7th century AD. A gilt-silver disc-shaped brooch with quadrilobe design formed from interlaced lines with four 'eyes' and four pellet-in-annulet features, within a beaded border; the reverse with pin, catchplate and two further loops, through one of which a silver wire with twisted joint ring runs.Cf. MacGregor, A. et al., A Summary Catalogue of the Continental Archaeological Collections (Roman Iron Age, Migration Period, Early Medieval), Oxford, 1997, item 2.2; Metropolitan museum of Art, New York, accession number: 53.48.6.29.3 grams, 66mm (2 1/2"). From a central London collection; previously in a European collection formed 1979-1989.This Scandinavian Vendel period brooch precedes the Viking Era both in history and art style, as we can observe the use of box and disc brooches in both eras. There were lively contacts with continental Europe, and the Scandinavians continued to export iron, fur and slaves; in return they acquired art and innovations, such as the stirrup. Some of the riches were probably acquired through the control of mining districts and the production of iron. The rulers had troops of mounted elite warriors with costly armour, since their graves were found with stirrups and saddle ornaments of birds of prey in gilded bronze with encrusted garnets. The geometric and interlaced pattern was popular especially in Scandinavia, although we can find ornaments with similar motifs among continental Germanic people. Abstractly designed brooches like this were fashionable until larger and more massive Viking oval and drum brooches replaced them. [No Reserve] A video of this lot is available to view at TimeLine Auctions website. Very fine condition.
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1st-2nd century AD. A substantial ornamental silver armour phalera with gilt detailing, embossed face of Gorgon Medusa to the centre with detailed eyes, eyebrows and mouth, strong nasal ridge extending towards the forehead, furrowed brow with a pair of wings emerging from the curly hair framing the face, a pair of snakes knotted beneath the chin; wide edge with beaded rim and wavy pointillé decoration; accompanied by a discoid bronze sheet to which the fastening pins were attached to.Cf. Jahn, O., Die Lauersforter Phalerae, Bonn, 1860, taf.1; Maxfield, V.A., The military decorations of the Roman Army, Los Angeles, 1981; D’Amato, R., Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, figs.157, 254-255; D’Amato, R., Roman Standards & Standard-Bearers (1), 112BC-AD192, Oxford, 2018, p.54; D’Amato, R. & Negin, A., Roman decorated armour, London, 2019, p.150, fig.137.113 grams total, 8.8-12.5cm (3 1/2 - 5"). From the private collection of a London antiquarian; acquired from Coins and Antiquities, formerly known as D.J. Crowther Ltd, Mayfair, London, UK, in 1970; accompanied by an expertise by military specialist Dr Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10623-174245.Discoid military decorations usually depicted the heads of the gods, spirits of the underworld, birds and lions, Medusa being the most popular subject. Sets of phalerae, similar to those shown on monuments dedicated to Marcus Caelius, Quintus Sertorius Festus and Celer Allius, were found in Neuss, Lauersfort and Newstead. Our phalera finds parallel in similar examples from the magnificent Lauersfort set, echoing the decoration visible on the gravestone of centurion Caelius from Bonn, depicted with a corona civica on his head; the best-known silver military decorations of the early Imperial Age. The higher officers in the Roman army had the custom of wearing such rich suits of phalerae with the straps attached directly to leather garments or doublets, worn over their armour. One such example can be seen on the gravestone of the Aquilifer G. Musius (Jahn, 1860, taf.II; D’Amato, 2018, p.54), where the phalerae are worn over a leather structure like a doublet over the subarmalis. Wearing a double-padded armour under the doublet provided twice as much protection to the warrior and enhanced the phalerae worn over the doublet. These decorations were awarded in sets, commonly of nine, although the sources confirm that this was not an absolute rule. They were worn in a similar fashion to medals on the chest, attached to a leather harness of straps, which ran straight around and up and down the front of the chest, and continued over the shoulders and around the back where they were fastened with buckles (Maxfield, 1981, pp.92-93"). [2] Very fine condition.
A RUSSIAN SILVER-GILT AND NIELLO CUP OF THE BRONZE HORSEMAN, Moscow, mid 19th Century, the stemmed cup of narrow-waisted cylindrical form with screw-on foot, the central band of the body decorated with floral ornaments, featuring the statue The Bronze Horseman with views of St. Petersburg and the mast of a ship in the background within a circular medallion, marked 84 standard, workmaster's mark A.K. in Cyrillic, assayer's mark A.K. for Kovalsky Andrei Antonovich, Moscow city mark, date indistinct, marked on the lip and bottom of the cup. 15cm high, 10 troy ouncesThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Foot misshapen and rocks. Rim of cup misshapen in a couple of places. Surface wear commensurate with age.
