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Click here to subscribeA 19th century patinated bronze ormolu and marble figural mantel clock surmounted with classical figures reading books over a foliate cast marble base, the gilt dial set with enamelled Roman numerals enclosing a French two train movement, 59cm high x 58cmn wide x 20cm deep, cracks to marble on four front corners, wear to gilding, general age related wear, not working in saleroom but a very impressive clock
A bronze figure of Ganesha, South India, early 20th century, the multi-armed elephant headed deity seated on his vehicle, the rat, with his consort, 29cm high and a bronze figure of Durga, South India, early 20th century, the eight armed fiercesome goddess with protruding fangs, wielding various weapons in her hands, 26cm high (2) Condition Report: some wear commensurate with age and knocks and dents and the base of Durga with an old hole and chip to one corner Condition Report Disclaimer
Miya-O Eisuke: A Japanese Parcel Gilt Bronze Figure of a Man, possibly Fujiwara no Yasumasa, he stands in voluminous, wind-blown robes decorated in gilding with Manchurian Cranes and kiri leaves, he wears an eboshi on his head and would have held a flute (now absent) in his raised hands, signed in a gilt reserve Miya-O saku; on a typical wood stand decorated in silvered lacquer scrolling karakusa, height overall 36.2cms, Meiji PeriodCondition Report: Slight wear to figure commensurate with age. Flute and sword both missing. Wood stand re-built.Condition Report Disclaimer
A Sino-Tibetan gilt-bronze figure of Buddha Amitayus, possibly c.18th century or later, seated in padmasana on a double-lotus base with the hands folded in dhyanamudra, clad in billowing robes with hems intricately incised with a foliate pattern, adorned with various beaded jewellery and a sash flowing over the shoulders and elbows and streaming over the edge of the base, the face with serene downcast expression flanked by pendant lotus earrings, the hair in locks escaping over the shoulders and secured with a five leaf tiara, 18cm high, 1182 grams Provenance: Private Collection 清18世纪（可能） 铜鎏金阿弥陀佛像拍品来源：南非私人收藏Condition Report: some of the hard stone inlay missingwear to gilding base plate missingsmall inlet repair to lower back 5mm x 4mmsome general wear and knocks commensurate with age Amitayus holds a waterpot (kalasa) in his lap which is now missingCondition Report Disclaimer
A good Chinese bronze cylindrical censer, 18th century, supported on three rounded undulating feet encircling the flat base bearing a crisply cast Xuande six-character mark, 8.8cm high x 10.7cm wide, 1,887 grams清18世纪 "大明宣德年制"铜三足炉克重：1887gCondition Report: in good condition but with some marks to the old patina commensurate with age Condition Report Disclaimer
A good Chinese bronze rectangular censer, 19th century, the heavily-cast, straight-sided censer raised on four low angular supports and set with two angular loop handles, the base is cast with a Xuande mark, 12cm long x 7.4cm wide x 5.5cm high, 807 grams清19世纪 铜"大明宣德年制"马槽炉克重：807gCondition Report: old inlet repair under one handle 1.5cm x 4cm and wear commensurate with age Condition Report Disclaimer
C. 3rd millennium BC. A beautiful buff-coloured handmade fertility idol of characteristically abstract form with wide hips, carefully delineated legs, curved arms, voluptuous breasts situated beneath an incised pectoral collar arranged over her broad shoulders. The highly stylized face presents with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with a neatly arranged coiffure. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Excellent condition; on a custom-made stand.Size: L:132mm / W:40mm ; 50g. Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.
C. 3rd millennium BC. A beautiful buff-coloured handmade fertility idol of characteristically abstract form with wide hips, carefully delineated legs, curved arms, voluptuous breasts situated beneath an incised pectoral collar arranged over her broad shoulders. The highly stylized face presents with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with a neatly arranged coiffure. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Excellent condition; on a custom-made stand. Size: L:130mm / W:37mm ; 50g. Provenance: From an old British collection formed in the 1990s.
C. 2nd millennium BC. Ancient Central Asia, Indus Valley. 2nd millennium BC. A pair of ceramic zebus. These zebu figurines feature exaggerated crescent horns, and each has a large crest at the shoulders. One is fawn coloured and painted with stripes on the horns, back and rump, dotted shoulders, and a dark ring around the neck. The second is ochre coloured and is decorated with diagonally orientated stripes applied at random intervals. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Size: L:set of2:55mm(smallest),75mm(largest)mm / W:70mm,100mm ; 140g. Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.
