，蓮座蓮辦厚實，邊緣有精美串珠紋。他的右手垂下結觸地印，左手放在膝蓋上方結“禪定印”。他身著一件袈裟，衣紋流暢。釋迦牟尼面容平靜安詳，雙眼低垂，雙眉之間有白毫，面帶微笑，兩側是長耳垂。他的頭髮成螺髻寶珠頂，這是該時期皇家佛教銅器造像的典型特徵。 來源：荷蘭古玩交易，阿姆斯特丹知名私人莊園。 品相：狀況良好，有磨損和輕微的鑄造不規則、輕微的表面劃痕和微小的刻痕，中空的內部帶有明顯的紅色顏料。頭髮上殘留著藍色。密封板和內容丟失。腔内整體上殘留著古代清漆的痕跡。精美、自然的包漿。 重量：8,390 克 尺寸：高 34.3 厘米 文獻比較: 比較一件的相近的康熙二十一年(1682年)鎏金銅藥師佛像，但有更精緻裝飾的長袍，見《Gems of Beijing Cultural Relics Series，Buddhist Statues I》，北京，2001年，頁212-13，編號180和181。一件相近的十八世紀鎏金銅釋迦牟尼，有類似的長袍，尺寸較小 (20.2 厘米)，見《Buddhist Images in Gilt Metal》，Chang Foundation，台北，1993年，頁45，編號15。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1030 價錢：USD 211,500（相當今日EUR 243,000） 描述：清康熙/雍正銅鎏金佛坐像 專家註釋：比較非常相近的鑄造風格、蓮坐 ，以及幾乎相同的鎏金。請注意幾乎相同尺寸 (34.3 厘米)。請注意臉型有些不同，五官稍寬，峰峰柔和，長袍只披在一個肩膀上。
A DEHUA FIGURE OF GUANYIN, BY CHEN WEI, 18TH-19TH CENTURY 十八至十九世紀德化觀音China. Standing on a dragon carp on a wave form base, the goddess holding a ruyi scepter in her left hand, dressed elegantly in long flowing robes and a billowing scarf, richly adorned with beaded jewelry suspending cash coin pendants, her chest with a ruyi plaque. The serene face with heavy-lidded eyes and bow-shaped lips, the hair neatly incised and elegantly falling in knotted locks over the shoulders and piled on top of her head in a chignon held together by a ruyi-shaped hairpin.Inscriptions: To the back, 'Chen Wei'.Provenance: From a private collection in the United Kingdom, formed before 1975, and thence by descent.Condition: Good condition with minor wear and firing irregularities, minor losses to fingertips, one with an old repair, the interior with firing cracks and associated old fills.Weight: 507.7 g (excl. stand) and 691.1 g (incl. stand)Dimensions: Height 22.8 cm (excl. stand) and 26.5 cm (incl. stand) With a nicely fitted lotus-form stand, carved from dark hardwood, inscribed to the base 'Ghou Tsu Hin, Shanghai', dating from the 20th century. (2)Auction result comparison: Type: Closely relatedAuction: Paris, 22 June 2017, lot 264Price: EUR 12,500 or approx. EUR 14,500 adjusted for inflation at the time of writingDescription: A Dehua figure of Guanyin, 18th/19th centuryExpert remark: Compare the closely related subject, glaze, and Chen Wei mark. Note the slightly different modelling as well as the condition issues: “The last three fingers of the figure's right hand and part of the smallest finger of the left hand are broken off and missing. There are shallow chips to the edges of the robe, the largest ca. 1cm wide”, as opposed to the present lot which is in good condition. 十八至十九世紀德化觀音中國。觀音站在波浪形底座的龍鯉上，左手執如意，長袍飄逸，飾有華麗的瓔珞珠飾，胸前有如意。觀音面容祥和，雙眼微閉，嘴唇微露笑容，髮髻高聳，幾根辮子披在肩上。白釉潤澤如玉。款識：陳偉 來源：英國私人收藏，1975 年之前形成，家族傳承。 品相：狀況良好，有輕微磨損和燒製不規則，指尖有輕微缺損，有小修，內部有燒製裂紋和相關的填充物。 重量：507.7 克 (不含底座)，691.1克 (含底座) 尺寸：高 22.8 厘米(不含底座) ，26.5 厘米(含底座) 配有一個精美的蓮花形支架，由深色硬木雕刻而成，底座上刻有“Ghou Tsu Hin，上海”，其歷史可追溯至二十世紀。(2) 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2017年6月22日，lot 264 價格：EUR 12,500（相當於今日EUR 14,500） 描述：清十八 /十九世紀德化白釉觀音菩薩立像《陳偉之印》款 專家評論：比較非常相近主題，釉面，陳偉之款。請注意略有不同的模型，以及品相問題：「人物右手的最後三個手指和左手最小的手指的一部分被折斷和丟失。長袍的邊緣有淺裂痕，最大的約。 1 厘米寬」。
DIAMOND WREATH PENDANT/NECKLACE, CIRCA 1900Designed as a wreath and bow, suspending old brilliant-cut diamond tassels within a rose and single-cut diamond wreath, principal diamonds approx. 0.20ct total, lengths: pendant 3.2cm, chain 40.0cm, fitted case by Eduard FoehrFootnotes:Eduard Foehr (1835-1904) was court jeweller to the King of Wurttemberg, including the last King of Wurttemberg William II (1848-1921), for whom he made a tiara as a wedding present to his second wife, Princess Charlotte of Schaumburg-Lippet.For further information on this lot please visit Bonhams.com