A Chinese gilt ink cake, 19th century, in the design of a standing scholar holding a circular disk, the reverse signed Hu Ziqin, 8.5cm high; a bronze pendant in the design of two boys, Qing Dynasty, 4.7cm long x 4.2cm wide; a lapis lazuli carving of a pixie mythical beast, 11cm high; a gilt bronze buckle, inner Asia, 4.4cm diameter; and a terracotta head on stand, 9.5cm high (5)清胡子卿制仙人墨等五件Condition Report: terracotta head with one knock to the forehead; ink cake with crazing and cracks commensurate to age; the other three items with general wear to the surfaceCondition Report Disclaimer
Three Indian bronze deities, Southern India, 18th-19th centuries, comprising: a figure of Vishnu, the four-armed Hindu deity with primary right hand in varada mudra, a cakra and sankha in his upper hands, 14.5cm high and two figures of Lakshmi, each standing in tribhanga her right hand raised, holding a padma , her left by her side, 12.5cm and 9cm high (3)Provenance: From the private collection of a Gentleman, by descent from his fatherCondition Report: wear commensurate with age and some age knocks and old losses mainly to basesCondition Report Disclaimer
A 'Gangajumna' bronze figure of Garuda, Tamil Nadu, South India, c.18th century, bronze and brass, the winged vehicle of Vishnu kneeling on a tortoise, his hands held in front, with beak-like nose and tall headdress, 11cm high and a bronze figure of Siva and Parvati, Tamil Nadu, South India, 18th/19th century, the Hindu god seated on a waisted stool, his right hand in vitoria mudra, his consort seated on his left knee, holding the stem of a padma in her left hand, 10cm high (2) Provenance: From the private collection of a Gentleman, by descent from his fatherCondition Report: some wear and knocks commensurate with age Condition Report Disclaimer
A bronze Bhuta figure of the boar Panjurli, Karnataka, Western Deccan, India, 18th or 19th century, wearing necklace with pointed ears and prominent tusks, 14cm x 10cm Provenance: From the private collection of a Gentleman, by descent from his father The cult of bhuta, or spirit worship, is centred in Western Karnataka and the boar Panjurli is the best known of these sub-deities. Wild boars are notoriously destructive to farmers, and the cult is said to have arisen as local inhabitants tried to pacify the rampaging animals. Condition Report: wear and knocks commensurate with age Condition Report Disclaimer
A Japanese Bronze Figure of the Buddha, standing enveloped in a loose robe with hands in mudras, the whole coated in a black lacquer or paint, height 20.2cm, Edo Period; another Bronze Figure of The Buddha, seated cross-legged with hands in dhyana mudra, some gilding to face, chest, hands and knees, height 8.2cm, Edo Period; a Daigoro School Iron Tsuba, of circular form pierced with a radiating design of karigane, unsigned, diameter 7.1cm, Early-Mid Edo Period and a Nara School Tsuba, of rounded form decorated in relief with silver and gold inlay depicting Moso searching in the snow for bamboo shoots, indistinctly signed, diameter 7.2cm, 18th Century (4)Condition Report: All items with wear commensurate with age and use. Standing Buddha covered in lacquer. Seated Buddha with verdegrisCondition Report Disclaimer
Iron Age deer mount. A late Iron Age zoomorphic bronze mount in the form of a deer right with its head turned to face the viewer. The deer has a long neck and upright ears, with circular sockets for the eyes. Probably a mount from a vessel. Cf. the doe-headed knife handle from Birdlip, Gloucester, Jope, Early Celtic Art in the British Isles, plate 163. 1st century BC - 1st century AD. 37mm, 12.3g. Recorded with PAS: SUSS-837A36. https://finds.org.uk/database/artefacts/record/id/636649
Viking strap end. A very fine cast bronze strap end of waisted, sub-rectangular form with an animal head at the centre and an expanding foliate Ringerike style terminal. The attachment end is split to accommodate the strap and has a single bronze rivet still in situ. Thomas class H, circa 11th century. 41mm, 8.8g. Reference: Thomas, G.; (2000) A survey of late Anglo-Saxon and Viking-Age strap-ends from Britain.
Iron age decorated bronze mount fragment. The mount was originally circular with four projecting lobes forming a propeller-like shape. The front face has extensive well-executed curvelinear decoration infilled with punched basket weave and a circular recess, probably for enamel (now missing), on each lobe. Circa 100 BC - 100 AD. 71mm x 41mm, 17.68g.
Celtic enamelled harness mount. A late Iron Age bronze 'Eared' mount from a horse harness. The front face of the mount has champleve enamel decoration, the main elements of which are two opposed crescents of red enamel. Each crescent contains a la tene style scrolling foliate motif with terminals in the form of petals and three roundels inlaid with blue glass. There are four further areas of red enamel and two perforations of identical shape. The enamel inlay is complimented by finely engraved curvelinear decoration. On the reverse are a pair of rectangular loops for attachment to the straps. This style of decoration is seen on two other examples from South-East England, from London and from Kent. CF. British Museum object number 1856,0701.998 https://www.britishmuseum.org/collection/object/H_1856-0701-998 The overall form of the mount resembles a facing animal mask, hidden zoomorphic and anthropomorphic elements are often incorporated into late Iron Age art. Condition: glossy patina on the front face with almost all the enamel intact. Some nibbling to the edges around the periphery otherwise vey fine condition. Circa mid 1st century BC - mid 1st century AD. 83mm x 64mm, 60.2g.References: Jope, E M, Early Celtic Art in the British Isles: plate 297 a-e; Megaw, R & V, Celtic Art: Plate I.
Bronze Age Socketed Axe. Circa, 1000-800 BC. Bronze, 150g. 102.75 mm. A stunning example of a looped and socketed axe head that dates to the end of the Bronze Age and possibly crosses over in to the early Iron Age. The axe is of perfect form and decorated on both sides with moulded elements. Each has a raised line that extends from below the collar to approximately two thirds of the length and terminates in a large pellet. Complete and undamaged. Ref: for similar example see: PAS: DOR-8496B6.
Iron Age Cosmetic Set.Circa 1st century AD. Copper-alloy, 91mm, 54.2g (mortar) 64mm, 14.9g (pestle). A high quality and finely-modelled bronze cosmetic-grinder set consisting of a mortar and pestle. A centre-looped mortar that is exquisite, finely-modelled with a bull's head at one end and a curled tail at the other. The bull's head has a very natural life-like appearance that displays finer details than most seen on such artefacts of this period. Modelled with horns curved up and inwards just above the ears, the eyes with prominent sockets are set with dark blue stones and the mouth is open as if it where letting out a call (moo). The crescent shaped body is detailed with a crescent panel outlined with a raised border, this bridges the space between the head and curled tail terminal that sits between two large round projections. The second part of this fascinating set is the pestle, although undecorated it is finely made and fits perfectly in the groove that runs through the body of the mortar. Ref: R. Jackson. Britannia 1985, Cosmetic sets from Late Iron Age and Roman Britain. fig. 6. Type A.
