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Click here to subscribeCHANEL VINTAGE Shopper, Koll. 1994/1996. Beschichtetes Textil in Bronzefarben mit goldfarbener Hardware, Gliederkettenriemen mit Leder durchflochten, Front mit CC-Logo, Hauptfach mit RV-Innenfach. SB und ID-Card anbei. Leichte Altersspuren vorhanden. 40x9x30cm. CHANEL VINTAGE shopper, coll.1994/1996. Textile in bronze with gold colored hardware. With dustbag and ID-card. Signs of age, but good condition. 40x9x30cm.
Marvel, DC Comics, Wildstorm, Others - A collection of over 20 bronze / modern age mainly UK comics. Lot includes Scream #1-#14 March - June 1984 in Fair condition with browning and tears to a few copies; Wildstorm Friday the 13th Pamelas's Tale #1 of 2 Sept 07; Marvel Valour Winter Special 1980 and similar. Comics range from Fair - Excellent.
Antique Mameluke style sword in relic condition. The curved blade measuring 69cm is fitted to a bronze cross guard, lacking pommel. Also an eastern hand axe possibly Indian with a crocodile skin handle. (2). Age of axe late Victorian to early 20th C.Axe head rusted and pattern underneath hard to distinguish. Crocodile wrap cracking and stitching coming away.
A Neapolitan green patinated bronze figure of Narcissus, late 19th century, mounted on an inverted scroll reconstituted stone pedestal, the figure 61cm high, total 143cm high. Condition Report Heavy patination to the bronze figure, consistent with age/outdoor use. The Vicenza stone stand in general weathered outside condition, no major damage or faults.The black marks on the figure is just the natural patina/ colour, should detach from base with two flat head screws, we can re-sell the base.
Marcel-André Bouraine (French, 1886-1948): Girl with Hoop, A Bronze Figure, circa 1925, modelled as a nude holding a hoop, on a variegated marble base, signed A Bouraine, stamped under right foot 189, 45cm See illustration .Casting joints are visible to the arms and lifted leg, water splashes and dirt, otherwise with light surface wear indicative of age. Base is damaged. Hoop is split.
A VERY LARGE CLOISONNE HU, MING DYNASTYChina, 16th-17th century. The pear-shaped vase is finely enameled around the globular body, shoulder and neck with registers of large lotus blooms borne on leafy meandering scrolls, all supported on a tall, splayed foot similarly decorated. The shoulders are applied with a pair of enameled Taotie mask handles suspending flattened, loose rings that bear enameled decorations as well. Provenance: From the collection of a New York Connoisseur, and thence by descent within the same family. By repute acquired ca. 1960. Condition: The bronze lip, ring, edges and foot rim show old wear, some dents and warpings. The base plate inside the foot may have been re-attached some time ago. The enamels show firing flaws such as crazing and pitting, common to this type of ware. Some minor nicks, cracks and small chipping here and there, commensurate with age. ATTENTION: Some of the color variations to the blue background that may look like old fillings are in fact part of the original enameling. The general condition of the enamels is fully original, with no restoration or repairs whatsoever, checked thoroughly under a strong blue light. In general, the condition is good, especially when considering the high age of this massive vessel.Weight: 8.9 kg Dimensions: 53 cm Auction result comparison: Compare with a closely related Hu of 59 cm, dating from the 16th-17th century, at Sotheby’s New York in Important Chinese Art, 12 September 2018, lot 308, bought in at an estimate of USD 50,000-70,000.明代銅胎掐絲琺琅纏枝蓮紋獸耳壺 中國，十六至十七世紀。梨形壺，球形壺身精美的琺瑯，纏枝蓮花，高圈足。 壺肩上饕餮耳雙環。 來源：紐約一位藝術鑒賞傢的收藏，保存在同一家族。據説購於1960年代。 品相：青銅的唇沿、邊緣和圈足可見舊時磨損，有一些凹痕和翹曲。 底足底板可能之前重新安裝過。琺琅顯示出這類產品常見的燒制缺陷，例如開裂和凹痕。隨年齡的增長，一些小刻痕、裂縫和小磕損隨處可見。注意：藍色琺琅地的某些顏色變化看起來像是舊填充物，實際上是原始琺琅的一部分。 瓷釉的狀況完全是原始的，在強烈的藍光下進行了徹底檢查，沒有任何修復或修理。 狀況良好，尤其是考慮到這類大型器皿的年代。 重量：8.9 公斤 尺寸：53 厘米 拍賣結果比較：一件相近的59厘米高的壺，斷代為十六至十七世紀，可見于紐約蘇富比Important Chinese Art拍場，2018年9月12日，lot 308，估價為 USD 50,000-70,000.
A BLACK POTTERY AMPHORA WITH APPLIED BRONZE BOSSES, HAN DYNASTYChina, 202 BC to 220 AD. With waisted, incised neck and everted, pinched mouth emanating two bold wide strap handles joining the ovoid, tapering body centered by spiral designs; applied overall with conical metal bosses.Provenance: Austrian private collection. Galerie Zacke, Vienna, exhibition from 1 April to 29 May 2004. Dr. Mons Fischer, acquired from the above. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Good condition with old wear and casting flaws, small nicks here and there, the bosses with malachite-green and copper-red encrustations, drilled holes from sample-taking, some losses and minor repairs, all exactly as expected from an authentic piece with this age.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 9 September 2003, based on sample no. C103r67, sets the firing date of both samples taken at 1500 – 2400 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 4,573 gDimensions: Height 33 cmAuction result comparison: Compare with a near-identical amphora at Bonhams San Francisco in The Ed Hardy San Francisco Collection on 5 May 2009, lot 1321, sold for USD 3,050.漢代黑陶嵌銅泡釘雙耳壺中國, 公元前202 BC至公元220年。縮頸，壺口外撇，鼓腹，寬大的雙耳從壺口延伸到腹部。壺上鑲嵌泡釘。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2004年4月1日至5月29日展覽。 Mons Fischer博士購於上述藝廊。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：狀況良好，有舊磨損和鑄造缺陷，到處都有小缺口，銅綠與結殼。因爲檢測進行樣品採集而鑽孔，一些缺損和小修，與其年代相符。科學檢測報告：隨附牛津熱釋光檢測報告副本，根據樣本C103r67，2003年9月9日測試結果，該拍品應爲1500-2400年前所制。 重量：4,573 克 尺寸：高33 厘米 拍賣結果比較：一件幾乎一模一樣的雙耳壺見舊金山邦瀚斯 The Ed Hardy San Francisco Collection 拍場2009年5月5日 lot 1321, 售價USD 3,050.
