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Feine und extrem seltene Stapeldose aus 'goldenem' Zitan mit Stein-, Silber und Perlmutt CHINA, Zhou Zhu zugeschrieben, Jiajing/Wanli-Periode 12,5x18,6x13,5cm Provenienz: Aus einer alten und bedeutenden europäischen Privatsammlung, laut Aufzeichnungen 1928 in Peking erworben - Deckel mit Altersrissan den Kanten, in eine Seite übergehend, wenige sehr kleine Fehlstellen der Einlagen, wenige Klebespuren an den Kanten A SUPERB AND EXTREMELY RARE SILVER-INLAID AND STONE AND MOTHER-OF-PEARL INSET 'GOLDEN' ZITAN THREE-PART STACKING BOX, attributed to Zhou Zhu, Jiajing/Wanli period - Property from an old and important European private collection, bought according records 1928 in Beijing - This exquisite box belongs to a small group of inlaid containers typically produced in the precious zitan wood, and occasionally in huanghuali. Generally they are of rectangular form and are finished with elegantly rounded covers and sides. It is of exceptional quality with the inlay decoration applied both to the cover and the sides which is rarely seen on other boxes of this type. Only one three-tiered box appears to bear such floral side decoration, illustrated in Zhongguo wenwu jinhua dacidian, Shanghai, 1996, pl. 116 - Property from an old and important European private collection, bought according records 1928 in Beijing - The exceptional workmanship displayed here, especially in the quality of the beautiful inlay suggests that it is by the hand of the Ming master carver Zhou Zhu, famed for his invention of the technique of inlaying a wide variety of precious stones and other materials onto wood and lacquer. What distinguishes Zhou's works from others is his use of a much broader range of material and the complexity of the inlay itself. On the present box, and on others attributed to him, one finds silver, gold, malachite, lacquer, different types of horn, mother-of-pearl and even gilt-bronze, suggesting that he had access to a wide range of crafts and materials within a single workshop. His inlay technique is extremely multifaceted, as he deployed inlay upon inlay and not just setting different material next to each other but creates a three dimensional effect. He also used precious metals such as gold and silver, often creating stunning multi-layer works of art. Later versions, even very fine and complex works from the height of the Qing dynasty, rarely employed such a wide range of complex inlay techniques. Zhou had many talents and also excelled at carving. He is said to have made furniture such as lacquered wood screens, tables, chairs, cupboards and bookcases. He is recorded in the writings of Ming and Qing literati as having worked in Yangzhou in Jiangsu province during the reign of the Jiajing emperor. While his birth date is unknown, the Jiajing period attribution to his work is confirmed by an inlaid box that bears an inscription of a date corresponding to 1537 inscribed in red lacquer on the base, sold at Sotheby's Hongkong, 8th October 2010, lot 2192, richly embellished with an inlay decoration depicting a scene from a Mongolian hunt. Another related cinnabar lacquer box depicting a similar hunt, was also sold at Sotheby's Hongkong in the same sale, lot 2213. The two boxes are undoubtedly the products of the same workshop and possibly made by Zhou himself. It is worth noting that the sides of the lacquer box mentioned above are richly carved with blossoming branches, not dissimilar in style to that seen on this box, suggesting that the idea for the decoration may have derived from carved lacquer vessels - The cover with age cracks to side into one panel, few agecracks and remnants of glue, very minor losses to inlays

Gruppe von 7 Münzen, u.a. Silber und Bronze und Satz von Silber-Münzen mit Qing-Kaisern CHINA, Qing-/Republik-Periode und später D. 2,2 - 9,8 cm Provenienz: Aus einer süddeutschen Privatsammlung - Altersspuren A GROUP OF SEVEN COINS AND A GROUP OF TWELVE SILVER COINS WITH EMPEROR ILLUSTRATIONS, China, Qing/Republic period and later - Property from a South German private collection - Traces of age

'Fangding' aus Bronze im archaischen Stil dekoriert CHINA, 17./18.Jh. H. 24,2 cm Provenienz: Aus einer norddeutschen Privatsammlung, vor 1967 erworben - Altersspuren A BRONZE FANGDING IN ARCHAIC STYLE, China, 17th/18th ct. - Property from a North German private collection, acquired prior to 1967 - Minor traces of age

Bronzevase mit seitlichen Handhaben und Weihrauchbrenner im Stil von Hu Wenming CHINA, die Vase mit Xuande-Siegelmarke, 18.Jh., der Weihrauchbrenner 16./17.Jh. B.17/H.15 cm Provenienz: Aus einer süddeutschen Privatsammlung, vor 2007 erworben - Die Vase ist etwas berieben, der Weihrauchbrenner mit Alterssch. A BRONZE VASE WITH LION MASK HANDLES AND A BRONZE CENSER IN THE STYLE OF HU WENMING, China, the vase with Xuande seal mark, 18th ct., the censer 16th/17th ct. - Property from a South German private collection, acquired prior to 2007 - Vase with minor wear, the censer with damages due to age

Bronze des Hanuman, Bronze eines Bodhisttva und Buddha Dipankara CHINA/INDIEN, 18.Jh. und später H. 15,8-26,5 cm - 480/1390/675 gProvenienz: Aus einer süddeutschen Privatsammlung, vor 2007 erworben - Altersspuren, minim. rep. A BRONZE FIGURE OF HANUMAN, A BRONZE FIGUR E OF A BODHISATTVA AND A BUDDHA DIPANKARA, China/India, 18th ct. and later - Property from a South German private collection, assembled before 2007 - Traces of age, minor repairs

Konvolut Bronze- und Messing-Arbeiten, dazu Zinn-Vase JAPAN/CHINA, 19./20. Jh. H. 9-30 cm Provenienz: Aus einer deutschen Privatsammlung, zwischen 1975 und 1986 gesammelt - Teils etwas best., Altersspuren A GROUP OF BRONZE BRASS WORKS OF ART AND A TIN VASE, Japan/China, 19th/20th ct. - Property from a German private collection, assembled between 1975 and 1986 - Partially slightly chipped, traces of age