Iron age la Tene type i brooch of the 4th - 3rd century BC. The bronze brooch has a curved bow with a returned foot and a bilateral spring of four coils with an external chord. Spring broken and missing foot. 42mm, 6.7g. Recorded with PAS: SUSS-E66835. https://finds.org.uk/database/artefacts/record/id/230399
* RAF WWII Ranking Officer's flagstaff pennant c1930/40; taper-format stitched linen segment horizontal panels in red, dark & sky blue, braided jute lanyards with bronze toggles, linen sheath indistinctly imprinted “3x2” & “111 2”; minor age-wear & discolouration, 51x66cm; together with another similar smaller pennant with stitched panel roundel in cotton-silk with applied maker’s label inscribed “Captain O.M. Wallis”; and a further smaller printed car-pennant having two-blade propeller motif and RAF inscription & Union flag motif supra; and a Battle of Britain Commemorative programme c1940sQty: (4)
Twenty-Three sets of Chinese robe buttons, mainly Qing Dynasty, largely sets of five buttons or more, comprising: gilt-bronze, gilt-metal, white metal, jadeite, lacquer, agate, glass and enamelProvenance: Private English Collection清 袍服扣一组23件拍品来源：英国私人收藏 Condition Report: other than wear commensurate with age they appear to all be in good condition Condition Report Disclaimer
A rare Chinese Cloisonné enamel censer, Ming Dynasty, 16th-17th century, the compressed body raised on three gilt elephant-head gilt-bronze feet with paw terminals, the exterior decorated with fruiting grape vine reserved on a turquoise ground below a band of clouds encircling the shallow neck, with a pair of coiled dragon handles rising from the flat gilded rim, 15cm diameter x 10.5cm high, weight 990 grams Provenance: Purchased from John Sparks, 28th January 1965 for £225.00 by the late owner and prior to this in the Max Robertson Collection, London. 明十六世纪 掐丝珐琅葡萄纹兽足双耳炉（克重990g）拍品来源：英国私人收藏，现藏家于1965年1月28日购自英国著名古董商John Sparks，此前曾为伦敦中国艺术收藏家Max Robertson私人收藏 Condition Report: old waxed repair to side otherwise wear commensurate with age and some wear to gilding sold with a photocopy of the John Sparks sale receipt Condition Report Disclaimer
A pair of Chinese bronze Buddhist lions and stands, 19th century, seated with open mouths, overall height with stands 21cm (2)Provenance: Berwick House, Shropshire清19世纪 铜狮子一对拍品来源：英国Shropshire郡Berwick 藏House大宅私人收藏Condition Report: in good condition other than scathes commensurate with age Condition Report Disclaimer
A Chinese bronze tripod censer and cover, ding, 17-18th century, with two loop handles, Buddhist lion finial and the base inlaid with silver in archaic style, 17.5cm high, cover and base 875 grams, base 537 grams and cover 338 grams Provenance: Purchased by the late J.B. da Silva (1918-2003) at Portobello Road, September 1958, for £1.00. No receipt but itemised in collection notes. 17-18世纪 狮钮错银铜香炉（克重875g）拍品来源：前英国情报局官员J.B. da Silva (1918-2003) 私人收藏，其于1958年于伦敦波多贝罗路古董市集以1英镑的价格购得Condition Report: in good condition other than typical knocks commensurate with age and some green encrustations to interior Condition Report Disclaimer
A Chinese bronze 'Buffalo' scroll weight, late 17th century, cast in a recumbent pose with its head raised and two young calves playfully clambering on its back, the bronze a warm reddish-brown patina, 6cm long, 237 gramsProvenance: Purchased by the late J.B. da Silva (1918-2003) on the Portobello Road, September 1958, for 35 shillings. No receipt but itemised in collection notes. 晚明 牛形铜镇（克重237g）拍品来源：前英国情报局官员J.B. da Silva (1918-2003) 私人收藏，其于1958年9月14日以35先令的价格购自伦敦波多贝罗路古董市集Condition Report: some wear commensurate with age but no damageCondition Report Disclaimer
An attractive Chinese bronze Buddhist lion scroll weight, late Ming-Qing Dynasty, 17th or early 18th century, 4.5cm long x 3cm x 2.2cm high, 107 grams and a Chinese bronze leaf-shaped scroll weight, Qing Dynasty, 18-19th century, cast as a recumbent lady on a foliate leaf, dressed in a long robe, flowing ribbons with her hair tied in a high chignon, and her head supported by one hand and holding a fan in the other hand, 11.5cm long x 4.6cm wide x 3cm high, 193 grams and a small Chinese bronze model of a boy, Qing Dynasty, 8.5cm long, fitted wood base, the figure 77 grams (3) Provenance: From the collection of Sir David and Lady Scholey.明-清 各式铜镇纸等一组三件拍品来源：英国Scholey爵士及女爵伉俪私人收藏，David Scholey爵士为前英格兰国家银行总监及英国国家肖像画廊主席。Condition Report: some wear commensurate with age to boththe leaf weight with wear to base with loss of patina to edges and scratching The figure with some wear but no damageCondition Report Disclaimer
Maharajpoor Star 1843 (1st Lieutenant J. N. Sharp Bt. Captain Engineer Department of the Army of Gwalior) fitted with contemporary adapted bar suspension and ribbon buckle, toned, good very fine and rare £1,000-£1,400 --- John Nickson Sharp (commonly spelt John Nixon Sharp) was born in Coventry in 1811, the son of the local historian and writer, Thomas Sharp of Coventry and Leamington (1770-1841). Sharp was educated at the Indian Army College at Addiscombe, 1827-28, also studying at the Chatham Engineers’ school of sapping and mining under Lieutenant-Colonel Paisley in 1829 as a Gentleman Cadet, H.E.I.C. service (ranked as Ensign). He entered the Bengal Army as 2nd Lieutenant of Engineers on 12 December 1828. He arrived in India in September 1830 and in October was posted to Delhi for duty with the Sappers and Miners; he commanded a company of S & M until late 1834. In May 1834, he was appointed Assistant to the Executive Engineer of the Allahabad Division of Public Works, continuing in that role until August 1835 when he transferred in the same capacity to the Cawnpore Division, for the purpose of superintending the construction of a bridge on the Cawnpore-Allahabad road. In April 1838, he was appointed Executive Engineer of the Mhow Division of Public Works, but never joined as he was retained (in a temporary capacity) in the Cawnpore Division and in December 1839 was posted to the force assembling for the siege of Jhansi. On the surrender of the fort, no action having taken place, he was ordered back to Cawnpore and from there sent to supervise repairs at Allahabad fort. In August 1840, he was appointed Executive Engineer of the Dacca Division but was also ordered to remain where he was until January 1841 and then proceeded towards Dacca. However, he was soon recalled to Allahabad and in the Spring of 1841 fell into the temporary charge of the Allahabad Division with, from May 1842, additional responsibility for the Trunk Road from Fatehpur to Allahabad, and in January 1843, he was formally appointed to the charge of the Division. In August 1843, he