There are 12576 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeJean Alexandre Joseph Falguiere (French, 1831-1900) - 'Phryne', a patinated bronze figure based on the painting by Leon Jerome, the naked female figure covering her face with her arm, on integral circular base signed 'Falguiere', 38.5cm high Condition: Patina is relatively light in places and has some blotches to lower legs etc, otherwise sound. **General condition consistent with age
Pierre Lenordez, (1815-1892) - 19th Century French 'Animalier' bronze equestrian sculpture of a racehorse, 'La Toucques' (b. 1860), the base detailing: "La Toucques par The Baron, la mere Tapestry par Melbourne, Gagnant en 1863 des Prix de Diane du Jockey Club du Stockton Cup Angleterre, G. Prix de Bade, Prix de L'Empereur a Chantilly, Gd Px du Prince Imperial 2me dans la Gd Prix de Paris, 2me dans le Goodwood Cup. Entrainee a Middleham par John Fobert", Victor Boyer foundry, original dark brown patination, 38cm long x 26cm high - Literature - See Payne, Christopher, Animals in Bronze (ACC, Woodbridge, Suffolk, 1986), p. 283, fig. H22. Condition: Original patina (with some surface dirt and encrustation), a light scratch to back and few minor spots including to base. Overall sound - **General condition consistent with age
Tudor - Heritage Black Bay Bronze automatic certified chronometer wristwatch, ref: 79259 BM, serial no: 1753853, brown dial, luminous hands, markers and numerals, 43mm diameter, on brown leather strap. Together with unused fabric NATO strap, guarantee card dated 08/11/2017, booklets and box Condition: Movement currently functions, watch is in 'as new' condition with gloves, sale tag attached and stickers to rear of case - **General condition consistent with age
Mid 19th Century French gilt bronze (ormolu) mantel timepiece, the 8cm silvered Roman dial with moon hands, single-train timepiece movement, the arched case decorated with fruiting swags, a putto holding flaming torches, and cast to the base with a child playing with a dog and cat, over relief of a putto teasing a dog, on knurled bun feet, 31.5cm high Condition: Minor tarnishing to silvered dial, movement inaccessible and untested, sold as seen, has pendulum and winder. Case would benefit from a clean and polish, areas of tarnishing to gilt but in unrestored condition - **General condition consistent with age
A pair of fine gilt bronze wall appliques to a design by Jean Hauré, in Louis XVI taste, 19th century, each with a central putto caryatid playing pipes, descending to acanthus cast arms with scrolls terminating in flowerheads, issuing from berried and wrythen backplates, each stamped with initials 'TT' and 'CH' to the rear, 44cm high excluding later elec4trical fitments, 26cm wide, 14cm protuberanceThe model from which these appliques take their inspiration was designed by Hauré for the Château de St. Cloud. While trained as a sculptor, Jean Hauré is best known for the furniture and objets d'art he made as maître-fondeur for the Garde-Meuble de la Couronne from 1785-88. A pair of appliques of nearly identical design are in the Jones Collection in the Victoria and Albert Museum. For a similar pair, see Christie's London, Quai d'Orsay, Paris - An Apartment by Jacques Grange, 19 November 2010, lot 606 (£4,375).Please note, the date of these wall appliques should read '19th century' and not as stated in the printed catalogueCondition Report: Later drilled and wired for electricity.The wall lights bear the usual minor marks, knocks and scuffs overall consistent with age and use.The gilding looks as though it may at one point have been refreshed. The flowerheads may at one point have been reattached, as there is a resinous residue to their backs.one of the writhing floral stems is a little loose, it looks as though the bolt to the rear has been damaged. Some looseness to one of the arms. This can presumably be easily addressed. One of the scrolls is slightly bent, and there is also a darker patch possibly casting inconsistency or repair to the thinner part of this section.Overall these are in perfectly presentable condition.Condition Report Disclaimer
A fine Empire alabaster and gilt and patinated bronze mounted pendant ceiling light, early 19th century and later refitted, the dished circular section body surmounted by a gallery cast with anthemia and lion mask mounts, suspended from foliate cast chains and rising to a conforming corona, with acanthus carved terminal, approximately 39cm wide, 94cm high overallProvenance: Brancaster Hall, NorfolkAcquired by the present vendor at Bonhams Knightsbridge, the Contents of Brancaster Hall, Norfolk, 9 September 2002The coastal area surrounding Brancaster is best-known as the birthplace of Lord Nelson, who was a proud Norfolk man and, it is often thought, learned to sail at the town's beaches. Brancaster Hall, by repute, also hosted Nelson during his lifetime. An Empire alabaster light similar to the example presented here was sold at Sotheby's New York, Property from the collection of Mrs Charles Wrightsman: the London residence, 28 April 2010, lot 18 ($18,750). Condition Report: The light bears the usual minor marks, knocks and scuffs overall consistent with age and use.There is a restored chip and fine hairline crack to the alabaster, as well as another small crack and some scratching.There is also a white oval patch to the alabaster near one of the masks, possibly a repair.There are one or two chips to the foliate carved underside and a loss to the upper portion of the terminal. There is also radial movement to the terminal.The acorn gallery is a little bent.The gilding is a little rubbed overall, particularly to the chain.The hooks suspending the bowl are a little bit bent.Electrical fitments are present to the inside of the bowl, but these haven't been tested.This is sold as a decorative item, and the electrical elements will need to be tested by a certified electrician prior to use. Condition Report Disclaimer
Alfred Dubucand (French, 1828-1894), two fine patinated bronze models of birds, second half 19th century, comprising a woodcock and a partridge, each portrayed perched on a naturalistically modelled oval base, inscribed DUBUCAND to the maquette, each approximately 32cm highProvenance: British Private CollectionParis-born sculptor Alfred Dubucand made his Salon debut in 1867 with a wax model of a dead pheasant. Dubucand studied under Antoine-Louis Barye, and the older sculptor's influence is visible in the careful study of animals' anatomy and temperament. He is best known for his astute and finely rendered models of birds, such as the ones presented here. Condition Report: These bronzes have a rich chocolate brown patina overall.There is a very small shallow line to the side of the woodcock's beak, though this is likely a slight casting inconsistency and does not appear to be a restoration. The beak is also a tiny bit bent.Aside from minor marks, knocks and scuffs overall consistent with age, no areas of structural damage have been detected.Condition Report Disclaimer