Weihrauchbrenner in Form eines Luduan aus Bronze CHINA, 17./18.Jh. H. 28,5 cm Provenienz: Aus einer alten deutschen Privatsammlung, vor 1935 in China erworben, seither in Familienbesitz - Altersspuren, Schwanz minim. rest. A LUDUAN-SHAPED BRONZE CENSER, China, 17th/18th ct. - Provenance: Old German private collection, assembled in China prior 1935, since than in the family of the present owner - Minor traces of age, tail with small restoration

Muscheltrompete mit feiner Silbermontierung INDIEN, 19./20.Jh. L. 42 cm Provenienz: Ehemals aus einer alten deutschen Privatsammlung, vor 2007 erworben - Kleine Bestoßungen, Altersspuren A TRIDACNA-SHELL AND BRONZE RITUAL TRUMPET CONCH (SANKHA) INDIA, 19th/20th ct., the shell body set to one side with a cylindrical-shaped trumpet section, the other side with an elaborate cast grip, its lower part consisting of three horizontal bands cast with various designs, set with Nandi, Ganesha, the yoni and linga emblem to one side and topped with a makara-head issuing scrolling tendrils surmounted by a rampant lion - Property from an old German private collection, acquired prior to 2007 - Slightly chipped, traces of age

Seltene Bronze des Guanyin im Meditationssitz KOREA, ca. 17. Jh. H. 17,5 cm Provenienz: Aus einer europäischen Privatsammlung, seit den 1950er Jahren im Familienbesitz, 1953 in Korea erworben - Etwas berieben und best., part. etwas rest. A RARE BRONZE FIGURE OF GUANYIN, KOREA, ca. 17th ct., seated with legs crossed on a plinth with his right hand in bhumisparshamudra while the left is resting on his lap, wearing various garments, beaded necklace, his face displaying a serene expression with downcast eyes, empty urna cavity, his hair combed in a chignon and secured with a diadem - Property from a European private collection, acquired in Korea in 1953 - Wear, traces of age, minor rest.

Regentrommel aus Bronze BURMA, ca. 18.Jh. D. 56 cm Provenienz: Aus einer hessischen Privatsammlung, zwischen 1975 und 1999 erworben - Etwas best., Altersspuren A BRONZE RAIN-DRUM, BURMA, ca. 18th ct., the hour-glass shaped rain-drum with two double rings for attachment at the sides, the circular flat top cast with concentric bands around a central star and decorated with four frogs near the border - Property from a German private collection assmbled between 1975 und 1999 - Partly chipped, traces of age

Konvolut Ritualgegenstände und Tsha Tsha Models aus Bronze und Messing TIBET, 19./20.Jh. H./L.4,7-20 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, großteils zwischen 1967-72 in Afghanistan, Indien und Persien erworben, laut Aufzeichnungen wurden die Handglocken in den frühen 1980'er-Jahren bei Christie's in London erworben - Altersspuren, berieben A GROUP OF RITUAL UTENSILS, BELLS AND TSHA TSHA MOULDS, Tibet, 19th/20th ct. - Property from an old South German private collection, mainly assembled between 1967 and 72 in Afghanistan, India and Persia, according to records the bells have been bought from Christie's London in the early 1980's - Traces of age, wear

Gruppe von Ritualgegenständen, u.a. Feueropfergeräte aus Bronze, Kupfer und Eisen TIBET, ca. 19.Jh. L. 47 - 70 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, großteils zwischen 1967-72 in Afghanistan, Indien und Persien erworben, die Pfanne und ein Opferset wurden laut Aufzeichnungen 1998 bei Schlotter in Deutschland erworben - Kleine Altersschäden A GROUP OF HOMA-FIRE RITUAL TOOLS, Tibet, ca. 19th ct. - Property from an old South German private collection, mainly assembled between 1967 and 72 in Afghanistan, India and Persia, two instruments have been bought according to records 1998 from Schlotter in Germany - cF: Michael Henss 'Buddhist Ritual Art Of Tibet', Stuttgart 2020, no.299 - Minor damages due to age

Bronze des Buddha Shakyamuni mit Lackauflage und Vergoldung THAILAND, Ratankosin-Periode, 19.Jh. H. 68,5 cm Provenienz: Ehemals aus einer alten deutschen Privatsammlung, vor 2007 erworben - Altersspuren, berieben A GILT- , BLACK- AND RED-LACQUERED BRONZE FIGURE OF BUDDHA SHAKYAMUNI THAILAND, RATNAKOSIN PERIOD, 19th ct., seated in sattvasana on a lotus-base placed on a shaped plinth with both hands resting on his lap in dhyanamudra, wearing samghati and uttarasangha decorated with a floral muster, his face displaying a serene expression with inlaid downcast eyes below arched eyebrows running into his nose-bridge and his curled hair continuing into the ushnisha topped with a separate cast flame - Former property from an old German private collection, acquired prior to 2007 - Wear, traces of age

Drei bronzene Lanzenspitzen, Luristan, Westiran, 16. - 10. Jhdt. v. Chr. Außergewöhnlich lange Lanzenspitze mit deutlich ausgeprägtem Mittelgrat. Sehr kurze Angel, dafür seitlich zwingenförmige Arme in doppelter Größe. Länge 51 cm. Eine massive Speerspitze. Das Blatt geht in eine massiv gegossene bronzene Tülle über, aus der eine schmale Angel herauswächst. Länge 42,5 cm. Schmale spätbronzezeitliche Lanzenspitze, die in einen kurzen, tordierten Schaft übergeht. Länge 43 cm. Allesamt mit nur minimalen Ausbrüchen an den Schneiden und schöner Patina. Intakt. Provenienz: Alte österreichische Sammlung. Zustand: II - Three Western Iranian lance tips, Luristan, 16th - 10th century B.C. Exceptionally long lance tip with a clearly pronounced central ridge. Very short tang, but double-sized arms at the sides. Length 51 cm. A massive spearhead. The blade merges into a solid cast bronze spout, from which a narrow tang grows out. Length 42.5 cm. Narrow Late Bronze Age lance tip which merges into a short, twisted shaft. Length 43 cm. All with only minimal breakouts at the blades and beautiful patina. Intact. Provenance: Old Austrian private collection. Condition: II -