C. 3rd millennium BC. Indus Valley Civilisation. Terracotta-coloured vessel with a hemispherical body and a flattened ring base. The interior of the pot is painted with three fish outlined in black, each chasing the tail of the creature in front. They are framed by geometric bands and the central rondel of the bowl is filled with an elaborate geometric composition. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:100mm / W:270mm ; 985g. Provenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.
C. 3rd millennium BC. Indus Valley Civilisation. Terracotta-coloured vessel with a flattened globular body. The exterior features painted decoration depicting a sitting lion on one side and a zebu bull with characteristic hump and curving horns on the other. They are separated by stylised geometric vegetation and framed by a simple upper and lower linear border. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:100mm / W:170mm ; 805g. Provenance: From an old British collection, acquired on the UK art market in the 1990s.
C. 3rd millennium BC. Indus Valley Civilisation. Terracotta-coloured vessel with a straight neck, globular body and flattened base. The exterior features a painted black geometric neck design framed by alternating black and red bands. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:87mm / W:120mm ; 255g. Provenance: From an old British collection, acquired on the UK art market in the 1980s.
C. 3rd millennium BC. Indus Valley Civilisation. A group of six pots in a range of terracotta fabrics, two of which are on custom-made stands. (From left to right): globular jar with out-turned rim; deep hemispherical bowl with pronounced foot and black and yellow painted linear decoration; deep conical bowl with repeating ibex motif; piriform jar with flaring rim and high foot; carinated bowl with animal scenes and geometric motifs; carinated jar with squat neck and flat base. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic vessels belong, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Good condition. Size: L:set of 6:60mm(smallest), 83mm(largest)mm / W:60mm(smallest),80mm(largest)mm ; 455g. Provenance: Private London collection, formed in the 1980s on the UK and European art market.
C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured pottery zebu bull figurine with painted black details. The bull features curved horns and humped shoulders characteristic of the Zebu, elongated bodies and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull is a recurring motif in Indus Valley art, appearing in figurines like these but also on ceramic vessels. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Size: L:90mm / W:115mm ; 200g Provenance: Private London collection, formed since the 1970s on the UK and European art market.
C. 3rd millennium BC. A yellowish-brown coloured handmade fertility idol of characteristically abstract form with wide hips, carefully delineated legs, curved arms, broad shoulders and voluptuous breasts situated beneath an incised pectoral collar. The highly stylized face presents with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with a neatly arranged coiffure. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Excellent condition; on a custom-made stand. Size: L:120mm / W:35mm ; 40g Provenance: Private London collection, formed since the 1970s on the UK and European art market.
C. 3rd millennium BC. A beautiful dark cream-coloured handmade fertility idol of characteristically abstract form with wide hips, prominent pudenda, carefully delineated legs, curved arms and pinprick breasts. The highly stylized face presents with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with an intricate headdress. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Excellent condition; on a custom-made stand. Size: L:122mm / W:37mm ; 45g Provenance: Private London collection, formed in the 1980-90s on the UK and European art market.
C. 3rd millennium BC. Indus Valley Civilisation. Pair of brown pottery bull figurines with painted black details. The bulls feature curved horns and humped shoulders characteristic of the Indian cattle, elongated bodies and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull is a recurring motif in Indus Valley art, appearing in figurines like these but also on ceramic vessels. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Good condition. Size: L:set of 2: 50mm(smallest),70mm(largest)mm / W:87mm(smallest),92mm(largest)mm ; 150g Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.
C. 3rd millennium BC. Indus Valley Civilisation. Buff-coloured pottery vessel with red, green and yellow painted decoration depicting a walking bull on one side and a cow on the other. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:142mm / W:135mm ; 490g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.
C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured vessel with a curving shoulder, and carinated body. The exterior features painted decoration in black, red and green depicting a sitting lion on one side and a zebu bull with characteristic hump and curving horns on the other. They are separated by stylised geometric vegetation and framed by a simple upper and lower linear border. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:83mm / W:143mm ; 385g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.
C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured vessel with a short, straight neck, flattened shoulder and cylindrical body. The shoulder displays a repeating painted motif of three black fish, while the body features painted decoration in black, red and green depicting a walking lion on one side and a zebu bull with characteristic hump and curving horns on the other. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:84mm / W:170mm ; 715g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.