A George III mahogany and bronze mounted tambour top writing desk, attributed to John Cobb, circa 1790, the domed tambour top released with a concealed catch, to reveal a tooled leather inset writing surface and four pigeon holes, above an arrangement of five frieze drawers around a central kneehole, with an opposing arrangement of false drawer fronts, on rectangular tapering legs, terminating in brass caps and castors, 91cm high, 118cm wide, 69cm deep Provenance: A deceased estate, OxfordshireBy family repute purchased from a London retailer during the 1960'sFor a very closely related example see Christie's, London, The English Collector, 19th May 2016, Lot 55 (£30,000). The Christie's example was part of a collection formed by R.W. Symonds for Mr & Mrs Jack Steinberg. A design for a closely related 'cylinder fall desk, with legs' is featured in Thomas Shearer's Cabinet-makers' London Book of Prices, plate 13, 1788. A related design for a 'Tambour Writing Table', 'a very convenient piece of furniture', was included in the third edition of Hepplewhite's The Cabinet-maker and Upholsterer's guide, 1794, pl. 61; an example of the latter was in the collection of Norman Adams (C. Claxton Stevens, S. Whittington, 18th Century English Furniture: the Norman Adams Collection, Woodbridge, 1983, p. 115).Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some minor old splits and chips consistent with age. Handles, escutcheons and locks appear original. The key is present to to operate the central drawer lock only. very minor fragment of metal from one lock lacking adjacent to lever/locking element. The drawer linings are solid mahogany throughout. The drawers all run very well. The tambour sections runs well, locks well into position when closed and when closed is released by the original catch located above the lock of the central drawer. Attractive original surface, colour and patina. Some additional old marks and discoloration as expected to leather surface. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A George III turned oak commemorative punch bowl made from timbers of H.M.S Royal George, formed early 19th century, applied with a silver shield shaped plaque inscribed H.M.S. ROYAL GEORGE. (108 Guns) Capsised 29th Augst. 1782. This Punch Bowl was turned from a beam of Admiral Kempenfelts cabin, by JAMES GERRARD. 1802, 16cm highHMS Royal George was commissioned at the start of the Seven Years War (1756-1763). After serving with distinction, Rear Admiral Richard Kempenfelt was due to relieve Admiral Howe in Gibraltar, 1782. The 100-gun, first rate ship of the line anchored at Spithead to carry out essential work on the cistern pipe. Once heeled onto one side, the vessel took on water through the gun ports and capsized and quickly sank in the Solent.This naval disaster holds significant importance in British naval history. Having been denied shore-leave, several of the crew's visiting families and dignitaries were among the casualties which exceeded 900 in total. A controversial court martial acquitted the crew and officers of any wrongdoing and tainted the reputation of Navy board. The masts of the wreck remained visible from the shoreline as late as 1794, serving as a macabre reminder of the tragedy. Prompted by local sailors, a series of pioneering dives by Charles and John Deane recovered much of the Royal George's timber and cannons, including a bronze cannon which later formed part of Nelson's column. The masts and beams were reimagined into household items and souvenirs. The wreckage was destroyed in 1840 by the Royal Engineers in a controlled explosion. Condition Report: Split in base and foot chip (thumb nail size), some signs of filler. Other wear etc. consistent with age and use. Condition Report Disclaimer
After Ferdinando Tacca (Italian, 1619-1686), a pair of Italian patinated bronze models of musician putti, 19th century, seated and modelled opposing, each holding a scroll of sheet music, mounted to triform ebonised bases, 35cm and 42.5cm high overallThe present models with their distinctive shoulder-length locks and expressive faces are usually attributed to Tacca, as they bear a strong resemblance to the pair of shield-bearing putti by the sculptor in the collection of the Getty Museum, Los Angeles, which he made for the church of Santo Stefano al Ponte Vecchio in Florence in 1650. Casts of the present model, given an earlier date, were sold at Sotheby's New York, 26 January 2006, lot 451 ($11,400).Further literature: Fogelman, Fusco and Cambareri, Italian and Spanish Sculpture, Catalogue of the J. Paul Getty Museum Collection, Los Angeles, 2002, no. 27, pp. 217-223.Condition Report: Minor marks, knocks and scuffs overall consistent with age and use.The patina is a rich dark brown with lighter areas to the extremities.One of the putti has a break to the extended finger on the right hand, and a possible repair to one of the feet.The other has a restoration to the rear of the raised left arm. The surfaces have some minor casting inconsistencies and one or two small plugs overall, consistent with their manufacture.Minor nibbling and wear to paint on bases.Condition Report Disclaimer
An Italian patinated bronze bust of a young Emperor, possibly Tiberius as a youth, 17th century, of small proportions, the truncated subject portrayed with the head slightly inclined to sinister, with a diagonal sash across the chest, mounted to a later bronze waisted circular socle and square section base, the plinth indistinctly inscribed Young Galba to rear, the bust approximately 8.5cm high, overall height circa 11cmProvenance: from the estate of the late Betty, Lady GrantchesterCondition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The patina is a shiny reddish brown, the surface not entirely smooth, commensurate with age of this bronze.There are a handful of small casting inconsistencies including a tiny aperture to the hair. The rear is irregular and hollow-cast (to the head), and is of irregular shape.There is a small loss to the right side of the chest, as can be seen in the photographs.There is some lighter residue surrounding the buckle on the sash, which may just be a bit of dirt.There is a slightly raised patch of lighter metal near the socle, either an inconsistency or possibly to secure the lot to the later square socle.Some slight rubbing to the little plinth.Condition Report Disclaimer
A Venetian patinated bronze inkwell and cover, circle of Niccolo Roccatagliata (1593-1636), early 17th century, the domed and acanthus cast cover modelled with a standing deity, possibly Neptune, standing beside a dolphin, above a lobed basin raised on figural feet cast as men seated on cushions, circa 14cm high overallProvenance: from the Estate of the late Betty, Lady GrantchesterA related inkwell, with similarly lobed basin and feet modelled as seated males, is illustrated in W. Bode, The Italian Bronze Statuettes of the Renaissance, de Reinis, New York, 1980, p. 25, illustration 31. There described as 'Style of A. Vittoria', and as being in private possession.The deity standing contrapposto with hand leaning on an elongated dolphin recalls the model of 'Venus Marina' by Venetian sculptor Girolamo Campagna (see for example Metropolitan Museum Accession number 68.141.19). A large inkwell with figural feet and a version of this female deity and dolphin, was sold at Christie's London, 5 July 2007, lot 25 (£8,400).Condition Report: The patina is a rich reddish brown. Minor marks, knocks and scratches overall consistent with age. The feet have hollow cast rear.There is a crack near the rim of the basin, mostly visible to the interior.Small circular opening to one of the seated males' chest, due to casting, and there is loss of definition to the standing deity. There is also radial movement between the deity and the cover, the cover interior is a little irregular in shape. Tiny loss to a corner of one of the cushions.Condition Report Disclaimer
Feiner Louis-XVI-Sekretär Frankreich, gestempelt von Martin Ohneberg, letztes Viertel 18. Jahrhundert 142 x 82 x 41 cm Rechteck-Korpus mit vorne abgeschägten Ecken. Zweitüriges Unterteil mit herausnehmbarer, abschließbarer Kassette. Abklappbare, mit goldgeprägtem Leder besetzte Schreibplatte vor einem Kabinett mit 4 Schüben und mehreren Kompartimenten, Kopfschub und obere Seitenteile kanelliert. Palisander, Rosenholzu.a. Reiche, vergoldete Bronzemontierungen. Breche d'Alep Marmorplatte. Hinten rechts gestempelt "M.OHNEBERG" (wird Meister 1773). In einer der kleinen Schubfächer altes Händleretikett: "A LA BONNE FOY/Nouvelle Halle/rue de Viarme no. 36/Cresson...à Paris". Min. rest., leichte Altersspuren. Provenienz: Aus einer württembergischen Privatsammlung. Lit. Pierre Kjellberg, Le Mobilier Francais du XVIIIme Siècle, S. 623-628. A FINE LOUIS XVI ORMOLU MOUNTED PALISANDER AND OTHERS SECRETAIRE A ABATTANT, Paris, stamped by Martin Ohneberg, last quarter of 18th century. Double doors at lower part with removable casket inside, hinged leather-lined writing desk, rich cabinet with 4 drawers, upper rim and drawer with gilt fluted frieze. Gilt bronze mounts, Breche d'Alep marble top. Stamped upper right "M.OHNEBERG". Old label inside a small drawer: "A LA BONNE FOY/Nouvelle Halle/rue de Viarme no. 36/Cresson...à Paris". Very minor restorations, minor traces of age. Provenance: Property of a Wurttemberg private collection.