A Bow figure of the muse 'Euterpe', circa 1750-52By the 'Muses Modeller', modelled seated and resting her right arm on an organ with masked stops above the keys and the inscription 'Euterpe for the musical instruments', a large flute or trumpet held by her left side, a stringed instrument, perhaps a lute or viola, a triangle and some pipes nestled around her feet, left in the white, 15.5cm high Footnotes:ProvenanceMavis Bimson CollectionMavis Bimson discusses the set of Bow Muses in her paper 'The Missing Muse', ECC Trans, Vol.19, Pt.3 (2006), pp.569-72 and declares that of the eight known models 'The finest of the figures are undoubtedly Euterpe and Erato'. The muse of lyric poetry and music is certainly overflowing with attributes. A similar figure picked out in bright enamels and gold from the Donald MacAlister Collection is in the British Museum (inv. no.1959,1102.65).For further information on this lot please visit Bonhams.com
A pair of Bow figural candlesticks emblematic of Spring and Summer, circa 1760 Modelled as a putto and a nymph around a rococo scrolled pillar encrusted with flowers, Spring holding a garland of flowers, the seated putto with a basket of flowers, Summer holding a corn sheaf, the putto sleeping on a bed of flowers and corn, the pillars pierced with holes to receive sconces and picked out in puce and pale blue, 21.2cm high (2) For further information on this lot please visit Bonhams.com
A Bow figure of 'Liberty', circa 1753Modelled after Meissen and standing on a bold scrolled base, his right arm raised above his head, his left handing holding a crook, a dog leaping up at his side and a ram at his feet, left in the white, 29.5cm highFootnotes:ProvenanceE and J Handley CollectionMavis Bimson CollectionAnother example together with the companion figure of Matrimony is illustrated by Peter Bradshaw, Bow Porcelain Figures (1992), p.78, pl.46. See also Frank Hurlbutt, Bow Porcelain (1926), pl.39.For further information on this lot please visit Bonhams.com
A study group of English porcelain figures, circa 1755-70All left in the white and comprising a Longton Hall figure of a man, modelled as Autumn, a large fruiting vine balanced on his shoulder, 11.9cm high, a large Chelsea figure of a finely-dressed female musician, her instrument now lacking, standing on a flower-encrusted base, 25.8cm high, a pair of Bow figures of children as Harlequin and Columbine, the mound bases applied with flowers, 11.8cm high, and an interesting Fulham figure of a kneeling boy with a shell, made after a failed attempt to replicate John Dwight's porcelain formula in the nineteenth century, 8.5cm high (5)Footnotes:ProvenanceMavis Bimson CollectionThe Longton Hall figure of Autumn is from a set of the Rustic Seasons, also produced at Chelsea. F Severne Mackenna illustrates a full set of the Chelsea seasons from the author's collection in Chelsea Porcelain: The Red Anchor Wares (1951), pl.129. Longton Hall also produced these figures on mound bases during the 'Snowman' period. Figures of Spring and Autumn were sold by Bonhams on 2 December 2009, lot 70.For a coloured and gilt example of the Chelsea musician alongside her male companion, both marked with a gold anchor, see Bonhams, 7 December 2005, lot 65.For further information on this lot please visit Bonhams.com
A Bow figure of a muse, probably 'Calliope', circa 1750-52By the 'Muses Modeller', the winged figure seated and pointing to an obelisk by her side, crowning the cenotaph with a laurel wreath held in her left hand, a sword, shield and plumed helmet flanking her neatly crossed feet under folds of voluminous robes, inscribed 'polimnie' to the reverse of the obelisk, left in the white, 16.7cm highFootnotes:ProvenanceJoseph Handley CollectionSimon Spero exhibitions 1993, no.32 and 2004, no.23Mavis Bimson CollectionPolyhymnia is the muse of sacred poetry and music meaning that this figure's martial attributes sit rather uncomfortably with this identification. Mavis Bimson suggests in her paper 'The Missing Muse', ECC Trans, Vol.19, Pt.3 (2006), pp.569-72 that she may represent Calliope, the only muse as yet unidentified in this set of Bow figures. Calliope presides over epic poetry