A WHITE-GLAZED ‘PHOENIX’ INCENSE HOLDER, LIAO TO YUAN DYNASTYChina, 10th-14th century. Molded in the form of a phoenix surmounted by an archaistic gu vase serving as the joss stick holder, the legs connected in a star shape, the back leaning on the inward-curled tail, the details of the head and plumage finely modeled in relief.Provenance: Ming House, Hong Kong, 1996. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Very good condition with minor wear and firing flaws, such as firing cracks, minuscule frits, glaze pooling, glaze recesses, and brown spots, as well as occasional light scratches, intentional crackling, the gu slightly tilted. All commensurate with age and exactly as expected on this type of ware.Weight: 253.0 gDimensions: Height 17 cmExpert’s note: The present lot is based on an archaistic bronze model that mainly enjoyed popularity among literati from the Song dynasty onwards.Literature comparison: J. Koop, Early Chinese Bronzes, New York 1971, p. 70, ill. 100A. Rose Kerr, Later Chinese Bronzes, London 1990, p. 77, fig. 60.遼至元代白釉鳳形香插中國，十至十四世紀。鳳凰形仿觚香插，腿部呈星形，尾巴向內彎曲穩定支撐，頭部和羽毛細節造型精美。來源：Ming House, Hong Kong, 1996. Dr. Koos de Jong收藏，購於上述收藏（發票已丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam)品相：狀況極佳，有輕微的磨損和燒制缺陷，例如燒制裂紋，微小的熔塊，釉料積聚，釉料凹處和褐色斑點，偶有輕度划痕，觚稍有傾斜。 一切都與年齡相稱，並且完全符合此類器物的形制。重量：253.0 克尺寸：高17 厘米 專家注釋: 此類仿古器型宋朝起頗受文人親賴。
A TURQUOISE GLAZED POTTERY CENSER, FANGDING, 17TH – 18TH CENTURYChina, 1670-1730. The archaistic vessel raised on four legs issuing from mythical beasts’ mouths and with two upright loop handles, taotie mask panels and flanges on each side above sinuously coiled chilong, all covered in a finely crackled turquoise glaze. The wooden cover pierced with ruyi heads and fitted with a pale celadon jade finial.Provenance: French private collection.Condition: Good condition with minor wear, small losses, minuscule nicks and scratches, all consistent with age. Remnants of old polychrome painting.Weight: 1,119 gDimensions: Height 22.3 cmSkillfully crafted with a smooth glaze that pools at the horizontal bands to accentuate the form, the present vessel is quite rare. In the late 17th to early 18th century, antiques were used as the standard for quality, models for archaistic designs and inspiration for innovation. Simplicity of form was a stylistic trend endorsed by the Emperor. The fresh modernity of this vessel, with its allusion to an archaic bronze, is an example of the minimalism that demanded a solid level of aesthetic conception and technical ability from the potter.Auction result comparison: Compare with a Dehua fangding censer, sold by Christie’s New York in Fine Chinese Ceramics and Works of Art (Parts I & II) on 22-23 March 2012, lot 2067, for USD 7,500.十七至十八世紀綠松石色釉方鼎香爐 中國，1670-1730。仿古方鼎四蹄足，神獸形四腿，兩個直立附耳。方鼎飾饕餮紋與螭龍紋，施綠松石色釉。木蓋鏤空裝飾如意紋，鑲嵌青玉飾。 來源：法國私人收藏 品相：狀況良好，輕微磨損，小缺損，輕微刻痕和划痕，均與年代相符。舊彩繪餘留。重量：1,119 克 尺寸：高22.3 厘米 拍賣結果比較：一件德化方鼎爐售于紐約佳士得Fine Chinese Ceramics and Works of Art (Parts I & II) 拍場，2012年3月22-23日，lot 2067，售價USD 7,500。
AN ARCHAIC BRONZE RITUAL TRIPOD VESSEL AND COVER, DING, WARRING STATESChina, 475-221 BC. The vessel and cover of compressed globular shape with a central bowstring supported on three legs issuing from lions’ mouths and with two gently curved loop handles, the domed cover with three upright bird finials.Provenance: French private collection.Condition: Very good condition commensurate with age, traces of age and wear, some nicks here and there, four small old fills (inspected under strong blue light). Rich brown patina with areas of malachite-green and copper-red encrustation.Weight: 625.3 gDimensions: Height 12.8 cmAuction result comparison: A related ding vessel and cover was sold by Sotheby’s New York in Chinese Art on 21 March 2015, lot 802, for USD 15,000.戰國三足蓋鼎 中國，公元前475-221。三足鼎呈球躰，三蹄形足，環形附耳，圓頂蓋帶有三個直立的鳥形鈕。 來源：法國私人收藏 品相：品相與其磨損痕跡相符，多處有刻痕，四個小小的舊填充物（在強烈的藍光下進行了檢查）。 豐富的棕色銅綠包漿，孔雀石綠色和銅紅色結殼。 重量：625.3 克 尺寸：高12.8 厘米 拍賣結果比較：一個相近蓋鼎于2015年3月21日售于紐約蘇富比《中國藝術》拍場，lot 802，售價USD 15,000。
AN ARCHAIC BRONZE RITUAL TRIPOD VESSEL AND COVER, DING, EASTERN ZHOUChina, 4th century BC. The vessel and cover of compressed globular shape with a central bowstring supported on three feet and with two gently curved upright loop handles, the domed cover with three loops.Provenance: Previously in a family collection at Paxford House, Gloucestershire, United Kingdom. Acquired there by the present owner.Condition: Very good condition commensurate with age. Minor traces of use and wear, small nicks here and there. Rich brown patina with areas of malachite-green and copper-red encrustation.Weight: 1,936 gDimensions: Height 17.5 cm, Width 21.5 cm (handle to handle)Literature comparison: A related ding vessel and cover is in the collection of the Metropolitan Museum of Art, accession number 13.220.41a, b.Auction result comparison: A very similar ding vessel and cover was sold by Sotheby’s Paris in Arts d’Asie on 12 June 2013, lot 87, for EUR 8,125.東周三足青銅蓋爐 中國，公元前四世紀。球形蓋爐，三足，直立環形附耳，半球形圓頂蓋帶有三鈕。 來源：英國Gloucestershire 郡Paxford House家族收藏。現藏家購於上述收藏。 圖片：英國Paxford House，100多年前由同一家族繼承。 品相：狀況與年代相符。 使用和磨損痕跡不大，到處都是小刻痕。豐富的棕色銅綠包漿，綠色和銅紅色結殼。 重量：1,936 克 尺寸：高17.5 厘米，寬21.5 厘米（附耳至附耳） 文獻比較：相近蓋爐可見於大都會博物館，編號13.220.41a, b.拍賣結果比較：一件相近蓋爐售于巴黎蘇富比亞洲藝術拍場，2013年6月12日，lot 87，售價EUR 8,125。
A PARCEL-GILT ARCHAISTIC BRONZE TRIPOD CENSER, MINGChina, 1368-1644. The large incense burner of compressed globular form with two upright loop handles and supported on three legs, the sides cast with flanges as well as taotie masks in shallow relief on a leiwen ground. The highlights picked out with scattered areas of old lacquer-gilding.Provenance: French private collection. Old collector’s number “1218” painted to base.Condition: Very good condition with old wear, some casting flaws, scattered small nicks, occasional light scratches, all consistent with age. The gilding mostly worn off.Weight: 4,189 gDimensions: Height 28.5 cmAuction result comparison: A related tripod censer was sold by Christie’s London in Important Chinese Art on 3 November 2020, lot 19, for GBP 6,250.明代局部鎏金三足爐中國，1368-1644。球體狀大香爐，雙附耳，三足，雷紋底，饕餮紋。局部鎏金突出亮點。來源：法國私人收藏，底部繪有藏家老編號 “1218”。 品相：狀況良好，有舊磨損，鑄造缺陷，局部小刻痕，偶有的輕微划痕，均與年齡一致。 鎏金大多受損。 重量：4,189 克 尺寸：高28.5 厘米 拍賣結果比較：一件相似三足爐售于倫敦佳士得Important Chinese Art拍場，2020年11月3日，lot 19，售價GBP 6,250。
A BRONZE DEATH MASK, SONG TO MING DYNASTYChina, 960-1644. Cast as the face of a man, with arched eyebrows above round pierced eyes, a broad nose with pierced nostrils, large ears, and a wide smile baring many teeth. Two further piercings to either side of the chin.Provenance: French private collection.Condition: Very good condition and commensurate with age. Minor old wear and corrosion, some nibbling to edges. Fine malachite-green patina with copper-red areas.Weight: 815.8 gDimensions: Height 20 cmLiterature comparison: ‘The Liao Dynasty tomb of a Prince and Princess of the Chen Kingdom’, Zhu Qixinin, Orientations, October 1991, fig. 11. For another example made in gilt bronze sheet and excavated from a Liao tomb at Chifeng, Inner Mongolia, see ‘The Silk Road in Inner Mongolia’, Hong Kong, 2007, cat. no. 18. Also see similar examples in the Musee Guimet, Paris, reference no. MA2352, and the Philadelphia Museum of Art, 2012-53-1.Auction result comparison: Compare with a silver funerary mask from the Liao dynasty sold by Sotheby’s London in Masterpieces of Chinese Precious Metalwork, Early Gold and Silver, 14 May 2008, lot 92, for GBP 26,900.宋至明代銅面具 中國，960-1644年。依據真人樣貌，濃眉，鼻樑高挺，雙目圓睜，張嘴露齒。兩個穿孔，供連綴之用。 來源：法國私人收藏. 品相：品相極好，與年代相符，主要在邊緣有些缺損和磨損，背面覆蓋著緻密的孔雀石綠色銅綠。 重量：815.8 克 尺寸：高 20 厘米 拍賣結果比較：一件相似遼代的銀製葬禮面具，於2008年5月14日在倫敦蘇富比Masterpieces of Chinese Precious Metalwork, Early Gold and Silver拍場， lot 92，成交價GBP 26,900。
A BRONZE STORAGE VESSEL AND COVER, FANGHU, HAN DYNASTYChina, 206 BC to AD 220. The faceted pear-shaped body, raised on a slightly spreading square foot, is applied to either side with a taotie mask handle suspending a loose ring, the square cover surmounted by four flat, S-shaped finials at the corners.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Very good condition commensurate with age, old wear. Fine malachite-green patina.Weight: 1,507 gDimensions: Height 32.2 cmLiterature comparison: Compare a similar bronze fanghu excavated at Shuihudi, Yunmeng, Hubei province, now in the Yunmeng County Museum, published in Zhongguo qingtongqi quanji (‘Complete collection of Chinese archaic bronzes’), vol. 12, Beijing, 1998, pl. 9; and another in the collection of the Fujii Yurinkan, Kyoto, illustrated in Sueji Umehara, Nihon shucho Shina kodo seikwa (‘Select Relics of Ancient Chinese Bronzes from Collections in Japan’), vol. 6, Osaka, 1964, pl. 471.Auction result comparison: Compare with a related fanghu of larger size at Christie’s New York in Fine Chinese Ceramics and Works of Art on 18-19 September 2014, lot 1008, sold for USD 9,375.漢代青銅饕餮紋方壺 中國，公元前206至公元220年。 壺身為扁方體，壺口稍寬，延長收束，腹部外鼓，圜底，下接高圈足。兩側饕餮紋，挂著圓環。來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。品相：狀況與年齡、舊磨損相稱。孔雀石綠色銅綠。 重量：1,507 克 尺寸：高32.2厘米 拍賣結果比較：比較一個尺寸較大的方壺，於2014年9月18日至19日紐約佳士得Fine Chinese Ceramics and Works of Art拍場，lot 1008，成交價USD 9,375。
AN ORDOS GILT BRONZE ‘COPULATING TIGERS’ PLAQUE, WARRING STATESChina, Inner Mongolia, Ordos, 5th-3rd century BC. The plaque cast in openwork with two tigers copulating, one mounting the other from behind, with pierced eyes, ears, and paws.Provenance: Grays Antique Center, London, 1999. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good, original condition, remarkable considering the age of this plaque! Some wear, minuscule nicks, and scratches. Originally with inlays, which are missing.Weight: 5.1 gDimensions: Length 3.1 cmAccording to E.C. Bunker (see reference below): “Copulating animals occur on artifacts belonging to the non-Chinese peoples that inhabited northern China and Inner Mongolia, particularly areas where hunting was a major element in the local economy. The animals, which include leopards, wild pigs, and deer, are always wild, not domesticated.”Literature comparison: E.C. Bunker, Ancient Bronzes of the Eastern Eurasian Steppes from the Arthur M. Sackler Collections, New York 1997, p. 166, no. 71.Auction result comparison: Compare with a related but significantly larger plaque at Christie’s Paris in Arts d’Asie on 26 November 2002, lot 224, sold for EUR 5,875.戰國鄂爾多斯銅鎏金虎交媾形飾 中國，内蒙古鄂爾多斯，公元前五至三世紀。鏤空的配飾上有兩隻老虎交配，眼睛，耳朵和爪子清晰可辨。 來源：Grays Antique Center, London, 1999. Dr. Koos de Jong收藏，購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：考慮到其年代，實屬良好的原始狀態。一些磨損，微小的划痕和刻痕。 最初有鑲嵌，但已丟失。 重量：5.1 克 尺寸：長3.1 厘米 拍賣結果比較：一件相近但更大的銅牌見巴黎佳士得Arts d’Asie拍場，2002年11月26日lot 224, 售價EUR 5,875.