Bedeutender Secretaire-à-Trois-Corps - sog. "Cantourgen" Mainz, ca. 1740/50 230x130x75 cm Zweischübiges Kommodenteil auf Volutenfüßen, an den vier teils abgeschrägten Ecken fein geschnitzte, applizierte C-Bögen. Geschweifte Front und Seiten. Mittelteil sich passig nach oben verjüngend, vier seitliche Schubfächer, zentrale, aufklappbare Schreibplatte. Zweitüriger Aufsatz, an den Seiten Lisenen mit C-Bögen und korinthischen Kapitellen, schauseitig Schlagleiste, die das Lisenendekor wieder aufgreift. Kabinettausstattung mit zentraler Tür und 13 Schüben, diese zentral verriegelt über das Türfach. Bronze- und Messingbeschläge. Nussbaum, Nussbaummaser, Mooreiche, Zwetschge u.a., graviert, koloriert, teils brandschattiert. Reich intarsiert. Auf dem Kommodenteil Vogeldarstellungen auf Zweigen und Blattwerk, Bandelwerk, Blütenmotive. Die Vögel wiederholen sich auf den Türen des Oberteils, darüber vasenförmige Aufbauten mit Hibiskus-Stauden. Auf der Schreibplatte die Darstellung der Flucht nach Ägypten in einer weiten Landschaft mit Burg, Ruinenarchitektur und weiterer Figurenstaffage. L. rest., Altersspuren. Provenienz: Aus einer alten bayerischen Privatsammlung, erworben bei Hugo Ruef, 405. Kunstauktion, 25.-28. März 1981, Lot 4520, seither in Familienbesitz. Der Typus des Mainzer Schreibschrankes, "Cantourgen" genannt, abgeleitet von "Kantor" oder "Cantour", was einen Schreibtisch bzw. ein Büro bezeichnet, gilt als Höhepunkt deutscher Möbelkunst des 18. Jahrhunderts. Es entspricht auch dem lokalen Dialekt, dem "Cantour" (dem großen Büro) ein "gen", zu Hochdeutsch die Verkleinerungsform "chen" beizufügen, und so ein "Cantour-chen" ein "kleines Büro" zu benennen. Die charakteristischen stilistischen Merkmale sind u.a. die markanten, abgeschrägten und teils frei stehenden Volutenlisenen und C-Bögen an den Ecken mit den korinthischen Kapitellen sowie die reichen Intarsien aus verschiedenen Materialien. Dieser Möbeltypus galt als Meisterstück der Mainzer Tischler und die Exemplare wurden zumeist für den lokalen Adel gefertigt. Besonders ist die Tatsache, daß sich zu den hervorragenden Mainzer Möbeln aus dem 18. Jahrhundert nicht nur die Möbel als solche, sondern auch eine sehr umfangreiche Reihe von Meisterrissen der Mainzer Schreinerzunft erhalten haben, die in der Folge die Formen der Meisterstücke der Zeit zwischen 1676 und 1816 wiedergibt. Lit. Fritz Arens, Meisterrisse und Möbel der Mainzer Schreiner, Mainz 1955, Tafel 53 ff. Bekannte Mainzer Stückmeister waren u.a. Anton Ortlauff, Johann Philipp Joseph Alffter, Johann Philipp Raab, Ludwig Escher, Franz Brant oder Heinrich Härtig und Johann Valentin Brenner. In Privatbesitz sind noch verschiedene Exemplare der Cantourgen bekannt, weitere Stücke u.a. im Reiß-Museum (Mannheim), im Badischen Landesmuseum (Karlsruhe), im Hessischen Landesmuseum (Darmstadt) oder in der Eremitage (St. Petersburg). Lit. Kreisel/Himmelheber, Die Kunst des deutschen Möbels, Spätbarock und Rokoko, S. 304 ff., Abb. 1038-1045, wobei von den hier vorgestellten Exemplaren ein Schreibschrank von Kilian Bender um 1750 bzw. ein Sekretär von Johann Philipp Raab aus dem Jahr 1766 (Abb. 1038, 1041) in der Form und Volutendekoration die meisten Ähnlichkeiten zu dem hier angebotenen Stück vorweisen. Vgl. Auch Wolfgang L. Eller, Schreibmöbel 1700-1850, Abb. 96-104 sowie Heidrun Zinnkann, Meisterstücke Mainzer Möbel des 18. Jahrhunderts, Katalognr. X. Die Geschichte der einst freien Stadt Mainz (1244-1462) wurde bis zum Ende des 18. Jahrhunderts durch die Mainzer Kurfürsten und Erzbischöfe bestimmt. Dank seiner günstigen geographischen Lage am Rhein und seiner Funktion als Festungsstadt und Sitz des Kurfürsten erlebte Mainz im 17. und 18. Jahrhundert eine weitere wirtschaftliche und kulturelle Blüte, was zur Folge hatte, daß die Ansprüche und Nachfragen in Kunst und Handwerk stiegen und Mainz zu einem in vielen Bereichen führenden kulturellen Zentrum wurde. AN EXCELLENT BRONZE MOUNTED AND MARQUETRIED WALNUT, BOG OAK, PLUM AND OTHERS SECRETAIRE-A-TROIS-CORPS, SO-CALLED "CANTOURGEN", Mainz, c. 1740/50. Commode part with two drawers, ornitological and floral marquetry, with c-shaped carvings, central part with hinged writing desk, on the front a rich marquetry depicting The Flight into Egypt in a wide landscape with ruin architecture. Double leaf top with floral and ornitological marquetry, applied carved pilasters with Corinthian capitals. Rich cabinet interior with 13 drawers and central door. - Minor restorations and traces of age. Provenance: Old Bavarian Private Collection. With Hugo Ruef, Munich, 405. Kunstauktion, 25.-28. March 1981, lot 4520. In family property until today. The Mainz furniture type "Cantourgen" (a German dialect word, meaning a small office) is the highpoint of German art of furniture in the 18th century and these masterpieces have mostly been manufactured for the local nobility. Quite a lot of design illustrations from the masters of the Mainz carpenters' guild have remained until today, showing the development of this furniture type in the period from 1676 until 1816 (Cf. Fritz Arens, Meisterrisse und Möbel der Mainzer Schreiner, Mainz 1955, plate 53 ff.). Famous Mainz masters were amongst others Anton Ortlauff, Johann Philipp Joseph Alffter, Johann Philipp Raab, Ludwig Escher, Franz Brant, Heinrich Härtig and Johann Valentin Brenner. Some examples of the Cantourgen can still be found in private collections but also in museums like Reiß-Museum (Mannheim), Badisches Landesmuseum (Karlsruhe), Hessisches Landesmuseum (Darmstadt) and Eremitage Museum (St. Petersburg). Rel. Lit. Kreisel/Himmelheber, Die Kunst des deutschen Möbels, Spätbarock und Rokoko, p. 304 ff., fig. 1038-1045, whereby from this examples a bureau from Kilian Bender, c. 1750, and from Johann Philipp Raab, 1766, are most closely to the piece at hand. Cf. also Wolfgang L. Eller, Schreibmöbel 1700-1850, fig. 96-104. Heidrun Zinnkann, Meisterstücke Mainzer Möbel des 18. Jahrhunderts, Fig. X. - The history of the former Free City Mainz (1244-1462) has been shaped by the electorial princes and archbishops until late 18th ct., experienced a cultural and prosperous heyday and became a leading cultural centre.