C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured vessel with a short, straight neck, carinated body and flattened base. The exterior features painted designs in black, red and green depicting a sitting lion, a grazing antelope and a bird pecking the earth. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:110mm / W:145mm ; 490g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.
C. 3rd millennium BC. Indus Valley Civilisation. A group of six vessels in a variety of terracotta and cream-coloured fabrics. (Front:) piriform jar with high foot; (Back, from left to right): globular jar with high foot and constricted neck; piriform jar featuring flaring neck, high foot and black painted lion motif; hemispherical bowl with high foot and black painted serpent design; conical bowl with repeating antelope motif; truncated conical bowl with flaring rim. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic vessels belong, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Good condition. Size: L:set of 6: 30mm(smallest), 92mm(largest)mm / W:45mm(smallest), 100(largest)mm ; 555g Provenance: From an old British collection formed in the 1990s.
C. 3rd millennium BC. Indus Valley Civilisation. Large cream-coloured painted vessel with an out-turned rim, bulbous body and a flat base. The exterior of the pot is painted with scenes depicting a tree on one side and a zebu bull with characteristic hump and curving horns on the other. They are surrounded by a geometric background comprising repeating suns, clouds and vegetal motifs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:280mm / W:350mm ; 5.6kg. Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.
C. 3rd millennium BC. Indus Valley Civilisation. Terracotta-coloured painted vessel with a biconical body and flat base. The exterior of the pot is painted with scenes depicting a tree on one side and a tiger on the other. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:110mm / W:155mm ; 610g. Provenance: From an old London collection formed in the 1990s.
C. 3rd millennium BC. Indus Valley Civilisation. Terracotta-coloured painted vessel with a hemispherical body, pronounced foot and flat base. The exterior of the pot is painted in two registers, the upper of which depicts a serpent, while the lower register shows a repeating vegetal motif. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:65mm / W:140mm ; 340g. Provenance: From an old British collection formed in the 1990s.
C. 3rd millennium BC. Indus Valley Civilisation. Terracotta-coloured painted vessel with a conical body and flattened ring base. The exterior of the pot is painted with scenes depicting a tree on one side and a stylised leopard or panther on the other. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:88mm / W:135mm ; 160g. Provenance: From an old British collection, acquired on the UK art market in the 1980s.
C. 3rd millennium BC. Indus Valley Civilisation. Terracotta-coloured painted vessel with a straight rim, rounded shoulder, conical body and flat base. A short pouring spout project perpendicular from the shoulder of the vessel. The exterior of the pot is painted with scenes depicted two fish framed by a geometric upper and lower register in green and red tones. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:77mm / W:145mm ; 230g. Provenance: Private London collection, formed since the 1980s on the UK and European art market.
C. 3rd millennium BC. Indus Valley Civilisation. A group of four terracotta pots, two of which are on custom-made stands. (From left to right): undecorated globular jar with flaring neck; globular jar with stylised fish motif; hemispherical bowl with net design; undecorated, globular jar with elongated neck. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic vessels belong, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:set of4: 48mm(smallest),70mm(largest)mm / W:47mm(smallest), 98mm(largest)mm ; 435g. Provenance: From an old British collection, acquired on the UK art market in the 1990s.
C. 3rd millennium BC. Indus Valley Civilisation. A group of four pots in a cream-coloured vessels, two of which are on custom-made stands. (From left to right): globular jar with constricted neck and flaring rim; deep hemispherical bowl with black painted ibex motif; a small piriform jar with abstract black geometric motifs; a piriform jar with pronounced foot and out-turned neck featuring a black painted fowl motif. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic vessels belong, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:set of 4: 52mm(smallest),70mm(highest)mm / W:47mm(smallest), 82mm(widest)mm ; 315g. Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.