Großer tordierter Ösenhalsring, süddeutsch, frühe Bronzezeit, 12. - 11. Jhdt. v. Chr. Offener runder Halsring aus Bronze mit dickerem Mittelteil und dünn auslaufenden Enden, deren Abschlüsse zu Ösen gebogen sind. Bis auf die auslaufenden Enden tordiert. Exzellente grüne Patina. Minimaler Ausbruch der Oberfläche unten rechts, sonst intakt. Durchmesser 22 cm. Provenienz: Aus einer Privatsammlung in Süddeutschland. Erworben in den 1970er bis 1980er Jahren im Kunsthandel. Zustand: II A twisted South German collar, early Bronze Age, 12th - 11th century B.C. Open round bronze collar with thicker middle part. Both ends are bent into eyelets. Twisted except the tapering ends. Excellent green patina. Surface minimally chipped on one side, otherwise intact. Diameter 22 cm. Provenance: From a private collection in South Germany. Acquired on the art market in the 1970s to 1980s. Condition: II

Großes Tüllenbeil, Mittel- oder Westeuropa, jüngere bis späte Bronzezeit, ca. 950 – 600 v. Chr. Tüllenbeil ohne Öse mit ovalem Schaftloch. Tüllenkörper beidseitig mit y-förmigem Rillendekor. Die gerundete Schneide leicht bestoßen. Intakt. Länge 12,8 cm. Provenienz: Aus portugiesischer Privatsammlung, erworben vor 2000 auf dem portugiesischen Kunstmarkt. Zustand: II - A Central or western European Bronze Age axehead, circa 950 – 600 B.C. Socketed axe with oval shaft hole. Body on both sides with y-shaped groove decoration. The cutting edge slightly bumped. Intact. Length 12.8 cm. Provenance: Portuguese private collection. Acquired on the Portuguese art market before 2000. Condition: II -

Klassizistischer Napoleon III-Leuchter, Frankreich, 19. Jhdt. Vierflammig. Auf geschnitztem und polimentvergoldetem Holzsockel der vergoldete und teilweise fein polychrom gefasste Bronzefuß mit floraler Dekoration. Darauf passiger Schaft mit drei Leuchterarmen. Altersspuren. Tüllen fehlen. Vergoldung berieben. Höhe 38 cm. Zustand: II - III A neoclassical French Napoleon III chandelier, 19th century Four flames. Mounted on carved and gilded wood pedestal. Gilded and polychromely painted bronze. Traces due to age. Nozzle missing. Gilding rubbed. Height 38 cm. Condition: II - III

Patha-Stele des Vishnu in Bronze, 18./19. Jhdt. Vollplastischer Bronzeguss mit grünlicher Patina. Höhe 16,5 cm. Leichte Altersspuren. Patina berieben. Provenienz: Aus süddeutschem Adelsbesitz. Zustand: II A patha-stele of Vishnu in bronze, 18th/19th century Fully plastic bronze casting with greenish patina. Height 16.5 cm. Slight signs of age. Patina rubbed off. Provenance: From South German nobility. Condition: II

Feines Paar Bronze-Kandelaber im Renaissance-Stil, Italien, 19. Jhdt. Gegossene, teils ziselierte Bronze, diese dunkelgrün patiniert. Auf dreipassigem Stand in Löwenform der gerade, rankenverzierte Schaft. Darauf eingeschraubte Tülle mit Widderköpfen- und Traubendekor. Höhe 37 cm. Minimale Alters- und Gebrauchsspuren. Schöne gewachsene Patina. Ästhetisch ansprechendes Leuchterpaar, welches mit Sicherheit ein bekanntes Modell aus der Renaissance zum Vorbild hat. Zustand: II + A pair of fine Italian bronze candelabras in Renaissance style, 19th century Cast bronze, partly chased, with a dark green patina. The straight, tendril-decorated shaft on a triple-pass stand in the shape of a lion. A spout screwed onto it with a ram's head and grape decoration. Height 37 cm. Minimal signs of age and wear. Beautifully grown patina. Aesthetically pleasing pair of candlesticks which are certainly based on a well-known Renaissance model. Condition: II +

Drei bronzene Lanzenspitzen, Luristan, Westiran, 16. - 10. Jhdt. v. Chr. Eine lange mittelbronzezeitliche und zwei spätbronzezeitliche Lanzenspitzen. Kaum Ausbrüche an den Schneiden. Guter Zustand. Intakt. Länge 48,5 cm, 37 cm und 36 cm. Provenienz: Alte österreichische Privatsammlung. Zustand: II - Three Western Iranian bronze lance tips, Luristan, 16th - 10th century B.C. One long Middle Bronze Age and two Late Bronze Age lance tips. Hardly any breakouts at the cutting edges. Good condition. Intact. Length 48.5 cm, 37 cm and 36 cm. Provenance: From an old Austrian private collection. Condition: II -

Klassizistische Vase mit violettem Glas, Frankreich, 19. Jhdt. Massives und geschliffenes Glas in violettem Ton, gefasst von vergoldeter Bronzemontur, teils graviert und teilziseliert. Höhe 26,5 cm. Leichte Altersspuren. Deckel fehlt. Zustand: II + A neoclassical French vase with violet glass, 19th century Massive and cut glass in violet tone, set by a gilded bronze mount, partly engraved and partly chased. Height 26.5 cm. Slight signs of age. Lid missing. Condition: II +