Waldmüller, Franz 1894 - 1966, Wien, um 1922/24 H. 174 cm Männlicher Akt. Schreitender Jüngling mit erhobenen Armen. Bronze, braun patiniert. Am Sockel seitlich signiert "F. Waldmüller", gegenüber Gießersignatur "WE:KUNSTERZG AG ARSENAL". Alterssch. WALDMÜLLER, FRANZ (1894-1966), Vienna, c. 1922/24. Pacing Nude Boy with upraised arms. Bronze, patinated. Signed at the left side of the base "F. Waldmüller", foundry's signature at the opposite side "WE.KUNSTERZG AG ARSENAL". Damages due to age.
Louis-XVI-Pendule Frankreich, 2. Hälfte 18. Jahrhundert H. 58 cm Portalähnliches, weißes Marmorgehäuse mit aufwendigem, feuervergoldetem Bronzezierrat, zwei Plaketten aus Biskuitporzellan, Onyx, Porzellanblüten und Adlerbekrönung aus Bronze. Weißes Emaillezifferblatt mit Datum, arabischen Ziffern und verzierten Zeigern. Großes Pariser Werk mit 8 Tagen Laufdauer, Halbstundenschlag auf Glocke und Fadenaufhängung des Sonnenpendels. Rest., erg., Alterssch. Funktionsfähigkeit nicht geprüft. Ähliche Modelle mit Adlerbekrönungen she. Kjellberg, Encyclopedie de la Pendule Francaise, Paris, 1997, S. 198-201. A LOUIS-XVI ORMOLU MOUNTED WHITE BLACK MARBLE "PORTICO" PENDULE, French, 2nd Half of 18th century. Decorated with biscuit porcelain plaques, porcelain flowers and bronze eagle on top. White dial, Paris anchor escapement with 8 day movement and half hour striking on bell. Restorations, additions, damages due to age. Functionality not inspected.
Pendule mit Amor Frankreich, 19. Jahrhundert H. 48 cm Auf vergoldetem Messingsockel dunkel patinierter Amor, über seinem Kopf das vergoldete Rundgehäuse mit Schleifenbekrönung haltend. Weißes Emailleblatt mit römischen Ziffern, arabischer Minuterie, verzierten Zeigern, in Rot bez. Hartingue, Paris. Pariser Rechenschlagwerk mit 8 Tagen Laufdauer, Federaufhängung des Pendels. Rest., erg., Alterssch. A FRENCH GILT BRASS AND PATINATED BRONZE PENDULE WITH AMOR, 19th century. White enamel dial signed "Hartingue Paris", Paris reck escapement with 8 day movement. Rest., additions, minor damages due to age. Functionality not inspected.
Paar prächtige Halbschränke mit Porzellan-Einlagen Frankreich, Ende 19. Jahrhundert 104x107x43 cm Leicht passige, eintürige, rechteckige Korpi mit einem Schub. Palisander, Satinholz u.a., reiche Bronzebeschläge und dekorative Marketterie. In den Türen je eine großflächige Porzellan-Plakette mit der Darstellung eines galanten Paares. Polychrome Malerei, monogrammiert J.B. Altersspuren, l. rest. A PAIR OF FRENCH NEOCLASSICAL BRONZE MOUNTED PALISANDER, SATIN WOOD AND OTHERS LOW CUPBOARDS WITH PORCELAIN PLAQUES, late 19th century. Rich marquetry, bronze mounts, the porcelain plaques painted with a lady and a gentleman in a park landscape, monogrammed "J.B.". Traces of age, minor rest.
Rokoko-Schrägklappensekretär wohl Schweden, um 1760 101x80x50 cm Korpus mit zwei Zargenschüben auf 4 leicht geschwungenen Beinen, auslappbare Schreibplatte auf zwei herausziehbaren Stützen. Kabinett mit 4 Schüben und Briefkompartimenten. Esche, Eibe, Palisander u.a., reiche Bronzebeschläge. Rückseitig in Schwarz beschriftet: "c.F.D. No. IV arborga hinsberg". Rest., Altersspuren. A PROBABLY SWEDISH ROCOCO BRONZE MOUNTED ASH WOOD AND OTHERS BUREAU DE PENTE, c. 1760. Verso in Black inscribed "c.F.D. No. IV arborga hinsberg". Minor restorations, traces of age.
Feiner Empire-Sekretär Frankreich, um 1810/20 142x98x47 cm Mahagoni. Rechteckiger Korpus mit drei Schüben, vorgesetzte Volutenförmige Lisenen. Abklappbare Schreibplatte vor reich eingerichtetem Kabinett mit 6 Einschüben, rückwärtiger Verspiegelung und Säulendekoration. Schreibplatte mit goldgeprägtem Lederbesatz. Vergoldete Bronzebeschläge, am Kopfschub vierfiguriger Bronzefries, originale Schlösser. Platte aus belgischem Granit. Leichte Altersspuren, l. rest. Passend zu vorheriger Katalognummer. Provenienz: Aus einer württembergischen Privatsammlung. A FINE FRENCH ORMOLU MOUNTED MAHOGANY EMPIRE SECRETAIRE-A-ABATTANT, c. 1810/20. Fine gilt bronze mounts of foliage, rosettes and a figural frieze on upper drawer, leather-lined writing desk. Belgian granite top. Original locks. Very minor restorations and traces of age. Matching to preceding lot.