Ca. 206 BC - 220 AD. Han Dynasty. Pair of bronze ritual vessels with flat tops, flaring, four-sided bodies, pedestalled feet and loop handles. These gorgeous vessels were probably used on ritual occasions. The Han Dynasty, which ruled between 202 BC–220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. Excellent condition; beautiful patinas. Size: L:set of two: both 80mm / W:50mm ; 220g. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.
ca. 1000 BC Ancient Luristan. This beautiful cast bronze sword has a tapering, bevelled blade and an integral handle comprising a hour-glass shaped section delinated by two pairs of incised horizontal decorations. The lower section of the handle tapers before terminating in a beautiful lunate pommel. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Excellent Condition. Size: L:255mm / W:28mm ; 80g. Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1990s.
ca. 1000 BC Ancient Luristan. This beautiful cast bronze sword has a tapering, bevelled blade with a raised midrib and an elaborate handle with two square recessed spaces separated by a band of horizontal striping imitating wire wrapping, and terminating in a crescentic pommel. The recessed spaces would have been been inset with stone, bone or ivory inlay Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Excellent Condition. Size: L:490mm / W:95mm ; 830g. Provenance: Private London collection, formed since the 1970s on the UK and European art market.
C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured pottery bull figure with painted black details. The bull features the curved horns characteristic of Indian cattle, strong, expressive facial features and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull is a recurring motif in Indus Valley art, appearing in figurines like this one but also on ceramic vessels. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Size: L:85mm / W:133mm ; 335g. Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.
C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured pottery bull figures with painted black details. The bulls, one slightly larger than the other, features the long, curved horns and humped shoulders characteristic of Indian cattle, elongated bodies and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull is a recurring motif in Indus Valley art, appearing in figurines like these but also on ceramic vessels. The animals may represent the leaders of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Size: L:set of2: 56mm(smallest),70mmmm / W:84mm,88mmmm ; 165g. Provenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.
C. 3rd millennium BC. A lovely reddish-brown coloured handmade fertility idol of characteristically abstract form with wide hips, carefully delineated legs, curved arms, voluptuous breasts situated beneath an incised pectoral collar arranged around her broad shoulders. The highly stylized face presents with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with a neatly arranged coiffure. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Excellent condition; on a custom-made stand. Size: L:130mm / W:45mm ; 55g. Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s.
A FRENCH BRONZE JARDINIERE, 19TH CENTURYrectangular, with pierced sides, atop four ball feet; overall height: 15 cm (6 in.) CONDITIONThe jardiniere is in age appropriate condition. Patina is visible to the naked eye. Overall surface dust. Rust has occured on the ball feet. Some of the interior has detached from the setting. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
BRONZE NAPOLEON OVAL BOX WITH LAPIS LAZULIoval in form with lid on square feet. the oval box shows five continuous scenes in the round. the two main scenes are centered on recto and verso. the recto scene is of war trenches in the distance stands a lone church. on verso is Napoleon himself leading his men on horses. scenes are broken up with busts and full figured miniatures of men and women. the four smaller scenes feature lapis lazuli in the background. the lid features continuous motif of a laurel wreath. the cover is adorned with an eagle draped in a laurel wreath flanked by two cornucopias filled with bounty. overall on a lapis lazuli and bronze ground. marked with an N on the cover; signed Dinetti on base. overall height: 29 cm (11 1/2 in.)CONDITIONThe box is in age appropriate condition. Patina is visible to the naked eye. Most notably on the lower right of the eagle’s body and wing and the scene with the church. Painta is visible on the square feet. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
ERNST NEIZVESTNY (RUSSIAN 1925-2016)New Statue of Liberty, bronze height: 45.5 cm (17 7/8 in.) signed on base CONDITIONThe sculpture is in overall age appropriate condition. Light scuffing and darkening of bronze in areas. Patina visible in areas, most notably the interior of the lifted arm and rigth side of the neck. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
1951 Land Rover 80 Series I Soft Top "Make: Land Rover Model: 80"Year: 1951Mileage: 37442VIN: 26102623Configuration: Right Hand DriveRegistration: USJ597Transmission: ManualPLEASE SEE BELOW FOR VIDEO PRODUCED 7TH OCTOBER BY ACA OF THIS CAR 1,600cc. First registered in the UK in 1995 and finished in Bronze green, this Land Rover is described by the vendor as "ticking all the boxes" for age and originality. Recently fitted with a new fuel tank and re-trimmed seats. The previous owner advised that it was featured on the front cover of a 2006 edition of the Land Rover Club's Legend magazine. Described as running well and benefiting from a good gearbox. Comes with current V5, previous advert, instruction manuals and spare keys. The mileage is recorded at 37,442.