Bronzener Ösenhalsring, Mitteleuropa, Bronzezeit, 18. – 16. Jhdt. v. Chr. Formschöner, leicht ovaler, oben offener Ösenhalsring. Im mittleren Bereich breiterer Durchmesser, zu den Enden hin geringer werdend. Beide Enden flachgeschlagen und nach außen einfach eingerollt. Unverziert. In hervorragendem Erhaltungszustand mit beeindruckender dunkelgrüner Patina. Auf elegantem Sockel. Maximaler Durchmesser 17 cm. Gewicht 183 g. Provenienz: Aus deutscher Privatsammlung, erworben im Oktober 2006 in der Galerie Numisart, München. Zustand: II A Central European Bronze Age neck torc, 18th – 16th century B.C. Beautifully shaped bronze neck ring with flattened and rolled-out ends. Undecorated. In excellent condition with impressive dark green patina. On an elegant plinth. Diameter (max.) 17 cm. Weight 183 g. Provenance: German private collection, acquired at Numisart Gallery, Munich, in 2006. Condition: II

Zwei Nietendolche, süddeutsch, Mittlere Bronzezeit, ca. 1500 v. Chr. Zwei Nietendolchklingen mit trapezförmigem Heft. Die längere mit zwei starken Nieten. Die Spitze minimal gebogen. Intakt. Länge 12,2 cm. Die kürzere mit einem Ausbruch am Heft, durch den eine Niete verloren ist (drei sind vorhanden). Länge 11 cm. Beide Klingen mit schöner Patina! Provenienz: Aus süddeutscher Privatsammlung. Zustand: II - Two South German dagger blades, Middle Bronze Age, circa 1500 B.C. Zwei Nietendolchklingen mit trapezförmigem Heft. Die längere mit zwei starken Nieten. Die Spitze minimal gebogen. Intakt. Länge 12,2 cm. Die kürzere mit einem Ausbruch am Heft, durch den eine Niete verloren ist (drei sind vorhanden). Länge 11 cm. Beide Klingen mit schöner Patina! Provenance: South German private collection. Condition: II -

Tüllenbeil, Mitteleuropa, Mittlere bis Jüngere Bronzezeit, 1300 – 800 v. Chr. Leicht zur Schneide sich verbreiterndes Bronzebeil mit seitlicher Öse. Unterhalb des Tüllenwulstes drei Rippen. Ovale Tülle mit kleinem Ausbruch. Schneide bestoßen. Sonst intakt. Länge 9 cm. Provenienz: Aus portugiesischer Privatsammlung, erworben vor 2000 auf dem portugiesischen Kunstmarkt. Zustand: II - A bronze Age axehead, Central Europe, 1300 - 800 B.C. Bronze axehead with lateral eyelet. Oval tulle with small breakout at the rim. Blade slightly chipped. Otherwise intact. Length 9 cm. Provenance: Portuguese private collection. Acquired on the Portuguese art market before 2000. Condition: II -

Verzierte Schaftlochaxt, 3. - 2. Jtsd. v. Chr. Axt mit langem, schmalem Blatt und kurzer, leicht gerundeter Schneide. Runde Tülle, rückseitig verstärkt. Am Nacken und der Schneide altersbedingt minimale Scharten. Schwarze Oberfläche mit einfacher, klarer Rillenverzierung. Intakt. Länge 14 cm. Schönes Sammlerobjekt. Provenienz: Aus süddeutscher Privatsammlung. Zustand: II - A decorated bronze axe head, 3rd - 2nd millenium B.C. Long, narrow bronze axe blade with short, slightly rounded cutting edge. Round spout, reinforced at the back. Minimal notches at the neck and the edge due to age. Black surface with clear linear decoration. Intact. Length 14 cm. Beautiful collector's item. Provenance: South German private collection. Condition: II -

Zwei Gefäße, Bronzezeit, östlicher Mittelmeerraum, 2. Jtsd. v. Chr. Großes bauchiges Ritualgefäß mit zwei Ösenhenkeln und zwei seitlichen Schälchen. Höhe 20 cm. Dazu ein kleines dreihenkliges Gefäß. Intakt. Höhe 7,5 cm. Provenienz: Aus alter österreichischer Sammlung. Zustand: II Two Eastern Mediterranean Bronze Age vessels, 2nd millenium B.C. Large bellied ritual vessel with two eyelet handles and two small side bowls. Height 20 cm. Plus a small three-handled vessel. Intact. Height 7.5 cm. Provenance: From an old Austrian private collection. Condition: II

Trapezförmiges Flachbeil, Mitteleuropa, ältere bis mittlere Bronzezeit, 4000 – 1300 v. Chr. Flachbeil aus Kupferlegierung mit schmalem, rechteckigem Nacken. Die Schneide leicht gerundet und bestoßen. Intakt. Länge 10 cm. Provenienz: Aus portugiesischer Privatsammlung, erworben vor 2000 auf dem portugiesischen Kunstmarkt. Zustand: II - A Central European bronze Age axe head, 4000 – 1300 B.C. Flat copper alloy axe with rectangular neck. The blade slightly rounded and bumped. Intact. Length 10 cm. Provenance: Portuguese private collection. Acquired on the Portuguese art market before 2000. Condition: II -

A CHINESE PARCEL-GILT BRONZE 'LUDUAN' INCENSE BURNER AND COVER 17TH CENTURY Formed as a luduan standing upon a sinuous snake, with stylised scrolls picked out in gilt to the beast's body, the hinged cover formed as its head, it stares with bulging eyes and its mouth agape, with a single large horn to the top of its head, 27cm, 2.8kg. Cf. P Moss & G Hawthorn, The Second Bronze Age: Later Chinese Metalwork, nos.18 and 19 for comparable parcel-gilt bronze incense burners.十七世紀  銅鎏金甪端香爐

Bergman: A cold painted bronze study of a mouse with a nibbled biscuit, height approx 5.5cm, marked with a B in a handled vase.Condition: No damage or restoration. Paint rubbing commensurate with age.

Bergman: A cold painted bronze study of a mouse wearing a frock coat and top hat, height approx 7cm, marked with a B in a vase.Condition: No signs of damage or restoration. Minor rubbing to paint commensurate with age.

Bergman: A cold painted bronze study of a mouse on all fours with tail erect, height approx 5.5cm, length approx 8.5cm, marked B in a vase to the underside.Condition: No signs of damage or restoration. Paint rubbing commensurate with age.