AN ORDOS BRONZE ‘RECUMBENT STAG’ PLAQUE, WARRING STATESChina, Inner Mongolia, Ordos, 5th-3rd century BC. Cast as a recumbent stag, with the front and hind legs tucked under the body, the head turned upwards, the antlers in the form of three loops, the reverse set with a loop for attachment.Provenance: Grays Antique Center, London, 1999. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good, original condition, remarkable considering the age of this plaque! Some wear, minuscule nicks, and scratches. Some malachite-green encrustations to the reverse in the recesses. Originally with inlays, which are missing.Weight: 5.4 gDimensions: Length 2.9 cmLiterature comparison: Similar plaques cast in bronze were found in a number of Ordos tombs in Hebei province and Inner Mongolia, illustrated in Zhongguo qingtong qi quanji, vol. 15, Beijing, 1995, pls. 150, 152- 153, and Erduosi shi qingtong qi, Beijing, 1986, p. 173, fig. 121 and pl. 88:1-5. Another set of twenty almost identical plaques is in the collection of Leon Levy and Shelby White, illustrated in Jenny F. So and Emma C. Bunker, Traders and Raiders on China's Northern Frontier, Washington D.C., 1995, cat. no. 83. E. C. Bunker, James C.Y Watt and Zhixin Sun, Nomadic Art of the Eastern Eurasian Steppes, The Metropolitan Museum of Art, New York 2002, no. 135, p. 158Auction result comparison: Compare with a lot of four closely related stag plaques, of near-identical design but crafted from gold, at Sotheby’s London in Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares on 14 May 2008, lot 2, sold for GBP 20,900.戰國鄂爾多斯青銅鹿形配飾 中國，内蒙古鄂爾多斯，公元前五至三世紀。斜躺的雄鹿，將前腿和後腿塞在身體下方，頭部向上轉動，鹿角呈三個環的形式，反向設置有一個環以固定。 來源：Grays Antique Center, London, 1999. Dr. Koos de Jong收藏，購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：考慮到其年代，為良好的原始狀態。一些磨損，微小的划痕和刻痕。局部有銅綠。最初有鑲嵌，但已丟失。 重量：5.4 克 尺寸：長2.9 厘米 拍賣結果比較：一件相近的佩飾，幾乎相同的形狀但材料為金，見倫敦蘇富比Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares 拍場，2008年5月14日lot 2, 售價GBP 20,900.
A GOLD AND SILVER-INLAID BRONZE AND JADE ‘CHILONG’ BELT HOOK, WARRING STATESChina, 4th-3rd century BC. The entire front of the arched belt hook is inlaid in gold and silver with an intricate geometric design, the shaft with four square jade plaques carved in relief with comma spirals (guwen, ‘grain patterns’), the underside with a circular button showing two phoenixes.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art. Condition: Superb condition with old wear, light scratches, few minuscule nicks, natural malachite-green encrustations, small losses and areas of erosion, all commensurate with age and exactly as expected on this type of ancient bronze.Weight: 466.4 gDimensions: Length 24.5 cmAuction result comparison: Compare with a related belt hook, of smaller size and inlaid with gold and turquoises, at Christie’s New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1529, sold for USD 100,000.戰國錯金銀青銅鑲玉螭龍帶鈎中國公元前四至三世紀。弧形帶鉤的整個正面均錯金銀復雜的幾何圖案，另鑲嵌四個渦紋方形玉飾牌，刻有谷纹，底面帶有圓形按鈕，顯示兩只鳳凰。 來源：意大利羅馬Filippo Salviati教授私人收藏。Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。Salviati教授對中國古代藝術進行了廣泛研究並出版了很多專著。品相：狀況極佳，舊時磨損，輕度划痕，極少的微小刻痕，天然的孔雀石綠結殼，損耗和受腐蝕的區域較小，這些都與年齡相稱。 重量：466.4 克 尺寸：長24.5 厘米 拍賣結果比較：一件相近帶鈎，尺寸稍小，鑲嵌金與綠松石，見紐約佳士得Important Chinese Ceramics and Works of Art 拍場2020年9月25日lot 1529, 售價USD 100,000.
A LARGE AND MASSIVE ‘FOUR BUDDHA’ DIRECTIONAL BRONZE STUPA, QINGTibetan-Chinese, 18th-19th century. Supported on an octagonal double-lotus stepped base, rising to a gallery with vajras and upright flame motifs, the domed mid-section with finely arranged beads and surmounted by images of the four directional Buddhas in arched niches.Provenance: British private collection.Condition: Very good condition with old wear, some minor casting flaws, scattered small nicks, occasional light scratches, all consistent with age.Weight: 6.9 kgDimensions: Height 48.5 cmThe conical harmika with bands of swastika motifs, surmounted by a crescent moon and sun finial with a flaming pearl motif.The set of icons that appears most conspicuously on the exterior of this stupa is known as the Buddhas of the Four Directions. These four Buddhas refer to the Ratnasaṃbhava (Baosheng) Buddha in the south, the Amitabha (Amituo) Buddha in the west, the Amoghasiddhi (Bukong chengjiu) Buddha in the north, and the Akṣobhya (Achu) Buddha in the east, all as seen for example on the four exterior walls of the North Pagoda in Chaoyang, Liaoning, dated to 1043–44. The image of each Buddha is located on the side of the shaft facing the cardinal direction with which the Buddha is associated. Together with the Vairocana Buddha, the group comprises the Five Wisdom Buddhas (wuzhi rulai) that constitute the Diamond World Mandala in the tantric tradition.清代大型四佛青銅佛塔 漢藏，十八至十九世紀。八角形的雙蓮花階梯式底座，佛塔四方分別立著一位佛尊。金剛火焰紋，拱頂的中間部分立有寶珠。 來源：英國私人收藏 品相：狀況良好，有舊磨損，一些輕微的鑄造缺陷，散落的小刻痕，偶有的輕微划痕，均與年代一致。 重量：6.9 公斤 尺寸：高48.5 厘米