telling the deeds of heroes. This figure is the only winged muse known at Bow, perhaps a nod to Calliope's prominence as 'Chief of the Muses'. On this basis Raymond Yarbrough echoes Aubrey Toppin's suggestion that this figure might even be winged Victory or Nike and not a muse at all, see Bow Porcelain and the London Theatre (1996), p.78. In any case, the inscription 'polimnie' raises queries. A similar figure in the Geoffrey Freeman Collection is illustrated by Anton Gabszewicz, Bow Porcelain (1982), p.128, fig.197. A polychrome example of the figure from the Donald MacAlister Collection is in the British Museum (inv. no.1959,1102.58).For further information on this lot please visit Bonhams.com
A Derby 'Dry Edge' figure of Pluto, circa 1752-55Modelled striding forwards amongst flames, the base with a demonic mask to the rear, the three-headed dog Cerberus emerging from under the god's cloak, left in the white, 17.3cm highFootnotes:ProvenanceMavis Bimson CollectionSimon Spero illustrates a similar figure in his paper 'A foreign visitor's view of the English porcelain industry in 1753', ECC Trans, Vol.20, Pt.2 (2008), p.418, noting that this class of 'Dry Edge' figure is 'amongst the most accomplished and dynamic ever made in England...conceived and modelled with an expressive sense of vitality rarely matched elsewhere'. Another example from the Lady Charlotte Schreiber Collection and originally acquired as Bow, is in the Victoria & Albert Museum (inv. no.414:142-1885).For further information on this lot please visit Bonhams.com
A Bow model of a lion, circa 1752Modelled seated on an irregular base, his left paw raised on a stump and head turned to show a fine set of teeth, left in the white, 11.6cm wide, incised workman's mark to undersideFootnotes:ProvenanceWatney CollectionMavis Bimson CollectionA similar model from the Aurea Carter Collection was sold by Bonhams on 2 May 2018, lot 307. The present lot differs slightly in the modelling, the lion's tail is tucked underneath his body and one hindleg is turned out. The base is also flatter. A very close comparison can be made with the pair of lions illustrated by Peter Bradshaw, 18th Century Porcelain Figures (1981), p.149, pl.60. Close examination of the upper surface of the base reveals what appears to be an impressed 'Union Flag' mark, the significance of which is not known.For further information on this lot please visit Bonhams.com
A rare Bow figure of Henry Woodward, circa 1750Modelled in the role of The Fine Gentleman from Garrick's farce 'Lethe', wearing a large tricorn hat and frockcoat above a lace-trimmed waistcoat and breeches, the costume delicately modelled and undercut, standing on a square base with canted corners incised with a diamond pattern to simulate floor tiles, left in the white, 27.6cm highFootnotes:ProvenanceSimon Spero exhibition 2012, no.29Mavis Bimson CollectionThe model is taken from an undated mezzotint by James McArdell from a drawing by Francis Hayman. For another example together with Hayman's drawing and McArdell's print, see Raymond C Yarbrough, Bow Porcelain and the London Theatre (1996), pp.28 and 29, figs.40-42. Yarbrough quotes Woodward, who, when appearing in the 'Bays in Council' in Dublin in 1757, wrote 'My figure, too, in Earthenware is shown, So much I'm lov'd and val'd by the town'. Further examples are illustrated by Anton Gabszewicz and Geoffrey Freeman (1982), p.122, fig.187 and Made at New Canton (2000), p.85, fig.72. A dated example inscribed 1750 to the underside is in the Irwin Untermyer Collection, see Yvonne Hackenbroch (1957), pl.77 fig.241 and pl.145, fig.241. A fine coloured pair of Kitty Clive and Henry Woodward from the Godden Reference Collection was sold by Bonhams on 14 April 2010, lot 88 and another white figure of Henry on 18 May 2016, lot 320.For further information on this lot please visit Bonhams.com