A bronze baluster vaseAttributed to Kibundo Shohei (1813–1892), Meiji (1868-1912), late 19th centuryThe reddish-brown body applied with a tree frog in high relief of bronze crawling up one side towards the top of the vase as it spies a spider on the rim, signed on the base with chiselled signature Kibun tsukuru; with a wood storage box inscribed on the lid Seidoko-shiki kabin (Flower vase in the style of archaic Chinese bronze vase) with a seal, inside the lid signed Kibundo Shohei tsukuru with a seal Kasetsu Nihon Biwako no higashi (Our family is clumsily located to the east of Lake Biwa in Japan). 25.5cm (10in) high. (2).Footnotes:The founder of the Kibundo Company, Kibundo Shohei (also known as Hatano Shohei) was apprenticed at age 11 to the Ryubundo Company of Kyoto, where he studied the art of casting in bronze and iron for 17 years before setting up his own business. After much disruption due to the political upheavals of the late Edo period, he finally settled in the Notogawa district (today's Higashi-Omi City) near Lake Biwa.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A patinated bronze model of a seated mastiff, probably English, early 20th century, 11cm high, 14cm wide overall including rectangular variegated rouge marble plinth; and a patinated bronze model of a standing bulldog in the manner of Charles Curry, early 20th century, 7cm high Condition Report: The sculptures bear the usual minor marks, knocks and scuffs overall consistent with age. The larger bronze has a variegated mid-brown patina with reddish and lighter yellowish areas. One or possibly two of the corners of its marble base has been restored (using a painted composition). The smaller bulldog has some dirt/dust in the recesses, and an overall mottled black/brown patination. Overall, the lot is in perfectly presentable order. Condition Report Disclaimer
A pair of parcel gilt-bronze duck-shaped incense burners and coversMing DynastyEach finely cast in the shape of a duck with the head slightly raised as if calling out and small beady eyes framed by long sinuous feathers defining the round body supporting their gracefully curved slender necks, adorned with finely incised layers of triangular and circular feathers backed by a further array of feathers fanning out of their tail, all supported on a sturdy webbed foot, the other leg tucked underneath their stomach. Each 26cm (10 1/4in) high. (4).Footnotes:明 銅鎏金寶鴨式薰爐一對Incense burners shaped as ducks were made in China from at least the Han dynasty (206 BC-AD 220). See a bronze duck incense burner, Han dynasty, of similar form to the present piece, in the Portland Art Museum, illustrated by D.Jenkins, Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.80-81.During the Ming dynasty, incense burners in the form of ducks appear to have been popular. The 'One Hundred Lyric Poems of the Yuan Court' (Yuan gong ci yibai shou 元宮詞一百首) by Zhu Youdun (朱有燉), dated 1406, mentions 'The gold duck burns the remaining midnight fragrance; Only then do the ladies of the Imperial family try on the Yue-woven skirts'. A further poem by the Ming scholar and Grand Secretary, Jin Youzi (金幼孜 1368-1431), included in 'Viewing Lanterns on the Lantern Festival' (Yuanxi ci wumen guandeng 元夕賜午門觀燈) and recorded in the Jin wen jing ji, vol.4 in Qianding siku quanshu, mentions that, on the occasion of the banquet held by the emperor during the Lantern Festival at the beginning of the Ming dynasty, 'Auspicious portents of lovely smoke rose forth from the golden duck censers'. This poem clearly suggests that gilt-bronze duck incense burner were used at court banquets from as early as the beginning of the 15th century.See a related bronze duck incense burner, Ming dynasty, in the Tokugawa Art Museum Collection, Nagoya, illustrated in The Shogun Age Exhibition: From the Tokugawa Art Museum, Japan, Tokyo, 1983, p.107.Compare with a related bronze 'duck' incense burner, Ming dynasty, which was sold at Bonhams New York, 16 September 2013, lot 8103.For further information on this lot please visit Bonhams.com