Paar klassizistische Brule-Parfum Vasen Frankreich, um 1820/40 H. 27 cm Bronze, vergoldet bzw. patiniert. Gestufter Rundsockel auf quadratischer Plinthe, Vasen in Kraterform, partiell durchbrochen gearbeitet, zwei seitliche Handhaben mit Faunenköpfen. Leicht besch. A PAIR OF FRENCH CLASSICAL GILT AND PATINATED BRONZE BRULE PARFUM VASES, c. 1820/40. Krater shaped with openwork top and two handles with faun heads. Damages due to age.
Empire-Pendule "Le King Charles Saveur" Frankreich, um 1810 38 x 34 cm Feuervergoldetes und dunkel patiniertes Bronzegehäuse. Der Korpus in Form einer Liege auf 4 Beinen mit Tatzenfüßen, Szenerie mit King Charles Spaniel, der einen kleinen Jungen vor einer Schlange rettet. Weißes Emailleblatt mit römischen Ziffern, bez.: Le Clerc à Bruxelles. Stundenzeiger. Pariser Werk mit 8 Tagen Laufdauer, Halbstundenschlag auf Glocke und Fadenaufhängung des Pendels. Rest., erg., Zeiger unvollständig, Zifferblatt l. besch., Fuktionsfähigkeit nicht geprüft. Modell abgebildet in Kjellmann, Encyclopedie de la Pendule Francaise, Paris, 1997. S. 403/F. A FRENCH ORMOLU AND PATINATED BRONZE MANTLE CLOCK "Le King Charles Saveur", c. 1810. On a rectangular base a bed shaped body, on top a figural scene with a small dog saving a baby boy from a snake. White enamel dial signed "LeClerk à Bruxelles". Anchor escapement with 8 day movement and half hour striking on bell. Restorations, additions, damages due to age. Minute hand missing. Functionality not inspected.
Klassizistische Pendule Frankreich, Ende 18. Jahrhundert H. 46 cm Aufwendig, mit feuervergoldeten Relief-Applikationen aus Bronze verziertes Mahagoni-Gehäuse. Emaille-Zifferblatt mit osmanischen Ziffern und gebläuten Stahlzeigern. Großes Pendulenwerk mit 8 Tagen Laufdauer, Halbstundenschlag auf Glocke und Fadenaufhängung des Pendels. Rest., erg., Alterssch. Funktionsfähigkeit nicht geprüft. Provenienz: Privatsammlung Süddeutschland - Interessante Pendule für den orientalischen Markt gefertigt. A FINE FRENCH ORMOLU MOUNTED MAHOGANY EMPIRE MANTLE CLOCK, late 18th century. Enamelled dial with Osman ciffres for the Oriental marked. Anchor escapement with 8 day movement and half hour striking on bell - Provenance: South German private collection - Minor restorations and very minor damages due to age. Functionality not inspected.
Dekorative Tischlampe im Louis-XV-Stil 19. Jahrhundert H. 56/95 cm Kobaltblau bemalte Porzellan-Balustervase, wohl China, Ende 19. Jahrhundert. Vergoldete Bronzemontierung mit Rocaillen und Blattwerk, wohl Frankreich, Ende 19. Jahrhundert. Später elektrifiziert, leichte Ausbesserungen. A DECORATIVE COBALT BLUE FOND PORCELAIN AND GILT BRONZE TABLE LAMP, 19th century. Porcelain vase, probably China, bronze probably French, both late 19th. Later electrified. Retouches. Traces of age.
Barock-Kommode Mitteldeutsch, wohl Mittelrheinisch, um 1760 88x121x62 cm Zweischübiger, leicht geschwungener Korpus auf geschnitztem, rocailleverziertem Sockel auf 4 Füßen. Nussbaum u.a., teils graviert. Bronzebeschläge. Rest., Altersspuren. A MID-GERMAN BRONZE MOUNTED WALNUT AND OTHERS ROCOCO COMMODE, maybe Rhenish, c. 1760. Carved base on 4 feet, waltnut wood with engraved pattern. Minor restorations, traces of age.
Feine Empire-Kommode Frankreich, um 1810/20 91,5x130x62 cm Rechteckiger Korpus mit drei Schüben, vorgesetzte volutenförmige Lisenen. Mahagoni, vergoldete Bronzebeschläge, am Zargenschub vierfiguriger Bronzefries, originale Schlösser. Platte aus belgischem Granit. Leichte Altersspuren, l. rest. Passend zu nachfolgender Katalognummer. Provenienz: Aus einer württembergischen Privatsammlung. A FINE FRENCH ORMOLU MOUNTED MAHOGANY COMMODE, c. 1810/20. Fine gilt bronze mounts of foliage, rosettes and a figural frieze on upper drawer. Belgian granite top. Original locks. Very minor restorations and traces of age. Matching to following lot.
Paar Girandolen mit geflügelten Putten Frankreich, 19. Jahrhundert H. 66 cm Bronze, vergoldet und patiniert. Fünfflammig. Leicht balusterförmiger, kannelierter und mit Akanthusblatt- und Palmblatt verzierter Säulenfuß mit quadratischer Plinthe, darüber ein geflügelter Amor, auf einer Kugel stehend. In der linken bzw. rechten Hand hält der den reich verzierten Leuchteraufsatz. L. ber., Alterssch. Zum Motiv des Leuchters mit dem geflügelten Amor in Siegerpose auf entsprechendem Sockel vgl. eine Entwurfszeichnung in der Bibliothèque Nationale de Paris, Cabinet d'Estampes Le 31, sowie einen Wandleuchter, Paris, um 1810 desselben Motivs. Lit. Ottomeyer/Pröschel, Vergoldete Bronzen, München, 1986, Band 1, Abb. 5.17.2. und 5.10.3. A PAIR OF EMPIRE GILT AND PATINATED BRONZE CANDELABRA, French, 19th century. Winged amor standing on a ball holding the five-light flambeau top in his left or in his right hand. Balustre shaped, flooted base with Acanthus and palm leaf pattern. Traces of age. Rel. Lit. Ottomeyer/Pröschel, Vergoldete Bronzen, Munich, 1986, Vol. 1, fig. 5.17.2., 5.10.3
Paar Louis-XVI-Kaminböcke Frankreich, Ende 18. Jahrhundert 44,5 x 43 cm Bronze, vergoldet und Eisen. Kannelierte Säulen, verbunden durch einen Steg, aufgelgte Blattranke. Hintere Säule mit Zapfenbekrönung, schauseitig dreibeinige Vase mit Flammenmotiven. Rest., erg., Alterssch. Provenienz: Aus einer norddeutschen Privatsammlung. Modell publiziert bei Ottomeyer/Pröschel, Vergoldete Bronzen, Bd. 1, Nr. 4.11.10. A PAIR OF FRENCH LOUIS-XVI ORMOLU AND WROUGHT IRON VASE SHAPED AND FOLIAGE PATTERN ANDIRONS, late 18th century. Rest., additions, damges due to age. Rel. Lit. Ottomeyer/Pröschel, Vergoldete Bronzen, Vol. 1, fig. 4.11.10.