A RARE GILT BRONZE FIGURE OF A DRAGON, TANG DYNASTYChina, 618-907. Finely cast striding in suspended movement with the right front leg raised with spread claws, showing a fierce expression with the mouth open revealing sharp fangs and a curved tongue, the long sinuous jagged tail towering above the body with an elongated neck of similar shape as the tail.Provenance: Collection of Mr. J. Potter, US East Coast. A notable Canadian private collection in Toronto, acquired from the above. A copy of a signed appraisal by Dan Klein, Director of the Petit Musee, Montreal, Member of the Appraisal Institute of America, addressed to the present owner, dated February 7, 2001, confirming the dating of this piece and valuing it at USD 11,000, accompanies this lot.Condition: Very good condition commensurate with age. Extensive wear, minor weathering and deterioration, light scratches, few minuscule nicks and dents here and there. Remains of old varnish coating. Areas of fine, natural malachite-green and copper-red patina with expected encrustations.Weight: 354 g (total)Dimensions: Height 12.7 cmLiterature comparison: A related gilt bronze dragon was exhibited at the Guggenheim Museum in 1997 and published in the exhibition catalog, China: 5,000 Years, Innovation and Transformation in the Arts, 1998, on the cover and color plate no. 59.Auction result comparison: A related gilt bronze dragon was sold by Christie’s New York in Fine Chinese Archaic Bronzes, Ceramics and Works of Art on 20 September 2002, lot 236, for USD 31,070.唐代罕見銅鎏金龍 中國，618-907。金龍挺胸邁步，右前腿舉起爪子，表現出兇猛的表情，張開的嘴露出尖銳的獠牙和彎曲的舌頭，長長的彎曲尾巴高聳於身體上方，細長的頸部與尾巴。 來源：美國東海岸J. Potter先生收藏。加拿大多倫多著名的私人收藏從上述收藏購得。隨附2001年2月7日出具的美國鑑定學會會員、Petit Musee, Montreal博物館館長Dan Klein寄給藏家的簽字過的鑑定書副本，確認了該金龍的斷代，估價為11,000美元。 品相：狀況與年齡相稱。 廣泛磨損，輕微的風化和變質，輕微的划痕，大面積微小刻痕和凹痕。 原始包漿。重量：縂354 克 尺寸：高 12.7 厘米 拍賣結果比較：一件相似的銅鎏金龍售于紐約佳士得Fine Chinese Archaic Bronzes, Ceramics and Works of Art 拍場2002年9月 20 日，lot 236, 售價 USD 31,070。
AN ARCHAISTIC PARCEL-GILT BRONZE JARLET BY HU WENMING, LATE MINGChina, late 16th to early 17th century. The compressed baluster body rising to a short neck with everted rim, cast around the exterior with two large taotie masks reserved on a punched ground, all between silver-wire inlaid key-fret and lotus-lappet bands and below a further key-fret band at the neck, the base with an incised Hu Wenming mark.Provenance: British private collection.Condition: Good condition with extensive surface wear, minor losses, nicks and dents to the edges, all commensurate with the age and type of ware. The gilding is still very well preserved and not worn down, as in many Hu Wenming pieces.Weight: 156.6 gDimensions: Height 6 cmHu Wenming is one of the most renowned metalworkers in Chinese history and one of the few whose name and style are discussed in Chinese art-historical writing. Most of the works attributed to Hu Wenming are scholarly objects, such as incense burners and brush pots, characterized by densely worked backgrounds covered with naturalistic and other motifs cast in high relief.Literature comparison: Compare a similar jar illustrated in the Oriental Art Gallery's June 1993 exhibition, Oriental Works of Art, no. 135. Compare also the pou-shaped incense burners, one dated 1613, in Tsang and Moss, Arts from the Scholar's Studio, no. 103, pp. 135-6; and another from the Sir Harry Garner Collection included in the Oriental Ceramics Society exhibition The Arts of the Ming Dynasty, no. 290, pl. 77.Auction result comparison: A very similar jarlet with a Hu Wenming mark was sold by Christie’s Hong Kong in Important Chinese Ceramics and Works of Art (Including The Su Zhu An Collection of Inkstones) on 27 November 2013, lot 3589, for HKD 150,000.明末胡文明款局部鎏金銅罐 中國，十六世紀末至十七世紀初。寬肩，頸外翻，大型饕餮紋，錯銀，肩部蓮紋，頸部雷紋。底部胡文明款。 來源：英國私人收藏 品相：品相良好，表面磨損嚴重，輕微的磕損、划痕和凹痕，這些都與拍品年代和類型相對應。像許多胡文明作品一樣，鎏金仍然保存得很好，並且沒有磨損。 重量：156.6 克 尺寸：高6 厘米 文獻比較： Oriental Art Gallery's，1993年6月展覽，Oriental Works of Art，no. 135。另一件瓿形香爐，定爲1613年，Tsang and Moss收藏，Arts from the Scholar's Studio，no. 103，pp. 135-6；另一件來自Sir Harry Garner收藏，見 Oriental Ceramics Society exhibition The Arts of the Ming Dynasty, no. 290, pl. 77。 拍賣結果比較：一件非常相近的胡文明款銅罐售于香港佳士得Important Chinese Ceramics and Works of Art (Including The Su Zhu An Collection of Inkstones) ，2013年11月27日，lot 3589，售價HKD 150,000。
A GILT BRONZE WINE VESSEL, BIANHU, HAN DYNASTYChina, 206 BC to AD 220. The flattened oval body raised on a spreading rectangular foot and incised on each broad side with four deer-like mythical beasts around a central cross-shaped ruyi symbol, the narrow sides incised with geometric designs interrupted by a pair of taotie mask and loose ring handles, the waisted neck incised with a band of stiff leaves.Provenance: Austrian private collection. Galerie Zacke, 3 June 2004. Dr. Mons Fischer, acquired from the above. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria. A copy of the original receipt from Galerie Zacke and an expertise written and signed by Mag. Ludwig Widauer, ruling out recent manufacture of this piece, accompany this lot.Condition: Good condition, commensurate with age, extensive wear, soiling, malachite-green encrustations, scratches, minuscule nicks here and there.Weight: 487.2 gDimensions: Height 13.2 cm, Width 14.2 cmThe bianhu was an innovation of the Eastern Zhou, introduced around 400 BC, with production continuing into the Han dynasty.Literature comparison: A related but larger gilt bianhu is illustrated by C. Deydier, The Art of the Warring States and Han Periods, London, 1991, pp. 86-7, no. 25, while a smaller version, no. 19, has a similar incised decoration. Another bianhu of similar shape, without cover, and with a plain body that may be gilt, is illustrated in Chugoku Sengoku jidai no bijutsu (The Art of the Warring States Period), Osaka Municipal Museum of Fine Art, 1991, p. 55, no. 49.Auction result comparison: Compare with a related but larger gilt bronze bianhu at Christie’s New York in Fine Chinese Ceramics, Jades and Works of Art on 19 September 2007, lot 214, sold for USD 37,000.漢代鎏金扁壺中國, 公元前206 至公元 220年。扁圓形，直筒頸，口外撇。肩部有對稱的銜環，底為長方形足。扁壺每面各有鹿般神獸圖案，中心如意交錯紋。頸部仿古葉狀蟬紋。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2004年6月3日。 Mons Fischer博士購於上述藝廊。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。隨附Zacke 藝廊發票副本以及Ludwig Wildauer 先生寫的相關説明。 圖片：Dr. Mons Fischer 和他的妻子 品相：狀況良好，與年齡相稱，廣泛磨損，污跡，銅綠結殼，划痕，到處都是微小的缺口。 重量： 487.2 克 尺寸：高13.2 厘米, 寬 14.2 厘米 拍賣結果比較：一件相近但更大且鎏金扁壺見紐約佳士得Fine Chinese Ceramics, Jades and Works of Art 拍場2007年9月19日 lot 214, 售價USD 37,000.