A rare archaic bronze ritual food vessel, guiEarly Western Zhou Dynasty, 11th-10th century BCThe compressed globular body cast in high relief on each side with a pair of taotie masks with C-shaped horns and large boss eyes, divided by two mythical beast-headed loop handles set at the bottom with a tab, all supported on a high spreading foot cast in high relief with a band of eight dragons, the patina of gun-metal grey tone with light patches of malachite encrustation. 29.2cm (11 1/2in) wide. Footnotes:西周早期，公元前11至10世紀 青銅獸耳饕餮紋簋Provenance: Mr. Rafi Y. Mottahedeh, New YorkSotheby's New York, 4 November 1978, lot 308Mr. and Mrs. Earl Morse, New YorkRichard J. and Jean D. SalisburyJ.J. Lally & Co., New YorkAn American private collectionSotheby's New York, 17 March 2015, lot 154A distinguished London private collectionExhibited and Published: The Metropolitan Museum of Art, New York, 1982, Spirit and Ritual: The Morse Collection of Ancient Chinese Art, no.14.J.J. Lally & Co., New York, June 1 to 25, 1994, Archaic Chinese Bronzes, Jades and Works of Art, no.53.來源：美國紐約Rafi Y. Mottahedeh舊藏紐約蘇富比，1978年11月4日，拍品編號308美國紐約Earl Morse伉儷舊藏Richard J.與Jean D. Salisbury伉儷舊藏美國紐約古董商J.J. Lally & Co.美國私人收藏紐約蘇富比，2015年3月17日，拍品編號154倫敦顯貴私人收藏展覽著錄：大都會藝術博物館，「Spirit and Ritual: The Morse Collection of Ancient Chinese Art」，美國紐約，1982年，編號14J.J. Lally & Co.，「Archaic Chinese Bronzes, Jades and Works of Art」，美國紐約，1994年6月1日至25日，編號53The rendering of the masks that dominate the body of this vessel are characteristic of the early Western Zhou period. Large-scale animal masks appear on some of the most famous vessels of the period, such as the Li gui; see W.Fong, The Great Bronze Age of China, New York, 1980, no.41. The style established by such important works as the Li gui probably enhanced the popularity of this motif at the time.Two related gui vessels from the reign of the third Zhou King, Kang Wang (1020-996 BC or 1005-978 BC) make it likely that the present lot was also produced during the same reign. See Bronzes of the Shang and Chou Unearthed in Shensi, Beijing, 1979, no.152.For further information on this lot please visit Bonhams.com
A rare copper-alloy figure of a BodhisattvaTang Dynasty or earlierThe figure finely cast standing with hips gently swayed, the left arm held up holding a large sphere, clad in an elegant dhoti and billowing scarves, open at the chest revealing jewellery, the face with serene expression beneath a crown, a hook on the reverse of the body, stand. 21.4cm (8 3/8in) high (2).Footnotes:唐或更早 銅製菩薩立像Provenance: Alain Presencer collection來源：Alain Presencer收藏Alain Presencer began learning about Buddhism at home in Canada, at the age of 13, and subsequently studied with the late Professor Mathera Sadhatissa at the University of Toronto between 1961-1962. Thereafter in England, he became an active member of the London Buddhist Vihara. For the next 50 years, Alain Presencer spiritedly promoted the study of Tibetan Buddhism and culture in the United Kingdom. His contributions to the field resulted in numerous recognitions, including his appointment as a Fellow of the Royal Asiatic Society. Alain also introduced the musical genre of Tibetan 'singing bowls' to the West. His album, 'The Singing Bowls of Tibet', is still in production today, having sold over a million copies.The present lot as indicated by the hook on the reverse of the figure, was probably originally part of an altarpiece. Compare with a related gilt-bronze standing bodhisattva Guanyin with a similar posture and circular pedestal, Tang dynasty, in the Arthur M.Sackler Museum, illustrated by A.F.Howard, L.Song, W.Hung and Y.Hong, Chinese Sculpture, New Haven, 2006, p.312, fig.3.118.For further information on this lot please visit Bonhams.com
A fine Empire ormolu and patinated bronze centrepiece attributed to Pierre-François Feuchère, circa 1815, the pierced palmette basket held aloft by three standing amorini, above a circular section plinth cast with winged torches and swags, 47.5cm high, 22cm diameter The present centrepiece closely follows a design illustrated in Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich 1986, vol. I, plate 5.16.6, there said to be based on a drawing by master gilder Feuchère, who ran a renowned and prolific workshop for opulent gilt-bronze objects in Paris during the late 18th and early 19th century. Examples closely related to the present lot and attributed to Feuchère were sold at Lempertz, 20 May 2016, lot 1073 (EUR 18,600), and Christie's Paris, Le Goût Français, 30 November-1 December 2016, lot 304 (EUR 20,000). Condition Report: The centrepiece bears the usual minor marks, knocks and scuffs overall consistent with age and use.The patina of the bronze is a glossy dark brown, it may possibly bear traces of lacquer. There is a clear residue surrounding one of the wing mounts on the base, possibly an old repair, though if it is (unclear) it is subtly and sympathetically done.The basket at the top is a little bit bent. The underside is baize-covered, and this has not been removed for inspection of condition.Overall the piece is in perfectly presentable condition, with no areas of significant damage detected.Condition Report Disclaimer