Mohrenleuchter Frankreich, 1. Hälfte 19. Jahrhundert H. 28/32 cm Mohrin mit Federrock und Hut als Tülle. Bronze, dunkel patiniert und vergoldet. Mit Plättchen aus Bein belegter Holz-Sockel und Perlbordüre aus Bronze. Leichte Alterssch. FRENCH PATINATED AND GILT BLACKAMOOR CANDLESTICK, 1st half of 19th century. Bone and bronze mounted wooden base. Minor wear and traces of age.
Fausto Melotti (Italian, 1901-1986)Quattro coppette (Four little bowls) each signed with seven dots (on the base)glazed ceramica)circa 1960Diameter: 14.5 cm.5 11/16 in.Height: 6 cm.2 3/8 in.b)circa 1965Diameter: 14.1 cm.5 9/16 in.Height: 6.2 cm.2 7/16 in.c)circa 1955Diameter: 13.3 cm.5 1/4 in.Height: 5.4 cm.2 1/8 in.d)circa 1960Diameter: 13 cm.5 1/8 in.Height: 6.5 cm.2 9/16 in.Footnotes:This work is registered in the Fondazione Fausto Melotti, Milan, under no. CT 728, CT 729, CT 730 and CT 731.ProvenanceAngelo Ambrosini Collection, MilanThence by descent to the present ownerBorn in Rovereto in 1901, Fausto Melotti's work is not easily defined. Working as a sculptor, painter, poet, and ceramicist Melotti moved freely between abstraction and figuration and his work is linked to Futurism, Surrealism and Arte Povera amongst others. Having grown up in a musical family, he went on to study mathematics and physics at the University of Pisa and engineering, art and architecture at the University of Milan. Music remained an integral part of his life and its influence, along with his scientific expertise can be found throughout his practice. At 27 Melotti enrolled in the Accademia di Belle Arti di Brera in Milan where, in the Plastica della figura class of the prominent symbolist sculptor Adolfo Wildt, he met Lucio Fontana who would become a lifelong friend. Whilst both Fontana and Melotti went on to produce a considerable ceramic oeuvre, Melotti was long best known for his lithe metal sculptures and Teatrini (Mini Theaters or Puppet Theaters). Ceramics would only really become a main focus of his practice towards the end of the Second World War, after his studio was destroyed in the bombardments of Milan, initiating a period in which the artist would focus exclusively on the production of ceramic and terracotta works. His experimental and hugely prolific foray into the ductile and intriguing material resulted in bas reliefs, abstract vases, lustrous bowls and plates, ashtrays, small ceramic sculptures, and whimsical teatrinos and he frequently mixed ceramics with steel or iron. Highlighting the beautiful iridescent glazes so characteristic of Melotti's ceramics, the present collection of works wonderfully showcase his mastery of the medium and his acceptance that he would never be fully in control of the finished product. To work in ceramics, means to hand over part of the artistic process to the kiln and the fire and according to the artist, that was why many traditional sculptors shied away from the medium. The glazes in countless shades of blue and soft pinks are interlaced with metallic accents that enhance the elegant design and feel of their vessels and gives each pot a delicate, gem like quality. As stated by Melotti, 'For an artist, ceramic is a material like bronze or marble. Ceramic may even be a more fascinating material because of the mystery in which it is born from. [...] The adventure of the piece of ceramic that enters the oven amorphous and emerges in full party dress is the source of an exciting joy, an indefinite limit between sense and beauty. It's like a holiday trip into a world that is more fairy-like [féerique] than magical, a world where expressions like joy in work find value and meaning. (The artist in: Antonella Commellato, 'Lotta. Materia prepotente Cervello luminoso', in Antonella Commellato and Marta Melotti, Fausto Melotti. L'opera in ceramica, Milan 2003, p. 27)Melotti was an integral part of the artistic and intellectual fabric of post-war Italy. A contemporary of Alexander Calder, parallels can also be drawn between the sculptures of Alberto Giacometti and throughout his life he stood in regular artistic exchange with some of the most revered artists of the age, such as Lucio Fontana and Gio Ponti. Today, his work is held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Rome, and the Gori Collection in Pistoia, among many others.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
A pair of Regency gilt and patinated bronze candlesticks, circa 1815, each foliate cast nozzle raised on a dolphin stem, 18.5cm highCondition Report: These sticks bear the usual minor marks, knocks and scuffs overall consistent with age and use.The dolphins have a rich brown patina.Aside from slight bending to interior of drip pans, slight wear to edges of gilding and some blu-tac residue inside the nozzles (which could of course be easily cleaned), these are in satisfactory condition overall.Please note that these are also iron-weighted to the underside. Condition Report Disclaimer
Coffey (George) The Bronze Age in Ireland, lg. 8vo D. (Hodges, Figgis & Co.) 1913, First Edn., illus., cloth; MacAlister (R.A.S.) Ireland in Pre-Celtic Times, 8vo D. (The Talbot Press), n.d. First, blue cloth gilt lettered spine; Romilly Allen (J.) Early Christian Symbolism, 8vo L. (Whiting & Co.) 1887, First, frontis, illus., gilt decor. cloth; Sexton (E.H.L.) A Descriptive and Bibliographical List of Irish Figure Sculptures of the Early Christian Period, 4to Maine 1946, Ltd. Edn., illus., cloth and d.j. (4)
Michael CroissantFigur Bronze mit schwarz-brauner Patina Höhe 100 cm. Auf Steinsockel 6,5 x 24,5 x 24,5 cm. Geritzt monogrammiert und datiert 'MC 02' sowie mit der Werknummer. - Mit leichten Altersspuren.Josephine Gabler u.a. (Hg.), Der Bildhauer Michael Croissant, 1928-2002, Berlin 2003, WVZ-Nr. 1539 (Werkverzeichnis von Birk Ohnesorge)ProvenienzGalerie Biedermann, München; Privatsammlung, HessenAusstellungenMünchen 2002 (Galerie Biedermann), Michael Croissant Michael CroissantFigur Bronze with black-brown patina Hight 100 cm. On stone pedestal 6.5 x 24.5 x 24.5 cm. Monogrammed and dated 'MC 02' (scratched) and with work number. - Minor traces of age.Josephine Gabler et.al. (ed.), Der Bildhauer Michael Croissant, 1928-2002, Berlin 2003, cat.rais.no. 1539 (catalogue raisonné by Birk Ohnesorge)ProvenanceGalerie Biedermann, Munich; private collection, HesseExhibitionsMunich 2002 (Galerie Biedermann), Michael Croissant
Sophie RyderLady Hare Holding Dog Bronze mit braun-grüner Patina Höhe 118 cm. Auf der Plinthe geritzt signiert und datiert 'Ryder 2001' sowie nummeriert. Exemplar 6/9. - Mit leichten Altersspuren.ProvenienzBerkeley Square Gallery, London (2003); Privatsammlung, HessenLiteraturJonathan Benington, Sophie Ryder, Aldershot 2001, o.S. mit Farbabb. (anderes Exemplar) Sophie RyderLady Hare Holding Dog Bronze with brown-green patina Height 118 cm. Signed and dated 'Ryder 2001' (scratched) and numbered on plinth. Numbered 6/9. - Minor traces of age.ProvenanceBerkeley Square Gallery, London (2003); private collection, HesseLiteratureJonathan Benington, Sophie Ryder, Aldershot 2001, unpag. with col. illus. (different cast)
A Chinese bronze censer with openwork handles, raised on three feet, bearing sixteen character mark to base (probably faux Qianlong), 12.5 cm diameter x 8 cm high CONDITION REPORTS Basically sound though with many scuffs, dents, minor surface scratches conducive with age and use. See images for examples. Approx 1kg
A brass Tibetan style figure of the infant Shakyamuni Buddha, his right finger pointing at the heavens, his left finger pointing at the earth, stood upon a lotus flower, 16.5 cm high, together with a Japanese chocolate patinated bronze figure of an elderly dancer on a circular base, 20 cm high CONDITION REPORTS The figure of the child Buddha appears basically sound with surface scratching and small dents either as part of the original casting or conducive with age. The Japanese dancing figure has some slight denting to the base and light surface scratching conducive with age. The gilded areas are either dirty or worn, certainly less obvious to the naked eye. and missing something from his left-hand as you look at him. His right-hand as you look at it him possibly has been repaired. Both have wear and tear conducive with age and use. See images for more details.