AN ARCHAISTIC BRONZE GUI-FORM CENSER, QING DYNASTYChina, 18th-19th century. The interior with an inscription of two lines of seal script characters. With a pierced hardwood cover, possibly huanghuali, decorated with three ruyi heads and surmounted by a celadon jade bi disk finial carved to one side with a chilong and a trigram, as well as an old zitan wood base finely carved in openwork, the ensemble altogether of the period. (3)Provenance: English private collection in Hampshire.Condition: Good condition with old wear and casting flaws, light scratches, dents and nicks here and there, old fills. A fine, naturally grown patina. The wood with natural age cracks and old repairs.Weight: 6.3 kg (the censer)Dimensions: Height 34 cm (incl. base and cover) and 20.8 cm (the censer), width 34 cm (handle to handle)Heavily cast with a compressed globular body rising from a splayed foot to a wide everted rim. Flanked by C-shaped handles surmounted by animal heads and set with pendant rectangular tabs below. The exterior with two bands on the body and one on the foot with taotie masks and other archaistic motifs against a leiwen ground.Auction result comparison: Compare with a related gui censer, of smaller size and lacking the fittings, at Christie’s New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1605, sold for USD 8,125.清代簋形爐中國，十八至十九世紀。內部印有兩行銘文。 硬木蓋，可能是黃花梨，上面飾有三個如意紋。爐身飾螭龍紋。還有一個刻有鏤空的老紫檀木底座，都是來自同一時期。來源：英國漢普郡私人收藏 品相：狀況良好，有舊磨損和燒鑄缺陷，輕微划痕，到處有凹痕和缺口，舊填補。自然包漿。 木材具有自然年齡的裂縫和舊的修復。重量：爐6.3 公斤 尺寸：縂高 34 厘米；爐高 20.8 厘米，寬 34 厘米 (執柄至執柄) 拍賣結果比較：一件相似但尺寸較小且缺少配件的簋形爐，售于紐約佳士得Important Chinese Ceramics and Works of Art 拍場，2020年9月 25日，lot 1605, 售價USD 8,125
A PAIR OF MASSIVE ‘BUDDHIST LION’ BRONZE CENSERS, 17TH CENTURYChina, 17th century. Each cast seated with a large bushy tail and the right paw raised and resting on a ribbon-tied brocade ball, the heads with large bulbous eyes and widely opened mouths showing sharp fangs, the cover in the form of a section of the beast’s curly mane. (2)Provenance: French private collection.Condition: Good condition with old wear, some minor casting flaws, scattered small nicks, occasional light scratches, all consistent with age. The lid of one is lost.Weight: 9.4 kg (total)Dimensions: Height 24 cm, Length 32 cm (each)Auction result comparison: A related pair was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 11 May 2019, lot 239, for EUR 5,056. Another related pair of Buddhist lion censers was sold by Sotheby’s New York in Important Chinese Art on 13 September 2017, lot 172, for USD 10,625.十七世紀一對佛獅銅爐 中國，十七世紀。佛獅濃密的尾巴，右爪抬起，踩在錦緞球上，眼睛圓鼓，張開的嘴巴裏露出鋒利的尖牙。爐蓋是捲曲的鬃毛形。 來源：法國私人收藏 品相：狀況良好，舊磨損，一些輕微的鑄造缺陷，局部小刻痕，偶有的輕微划痕，均與年代一致。 一個蓋子丟失了。 重量：縂9.4公斤 尺寸：高24厘米，分別長32厘米 拍賣結果比較：一對相似佛獅香爐售于紐約蘇富比 Important Chinese Art 拍場，2017年9月13日，lot 172，售價USD 10,625。
A LARGE AND MASSIVE BRONZE TRIAD OF AVALOKITESHVARA AND TWO ACOLYTES, MING TO EARLY QINGChina, 16th-18th century. Cast seated in dhyanasana on a double lotus base, dressed in loose, flowing robes and elaborate beaded jewelry, the hands held in vitarka mudra, each holding a leafy stem rising to the shoulders and surmounted by a bird on one side and a vase on the other.Provenance: French private collection.Condition: Good condition with some expected surface wear and a few scattered minor dents or occasional light scratches, all consistent with age. There seems to be an old repair in the cast on the main figure's left billowing ribbon. The base is unsealed.Weight: 5.8 kgDimensions: Height 39.3 cmThe face shows a serene expression with downcast eyes, an urna above gently arched eyebrows, and slender lips forming a benevolent smile, flanked by long ear lobes with circular earrings. The hair is fashioned into a high chignon behind an elaborate five-pointed crown centered by a figure of Buddha Amitabha.The bodhisattva is flanked by two worshippers standing on lotus bases issuing from the base, the girl on the left holding a lotus bud and the boy on the right clasping his hands together in prayer, both with calm, smiling expressions.Auction result comparison: A related bronze, though slightly larger and without acolytes, was sold by Christie’s Paris in Art d’Asie on 10 June 2009, lot 223, for EUR 229,000. Another related bronze, without the acolytes and considerably smaller, was sold by Tajan in Asian Art on 21 July 2020, lot 76, for EUR 54,600.明末清初大型觀音菩薩坐像 中國，十六至十八世紀。觀音菩薩盤腿坐於雙層蓮花座上，穿著寬鬆，長袍飄逸，精美的串珠珠寶，一手持净瓶。 來源：法國私人收藏 品相：品相良好，表面有磨損和一些局部少量小凹痕和輕微划痕，均與年代相符。 左側飄帶上的鑄件似乎有舊修。 底座未密封。 重量：5.8 公斤 尺寸：高39.3 厘米 拍賣結果比較：一座相近觀音銅像，無左右尊者，曾售于巴黎佳士得《亞洲藝術》拍 場，2009年6月10日，lot 223，售價EUR 229,000。另一座相近銅像，無左右尊者， 稍小，曾售于Tajan《亞洲藝術》拍場，2020年7月21日，lot 76，售價EUR 54,600.
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 15TH CENTURYTibet. Cast seated in dhyanasana with the hands lowered in dhyanamudra holding an alms bowl, wearing a pleated robe with finely incised scroll borders draped over the left shoulder. The serene face with an urna, downcast almond-shaped eyes beneath gently arched eyebrows, and slender lips forming a subtle smile, flanked by a pair of long pendulous ears.Provenance: Swiss private collection.Condition: Excellent condition commensurate with age, with minor wear, light surface scratches, expected wear to gilt, minuscule nicks and dents here and there, the original seal plate with two larger dents, some casting flaws.Weight: 1,607 gDimensions: Height 18.5 cmThe head and domed ushnisha covered with tight curls and surmounted by a bud-shaped jewel, all supported on a double lotus pedestal with beaded edges, the base sealed with a vishvavajra.Auction result comparison: Compare with two closely related but considerably smaller bronzes, one at Sotheby’s London in Important Chinese Art on 11 May 2016, lot 64, sold for GBP 18,125, and the other at Christie’s in Indian & Southeast Asian Art on 12 September 2012, lot 548, sold for USD 22,500. Compare also with a closely related but significantly larger bronze at Sotheby’s London in Important Chinese Art on 4 November 2020, lot 150, sold for GBP 69,300.十五世紀銅鎏金釋迦牟尼像 西藏。造像結跏趺坐，手結禪定印並持抱著一個施捨碗，穿著百褶長袍。 平靜的臉龐上有天眼，眉毛下杏仁狀的眼睛低垂，細長的嘴唇形成了微妙的笑容，兩側是一對長長的耳朵。 來源：瑞士私人收藏. 品相：狀況與年齡相稱，小磨損，表面輕微划痕，預期的鎏金磨損，到處都有微小的刻痕和凹痕，原始的密封板有兩個較大的凹痕，一些鑄造缺陷。 重量：1,607 克 尺寸：高18.5 厘米 拍賣結果比較：兩個相近但尺寸稍小的造像，一個可見倫敦蘇富比Important Chinese Art 拍場，2016年5月11日，lot 64, 售價GBP 18,125；另一件見佳士得Indian & Southeast Asian Art拍場，2012年9月12日lot 548, 售價USD 22,500. 一件相近但更大的造像見 倫敦蘇富比Important Chinese Art 拍場，2020年11月 4日 lot 150, 售價GBP 69,300.
A BRONZE FRAGMENT OF RATNASAMBHAVA, 14th CENTURYWestern Tibet. Richly adorned in jewelry, the face showing a serene expression with full lips forming a subtle smile, a straight nose, and heavy-lidded almond-shaped eyes centered by a raised urna. Flanked by large hoop earrings, the wavy locks of hair pulled into a high chignon and secured with a tall tiara, several plaid locks elegantly falling over the shoulders.Provenance: French private collection.Condition: Good condition commensurate with age, extensive wear and losses, some minor scratching and small nicks here and there.Weight: 513.1 g (excl. stand)Dimensions: Height 17.5 cm (excl. stand)Ratnasambhava, literally the Jewel-Born, is one of the Five Dhyani Buddhas, also known as the Buddhas of the Five Directions. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality. In Vajrayana Buddhist thought, he is associated with the attempt to destroy greed and pride. His consort is Mamaki and his mount is a horse or a pair of lions.With a modern stand. (2)Auction result comparison: Compare with a related but complete bronze figure of Ratnasambhava, sold by Christie’s New York in Indian and Southeast Asian Art on 23 March 2010, lot 222, for USD 56,250.十四世紀寶生佛銅像碎片 西藏。飾有華麗珠寶，面部表情寧靜，豐滿的嘴唇形成微妙的笑容，筆直的鼻子，濃密的杏仁狀眼睛，高挺的鼻子居中。大圈形耳環，波浪形的捲髮，用高高的頭飾固定，優雅地落在肩上。 來源：法國私人收藏. 品相：狀況良好，大面積磨損和缺損，一些輕微的刮擦和局部小缺口相稱。 重量：不含底座513.1 克 尺寸：不含底座高 17.5 厘米 現代底座。 拍賣結果比較：比較一件相近但完整的寶生佛銅像，於紐約佳士得2010年3月23日Indian and Southeast Asian Art拍場，拍號222, 售價 USD 56,250。