Bergman: A cold paainted bronze study of a mouse on all fours with tail curled round, length approx 5.65cm, height approx 2cm, marked B in a vase to the underside.Condition: No signs of damage or restoration. Rubbing to the paint commensurate with age.

Datierter Renaissance-Mörser Datierter Renaissance-Mörser mit einseitig verdicktem Krückenpistill. Bronze. Konisch ausschwingender, von Profilbändern gegliederter Korpus. Dat. "1567". Altersbedingter Zustand. H. 10 cm. D. 14,5 cm. A German Renaissance bronze mortar and pistill. Dated. Age-related condition. Deutsch. 1567.

Schleichender Fuchs, Bronze, Jugendstil, um 1900, L.30,5cm, H.6,5cm, leichte Altersspuren auf der OberflächeCreeping fox, bronze, art nouveau, around 1900, l.30,5cm, h.6,5cm, slight signs of age on the surface

WIENER BRONZE 'Liegender Beduine', um 1900. Bronze polychrom gefasst, vor einer Feuerschale auf dem Bauch liegender Junge, gemarkt Franz Xaver Bergmann, geschützt und 3065, L. ca. 18cm. Schale gedellt, Farbverluste und Altersspuren. WIENER BRONZE 'lying Bedouin', around 1900. Bronze polychrome painted, boy lying on his stomach in front of a fire bowl, marked Franz Xaver Bergmann, protected and 3065, l. approx. 18cm. Bowl dented, colour loss and signs of age.

SWAMP THING #2 - (1973 - DC - UK Cover Price) - Bronze Age Key - First appearance of Anton Arcane & Patchwork Man - Bernie Wrightson cover and interior art - Flat/Unfolded - a photographic condition report is available on request

SWAMP THING #1 - (1972 - DC - UK Cover Price) - Bronze Age Key - First appearance of Alec Holland as Swamp Thing with a revised origin - Bernie Wrightson cover and interior art - Flat/Unfolded - a photographic condition report is available on request

Paul Wunderlich (1927 in Eberswalde - 2010 in Saint-Pierre-de-Vassols) Walfisch, Bronze, grün patiniert und poliert, auf Plinthe bez. "Wunderlich" und num. 56/290, L 24,5cm, Fontaine mit Altersspuren Paul Wunderlich (1927, Eberswalde - 2010, Saint-Pierre-de-Vassols) bronze, grün patinated and polished, "Walfisch" (whale), marked Wunderlich" and No. 56/290, L 24,5cm, slight signs of age

Figuren-Pendule, Vincenti & Cie, Frankreich, 19.Jh. breites Uhrengehäuse mit appliziertem Blatt- und Blütendekor, bekrönt von liegender Dame mit Blumenstrauß und Blütenkranz auf Natursockel, weißes Emaille-Zifferblatt mit römischer Minuterie, Schlüsselaufzugswerk, Halbstundenschlag auf Glocke, Bronze, vergoldet, Platine gemarkt "Vincenti & Cie", 40,5x55x15cm, leichte Altersspuren, Funktion ungeprüft Figural mantle clock, Vincenti & Cie, France, 19th C. case with applied Flower- and leaf-decoration, crowned by a reclining female, white enamell-face with roman numerals, kex wound movement, gilt bronze, movement marked "Vincenti & Cie", 40,5x55x15cm, slicht signs of age, untested

Mahakala, Nepal/Tibet, wohl Anfang 20.Jh. auf Lotosthron der 2-armige, 3-äugige Mahakala auf einem Drachen sitzend, in der linken Hand einen Mungo haltend, die rechte erhoben, im Boden Klostermarke, Bronze, vergoldet bzw. polychrom bemalt, H ca. 27cm, Altersspuren, Krone und Tuch mit Fehlstelle Mahakala, Nepal/Tibet, poss. early 20th C. on lotos throne, the 2-armed, 3-eyed Mahakala seated on a dragon, monastry mark to base, gilt and painted bronze, H ca. 27cm, signs of age, crown shortend

Sextant in Transportkiste, Cox & Coombes, Devenport/Plymouth, um 1900/20 Messing/Bronze/Holz, auf Winkelskala gemarkt, Cox & Coombes, Devonport & Plymouth", 10x26x24cm, Mahagoni-Transportkiste, Alters- und Gebrauchsspuren Sextant in transport box, Cox & Coombes, Devenport/Plymouth, ca. 1900/20 brass/bronze/wood, marked, 10x26x24cm, mahogani box, signs of age and use

Persia, Hellenistic period, 4th-1st century BC. The scarab talisman finely carved and incised, and pierced to allow for suspension as an amulet. Scarabs were popular amulets and impression seals in ancient Egypt, a symbol for rebirth and regeneration which from the Middle Bronze Age (2100–1550 BC) spread across the Mediterranean and Middle East. This piece was found near Persepolis, the ancient capital of Persia.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a turquoise of good quality from Afghanistan or Tibet and the scarab is original, ancient, cut by hand with carving, chiseling, boring, and grinding. The color of the stone is natural with no traces of dye in the recesses. The stone has been cleaned by hand. There are clear marks of ancient craftsmanship. The holes are ancient, irregular, and funnel-shaped. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear.Weight: 3.2 gDimensions: Size 0.6 x 2 cm 

Ancient region of Bactria, Kushan period or earlier, 100 BC-100 AD. The lot comprises one pair of open gold earrings decorated with four-pronged elements, one pair of bronze earrings decorated with teeth-like protuberances, and one single open earring with opposing broad flat ends. The gold earrings likely come from Tomb VII or VIII at Tillya Tepe, as these tombs were not excavated due to civil war and later raided by the Afghan population and distributed among their families.Provenance: Private collection of a German artist and collector living in Southeast Asia, assembled over time through purchases in Mazar-i-Sharif and at the Afghan market in Peshawar.Condition: Very good condition with minor traces of age and wear, the bronze earrings with a fine malachitegreen patina.Weight: 20.5 g (total) Dimensions: Inner Diameter 1.4 cm (gold earrings), Size 2.6 x 3.4 cm (bronze earring pair), Inner Diameter 2.8 cm (single bronze earring) 