The Fortune Teller: A rare Bow figure group, circa 1750-52 By the 'Muses Modeller', the eponymous figure wearing a leafy garland in his hair and heavily folded robes, grasping the outstretched right hand of his lady companion who carries a floral garland over her shoulder, her face showing dismay as she hears her fate, the irregular base applied with a floret, a group of discarded papers between the figures, left in the white, 17.8cm high Footnotes: Provenance John Yaconetti Collection Joseph Handley Collection Simon Spero exhibition 2005, No.27 Mavis Bimson Collection This group is taken from an engraving by Pierre Alexandre Aveline after a painting by Boucher. A polychrome version is illustrated by Anton Gabszewicz, Made in New Canton (2000), no.76 and another was sold by Bonhams on 21 June 2021, lot 120. For further information on this lot please visit Bonhams.com
A Royal Worcester 'Painted Fruit' 'Bow' vase and cover by John Freeman, circa 1960Of large size, the pierced neck hung with swags, two elaborate scrolled handles picked out in gold, painted with a continuous frieze of ripe fruits on a mossy woodland ground, signed 'Freeman', 35.5cm high, printed black marks (2)For further information on this lot please visit Bonhams.com
A fine Dutch engraved armorial airtwist marriage goblet, dated 1772 The round funnel bowl with an altar reserved with two clasped hands framed by an ouroboros, surmounted by a pair of flaming hearts being ignited by a torch held by a winged make figure to the right, a large cornucopia of fruit spilling over beside him, two crowned arms accollé beneath a bow and quiver of arrows suspended from a tree to the left, all blanked by a scrolling banner inscribed 'VEREENIGHT 17 SEPTEMBER MDCCLXXI' (United 17 September 1772), raised on a tall multi-spiral airtwist stem with a central swelling knop, over a conical foot, 17.3cm high Footnotes: Provenance Private British Collection For further information on this lot please visit Bonhams.com
A Bow dessert ladle, circa 1765-70The oval bowl painted in blue with a peony spray below a cell border, the shaped handle with trailing flowers and a butterfly, with a bifurcated terminal, the underside with weed sprigs, 20cm longFootnotes:A similar ladle from the Billie Pain Collection was sold by Bonhams on 26 November 2003, lot 56. An example picked out in colours was more recently sold by Bonhams on 22 June 2022, lot 430.For further information on this lot please visit Bonhams.com
An early Bow mug, circa 1752Of large size, the cylindrical form with a spreading foot, painted in famille rose style with peonies and hollow rockwork below a flowerhead and diaper panelled border, 12cm high, incised lineFootnotes:ProvenanceCollins-Barnes CollectionA similar mug from the Geoffrey Freeman Collection is illustrated by Anton Gabszewicz, Bow Porcelain (1982), p.29, fig.13.For further information on this lot please visit Bonhams.com
A Bow figure of the muse 'Clio', circa 1750-52By the 'Muses Modeller', seated with her foot raised on a weighty tome, another book or tablet held in her left hand, a delicate quill poised in her right hand, gazing upwards with a laurel wreath in her hair, left in the white, 15.8 highFootnotes:ProvenanceBonhams, 2 December 2009, lot 60Mavis Bimson CollectionClio is the muse of history; her pen is poised to record the deeds of mankind. Raymond Yarbrough illustrates a similar figure alongside her sisters, four of the other muses in Bow Porcelain and the London Theatre (1996), p.76, figs 103 and 104. A polychrome figure of Clio was received by George and Martha Washington following their marriage in January 1759, sent by their London agents Robert Cary & Company. Her head and hand are now lacking but the tablet bears the inscription 'Clio' incised into the clay. See Mount Vernon Collection, Object number W-4354.For further information on this lot please visit Bonhams.com