A PARCEL-GILT BRONZE FIGURE OF SHOULAO, 17TH CENTURYChina. The bearded God of Longevity is cast standing with his long flowing robe open at the chest, wearing a joyous expression. The parcel gilding has been cleverly used to highlight several areas of the depiction, such as the tripartite beard or the two plaits. Provenance: From a private collection in Philadelphia, USA. By repute within the same family since c. 1920. Condition: Excellent condition with old wear, microscopic nicks here and there as expected on a bronze of this age, one small hole to backside (probably original), few casting flaws, one small loss.Weight: 195 g Dimensions: Height 13.7 cm Shoulao is one of the three most popular deities in Chinese folklore. Note the fine incision work to the eyelids and other facial features. Auction result comparison: Compare with a closely related Shoulao bronze, probably from the same workshop, at Christies London in Chinese Ceramics, Works of Art and Textiles, 8 November 2013, lot 1431, sold for GBP 13,750.十七世紀局部鎏金銅壽老像 中國。壽老高額長鬚，表情愉悅。局部鎏金処巧妙地突出銅像，三重鬍鬚或兩個辮子。 來源：美國費城私人收藏，據説自1920年起保存於同一家族。 品相：品相極好，舊時磨損，局部輕微磕損，于同一時期銅像狀況相符，背面有一個小洞（可能是原始銅像上就存在），少量鑄造缺陷，一個小損失。 重量：195 克 尺寸：高13.7 厘米拍賣結果比較：一件相近壽老銅像，可能來自同一個鑄坊，售于倫敦佳士得Chinese Ceramics, Works of Art and Textiles拍場，2013年11月8日，lot 1431，售價GBP 13,750。
A 'TWIN BOYS' BRONZE SCROLL WEIGHT, MING DYNASTYChina, 1368-1644. The bronze heavily cast in the form of two reclining boys arranged head to toe, each with legs in a near-crossed position, both heads supported by one arm, one boy holding a Ruyi scepter. Provenance: From an English private estate. Condition: Good condition with minor nicks, dents, minuscule losses, a fine natural patina, extensive old wear mostly to base, all commensurate with the age of this bronze.Weight: 225 g Dimensions: Length 7.3 cm Note the single central hole for suspension. Auction result comparison: Compare with a closely related bronze at Sotheby’s Hong Kong, in China 5000 Years, June 5th 2020, lot 449, sold for HKD 52,500.明代雙童鎮紙 中國，1368-1644。二童頭膝相碰，以臂撐頭，一童手持如意。 來源：英國私人遺產 品相：品相良好，輕微刻痕、凹痕，小缺損，天然細膩包漿，底部嚴重舊時磨損，與其時代相符。重量：225 克 尺寸：長 7.3 厘米 有用於懸挂的小孔。 拍賣結果比較：一件相近銅像售于香港蘇富比，拍場China 5000 Years，2020年6月5日，lot 449，售價HKD 52,500。
A PARCEL-GILT BRONZE OF HAN ZHONGLI, MINGChina, 1368-1644. The immortal’s face is flanked by long ears and shows a charming, amused expression with his eyes nearly closed and the lips forming a subtle smile. The hair is arranged in two side-knots. The base is incised with a four-character Qianlong mark to the reverse, added at some point during the Qianlong reign.Provenance: French private collection.Condition: Very good condition with old wear, some minor casting flaws, scattered small nicks, occasional light scratches, all consistent with age.Weight: 994.0 gDimensions: Height 15.7 cmThe immortal wears a long flowing robe opening at his chest, finely incised with cloud designs and further decorated with gilt scrolling vine borders. He holds a large fan in one hand, his characteristic attribute, the other hand points with one finger toward the fan. The base is incised with scrolling vines and leaves.Literature comparison: Compare with a boxwood figure of Han Zhongli, offered by Sotheby’s in Important Chinese Art on 15 May 2019, lot 64, as well as a painting of Han Zhongli sold by Christie’s Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 27 November 2018, lot 976.明代局部鎏金銅漢鍾離像 中國，1368-1644。仙人面部兩側是長長的耳朵，表情豐富有趣，雙眼微開，笑容微妙，雙髻。底座的刻有乾隆四字章，可能是在乾隆時期某時增加了此印。 來源：法國私人收藏 品相：品相極好，舊磨損，一些輕微鑄造缺陷，些微磕損與劃痕，與年代相符。 重量：994.0 克 尺寸：高15.7 厘米 文獻比較: 蘇富比《重要中國藝術》，2019年5月15日，lot 64；以及一副漢鍾離畫像，售于香港佳士得《Fine Chinese Classical Paintings and Calligraphy》，2018年11月27日，lot 976。
A BRONZE FIGURE OF BUDDHA, MING DYNASTYChina, 1368-1644. Cast seated in dhyanasana on a lotus throne rising from an unsealed ovoid base, the hands lowered in dhyanamudra, wearing a long flowing monastic robe draped over the left shoulder as well as a cloth over both shoulders.Provenance: Hungarian collection, acquired between 1970 and 1980 and thence by descent within the same family. Old collector’s number to interior of base.Condition: Very good condition with old wear, some minor casting flaws, scattered small nicks, traces of gilt, all consistent with age. The base is unsealed.Weight: 918.2 gDimensions: Height 17 cmThe face shows a serene expression with downcast eyes, gently arched eyebrows, and slender lips forming a subtle smile, flanked by long ears, the hair arranged in tight curls surmounted by an ushnisha.明代坐佛像 中國，1368-1644。佛陀盤腿坐於蓮座上，底部未密封，手施禪定印，身著飄揚長袍。 來源：匈牙利私人收藏，收藏于1970-1980年間，同一家族中保存至今。底座内裏可見藏家舊編號。 品相：品相極好，舊時磨損，一些鑄造缺陷，局部小刻痕，鍍金痕跡，都與年齡一致。 底座未密封。 重量：918.2 克 尺寸：高17 厘米
A BRONZE FIGURE OF AVALOKITESHVARA, MINGChina, 1368-1644. Cast seated in dhyanasana with the right hand lowered in varadamudra and the left held in abhayamudra, each holding a leafy stem rising to the shoulders and surmounted by a bird on one side and a vase on the other, dressed in loose robes elaborately decorated with floral borders, further embellished with beaded jewelry around the chest.Provenance: From a French private collection.Condition: Good condition with minor wear, small losses, some dents, nicks and scratches, all consistent with age. Remnants of old polychromies and lacquer gilding.Weight: 1,009 gDimensions: Height 17.6 cmThe face with a serene expression and downcast eyes, the hair gathered into a high chignon save for two long plaits falling off the shoulders, framed by an elaborate headdress in openwork centered by the Amitabha Buddha.Auction result comparison: A related but considerably larger bronze was sold by Christie’s New York in Fine Chinese Ceramics and Works of Art on 20-21 March 2014, lot 2052, for USD 37,500.明代觀音銅像 中國，1368-1644。左手和右手分別施無畏印和與愿印，肩部枝葉纏繞，一邊停著一隻鳥，另一邊是一個瓶子，袈裟寬鬆，衣著華麗，胸前裝飾寶珠。 來源：法國私人收藏 品相：狀況良好，小磨損，些微損耗，有凹痕、划痕和刻痕，均與年代一致。 殘留的多色舊時染料和鍍金漆。 重量：1,009 克 尺寸：高17.6 厘米拍賣結果比較：一件相近但大些的銅像售于紐約佳士得Fine Chinese Ceramics and Works of Art拍場，2014年3月 20-21日，lot 2052, 售價USD 37,500.
AN EXCEPTIONALLY LARGE PALE GREEN AND RUSSET JADE BI DISC, EARLY BRONZE AGEChina, c. 2200-1900 BC. Of somewhat irregular thickness and still retaining the cutting marks on the walls of the central hole drilled from both sides, the mostly translucent stone of variegated shades of green ranging from pale olive to sea-green with some russet-brown veining and shadings as well as cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple have been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.Condition: Excellent condition with old wear, signs of weathering, nibbling and some losses to edges, the stone with natural fissures, some of which have developed into larger hairline cracks over time. Some traces of use and shallow surface scratches.Weight: 3,814 gDimensions: Diameter 43.5 cmBi discs are a type of jade which continued to be crafted in numbers by cultures located in central and northwest China during the transitional period between the Neolithic and Bronze Age. The majority of these discs range in size between ten and twenty centimeters: large ones, such as the present lot, are rare. Their size and weight, requiring both hands to hold them, suggest that these imposing discs were displayed and used in a ritual context. The hole is usually drilled from one side only: on larger discs, it is smoothed down and the traces of the tool marks are almost invisible.The whitened areas are mostly limited to the edges. This alteration, which is often seen on excavated jades, was probably created by the action of alkaline body fluids on the nephrite.Literature comparison: A related green jade bi of smaller size (22 cm diameter) is illustrated by J. Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, 1995, p. 155, no. 7:6, where the author ascribes it to northwest China, c. 2000-1000 BC. One large disc which measures 32.5 cm in diameter is in the Victoria & Albert Museum, London, accession number A.42-1936.Auction result comparison: Compare with a related dark green jade bi, dated to circa 2000-1500 BC, of much smaller size (21.3 cm diameter), at Christie’s New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1449, sold for USD 40,000. Compare also with a related jade from the same period, but still of considerably smaller size (34.1 cm diameter), from the A.W. Bahr Collection, at Christie’s New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 277, sold for USD 194,500.青銅時代大型青玉璧中國，公元前2200-1900 年。厚度不規則，保留著切割痕跡，主體半透明，夾雜著不同深淺的綠色，從淺橄欖色到海綠色，帶有紅褐色的紋理，以及絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：3,814 克尺寸：直徑43.5 厘米拍賣結果比較：一件相近墨綠玉璧，公元前 2000-1500年, 尺寸更小 (直徑21.3 厘米), 見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2013年9月20 日 lot 1449, 售價USD 40,000. 一件來自同一時期但尺寸更小（直徑34.1 厘米）的玉璧，來自A.W. Bahr 收藏, 見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 拍場2009年3月18日 lot 277, 售價USD 194,500.