was appointed Officiating Executive Engineer of the Agra Division, a position made permanent on October. In December, Sharp joined the Army of Exercise, afterwards titled the Army of Gwalior, and proceeded on active service with the Right Wing of the army and was present in the battle of Maharajpoor on 29 December (Bronze Star). On the conclusion of the Gwalior campaign he returned to his appointment in Agra, where he served until November 1846 before going on leave to the Presidency, and then to the U.K. on long furlough in January 1847. He returned to India in January 1851 and was then appointed to officiate as Garrison Engineer at Fort William and Civil Architect for the Presidency, holding that post until October 1852, when he was posted to Mian Meer as Officiating Executive Engineer, a post in which he was confirmed in May 1854, receiving promotion to Major in the same year. Shortly afterwards, he was appointed as Officiating Garrison Engineer at Fort William and Officiating Civil Architect for the Presidency, but at his own request this was cancelled in the following month, and he remained at Mian Meer until his death there in 1856. His major work during his time at Mian Meer (1851-56) was the design and construction of the Church of St. Mary Magdalene. In June 1856, he was appointed Officiating Superintending Engineer of the First Circle of Public Works in the Punjab, which appointment he held until his death, from cholera, at Mian Meer on 17 August 1856. He was buried in The Royal Artillery Cemetery in the Cantonment at Lahore, where an inscription reads: Beneath this lies interred the body of Major John Nixon Sharp, Bengal Engineers, sometime Executive Engineer at this station. He died of cholera on 17th Aug. 1856 in the 45th year of his age. This tomb is erected by friends of both services as a tribute of respect to his memory. He is also commemorated by a tablet in St. Mary of Magdalene’s Church, which he designed and built at Mian Meer, which is inscribed: In Memory of Major J. N. Sharp, Bengal Engineers, and sometime Executive Engineer in this station who died of cholera 17th August 1856, aged 45 years. This tablet is erected by Friends in India to whom he was known as a large hearted and high minded man, a consistent Christian and a conscientious servant of the State. Next to the good name he left behind him, this beautiful Church, of Which he was the Architect, is his noblest Monument. Sold with comprehensive research including detailed biography of his father and family, and copied pictures of the Church at Mian Mar and his tomb.
Chinese Brass Koro, Of cylindrical form, Reign marks to the underside, 10cm high, 17cm wide, With a Bronze Stand, 11cm diameter, (2)Condition reportAllover age stains and surface marks to brass koro.Staining to interior.Areas of fading to bronze stand Inside diameter ring to ring is 10.5 cmDiameter ring to ring Handles were later attached to brass koro1586 g to include base
WEREWOLF BY NIGHT #32 - (1975 - MARVEL - UK Price Variant) - HOT BOOK - Origin and first appearance of Moon Knight + With a forthcoming Marvel TV series currently in production MOON KNIGHT is a very HOT character + Currently the 15th most valuable Bronze Age book according to the Overstreet Comic Book Price Guide - Gil Kane, Al Milgrom cover with Don Perlin interior art - Flat/Unfolded - a photographic condition report is available on request
AMAZING SPIDER-MAN #101 - (1971 - MARVEL - UK Price Variant) - Key Book with huge collector interest + First appearance of Morbius the Living Vampire, whose feature film debut although delayed by the Covid 19 Pandemic arrives in 2022 - Lizard appearance + currently tied for the 21st most valuable book on Overstreet's Top 25 Bronze Age Comics list - Gil Kane and John Romita Sr. cover with Kane Interior art - Flat/Unfolded - a photographic condition report is available on request
A Chinese bronze figure, seated wearing a long robe tied around the waist, his legs relaxed at ease, both hands resting on his knee with luxuriant gathered sleeves spilling over each side, 9cm high, andanother bronze figure,standing in a long robe on a lotus pedestal, holding a double gourd vase in his hands, 14.5cm high, on a lacquered wood base (2)铜铸供养人像 一组两件Condition report: Seated figure - surface scratches and knocks to edges consistent with age. Standing figure - surface scratches and knocks to edges consistent with age. Base with splits.
Three Japanese bronze tsuba,Meiji period (1868-1912), of typical form, comprising:one decorated with an ox coming out from a farmhouse by a stream, 7.2cm long,one with geese in relief among waves,7.6cm long, and another with blossoming prunus, incised mark Kunihiro, 6.8cm long (3)Provenance: An English private collection.Condition report: All with minor surface scratches and dents consistent with age.
Two Japanese bronze tsuba,Meiji period (1868-1912), of typical form, comprising:one decorated with a sennin under a pine tree by a river, 7.6cm long, and another with a fisherman preparing a fish,6.8cm long (2)Provenance: An English private collection.Condition report: Surface scratches and dents consistent with age.
A bronze vase, possibly Tibetan or Persian, of octagonal form, inlaid with scrolling foliage in silver and gilt, above Eight Buddhist Emblems to the everted base, 26.4cm high, 1751.3gProvenance: The collection of Major Richmond Keith Molesworth Battye (1905-1958).Major Keith Battye left the army in 1938 and joined the Indian Political Service. He was posted to the North-West Frontier, working in Gilgit and Chitral, where he was called upon to adjudicate between different tribal chiefs in the area, and where he collected Sino-Tibetan items.Condition report: Surface scratches and dents consistent with age. A small split of inlaid metal near foot. 1751.3g.
VERY RARE BRONZE RITUAL TRIPOD VESSEL NEOLITHIC-TO-BRONZE-AGE-STYLE, MONGOLIA, DONGHU TRIBE the shallow hemisphere body sturdily cast on three splayed tall feet with pointed ends, the slightly ribbed rim flanked with two looped ring handles on either side, the vessel covered overall with green and blue patination (Dimensions: 18.5cm wide) (Qty: 1)(18.5cm wide)Qty: (1)Footnote: Provenance: formerly in the Robert Hatfield Ellsworth (1929-2014) Collection, acquired from Sotheby's New York on 19th March 2002, lot 30 Note: Robert Hatfield Ellsworth (July 13, 1929 – August 3, 2014) was a Manhattan-based American art dealer of Asian paints and works of art. His art collection is mainly found in museums in the United States. He was a supporter of architectural restoration in Huangshan, China and is an honorary Chinese citizen.