A fine Victorian parcel-gilt satinwood centre table, attributed to Holland & Sons, circa 1860, with figured circular tilt-top on a baluster stem and tripod base carved with foliage, 74cm high, 142cm diameter Provenance: The Dukes of Leeds, Hornby Castle, YorkshirePossibly acquired by Sir George Godolphin Osborne, 8th Duke of Leeds (1802-72), for the principal family seat, Hornby Castle, North YorkshireThis table can be ascribed to Holland & Sons, one of the largest and most prestigious cabinet-making firms in the 19th century, based on a number of stylistic attributes; the superb choice of timbers, the figuring of the satinwood tilt-top, the fine foliate giltwood carving and the distinctive giltwood borders. Holland & Sons were known for their diversity of style - in the mid-1860s, supplying furniture in the fashionable 'Louis XVI-style', such as the table offered here, but also making 'Elizabethan' furniture, neo-Gothic and furniture inspired by Robert Adam, Sheraton and Chippendale (S. Jervis, 'Holland & Sons, and the furnishing of the Athenaeum', Furniture History, 1970, p. 46). First established in 1815 as Taprell & Holland at 25 Great Pulteney Street, London, the firm was renamed Holland & Sons in 1843 when William Holland, a founding member, and probably related to George IV's architect-designer, Henry Holland, took over the firm. In the 1850s, William was replaced by his son, James Holland, and the firm moved to 19 Marylebone Street and Ranelagh Works, Lower Belgrave Street, and from 1852, 23 Mount Street. They exhibited at all the major international exhibitions, including London 1851, Paris 1855, London 1862 and Paris 1867; for example, at the 1862 London International Exhibition, they exhibited a fine marquetry and gilt-bronze centre table veneered with tulipwood, kingwood, New Zealand spicewood, boxwood and purple heart to a design by a 'Mr. Rosenberg' that included engravings by Old Masters, all centred by a spider's web in silver and ivory (J. Meyer, Great Exhibitions: London, Paris, New York, Philadelphia 1851-1900, Woodbridge, 2006, p. 122). The firm worked on the interiors of several of the London gentlemen's clubs, the Army & Navy, the Athenaeum, the Carlton and the Reform. They undertook Royal commissions at Buckingham Palace, Osborne House and Windsor Castle, and were a major contractor for H.M. Works until circa 1852, including the Palace of Westminster. Other significant contracts were for the Great Western Railway and the Royal Academy of Arts. The firm employed many well-known, independent designers, Sir Charles Barry, Gottfried Semper and J.K. Collins. The Holland & Sons ledgers comprising 235 volumes dating from 1824 to 1942 and covering most of their major commissions are held in the Archive of Art & Design at the Victoria & Albert Museum, London.Hornby CastleThis table was possibly acquired by Sir George Godolphin Osborne, 8th Duke of Leeds (1802-72), for the principal family seat, Hornby Castle, North Yorkshire. Built in the 15th century as a fortified house, it was significantly remodeled by the architect John Carr of York, and probably James 'Athenian' Stuart, in the 1760s, for Robert Darcy, 4th Earl of Holdernesse. The mansion was altered to Classical proportions and regular, enlarged sash windows were installed combined with gothic architectural detailing. When the 4th Earl's only daughter, Amelia Darcy, married Francis Godolphin Osborne, Marquess of Carmarthan, and later 5th Duke of Leeds, a new family arrived at Hornby by inheritance, and the house became a ducal seat. Due to a series of important family relationships, Hornby Castle became a repository for a magnificent collection of Restoration furniture that embodied their glorious political past. The halcyon days of Hornby Castle were undoubtedly in this period but also in the early to mid-19th century when the 7th Duke of Leeds commissioned A.W.N. Pugin to prepare a set of drawings for the remodeling of Hornby Castle. Although never executed, Pugin submitted detailed plans on a grand scale for two floor of the castle courtyard, and perspective sketches for the rest.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Gilt elements have been refreshed in areas. Gilding with some rubbing and small losses. Some evidence of old worm to undersides of legs. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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