AN IMPORTANT SANDSTONE HEAD OF SHIVA, ANGKOR WAT STYLEKhmer Empire, 12th century. The magnificent face showing a serene expression with ridged eyebrows and almond-shaped eyes below the third eye, full lips forming a subtle smile, and long pendulous earlobes. The hair is arranged in a cylindrical chignon carved with a flower at the top and fronted by a foliate tiara.Provenance: From an old French private collection.Condition: Very good condition commensurate with age, extensive weathering, wear, some losses and fine natural patina.French Export License: French certificat d’exportation pour un bien culturel, no. 210828, dated 22 August 2019, has been granted and is accompanying this lot.Weight: 3,659 g (incl. stand)Dimensions: Height 29.5 cm (incl. stand) and 21 cm (excl. stand)Mounted on an associated metal stand. (2)This piece dates from the Angkor Wat period, in the twelfth century, when the Khmer Empire was at its territorial zenith. This starts with the reign of Suryavarman II (1113-1145), who ordered the construction of Angkor Wat, the largest temple of the Angkor period, dedicated to Vishnu. The third eye on this sandstone head, however, clearly indicates that it depicts Lord Shiva.Stylistically, the sculpture of the Angkor Wat period is marked by a return to the somewhat angular and upright modeling of the periods preceding the Baphuon style of the eleventh century. The size of sculpture from the Angkor Wat period, however, is generally in line with the more diminutive Baphuon period works, in contrast to the monumental sculpture of the tenth century and earlier.Auction result comparison: Compare with a slightly later and larger head of Shiva or Avalokiteshvara, Bayon style, at Bonhams Sydney in Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE on 22 September 2019, lot 68, sold for AUD 231,800, as well as a figure of a male deity in the Angkor Wat style at Christie’s New York in Lacquer, Jade, Bronze, Ink: The Irving Collection Day Sale on 21 March 2019, lot 1107, sold for USD 212,500.
A JAVANESE BRONZE FIGURE OF AVALOKITESHVARA, 9TH-10TH CENTURYJava. Cast standing on a circular lotus base, the left hand held in karanamudra and the right holding a lotus stem extending along the arm and terminating in a bud to the shoulder. Wearing a dhoti and richly adorned in beaded jewelry, the hair with a stupa-like headdress behind the five-leaf crown. The serene face with an urna, downcast eyes below gently arched brows, and full lips forming a subtle smile.Provenance: The private collection of Haji Daeng Iskandar. A New York, USA, private collection, acquired from the above. Haji Daeng Iskandar was a notable art dealer in Bali, Indonesia, specializing in Indonesian primitive and tribal art.Condition: Very good condition commensurate with age. Extensive old wear, traces of gilt, encrustations, small losses, dents and nicks here and there. Overall with a fine, malachite-green patina.Weight: 1,392 gDimensions: Height 28.5 cmLiterature comparison: Compare with two closely related examples in the Metropolitan Museum of Art including a Vishnu that shares the same iconographic program and a Garuda projecting from the base, accession number 1987.142.15, see Lener and Kossak, The Lotus Transcendent, New York, p.188, no.146, and a standing Manjushri, accession number 2001.758.2, in a flexed pose.Auction result comparison: Compare with a related figure of Vishnu at Bonhams Hong Kong, in Fine Southeast Asian Arts, 29 March 2018, lot 11, sold for HKD 375,000.
A HEAVY GILT BRONZE ‘KASHMIR REVIVAL’ FIGURE OF BUDDHA SHAKYAMUNI, LATER 18TH- EARLIER 20TH CENTURYKashmir. Seated in dhyanasana on a rectangular tiered throne supported by two Buddhist lions above a geometric design, the right hand lowered in abhaya mudra and the left holding the long flowing robe, the drapery cast in a slender column of u-shaped folds at the chest and diagonal folds at the arms and legs, the serene face with urna, almond-shaped eyes, and slender lips forming a subtle smile.Provenance: Ex-collection of the Dhakhwa family, by repute in the family since 1900. Belgian private collection, acquired from the above. The Dhakhwa family is one of the most renowned noble families who have been dwelling in Nagbahal, a community at the heart of Lalitpur (Patan) in the Kathmandu Valley, since ancient times.Condition: Good condition with extensive wear and firing flaws, minor structural cracks, some abrasions to gilt and traces of pigment, light scratches, minuscule nicks here and there. Overall commensurate with age, possibly even indicating an earlier date.Weight: 3,731 gDimensions: Height 23.2 cm十八世紀晚期至二十世紀初期克什米爾復興運動時期銅鎏金釋迦牟尼克什米爾。釋迦牟尼結跏趺坐坐在矩形階梯狀寶座上，兩隻佛獅背負著寶座。釋迦牟尼右手施無畏印，左手握住長袍，面部表情寧靜，杏仁形的眼睛和細長的嘴唇形成微妙的微笑。來源：原Dhakhwa family家族收藏, 據説于1900年起就在家族中了。比利時私人收藏，購於上述收藏。Dhakhwa 家族是自古以來就一直居住在加德滿都谷地拉利特布爾（Patan）心臟地帶的納格巴哈爾（Nagbahal）的最著名的貴族家庭之一。圖片：Padma Dhakhwa 和他的女兒Namrata 品相：狀況良好，大面積磨損和鑄造缺陷，較小的結構裂紋，鎏金擦傷和色素痕跡，輕微的划痕，到處都有微小的刻痕。 總體上與年齡相稱，甚至可能更早。重量： 3,731 克尺寸：高23.2 厘米
A KHMER BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR PERIODKhmer Empire, 12th century. The bodhisattva standing in samapada on a square base, four-armed, holding a lotus bud, a water vessel, a scroll, and a rosary. Wearing a short pleated sampot, tucked around the striated belt, which is decorated with pendants. Richly adorned in jewelry, the hair arranged in a high topknot with a small Buddha Amitabha behind the circular diadem.Provenance: Art of the Past, New York, 3 December 2002, old label with number to base. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, stating the land of origin as Cambodia and dating the piece to the 12th century, accompanies this lot.Condition: Excellent condition commensurate with age, old wear, minuscule nicks here and there. Fine malachite-green patina.Weight: 297.8 gDimensions: Height 15 cmAuction result comparison: Compare with a closely related copper alloy figure of Avalokiteshvara (height 34 cm) at Sotheby’s New York, in Indian and Southeast Asian Works of Art, 19 March 2008, lot 243, sold for USD 73,000.
A KHMER BRONZE FIGURE OF VISHNU STANDING ON GARUDA, ANGKOR PERIODKhmer Empire, 12th century. The four-armed deity standing on Garuda's shoulders and holding the disk and conch in his uppermost hands, wearing a sampot and richly adorned in jewelry. The mythical bird standing on a square base with arms and wings outstretched as if flying through the air. Both with benign expressions.Provenance: Art of the Past, New York, 21 May 2003, old label with serial number to base. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, at a price of USD 7,500, stating the land of origin as Cambodia and dating the piece to the 12th century, as well as a description of the piece attached to the invoice, accompany this lot. The letter states, “This particular example of this motif is superbly conceived. Every detail is finely articulated. The dark patina of the bronze is also smooth and without flaw. It is possibly one of the finer examples of its type.”Condition: Excellent condition commensurate with age, old wear, minuscule nicks here and there, fine natural patina with malachite-green encrustations.Weight: 649.0 gDimensions: Height 20.7 cmLiterature comparison: Compare to a similar figure published Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Thailand, 2004, pp. 350-351, fig. 125. Compare also with a near-identical bronze at Christie’s Amsterdam in Indian Himalayan and Southeast Asian Art on 16 December 2003.
A THAI BRONZE FIGURE OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Cast standing in samabhanga, the right hand raised in abhaya mudra and the left hand lowered at this side, wearing a long cloak and richly adorned in finely incised jewelry, the face showing a serene expression with downcast eyes under arched eyebrows, flanked by elongated earlobes with earrings. With a modern associated wood base. (2)Provenance: Estate of Joachim Hinz, a collector from Hamburg, Germany.Condition: Overall good condition commensurate with age, extensive wear, small nicks and losses here and there, the feet with old repairs (inspected under strong blue light). Fine malachite-green and copper-red patina.Weight: 1,893 g (the bronze only)Dimensions: Height 43.5 cm (incl. base) and 34.6 cm (excl. base)Auction result comparison: A related bronze of larger size was sold in these rooms in Fine Chinese Works of Art and Buddhist Sculptures on 16 June 2018, lot 113, for EUR 5,688.
A BRONZE HEAD OF BUDDHA, SUKHOTHAI KINGDOM, CHIEN SEN STYLEThailand, 14th-15th century. The serene face with arched eyebrows above heavy-lidded downcast eyes, a broad nose with incised nostrils, full lips forming a benevolent smile, the chin heightened with incision work as well, flanked by long pendulous earlobes, the hair in tight curled spikes with a raised ushnisha.Provenance: Austrian private collection. Condition: Good condition commensurate with age, old wear, small nicks here and there, losses.Weight: 8,848 g (total)Dimensions: Height 26 cm (excl. base)Mounted to an associated wood base. (2)Expert’s note: Over the centuries, the bronze has naturally patinated into a dark green, almost black tone with an unctuous feel to the surface, creating an overall not only elegant, but also meditative appearance.