A pair of Rennaissance revival bronze wine ewers, 19th centuryOf amphora shape with scroll handles surmounted by putti, the bodies cast with continuous scenes of revelling putti beneath fruiting vines, 56.5cm high. (2)Condition report: Both are in generally fair condition with negligible signs of age and some play/looseness in the component parts.
A Chinese bronze censer, 18th century, of quatrefoil form, on four slightly curved feet, with two character cast seal mark to the underside, 615grams 11.5cm wide, 6cm highCondition report: Item has a rich patina and appears in good overall condition. General age related wear including surface scratches and general marks to base.
A collection of seventeen vintage car badges and a bronze Janus type radiator cap, early to mid 20th century, to include Automobile Club Monaco, Automobile Club of New York, RAC - Hampshire Automobile Club, Touring Club of France, two Royal Automobile Association examples with enamel Union Jack centres and an AA badge all mounted on a chrome bar, British Automobile Racing Club, Touring Club De Belgique, Lid Van De Wegenwacht, ADAC German Automobile Club, The Jaguar Drivers Club etcQty: 18Condition report: Most of the red enamel missing from the Union Jack on the left side of the car bar, chrome corroded. Gilt metal car club Belgique missing blue and white enamel within wreath and around date, metal slightly distorted. Monaco badge missing some red enamel. All badges showing some wear and tear commensurate with age.
After Sir Peter LelyPortrait of Barbara Villiers, Duchess of Cleveland (1640-1709), three-quarter length, in a gold dress and blue wrap, holding a sword and a palm frondoil on canvas77 x 64cmCondition report: The painting is executed in oil on a canvas support. The paint layer has a network of age cracks with have been flattened and slightly abraded through the lining process. There is an insert at the left side of the upper edge which has a very smooth surface. Retouchings are slightly mismatched to the original and matte, for example the diagonal line above the sitter's head. The varnish is clear and glossy. The frame has been covered with bronze paint.
Feine Bronze eines sitzenden Bauern auf einem Felsen neben Wasserkessel JAPAN, signiert Tokyo Udagawa sei (= Udagawa Kazuo), tätig um 1900-10 H. 27,5/B.30 cm Provenienz: Aus einer süddeutschen Privatsammlung, zwischen 1950 und 1980 erworben - Minim. Altersspuren A FINE BRONZE MODEL OF A SEATED FARMER, Japan, signed Tokyo Udagawa sei (= Udagawa Kazuo), ca. 1900-10 - UDAGAWA KAZUO LG was listed as a member of the Tokyo Chokokai (Tokyo Sculptors' Society) with his address at Shitaya-ku, Nicho-machi, 3-banchi, Tokyo. He was an artist from the second generation of the Tokyo School, and exhibited at the major exhibitions of his time: The Naikoku Kangyo Hakurankai (Domestic Industrial Exhibition) in Meiji 23 (1890) and Meiji 36 (1903)- The Third National industrial Exhibition in Meiji 23 - The Fifth National Industrial Exhibition in Osaka in Meiji 36, using his earlier name Udagawa Sutejiro, before adopting the name Kazuo. He also exhibited at major overseas exhibitions, as Udagawa Kazuo including: The Paris Great Exposition in 1900 award winning section 1, the St. Louis Exposition in 1904 award winning section and in 1910 at the Japan-British Exhibition-Shepherd's Bush, London also award winning section. For examples of his work see the bronze "Farmer's wife feeding a baby on the bench" in the collection of the Ashmolean Museum in Oxford, exhibition catalogue 'Japanese Decorative Arts of the Meiji Period' by O. Impey & J. Seaman 2005, no. 32 pg.68 - Property from a South German private collection, assembled between 1950 and 1980 - Very minor traces of age
Quadratischer Spiegel aus Bronze mit AufschriftCHINA, gemarkt xue jinhou zao, Qing-DynastieProvenienz: Alte deutsche Privatsammlung, vor 2007 erworben - Xue Jinhou war ein bekannter Handwerker der Familie Xue für Spiegel aus Bronze in Huzhou, Lebensalter unklar, er war in der Qianlong-Periode tätig - AltersspurenA SQUARE INSCRIBED BRONZE MIRROR WITH POEM, China, marked xue jinhou zao, Qing dynasty - Provenance: Old German private collection, acquired prior to 2007 - Minor traces of age
Feuervergoldete Bronze der Sitatara auf einem Lotos TIBET, 18.Jh. H. 18 cm Provenienz: Aus einer europäischen Privatsammlung, vor 2007 erworben - Kleine Abriebe der Vergoldung, Altersspuren, minim. best., Attribute teils verloren A GILT-BRONZE FIGURE OF SITATARA, TIBET, 18th ct., seated in vajrasana on a lotus-base with her right hand lowered in varadamudra while the left is raised in vitarkamudra, her forehead, hand-palms and feet-soles cast with an eye, wearing sari, cape draped over her shoulders, bejewelled, her face displaying a serene expression with downcast eyes below arched eyebrows running into her nose-bridge, her hair combed backwards falling in long tresses over her shoulders and secured with a tiara decorated with a pair of floating ribbons, unsealed - Property from a European private collection, acquired prior to 2007 - Minor wear and traces of age, slightly chipped, attributes partly lost
Konvolut Kunstgewerbe und Siegel, u.a. Kalasha, Spiegel und Bronzefigur TIBET/NEPAL, 18.Jh. und später H. 3,8-23 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, großteils zwischen 1967-72 in Afghanistan, Indien, Persien und Tibet und 1973 und 1974 in Ladakh erworben, die Kalasha und der Spiegel wurden am 1.4.1982 bei Christie's in London erworben, die Bronze 1995 bei Schlotter in Deutschland - Teils etwas best., Altersspuren A GROUP OF WORKS OF ART WITH KALASHA, MIRROR, A BRONZE FIGURE AND SEALS, Tibet/Nepal, 18th ct. and later - Property from an old South German private collection, mainly assembled between 1967 and 72 in Afghanistan, India, Persia and Tibet and between 1973 and 74 in Nepal, the kalasha and the mirror was bought April 1st, 1982 from Christie's in London, the bronze due to records bought 1995 from Schlotter in Germany - Partly chipped, traces of age