Persia, Hellenistic period, 4th-1st century BC. The scarab talisman finely carved and incised, with a seal to the underside, and pierced to allow for suspension as an amulet. Scarabs were popular amulets and impression seals in ancient Egypt, a symbol for rebirth and regeneration which from the Middle Bronze Age (2100–1550 BC) spread across the Mediterranean and Middle East. This piece was found near Persepolis, the ancient capital of Persia. This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a lapis lazuli of excellent quality from Afghanistan and the scarab is original, ancient, cut by hand with carving, chiseling, boring, and grinding. The color of the stone is original with no traces of dye in the recesses. The stone has been cleaned in a tumbler and re-polished by hand, preserving the fine ancient patina. The holes are ancient, irregular, and funnel-shaped. There are no traces of use of modern tools. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear.Weight: 3.0 gDimensions: Size 0.8 x 1.7 cm 

Konvolut 3 Figuren Asien, 19. Jahrhundert Eine Guanyin, China und zwei Buddha's, Japan und Thailand. Bronze. H. 24 cm und 17 cm. Alters- und Gebrauchsspuren. One Guanyin, China and two Buddhas, Japan and Thailand. Bronze. 24 and 17 cm high. Traces of use and age.

Ding China, im Stil der Zhou-Dynastie. Kessel auf drei Beinen mit zwei Handhaben. Wandung mit umlaufendem Dekorband Drachen darstellend. Bronze patiniert. H. 26 x D. 24 cm. Alters- und Gebrauchsspuren. Ding. China, in the style of the Zhou dynasty. Bronze patinated. Cast in relief with a band of Kui dragons, the rim set with a pair of handles, the body bulging above the three tapering feets. 26 cm high x 24 cm diam. Signs of age and wear.

Comics - Five x Bronze Age DC Comics to include Superman's Girlfriend Lois Lane issues 111, 121, 125, 126 & 127. All are showing signs of age with tan to cream coloured pages, ink stamps and price stickers on the covers and slight foxing to the edges. Overall condition: Fine +

Comics - Four x Bronze Age DC Comics to include Wonder Woman issues 181, 194 & 196 and Detective Comics issue 416. All showing signs of age with tan to cream coloured pages, ink stamps and price stickers on covers and slight foxing around the edges. Overall condition: Fine

Comics - 10 x Marvel and DC Bronze Age comics to include Ghosts #27, The Shadow #5, Forever People #7, The Man Called Nova #1, Ms. Marvel #8, Marvel Feature #6, Action Comics #434, Secret Origins #3 and The Brave & The Bold #98 and 108. All are in good condition with tan to cream pages and minor foxing to edges to all, with ink stamps and price stickers to some covers. Overall condition: Fine+

Giuseppe ValaDier, 1762 "" 1839, Zug. Schreibzeug als Fontana dei Dioscuri 39,5 x 33 x 33 cm. Rom, 1. Viertel 19. Jahrhundert, um 1818. Marmo rosso antico, schwarzer und weißer Marmor, Cipolin und vergoldeter ziselierter Bronze. Auf gedrückten Kugelfüßen das gestufte Tableau in weißem Marmor mehrfach geschweift. Darauf im Rund eine galeriegesäumte rote Kuppa, hinter der sich ein Obelisk, flankiert von zwei gesockelten Reiterstandbildern in vergoldeter Bronze abhebt. Das Design dieses ungewöhnlichen Schreibzeuges orientiert sich am Dioskurenbrunnen in Rom auf der Piazza del Quirinale und zeigt rechts und links des Obelisken die beiden Dioskuren Castor und Pollux. Diese messen 560 cm und stammen möglicherweise von einem einst in der Nähe befindlichen Tempel des Serapis, wenngleich sie in den Thermen des Konstantin gefunden wurden. Sie wurden 1469-1470 von Papst Paul II restauriert. 1780 ließ Papst Pius VI den Platz durch Giovanni Antinori neu gestalten und ein Obelisk, der am Eingang des Augustusmausoleums stand, wurde in heutiger Form zwischen die Figuren gestellt. Das auch bei unserem imposanten Schreibzeug sichtbare Becken wurde 1818 auf Initiative von Papst Pius VII durch den Architekten Raffaele Stern hinzugefügt, sodass sich auch für unser Schreibzeug ein terminus post quem ergibt.  Giuseppe ValaDier, 1762 "" 1839, Zug. Schreibzeug als Fontana dei Dioscuri 39,5 x 33 x 33 cm. Rom, 1. Viertel 19. Jahrhundert, um 1818. Marmo rosso antico, schwarzer und weißer Marmor, Cipolin und vergoldeter ziselierter Bronze. Auf gedrückten Kugelfüßen das gestufte Tableau in weißem Marmor mehrfach geschweift. Darauf im Rund eine galeriegesäumte rote Kuppa, hinter der sich ein Obelisk, flankiert von zwei gesockelten Reiterstandbildern in vergoldeter Bronze abhebt. Das Design dieses ungewöhnlichen Schreibzeuges orientiert sich am Dioskurenbrunnen in Rom auf der Piazza del Quirinale und zeigt rechts und links des Obelisken die beiden Dioskuren Castor und Pollux. Diese messen 560 cm und stammen möglicherweise von einem einst in der Nähe befindlichen Tempel des Serapis, wenngleich sie in den Thermen des Konstantin gefunden wurden. Sie wurden 1469-1470 von Papst Paul II restauriert. 1780 ließ Papst Pius VI den Platz durch Giovanni Antinori neu gestalten und ein Obelisk, der am Eingang des Augustusmausoleums stand, wurde in heutiger Form zwischen die Figuren gestellt. Das auch bei unserem imposanten Schreibzeug sichtbare Becken wurde 1818 auf Initiative von Papst Pius VII durch den Architekten Raffaele Stern hinzugefügt, sodass sich auch für unser Schreibzeug ein terminus post quem ergibt. Provenienz: Bedeutende europäische Privatsammlung. Literatur: M. Parsons, A Monument of Rome, Minneapolis Insitute of Arts Bulletin, LVIII, 1969, S. 47-54. The Age of Neoclassicism catalogue, London 1972, Kat.Nr. 1753. K. A. Piacenti, Curiosita di una reggia, Vicende delle guarderobe di Palazzo Pitti, Florence 1979, Kat.Nr. 19. Alvar González-Palacios, Il Tempio del Gusto, Le arti decorative in Italia fra classicismi e barocco, Roma e il regno delle Due Sicile, Band II, mailand 1984, S. 143, Abb. 321-322. Aurora Spinosa, I Nuovi Quaderni dell' Antiquariato, bronzo nella Decorazione, Mailand 1981-1991, S. 72. Vergleiche: Ein vergleichbares Stück befand sich in der Sammlung des letzten Königs von Italien, Umberto II. (1904-1983), und von Marie-José von Belgien, Tochter von König Albert II. von Belgien. Anschließend im Besitz der Kinder von Umberto II.: Prinz Victor-Emmanuel von Savoyen, Prinz von Neapel (geb. 1937), Prinzessin Maria-Pia von Bourbon-Parme (geb. 1934), Prinzessin Marie-Gabrielle von Savoyen (geb. 1940) und Prinzessin Marie-Béatrice von Savoyen (geb. 1943). Letztere schenkte das Schreibzeug Lord Fonte zu Weihnachten 1983 im Gedenken an ihren Vater. Weitere Vergleichsobjekte befinden sich etwa im Minneapolis Institute of Art (Inv. 69.80.1a,b), aber auch ein Objekt, das unserem besonders nahe kommt, im Palazzo Pitti in Florenz, welches Giuseppe Valadier (1762-1839) zugeschrieben wird. (12518119) (13) Giuseppe ValaDier, 1762 - 1839, attributed DESK SET AS FOUNTAIN OF DIOSCURI 39.5 x 33 x 33 cm. Rome, first quarter of the 19th century, ca. 1818. Rosso antico, black and white and Cipollino marbles, chased gilt-bronze. Scene shown in white marble on stepped and curved base on compressed ball feet. 