PAIR OF VERY RARE BRONZE RITUAL TRIPOD VESSELS NEOLITHIC-TO-BRONZE-AGE-STYLE, MONGOLIA, DONGHU each vessel composed of a shallow dish body with inward turning rim, sturdily supported on a tall, hollowed foot terminating to a splayed base, the vessel covered overall with green and blue patination (Dimensions: 20.2cm high each) (Qty: 2)(20.2cm high each)Qty: (2)Footnote: Provenance: formerly in the Robert Hatfield Ellsworth (1929-2014) Collection, acquired from Sotheby's New York on 19th March 2002, lot 30 Note: Robert Hatfield Ellsworth (July 13, 1929 – August 3, 2014) was a Manhattan-based American art dealer of Asian paints and works of art. His art collection is mainly found in museums in the United States. He was a supporter of architectural restoration in Huangshan, China and is an honorary Chinese citizen.
A RARE ARCHAIC BRONZE RITUAL WINE VESSEL AND COVER, HULate Spring and Autumn Period, late 6th-5th century BCThe slender pear-shaped body rising from a spreading foot, crisply cast in relief with four bands of S-scrolls with curled tips within plain borders, all below a band of upright flat-cast blades around the tall waisted neck, the shoulders set with a pair of taotie-mask loop handles suspending loose rings, each ring with a chain to a dragon-shaped handle, all under a light green encrustation. 36cm (14 1/8in) high. (2).Footnotes:春秋晚期，公元前六至五世紀晚期 青銅羽翅紋提梁鏈壺Provenance: an important European private collection來源：歐洲重要私人收藏According to the 'Rites of Zhou' Zhou Li, hu ritual vessels such as the present lot were used as wine containers during the performance of sacrificial ceremonies in Bronze Age China.Wine vessels were cast in a variety of designs. Vessels like the present example, set on a low ring foot patterned to resemble a twisted rope, with the lid attached to a long chain handle and four movable rings at the neck, have been mainly excavated from central and southern Chinese provinces including Henan, Hebei, Shandong, and Guangdong Province. These excavations have shown that actual ropes were passed between the rings around the neck and the corresponding ones on the lid, to hold the lid firmly in place while the vessel was being carried; see Wang Tao, Chinese Bronzes from the Meyingtang Collection, London, 2009, p.96; and J.So, Eastern Zhou Ritual Bronzes from the Arthur Sackler Collections, New York, 1995, vol.3, p.250.Compare with a related bronze hu vessel and cover, 4th century BC, of similar form and proportions but with an undecorated body, excavated from Qufu Xian M3 site in Shandong Province, illustrated by J.So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, New York, 1995, vol.3 p.277, fig.49.2. See also another bronze hu vessel and cover, 4th-3rd century BC, with flat-cast decorative bands and taotie-mask loose ring handles on the lower body, excavated in Jiangling Yutaishan, Hubei Province, illustrated in Ibid., p.287, fig.51.3.A very similar bronze ritual wine vessel and cover, hu, late Spring and Autumn period, late 6th-5th century BC, was sold at Christie's New York, 21 March 2014, lot 2023.長頸，口微侈，球形腹，圈足。蓋呈穹頂，上有雙環。肩部一對獸頭鋪首耳，上銜鍊和提梁。提梁扁圓，兩端飾獸首，與銅環套接而成的鏈相連。頸飾卷雲紋，肩上一周蕉葉蟬紋，腹飾四周羽翅紋。壺為酒器，形如本例的提梁鏈壺在中國中部及南部，包括河南、河北、山東、廣東等省份，皆有發現。考古出土的提梁鏈壺，提鏈大多穿過蓋頂銜環，使器蓋和器身連在一起，使用時不至缺失。參見汪濤著，《玫茵堂藏中國銅器》，倫敦，2009年， 頁96；及蘇芳淑著，《Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collections》，卷三，紐約，1995年，頁250。比較一例山東曲阜出土公元前四世紀青銅提梁鏈壺，形制類似本例，惟無紋飾，收錄於蘇芳淑著，《Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collections》，卷三，紐約，1995年，頁277，圖版49.2。另有一例湖北江陵雨台山出土公元前四至三世紀提梁鏈壺，下腹另有四隻鋪首銜環耳，出處同上，頁287，圖版51.3。一件春秋晚期，公元前六至五世紀晚期青銅提梁鏈壺，售於紐約佳士得，2014年3月21日，拍品編號2023，可資比對。For further information on this lot please visit Bonhams.com
A RARE GOLD-SPLASHED BRONZE OVAL INCENSE BURNERXuande six-character mark, 18th centuryThe vessel of elliptical form with gently-flaring sides rising from four ruyi feet, the greenish-brown patina with numerous irregular gold splashes in varying sizes, the base with an apocryphal Xuande six-character mark. 21.5cm (8 1/2in) wide.Footnotes:十八世紀 銅灑金洗式爐「大明宣德年製」楷書款Provenance: an important European private collection來源：歐洲重要私人收藏Notable for its elegant and restrained form, the present vessel takes the form of a vessel type known as 'narcissus bowl', shuixian pen, which may have served as a incense burner as well as a floral bowl, probably as an elegant accessory on a scholar's desk. The elliptical form of narcissus basins appears to have originated in the ceramic production of the Northern Song dynasty (960-1127). See for example the exquisite Ruyao-glazed 'narcissus basins' dating to the 11th and 12th century and standing on four ruyi feet, in the National Palace Museum, Taipei, illustrated by Lin Baiting, Special Exhibition of Ju Ware from the Northern Song Dynasty, Taipei, 2006, no.7.The origin of gold-splash decoration remains a source of speculation. The decoration, noted on the present example, may have been based on a Ming dynasty practice of decorating bronzes. This is suggested by a line drawing of a gold-splashed incense burner in the 'Illustrated Catalogue of of the Ritual Vessels of the Xuande Period' Xuande Yiqi Tupu, which purports to be the wording of an Imperial decree of 1428 ordering bronzes for the Palace, and which illustrates these vessels. Many scholars, however, have argued that the this work may have been published at a later stage than the Ming dynasty; see R.Kerr, Later Chinese Bronzes, London, 1990, p.18.An oval 'narcissus bowl' bronze incense burner, 16th-17th century, featuring a similar elliptical form as the present lot, is illustrated by S.Moss, The Second Bronze Age. Later Chinese Metalwork, London, 1991, no.43.爐型橢圓洗式，敞口淺腹，腹壁斜直內收，下底出一周圓弧棱線，承四隻如意云足。通體灑金，於古樸中見富麗。爐底中央減地陽文「大明宣德年製」六字楷書款。明宣德時期依據古籍典錄及宋瓷形制鑄造銅爐，洗式爐即成經典形制之一，明末清初之際仿鑄尤盛，頗受文人雅士的喜愛。此種器型原型可參考台北國立故宮博物院館藏北宋汝窯青瓷水仙盆，釉面純淨無紋，且同樣接雲頭型四足，本品造型與之如出一轍；見林柏亭編著，《大觀 北宋汝窯特展圖錄》，台北，2006年，編號7。比較一例十六至十七世紀銅洗式爐，形似本例，收錄於S.Moss著，《The Second Bronze Age. Later Chinese Metalwork》，倫敦，1991年，編號43。For further information on this lot please visit Bonhams.com