Four Bow figures of 'The Rustic Seasons', circa 1755Seated on low mound bases, Spring and Summer modelled as ladies wearing broad-brimmed hats, Spring with overflowing baskets of flowers and a bee skep, Summer with sheaves of corn, Autumn as a cheerful man drinking wine and perched on a basket of grapes, Winter as an old bearded man huddled over a flaming brazier, left in the white, tallest 13.5cm high (4)Footnotes:ProvenanceGladys L Robertson Collection (Spring)Bonhams, 8 June 2005, lot 131Mavis Bimson CollectionAnother set of the seasons from the Barbara Leake Collection was sold by Bonhams on 12 March 2008, lot 32. Bow later adapted these models to the more ornate rococo tastes of the 1760s, flanking the figures with bocage and raising them on high scrolled bases picked out in gold.For further information on this lot please visit Bonhams.com
A large Bow figure of Charity, circa 1750-52By the 'Muses Modeller', standing in flowing drapery on a rocky base, carrying a small child on one hip, gazing down towards an older child now lacking from her right side, left in the white, 29.5cm highFootnotes:ProvenanceMavis Bimson CollectionThe treatment of the figure's facial features; the heavy-lidded eyes and neat receding chin, are distinctive to the 'Muses Modeller'. Her drapery is simultaneously heavy and yet shows he reveals her naval beneath. The Virtues were also modelled on a more modest scale, see the figure of Hope, lot 276 in this sale. A smaller figure of Charity picked out in colours is illustrated by Peter Bradshaw, Bow Porcelain Figures (1992), p.66, fig.15. Another polychrome example was purchased by Lady Charlotte Schreiber as Chelsea in 1868 and is now in the Victoria & Albert Museum (inv. no.414:181-1885).For further information on this lot please visit Bonhams.com
A large Bow model of a lion, circa 1750Modelled recumbent on an irregular rocky base, his head turned to the side in a rather anxious expression, his tail curled over his hind quarters, left in the white, 28cm wideFootnotes:ProvenanceBonhams, 20 November 2019, lot 236Mavis Bimson CollectionLions were modelled in various sizes at Bow, see lot 296 for an example on a more modest scale. Producing such a large and heavy model within the first few years of the factory must have been a challenge. One such example was in the Dudley Delevigne collection sold by Bonhams on 17 June 1988, lot 17, and subsequently the John Hewett Collection, see Albert Amor exhibition 1997, no.6. This had strangely been modelled on a base of inadequate length. Another similar lion is illustrated beside a model of a lioness by Elizabeth Adams and David Redstone, Bow Porcelain (1981), p.195, fig.122. Errol Manners and Anton Gabszewicz discuss three Bow lions and a lioness in the Nigel Morgan Collection, E & H Manners Exhibition Catalogue (2009), nos.33-35. In her catalogue Eating at the Whites' House (2022), p.93, Mary White illustrates a pair of Bow lions and refers to the large stone lions in the grounds of Chiswick House, to which these models may be related.For further information on this lot please visit Bonhams.com
19th century walnut marquetry and mixed woods bow front credenza, the moulded ebonised and gilt metal beaded top above a central blind panelled inlaid foliate door flanked by two bowed glazed display cabinets, the interior revealing shaped shelves, standing on an ebonised moulded projecting base. 136x42x105cm approx. (B.P. 21% + VAT) Generally good - some wear and tear with age, no significant damage or losses.
An early 20th century diamond and cultured pearl negligee necklace, the two drops with central pearl surround by millegrain bezel set old cut diamonds, suspended on diamond set bow, white metal indistinctly marked, gross weight 5g, pendant length 34mm, chain length 38cm. Condition - slight knot in chain, old repairs to first link either side of clasp, otherwise fine.