Bronze des Buddha Shakyamuni auf einem Lotos TIBET, 15.Jh. H. 16 cm Provenienz: Aus einer europäischen Privatsammlung, vor 2007 erworben - Etwas berieben, Altersspuren A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, TIBET, 15th ct., seated in vajrasana on a lotus base with a vajra-emblem to its front, his right hand in bhumisparshamudra while the left is resting on his lap supporting the alms-bowl topped with a ratna, wearing monastic garment, his face displaying a serene expression with downcast eyes below arched eyebrows running into his nose-bridge, urna and his curled hairdo continuing into the ushnisha topped with a lotus-bud, unsealed - Property from a European private collection, acquired prior to 2007 - Wear, traces of age
Feine feuervergoldete Bronze des Buddha Akshobya mit Kupfer- und Silbereinlagen TIBET, 14.Jh. H. 15,5 cm Provenienz: Ehemals Sammlung, Rutten, Amsterdam 1970'er-Jahre - Privatsammlung J.E. Holland bis 2017 - Europäische Privatsammlung - Minim. berieben, Altersspuren A FINE SILVER AND COPPER INLAID BRONZE FIGURE OF BUDDHA AKSHOBYA, TIBET, 14th ct., sSeated in vajrasana on a lotus base with his right hand in bhumisparshamudra while the left is resting on his lap, wearing dhoti decorated with various musters, scarf floating around his shoulders, jewellery lavishly set with semi-precious stones, his cold-gilded face displaying a serene expression with downcast eyes below arched eyebrows running into his nose-bridge, urna and his hair combed in a chignon secured with a tiara decorated with a pair of pattras, sealed - Provenance: During the 1970's in the Rutten collection, Amsterdam - Private collection J.E. Netherlands until 2017 - European private collection - Minor wear, minor traces of age
Gruppe von Vajra, u. a. Bronze und Eisen TIBET, 18.Jh. und später L. 10 - 28 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, großteils zwischen 1967-72 in Afghanistan, Indien und Persien erworben, laut Aufzeichnungen wurde der achtstrahlige Vajra aus Bronze in den frühen 1980'er-Jahren bei Christie's in London erworben - Altersspuren, berieben A GROUP OF VAJRA, a.o. bronze and iron, Tibet, 18th ct. and later - Property from an old South German private collection, mainly assembled between 1967 and 72 in Afghanistan, India and Persia, according to records was one vajra bought from Christie's London in the early 1980's - Traces of age, wear
Feine partiell feuervergoldete Bronze des Buddha Shakyamuni auf einem Lotos CHINA, 15./16.Jh. H. 41,3 cm Provenienz: Aus einer alten deutschen Privatsammlung, vor 1990 gesammelt - Etwas berieben, Altersspuren A RARE PARCEL-GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI CHINA, 15th/16th ct., seated in vajrasana on a lotus base with both hands in dharmacakramudra, wearing a monastic garment covering his left shoulder and falling in regular folds over both legs leaving his feet-sole bare, his face displaying a serene expression with downcast eyes below arched eyebrows running into his nose-bridge, smiling lips, elongated earlobes and his curled hair continuing into the ushnisha topped with a lotus-bud, traces of lacquer and blue pigment, unsealed - Property from an old German private collection, bought prior 1990 - Minor wear, traces of age
Drei Bronzefiguren des Buddha u. a. INDIEN, 18./19. Jh. H. 12,5-21 cm Provenienz: Ehemals aus einer deutsch Privatsammlung, erworben vor 2007 - Altersspuren THREE BRONZE FIGURES OF BUDDHA AND OTHERS, India, 18th/19th ct. - Former property of a German private collection, acquired prior to 2007 - Traces of age
Stehender Samurai mit Candelabra aus Bronze, partiell feuervergoldet JAPAN, sign. Miyao, Meiji-Periode H. 30,5/60 cm o.S. Provenienz: Aus einer deutschen Privatsammlung, 1980 bei Rosenbeim erworben, bis 1994 in einer belgischen Privatsammlung - Minim. Altersspuren A PARTIAL-GILT BRONZE FIGURE OF A STANDING SAMURAI WITH A CANDELABRA, Japan, signed Miyao, Meiji period - Property from a German private collection, acquired at Rosenbeim in 1980, in a Belgian private collection until 1994 - Minor traces of age
Weihrauchbrenner mit Elefantenbeinen und 'bianhu' aus Bronze CHINA, Qing-Dynastie H. 12-13,7 cm Provenienz: Aus einer norddeutschen Privatsammlung, vor 1967 erworben - Altersspuren A BRONZE CENSER AND A BIANHU IN ARCHAIC STYLE, China, Qing dynasty - Property from a North German private collection, acquired prior to 1967 - Traces of age
Feuervergoldete Bronze des Buddha Shakyamuni TIBET, ca. 18. Jh. H. 26 cm Provenienz: Aus einer bedeutenden süddeutschen Privatsammlung, in Asien vor 1970 erworben - Minim. Altersspuren A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, TIBET, ca. 18th ct., seated in vajrasana on a lotus base with his right hand in bhumisparshamudra while the left is resting on his lap, wearing diaphanous monastic garment with a small section draped over his left shoulder in the form of a swallows-tail, his face displaying a serene expression with downcast eyes below arched eyebrows running into his nose-bridge, urna, his blue coloured hair-dress continuing into the ushnisha and topped with a lotus-bud, resealed - Property from an important South German private collection, bought in Asia prior 1970 - Very minor traces of age
Bronze eines heulenden Wolfes JAPAN, gemarkt Seiya sei, Meiji-Periode L. 37,5 cm Provenienz: Aus einer deutschen Privatsammlung, vor 2007 erworben - Altersspuren A BRONZE MODEL OF A STRIKING WOLVE, Japan, marked Seiya shu, Meiji period - Property from a German private collection, acquired prior to 2007 - Traces of age
Loading...