A RARE PAIR OF ARCHAIC BRONZE RITUAL WINE VESSELS, HUWarring States PeriodEach vessel of pear-shaped body cast with three horizontal bands of interlocking and confronted dragons, divided by narrower bands decorated with stylised cicada and geometric designs, above a band of twisted-rope designs at the mouth, the neck set with two taotie masks suspending ring handles, the surface with a greyish-green patina with some areas of encrustation. 36cm (14 3/8in) high. (2).Footnotes:戰國 青銅蟠螭紋壺一對Provenance: Vanderven & Vanderven, LE 's-Hertogenbosch, n.180 (label)An important European private collection來源：荷蘭斯海爾托亨博斯古董商，Vanderven & Vanderven，n.180（標籤）歐洲重要私人收藏The present pair of hu vessels is a remarkable example of the creativity associated with Bronze Age design evolution, first developing in the Western Zhou period, after which ritual bronzes continued to become increasingly elaborate throughout the Eastern Zhou period.Bronze vessels hu served as wine containers during the performance of sacrificial ceremonies aimed at worshipping the ancestors. These elaborate vessels were reserved for the highest-ranking members of society and were thus powerful indicators of the power and wealth of their owner. Although hu vessels may have been in use since the Shang dynasty, they became popular during the Zhou dynasty, with many variants being produced at this time. The present vessel exhibits a dense sculptural decoration that is the direct result of the use of 'master decor stamps', also known as 'pattern blocks', which facilitated the mould-making process and brought about specialisation and mass production to meet the rapid commercialisation of the bronze industry. Hu vessels of similar shape to the present example, typically set on a low foot patterned to resemble a twisted rope, have been mainly excavated in Henan Province, in North China. See for example, a hu vessel, late 6th/5th century BC, excavated from an Eastern Zhou burial in Huixiang Zhaogu, Henan Province, illustrated by J.So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol.3, Washington DC, 1995, pp.248, fig.42.1.Compare with a similar bronze vessel hu, 5th century BC, in the Metropolitan Museum, New York, illustrated by D.Leidy, How to Read Chinese Ceramics, New York, 2015, p.22, fig.2.1. See also a similar bronze hu, Eastern Zhou dynasty, in the British Museum, London, no.1960.0724.1.A similar bronze ritual wine vessel, hu, late Warring States period, was sold at Christie's New York, 15 September 2011, lot 1129.壺侈口束頸，球形腹，圈足。肩部一對鋪首銜環耳。頸飾绹索紋一匝，腹部凸起四道變形蟬紋為界，其間飾三週蟠螭紋，繁密交纏。圈足各飾一周變形蟬紋。春秋及戰國時期，青銅器鑄造工藝大幅發展，紋飾風格也有別於商代的神秘奇詭和西周的質實典重，而愈加繁複綺麗。本例主體密集往復的浮雕裝飾，應使用模印法，即以印模在尚未全乾的陶胎上連續印製鑄成，是戰國時期青銅紋飾的典型例證。形似本例的青銅壺多見於中國北方如河南等省份，如河南輝縣趙固出土一件公元前六至五世紀青銅壺，收錄於蘇芳淑著，《Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collections》，卷三，華盛頓，1995年，頁248，圖版42.1。另可參考紐約大都會藝術博物館藏一件公元前五世紀青銅壺，與本例相似，見D.Leidy著，《How to Read Chinese Ceramics》，紐約，2015年，頁22，圖版2.1；以及倫敦大英博物館藏一件東周青銅壺，藏品編號1960.0724.1。一件戰國晚期青銅蟠虺紋壺，售於紐約佳士得，2011年9月15日，形制相仿，可資參考。For further information on this lot please visit Bonhams.com
A VERY RARE ARCHAIC BRONZE FOOD VESSEL, YULate Shang Dynasty, 13th-12th century BCThe deep rounded sides crisply cast in high relief with four large taotie masks separated by vertical notched flanges, separating confronted birds on the pedestal foot, the pairs of similar birds below the everted rim divided by small animal masks, all reserved on leiwen bands, with a mottled milky-green patina and some buff earth encrustation, the base cast with two pictograms reading Jiran 己冉. 25.5cm (10in) diam.Footnotes:商晚期 青銅饕餮紋己冉盂Provenance: Kaikodo, New York, Autumn 2001A European private collectionChristie's New York, 21 September 2004, lot 153An important European private collectionPublished: Kaikodo Journal, New York, Autumn 2001, no.52, pp.184-185 and 332-335.來源：美國紐約古董商懷古堂，2001年秋歐洲私人舊藏紐約佳士得，2004年9月21日，拍品編號153歐洲重要私人收藏出版著錄：《懷古堂圖錄》，紐約，2001年秋，編號52，頁184-185及332-335This vessel has an inscription cast in the interior with two characters reading Jiran 己冉, which relates to the powerful clan for which the vessel was produced. The present piece is notable and rare for its exceptionally large size, the swelling volume and the crisp decoration of taotie masks beneath a band of bovine heads interspersed in relief amidst kui dragons.Archaic bronze food vessels, yu are among the most highly prized and technically sophisticated objects manufactured in Bronze Age China. Reserved for use by the most powerful families of the time, they carried offerings of grain and vegetables presented to the ancestors during the performance of elaborate rituals and were often accompanied in burials by tripod vessels, ding. The role of these elaborate bronze vessels was fundamental in ensuring the continuity of family lines, as it was believed that ancestors were active participants in the life of their living offspring, which they could positively influence if provided with continuous nourishment.The extant number of skilfully-made vessels in ancient China testifies to a highly-organised bronze casting industry at the time. Hundreds of men were employed in mining, smelting and transporting metal from mining areas to the capital and the workshops. In addition, the large quantities of material required and the many stages involved in the casting process depended upon subdividing the tasks among a large number of workmen. No single craftsman contributed to every stage in the production of a particular vessels. Workshops were therefore large in size and specialised mould-makers, casters and finishers were required to make the vessels; see J.Rawson, 'Bronze Metal Circulation in China' in Antiquity, vol.91, issue 357, 2017, pp.674-687.Yu vessels were popular