Vier jagdliche Louis XVI-Appliken (hier zwei Abgebildet) 74 x 34,5 x 21,5 cm. Frankreich, um 1785. Bronze, gegossen, ziseliert und vergoldet. Aus einem Pseudoquastenbehang erwächst plastisches Blattwerk und aus diesem drei einem Posthorn ähnelnde Arme mit weiten Trichtertraufschalen und Vasentüllen. Wandaufhängung als Velum mit Eichenlaubkranz in Ormolu. Das Urmodell zu diesen Appliken wurde für Louis XVI gestaltet, wahrscheinlich durch Jean-Jacques Bachelier. Vergleichsliteratur: Ulrich Leben, Object Design in the Age of Enlightment, Los Angeles, Hrsg. The J. Paul Getty Museum, 2004, S. 35. Denise Ledoux-Lebard, Le Petit Trianon, Paris 1989, S. 98. Connaissance des Arts, Nr. 23, Januar 1954, S. 32. (12518142) Four Louis XVI hunting appliques 74 x 34.5 x 21.5 cm. France, ca. 1785. Bronze; cast, chased and gilt. Literature for comparison: U. Leben, Object Design in the Age of Enlightenment, Los Angeles, The J. Paul Getty Museum (ed.), 2004, p. 35. D. Ledoux-Lebard, Le Petit Trianon, Paris 1989, p. 98. Connaissance des Arts, no. 23, January 1954, p. 32.

Rokoko-Kamingarnitur Höhe der Uhr: 28,5 cm. Höhe der beiden Leuchter: 17 cm. Das Zifferblatt signiert "Étienne Lenoir". 18. Jahrhundert In vergoldeter Bronze und Porzellan. Die Garnitur dreiteilig, als typische Ausstattung für ein höfisches Damenboudoir. Die drei Teile jeweils mit durchbrochen und geschweift gearbeiteten Standsockeln, mit C- und S-Bögen sowie stilisierten Rocailleblättern. Darüber erhebt sich je ein weit verzweigter Strauch mit zahlreichen, polychrom bemalten Porzellanblüten. Auf den Sockeln jeweils Porzellanfiguren: Unterhalb der Uhr ein Putto mit Vase, die seitlich zu stellenden Kerzenhalter mit Lämmchen, als Gegenstücke gearbeitet, darüber erhebt sich je eine florale Kerzentülle in Vergoldung. Die Uhr zwischen seitlich hochschwingenden Zweigen in einem flachen durchbrochenen Rokoko-Rahmen mit Gitter- und Blattwerk. Weißes Emailzifferblatt mit römischen Stunden. Das Werk an der Rückseite durch Glas abgedeckt. Der Uhrmacher Étienne le Noir (auch Lenoir) (1699-1778) war seit 1717 Meister. Seinerzeit gehörte er zu den hervorragenden Meistern der französischen Uhrmacherzunft, auch seine beiden Söhne signierten ihre Werke mit dem Namenszug des Vaters. Die Werkstatt bestand bis um 1820. Bekannt und beliebt waren auch seine Tischuhren in Zusammengestaltung mit Porzellan, wie sich solche Exemplare in verschiedenen öffentlichen Sammlungen befinden, wie etwa in der Münchner Residenz, Eremitage Sankt Petersburg, Getty Museum Malibu sowie Schloss Wilhelmsthal, Calden. Literatur: Pierre Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Editions de l'Amateur, Paris 1997. (1250603) (1) Rococo mantel set Height of clock: 28.5 cm. Height of candelabras: 17 cm. The dial signed ''Étienne Lenoir''. 18th century. Gilt bronze and porcelain. Three-part set as a typical interior design feature of a lady's boudoir. The three pieces are each standing on C- and S-shaped curved and open-work bases and are decorated with rocaille scrollwork. Each surmounted with broad bushes with numerous colourfully painted porcelain blossoms. The bases each show porcelain figures. The clock features twigs curving upwards on each side and a flat open-work Rococo frame. The table clocks in combination with porcelain by this clockmaker were also famous and popular and are held in numerous public collections such as the former Royal Palace Munich Residenz, the State Hermitage Museum in Saint Petersburg, the Getty Museum in Malibu and Wilhelmsthal Palace in Calden. Literature: P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997.