AN INDIAN GILT BRONZE HEAD OF DURGAIndia, 17th century or earlier. Massively cast, the face showing a fierce expression with furrowed brows above almond-shaped eyes, a hooked nose, and full lips, flanked by large ears, the hair arranged in a flat circular topknot. Mounted to a modern wood base.Provenance: Peter Sloane Early and Eastern Art, 18 May 2012. The late Richard Nathanson, acquired from the above. Richard Nathanson began his career as a porter at Sotheby's in 1966 and subsequently joined the Impressionist department. He left in 1970 to set up as an independent art advisor and had a particular involvement with Sisley, Modigliani, Rouault, Renoir and Bonnard. He produced BBC documentaries and publications on several of these artists.Condition: Good original condition commensurate with age. Extensive wear, dents, cracks, small losses, traces of pigment, wear to gilt.Weight: 1,432 g (incl. base) Dimensions: Height 18.5 cm (incl. base) and 9.5 cm (excl. base)
A MASSIVE BRONZE RAIN DRUM, 19TH CENTURY OR EARLIERSoutheast Asia. The heavy, round drum with a waisted base, the top and side finely cast in relief with concentric bands of decoration, the top with a star symbol in the center and groups of stylized frogs applied at the rim, the sides with pairs of loop handles.Provenance: French private collection. Condition: Good condition with minor dents, losses and bruises, some warping, natural malachite-green and copper-red encrustations, all commensurate with age and size.Weight: 14.6 kgDimensions: Height 47.5 cm, Diameter 61.5This bronze rain drum is based on the drums created by the Dong Son culture in the Red River Delta of northern Vietnam. These drums were produced from about 600 BC or earlier until the third century AD and are one of the culture's most astounding examples of metalworking. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections – spanning at least the past thousand years – between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet, and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those to the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Auction result comparison: Compare with a related bronze rain drum at Christie’s New York in The Collection of Robert Hatfield Ellsworth Part V - European Decorative Arts, Carpets, Old Master Paintings and Asian Works of Art on 21 March 2015, lot 1011, sold for USD 32,500.
Arbit Blatas (Lithuanian, 1908-1999)The Artist's Daughter signed 'A. Blatas' (lower left)oil on canvas81.5 x 66cm (32 1/16 x 26in).Footnotes:LiteratureJewish Artists of the School of Paris 1905-1939, Somogy Éditions d'Art, Paris, 2015, p. 69.Artis Blatas, born Nicolai Arbitblatas, was raised in Lithuania in a family of piano merchants.He studied drawing in Pottava, at the palace of Lithuania's governor which was transformed into an educational centre for children. In 1924, he left for Berlin and took drawing classes at the School of Fine Arts. He arrived in Paris in 1925 and at the age of 21 became the youngest member of the School of Paris. He settled in Montparnasse on rue de la Gaîté and met Sylvia Satenstein who he married in 1933. Following an exhibition at the Mouradian-Vallotton gallery in 1934, art dealer Pierre Matisse launched Blatas' international career by offering to exhibit his paintings in New York. In 1935, thanks to Krémegne, the artist acquainted Céret, Collioure, and Banyuls in the south of France. During World War II, Blatas fled the Nazi-occupied Europe for the United States and became an American citizen. In 1947, he was elected a life member of the Salon d'Automne. In 1967, the Musée de l'Orangerie followed André Malraux's advice and purchased his life - size bronze sculpture produced by his peer and friend Soutine (currently in a garden in the 14th arrondissement). Blatas remarried with the opera singer and stage director Regina Resnik and between 1975 and 1984, he designed opera sets and costumes.In 1978, Arbit Blatas was named Chevalier de la Légion d'Honneur by the French Government for his contribution to French art as an outstanding member of the School of Paris and was promoted, in 1994, to the rank of Officier de la Légion d'Honneur.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Stokes (Margaret) Early Christian Architecture in Ireland, folio L. 1878. First Edn., frontis & 52 plts. plus text illus. thro-out; Coffey (George) New Grange (Brugh na Boinne) and Other Incised Tumuli in Ireland, roy 8vo D. 1912, and The Bronze Age in Ireland, roy 8vo D. 1913, both First Edns., illus., & all orig. green cloth, gilt. V. good copies. (3)
A patinated spelter figure group allegorical of Autumn, circa 1900, modelled as a neoclassical man in flowing robes, representing Autumn, supporting the flagging female figure of Summer, 40cm high.Footnote: Footnote: The pose of these two figures bears a striking resemblance to a bronze group by Henri Etienne Dumage (1830-1888), representing Autumn, companion piece to one representing Spring and Summer.Condition report: Good overall with minor signs if age. Surface patina is a little rough.
Collection of Roman and Iron Age bronze objects to include terret ring, Roman bronze pin, bracelet, pair tweezersThis item is from the collection of Lionel Walrond. Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset. On leaving school he was not drawn to a life in farming but became interested in history and archaeology. This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday! The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset). Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut. Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones. Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years. He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.
Antike Fingerringe - Zusammenstellung aus 20 römischen Fingerringen aus Bronze. Aus alter Privatsammlung. In kleinen Plastikkästchen. Alters- und Gebrauchsspuren. |Ancient finger rings - Composition of 20 Roman bronze finger rings. From an old private collection. In small plastic boxes. Signs of age and use.
DELABRIERRE, PAUL-EDOUARD (1829-1912) "Große Figurengruppe" Braun patinierte Bronze mit fein ziseliertem Federkleid auf oblonger Terrainplinthe, im Guss sign., H: 40 cm. Leichte Altersspuren. DELABRIERRE, PAUL-EDOUARD (1829-1912) "large group of figures". Brown patinated bronze with finely chiselled plumage on oblong terrain plinth, signed in the casting, h: 40 cm. Slight signs of age.
BILDHAUER DER 2.HÄLFTE DES 19.JH "Dornauszieher" Nach dem antiken Vorbild des sogenannten kapitolinischen Dornausziehers gefertigt, Bronze, braun patiniert mit grünen Akzentuierungen, auf Rundstand und Felssockel sitzender nackter Knabe, seine linke Fußsohle betrachtend und einen Dorn ziehend, die bekannteste Ausführung des Motivs findet sich im Konservatorenpalast in Rom, H: 30 cm. Altersspuren. SCULPTOR OF THE 2nd HALF OF THE 19th CENTURY "Thorn puller". Made after the antique model of the so-called Capitoline thorn extractor, bronze, brown patinated with green accents, a naked boy sitting on a round stand and a rock base, looking at his left foot and pulling a thorn, the most famous version of the motif can be found in the Conservators' Palace in Rome, h: 30 cm. Signs of age.
VENUS VON MILO Frankreich, 19.Jh., Bronze patiniert, nach der berühmten antiken Figur im Louvre gestalteter Halbakt, bez. "Musée du Louvre", H: 27 cm. Leichte Altersspuren. VENUS OF MILO France, 19th century, patinated bronze, half-nude modelled after the famous antique figure in the Louvre, inscribed "Musée du Louvre", h: 27 cm. Slight signs of age.
VENUS IM BADE 19.Jh., Bronze patiniert, auf runder Plinthe die nur leicht bekleidete, sich nach rechts drehende Figur der Venus, diese das in lange Vertikalfalten fallende Gewand mit beiden Händen haltend, H: ca. 28 cm. Leichte Altersspuren. VENUS IN THE BATH 19th century, patinated bronze, on a round base the only lightly dressed figure of Venus turning to the right, holding the long vertical folds of the robe with both hands, h: ca. 28 cm. Slight signs of age.
BILDHAUER DES 19.JH. "Klassizistische Bronzefigur einer Vestalin" Wohl Frankreich, 19.Jh., Bronzeguss mit dunkler Patina, mit rechtem Stand- und linkem Spielbein auf flachem Sockel stehend, der Umhang an der Brust zusammengebunden, über das gescheitelte Wellenhaar ein Kopftuch, das über die Schultern herabzieht, in der Linken hält sie eine Kanne, die Rechte erhoben, ein Amulett tragend, Standhaltung und Gesichtsausdruck orientieren sich an der griechischen Bildhauerkunst der Hochklassik, H: 27 cm. (mit Sockel) Leichte Altersspuren. 19TH CENTURY SCULPTOR "Classicist bronze figure of a vestal virgin". Probably France, 19th century, cast bronze with dark patina, standing on a flat base with right standing leg and left playing leg, the cloak tied at the breast, over the parted wavy hair a headscarf which pulls down over the shoulders, in her left hand she holds a jug, the right raised, carrying an amulet, standing posture and facial expression are oriented towards the Greek sculpture of the High Classical period, h: 27 cm. (with base) Slight signs of age.
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