during the late Shang dynasty, particularly during the Yinxu period (circa 13th-11th centuries BC). The physical form of the yu, consisting of a round body rising from a splayed foot, may have derived from a pottery prototype. Unlike the food vessels gui that were prevalent during the succeeding Western Zhou dynasty, yu do not have ring handles. Oracle-bone inscriptions dating to the Shang dynasty depict the yu vessel as a pictograph depicting a food container with a hand holding a spoon, and according to research, this vessel was used specifically for making offering of grains and vegetables, and was often paired with the tripod ding vessels storing cooked meat of various kinds.Bronze vessels dating to the Shang dynasty were often cast with pictograms, such as the present example. These symbols included birds, weapons or humanoid figures, and usually referred to the names of either the aristocratic owners who commissioned the vessels, or the ancestors to whom the vessel was dedicated.The three basic designs employed on the present vessel, comprising alternating bands decorated with taotie and kui dragons interspersed with bovine heads, are often found on vessels belonging to the highest-ranking members of society, dating to the later phases of the Shang dynasty. The tomb of Fu Hao (d.circa 1200 BC), favourite consort of the Shang emperor Wu Ding, for example, yielded a bronze yu vessel decorated with similar schemes to the present example, and is illustrated by J.So, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington DC, 1987, p.499, fig.96.5. A related bronze yu vessel, Shang dynasty, formerly in the collection of Dr.A.F. Philips, was sold at Sotheby's New York, 22 March 2011, lot 14.器內鑄「己冉」二字銘文。己應為日名，冉則為族徽文字，表明器主所在的族氏。盂為青銅禮器中的盛食器，多見侈口深腹圈足，有獸首耳或附耳，少量無耳，器形似簋而大。中英文世界對此類器物定名不一，此處沿用盂的叫法。「盂」字自甲骨文起就以像形造字，形似一手持勺於食物容器之上。學者研究認為，盂一般用於存放黍稷等穀物和蔬菜，常與盛放肉類的鼎搭配使用。盂最早出現於商晚期前段，流行於西周，春秋時期尚有所見。此例直口寬唇無耳，屬商晚期典型器型。深腹，近底內斂，下有高圈足外撇。頸部與圈足均飾相對變形夔紋，腹部主體紋飾為饕餮紋，怒目圓睜，與頸部中心的高浮雕牛首相輔相成。整體紋飾以雷紋填底，多層次的淺浮雕線條勁利，渾然天成。本例的獨特紋飾，即器身交替出現的饕餮和夔紋飾帶，以及中心的浮雕牛首裝飾，常見於商代晚期高級貴族之用具。商王武丁之寵... For further information on this lot please visit Bonhams.com
A GOLD-SPLASHED BRONZE INCENSE BURNER, GUIXuande six-character mark, 17th/18th centuryThe vessel of bombé form supported on a short spreading foot, cast with a pair of loop handles, the bronze patinated to a warm chocolate tone liberally decorated with irregular gold splashes, the base cast with a Xuande six-character mark. 19cm (7 1/2in) wide.Footnotes:十七/十八世紀 銅灑金蚰龍耳簋式爐「大明宣德年製」楷書款Provenance: an important European private collection來源：歐洲重要私人收藏Elegantly decorated with irregular spots and flakes of gold, seemingly emerging from the alloy at different angles, the present vessel is notable for its subtle and pleasing overall appearance.The origin of gold splashes on bronze is unclear. A possible moment of inspiration for the present vessel may have been the Ming dynasty. This is suggested by a line drawing of a gold-splashed incense burner in the 'Illustrated Catalogue of of the Ritual Vessels of the Xuande Period' Xuande Yiqi Tupu. The work purports to be the wording of an Imperial decree of 1428 ordering bronzes for the palace. Many scholars, however, have argued that the this work may have been published at a later stage than the Ming dynasty; see R.Kerr, Later Chinese Bronzes, London, 1990, p.18.Compare with a similar gold-splashed bronze incense burner, Xuande six-character mark, 17th-18th century, illustrated by S.Moss, The Second Bronze Age. Later Chinee Metalwork, London, 1991, no.56.See also a gold-splashed bronze incense burner censer, Xuande six-character mark, 17th century, of similar size and shape to the present lot, which was sold at Christie's London, 5 November 2019, lot 82.侈口，束頸，圓鼓腹下垂，圈足外撇。爐身兩側置雙蚰耳，起自頸部，收於腹部。通體灑金，參差錯落，妙得神韻。爐底中央鑄減地陽文「大明宣德年製」六字楷書款。本品所用的灑金工藝或創於明代，較傳統的鎏金工藝工序繁複許多，但起源尚不明晰。《宣德彝器圖譜》繪有一件灑金銅爐，可資證明。《宣德彝器圖譜》據傳編撰於1428年，然而也有學者認為其成書時間或晚於明代。參見R.Kerr著，《Later Chinese Bronzes》，倫敦，1990年，頁18。參考一件十七至十八世紀銅灑金簋式爐，「大明宣德年製」款，收錄於S.Moss，《The Second Bronze Age. Later Chinee Metalwork》，1991年，編號56。另有一件十七世紀銅灑金蚰龍耳簋式爐，形制大小皆似本例，且同樣鑄有宣德仿款，售於倫敦佳士得，2019年11月5日，拍品編號82，可資比對。For further information on this lot please visit Bonhams.com
Pair of bronze-effect Jingchang ceramics (model 320236) lamps, 41.5cm x 44cm approx Condition: Sold as seen, electrics not guaranteed or tested, firing faults in places with some light scratches, please check extra images which may show some condition issues. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
A walnut, parquety inlaid, and gilt metal mounted occasional table, in Louis XVI style, circa 1900, attributed to Donald Ross and in the manner of Riesener, 71cm high, 41cm wide, 36cm deepProvenance: Berwick House, ShropshireDonald Ross (1830-1916) was one of the most celebrated Victorian furniture makers. Located at 13 Denmark Square, Soho, his firm supplied furniture to some of the most important retailers of the period including Edwards & Roberts, Gillows and John Watson of Oxford Street, as well as exhibiting in the 1851 Great Exhibition. His work is characterised by its distinctive dot and trellis parquetry (as seen on this lot), a technique Ross developed in the fourth quarter of the 19th century inspired by the work of renowned 18th century Parisian makers such as Jean-Henri Riesener and Pierre Garnier. For a pair of tables by Ross incorporating dot and trellis parquetry are currently held at the Victoria & Albert Museum in London (W.47:1, 2-1911, W.47A&B-1911). Condition Report: Marks, knocks, scratches and abrasions consistent with age and useSome loss of veneers to one corner banding to the top and another circular loss to the front of the top.Lacking some fillets filling the gap between the underside of the wood table top and the gilt bronze mountsSome cracks to the frieze veneers.The lower tier shelf with a 'gouged' scratch. The end of one section of the gilt bronze gallery is bent.The gilt bronze mounts around the top 'polished' and smoother than the other mounts. The gilt brass feet with some movement to the leg joints, which gives some movement to the table when wobbled back and forth under pressure. Please refer to additional images for visual reference to condition Condition Report Disclaimer