Kenner Robin Hood Prince of Thieves action figures x 18, with 9 within Good to Good Plus sealed packaging and 9 loose with accessories, figures include Azeem, Will Scarlett, Robin Hood (Crossbow), Robin Hood (Long Bow) Little John, Sheriff of Nottingham, The Dark Warrior, Friar Tuck. Loose figures are generally Good, Incomplete. With outer trade carton. (18)
Measuring Tape Cane. This interesting systems cane holds a steel measuring tape. Possibly a gadget cane designed for a joiner or carpenter.The tape easily pulls out of the silver metal cap and automatically retracts back into the cassette when released. (Max length 80”) To maintain the tape at a specific length merely slide the small button located on the top of the cassette into the hold position. The return spring works well. Made by CHESTERMAN a Sheffield based measure manufacturer. The measuring tape cassette holds the wording CHESTERMAN SHEFFIELD ENGLAND together with JC within the traditional Bow trademark (see below)The measuring gadget is mounted on a Malacca cane and finished with an Edwardian style base ferrule.(Possible replacement). Note of interest—James Chesterman (1792-1867) James Chesterman moved to Sheffield from London in 1820. He set up business with Mr Housfield in 1821 with a factory in Nursery Street. Known as James Chesterman and Co Ltd. From c1832 the business specialised in making measuring tapes and instruments. In 1837 James Chesterman was listed as patentee of the spring tape measure and self rolling window blind. He also produced the first long steel measuring tape and the first woven metallic tape. His business adopted the bow as its trademark and he named his factory The Bow Works which moved to new premises in. 1864.William Chesterman was elected Master Cutler in 1880. In 1963 amalgamation with John Rabone & Sons created Rabone Chesterman, who were subsequently bought by Stanley Tools in 1990 and transferred to Stanley's Woodside Plant.
A simple rosewood stick with a brass section set just below the handle. Two small bolts hold the internals of the stick firmly in place. When these are removed a steel wood saw blade may be withdrawn from the stick sheath. The saw is held firmly in place but can be pulled free if desired. (Possibly for a replacement with different teeth size/pitch?) The saw blade is replaced via a slot in the top of the handle. Before use the bolts are screwed into the shank to hold the saw firmly in place. Length of stick is 37 ½” / 955mm.with attractive patterned hand carvings for 6”/150mm below the brass section. The ferrule has seem some use. Slight bow in stick shaft.
Millant (Roger). J. B. Vuillaume, Sa vie et son Oeuvre, 1st edition, London: W. E. Hill & Sons, 1972, colour & monochrome plates, original two-tone cloth, spine lightly rubbed, minor tears to head & foot, 8vo, together with:Dilworth (John), The Brompton's Book of Violin and Bow Makers, 1st edition, London: Usk Publishing, 2012, original cloth in dust jacket, covers slightly marked & rubbed to head & foot, large 8vo, limited edition 298/1000, includes a bookmark, plusMartens (Frederick H.), Violin Mastery, talks with master violinists and teachers..., 1st edition, New York: Frederick A. Stokes Company, 1919, monochrome portrait frontispiece, ex-library copy with associated stamps & marks, some light toning, original red cloth with front board illustration, spine lightly rubbed to head & foot, 8vo, and other modern violin reference, including Universal Dictionary of Violin and Bow Makers, by William Henley, Brighton: 'Amati' Publishing, 1973, Dictionary of Contemporary Violin and Bow Makers, by Cyril Woodcock, standard edition, Brighton: Amati Publishing, 1965, Fritz Kreisler, by Louis P. Lochner, expanded edition, New Jersey: Paganiniana Publications, 1981, Adolf Busch, The life of an honest musician, 2 volumes, by Tully Potter, 1st edition, Toccata Press, 2010, & other violin reference, 8vo/4toQTY: (16)
* English playing cards. Transformation deck, C.B. Reynolds of Liverpool, 1863, the complete deck of 52 colour lithographed playing cards (French suits), single figure non-standard courts, clubs representing South American characters, diamonds and hearts European style rulers or gentry, spades seems to show ordinary folk, pip cards with small caricatures within the pip signs, ace of hearts showing Prince Edward and Princess Alexandra, ace of spades with maker's details and images of Liverpool, ace of diamonds with two tavern scenes, lightly dusty, variable (generally light) toning, some minor marks or spots, few cards with slight brown staining to edges, ace of spades with 2 very small yellow marks centrally (and one to bottom edge), some corners very lightly worn, versos gilt cherub with bow and arrow on yellow, Prince of Wales's Feathers in top border, each card 95 x 65 mm, 32 cards mounted with photo corners onto 2 display boards, encapsulated in clear plastic (not examined out of boards), the remainder in a plastic bag, each board 53.5 x 41 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.British Museum 1896,0501.940 (Schreiber, Eng 29)This pack was produced to commemorate the wedding of Prince Albert Edward (later King Edward VII) to Princess Alexandra of Denmark in 1863. Apparently this is the only pack produced by this otherwise unknown card maker.
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