A BRONZE PENANNULAR BRACELET, PERHAPS LATE BRONZE AGE 1100-900 BC of near circular section widening towards a pair of flattened flaring terminals, patinated green throughout 9.0 cm; 3 ½ in wide

A collection of ancient Roman and Greek coins, of various dates and denominations, to include very early coins from Palestine, as well as some from Constantine the Great, Heraclius, Herod the Great, Herod Agrippa, and others, together with bronze age artifacts such as a needle and beads, ceramic pieces and other finds

PAAR BLÜTENBÄUME Frankreich, 19.Jh. Bronzebäume mit Metalldraht und Blättern. Verziert mit vollplastischen Blüten und Figuren aus farbig bemaltem Porzellan. H.39cm. Altersschäden A PAIR OF FLOWERING TREES France, 19th century Bronze trees with metal wire and leaves. Decorated with three-dimensional flowers and figures made of coloured painted porcelain. 39 cm high. Damage due to age. Keywords: sculptures, plastic art, artworks, figures, figurines, French, Francais

A hero Dagger of Megiddo from Richard Donner's horror The Omen. The sacred Seven Daggers of Megiddo were the only weapons that could be used to destroy the Antichrist Damien Thorn (Harvey Spencer Stephens). In the town of Megiddo, exorcist Carl Bugenhagen (Leo McKern) showed Robert Thorn (Gregory Peck) how the seven daggers should be arranged in a cross formation, and explained that the ritual had to be performed on hallowed ground. Originally obtained from actor Leo McKern, this dagger was one of 12 made for the production. This hero dagger comprises a thin metal hexagonal blade, a curved crossguard and a decorative pommel. A cast emblem of Christ and the letters "IRNI" adorn both sides of the grip, and the majority of the piece is finished in faux-bronze paint. The Latin initials on the dagger are meant to stand for "Jesus of Nazareth, King of the Jews", often initialled "INRI". However, the production made a mistake with the order of the letters, an error subsequently corrected for the film's sequels. There are signs of use and age present on the dagger, including corrosion on the blade, glue remnants on the base of the blade, and wear to the paint finish. The lot comes with a handwritten letter of authenticity from McKern, which has faded over time, a black-and-white still autographed by McKern in blue ink, two additional stills and an acrylic display stand. Dimensions (displayed): 33.5 cm x 8 cm x 3.5 cm (13 1/4" x 3 1/4" x 1 1/4")Estimate: £30,000 - 50,000 M

A light-up Bajoran tricorder from classic sci-fi TV show Star Trek: Deep Space Nine. Tricorders were used by different races across the galaxy to gather sensor readings, and record and analyse data. Major Kira Nerys (Nana Visitor) used a tricorder in the Season 4 episode "Indiscretion", in which she searched for the missing crew of a downed Cardassian freighter.The Tricorder is hollow, cast from resin and finished predominantly in bronze, gold and black paint, consistent with the Bajoran aesthetic. Small red-and-green pieces of acrylic have been added for detailing, to give the appearance of buttons. When the black button is pressed, the display screen illuminates and the red-and-green acrylic pieces flash. The device has some wear from production use and age, including scuffs and scratches. There are small areas where paint has chipped away, revealing the resin underneath. Dimensions: 15 cm x 8 cm x 5 cm (6" x 3" x 2")Estimate: £800 - 1,200 M

A Bajoran phaser from sci-fi television series Star Trek: Deep Space Nine. Bajoran phasers were used in multiple episodes by members of the Bajoran Resistance, and were also carried by security personnel onboard Deep Space 9, including First Officer Kira Nerys (Nana Visitor).Made of resin and painted to look bronze, the phaser features an ergonomic black grip and a guard which surrounds the hand. It has hand-painted red-and-gold detailing, and a small purple circle on the front, from which the "beam" is discharged. Some wear is present from production use and age, including scuffing and scratches, while the paint has chipped away around some of the edges and corners. Dimensions: 25 cm x 5 cm x 17 cm (10" x 2" x 7")Estimate: £1,000 - 1,500 M

A Klingon hypospray and vials from the sci-fi series Star Trek: Enterprise. The hypospray was used in the Season 4 episodes "Affliction" and "Divergence", when Dr. Phlox (John Billingsley) was kidnapped by Klingons and forced to study a deadly plague.The instrument was used by the Klingons to inject medicine, usually into the neck. It is made of resin and painted bronze, with a metal injector and four vials made of thick, clear acrylic and metal. One of the vials is secured within the injector. There is some wear from production use and age, including some chipped paintwork on the injector, and scuffs, scratches, minor cracks to the vials. One vial also has tape on one end. Dimensions (injector and vial): 13 cm x 14 cm x 3.3 cm (5" x 5 1/2" x 1 1/4"); (each vial): 8 cm x 1.3 cm x 1.3 cm (3" x 1/2" x1/2")Estimate: £600 - 800 M

Hector's (Eric Bana) hero sword from Wolfgang Petersen's mythical epic Troy. Hector wielded his sword throughout the film as he battled the combined armies of Greece, eventually using it in a ferocious duel with the legendary warrior Achilles (Brad Pitt).Made from metal finished in faux bronze, the heavyweight sword comprises a round guard, a grip featuring several intricate cutouts, and a fishtail pommel. The blade is decorated with several circular indents and floral-style emblems running down its central raised ridge, and has intricate swirling patterns situated at its base. Shades of green paint replicating a verdigris patina have been skillfully applied to the handle and base of the blade to imply age and corrosion. The weapon comes with a custom-made display stand, made in the production's workshops, featuring a plaster base finished in white paint, with the film-title artwork in faux gold. Intentionally distressed to produce a worn appearance, the sword displays minor scuffing and wear on the blade from production use. Dimensions (displayed): 21 cm x 13 cm x 76 cm (8 1/4" x 5 1/4" x 30")Estimate: £4,000 - 6,000 †