A Russian bronze group of a Circassian on Horseback, Chopin foundry, after the model by Evgeny Lanceray, dated 1873, the rider portrayed in traditional dress of a fur hat and coat, standing atop his horse's saddle and aiming a rifle, on a naturalistically modelled rectangular base with canted corners, approximately 28cm high This model by the prolific St. Petersburg born painter and sculptor Lanceray depicts a Circassian rider practicing the traditional equestrian sport of Dzhigitovka, in which the rider performs complex stunts and acrobatic tricks on horseback. The Chopin foundry received a patent to cast this model in bronze in 1874, and in 1876 it was presented at the Centennial Exposition in Philadelphia.Condition Report: The bronze bears the usual minor marks, knocks, scratches and scuffs overall consistent with age. The patina is a quite dark and rich brown, with areas of rubbing and lightening particularly to he exposed edges.The bronze may have once had reins, and they are lacking.The rifle is a little bit bent.There is a subtle join to the tail, though this may be the result of manufacture. Some dirt to the recesses which could presumably be addressed with a gentle clean. Condition Report Disclaimer
A cold-painted bronze model of a hound, possibly Austrian, circa 1900, 23cm in length; and a cold painted bronze model of a bulldog, 9cm highProvenance: Berwick House, ShropshireCondition Report: The hound, with rubbing to the brown painted areas and chips to the white paintSome marks and scuffs to the leading edges, commensurate with age and wearNo serious loses or damageThe bulldog, with some rubbing to the paint and some knocks, marks and scratches commensurate with age and usePlease refer to additional images for visual reference Condition Report Disclaimer
Four Matchbox Lesney Regular Wheels Bikes & Lambretta Scooter, 2 x unboxed 4c Triumph 110 and sidecars, steel blue bikes, silver spoked wheels, unboxed 36c Lambretta & Side Car, metallic green body, black plastic wheels and boxed 66b Harley Davidson Motor-cycle and sidecar, metallic bronze spoked wheels, in D type box, models are good to excellent original condition, 66b box is good, with edge/age wear, (4 items)
A French ormolu mounted bronze mantel clock, c1830, in Empire style, with winged cherub finial, the cornice with applied egg and dart border, the front with rose cast bezel and laurel and foliate branch spandrels, the silvered chapter ring with roman numerals, embossed leaf scroll dial, inscribed Pons a Paris, the base with acanthus and lappet cast border, on foliate scroll feet, eight day movement stamped 555, striking on a bell, 30cm h Generally good consistent with age, minor tear to back wing of cherub, small dents, scratches and abrasions
Admiral Rodney Maclaine LLoyd (1841-1911) A Royal Humane Society Bronze medal: stamped 'Rodney M Lloyd, mate 31,Jan,1861' to edge' (RHS case number 16643)*Notes-Rodney Maclaine LLoyd was born in 1841 and joined the Royal Navy at the age of 12 in 1854. Distinguishing himself during service in the South China Sea he became 'mate' in July 1860. In 1861 he jumped overboard to save a young boy who had fallen from HMS Terrible in the harbour at Messina, an act for which he was awarded The Egyptian Medal, The Khedives Star and the RHS Bronze Medal. Subsequent service in China, the West Indies and Malta saw his career rise up to the rank of Admiral in 1904.
A pair of Japanese Meiji period bronze twin handled vases (one handle loose and detached) with floral decoration in relief, on circular bases, unmarked, height 39cm (2).Additional InformationOne handle loose and detached, but present, further scratches, nicks, some pitting and general wear commensurate with age throughout, some slight knocks, etc.
A North Thailand bronze oil lamp, c14th century with handle to upper section, height 15cm, length 15.3cm, and a Chinese censer on three feet, length 18.5cm (2).Additional InformationHeavy wear throughout commensurate with age, pitting, corrosion, dust, dirt, some cracks including a repaired break to upper section of oil lamp with further similar to joints on lower section.
Three small Roman Empire bronze figures comprising a small figural pendant depicting a matron, length 2.7cm, a cockerel, height 3.7cm and a mouse, all circa 2nd-4th century AD (3).Provenance: a private UK collection assembled from registered dealers in the 1980s and 90s.Additional InformationWear commensurate with age, some surface pitting, corrosion, etc.
A RARE LARGE BRONZE 'LUOHAN AND ELEPHANT' INCENSE BURNER17th centuryThe luohan seated with a smiling expression, wearing voluminous robes open at the chest decorated with crane and cloud scroll motifs and pierced to the reverse as a smoke outlet, a scroll held in the crook of his left arm; the elephant with the head turned towards the back, wearing a saddle cloth with archaistic characters within sinuous dragon borders and elaborate beaded trappings to the body.44cm (17 1/4in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十七世紀 騎象羅漢香薰The Luohan riding the elephant can be identified as Kalika, one of the Eighteen Arhats also known as the 'Elephant Riding Luohan' 騎象羅漢. Compare with a related bronze figure of Guanyin seated on an elephant, late Ming to Qing dynasty, illustrated in The Second Bronze Age: Later Chinese Metalwork, Hong Kong, 1991, no.7.For further information on this lot please visit Bonhams.com
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