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Click here to subscribe3rd-2nd millennium BC. A terracotta cup with polychrome panels of geometric ornament and two advancing lions. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 159 grams, 10.5cm wide (4). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
3rd-2nd millennium BC. A terracotta cup with polychrome panels of geometric ornament with two fish. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 124 grams, 98mm wide (4). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
3rd-2nd millennium BC. A terracotta cup with polychrome panels of geometric ornament with an eagle and fish. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 124 grams, 98mm wide (4). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
4th century AD. A gilt-bronze crossbow brooch with three onion-shaped knops to the headplate, stepped shoulder and collars, deep bow with hollow to the reverse; hollow triangular-section footplate with herringbone detail to the upper face, notched edges, unfinished. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985, item 504. 60 grams, 74mm (3). From an old Hampshire collection; acquired on the UK art market.. [No Reserve]. Fine condition.
3rd-2nd millennium BC. A terracotta cup with polychrome panels of geometric ornament and advancing bull and lion. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 87 grams, 77mm wide (3). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
3rd-2nd millennium BC. A large terracotta cup with polychrome panels of geometric ornament with bull and lion. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 219 grams, 11.6cm wide (4 1/2). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
3rd-2nd millennium BC. A terracotta cup with polychrome panels of geometric ornament and advancing gryphon and lion. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 107 grams, 10cm wide (4). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
3rd-2nd millennium BC. A terracotta cup with bichrome panels of geometric ornament and three advancing ibex. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 173 grams, 10.5cm (4). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
3rd-2nd millennium BC. A large terracotta storage jar with polychrome panels of geometric ornament with bull and lion. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 890 grams, 19cm wide (7 1/2). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
16th-12th century BC. A mixed group of Late Bronze Age ceramic bowls comprising: two russet-coloured and one grey, each with stirrup-shaped handle below the rim. Cf. Amiran, R. Ancient Pottery of the Holy Land, Jerusalem, 1963, plate 38, item 6 for type. 983 grams total, 17-19cm (6 3/4 - 7 1/2). [3, No Reserve]. Fine condition.
3rd-2nd millennium BC. A large terracotta cup with polychrome panels of geometric ornament with bull and gryphon. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 219 grams, 11cm wide (4 1/2). From an important London collection of Bronze Age pottery; formed 1970s-1980. [No Reserve]. Fine condition.
19th Century French Silvered Bronze sculpture of a bearded man possibly Bacchus after the Roman antique found at the Villa dei Papiri in Herculaneum. On sienna marble socle. Unsigned. Condition commensurate with age with wear and rubbing. Measures 26-1/2" including base. Shipping: Third party. (estimate $3000-$5000)
A limited edition cold cast bronze model of a Boxer dog, by William Timyn for Heredities Ltd, 108/500, signed to the base, 28cm high, with certificate of authenticity signed by the director of Heredities Ltd CONDITION REPORT: Lot 222 - in good condition, no issues, age unknown but guessing last 30 years
Charles Goldsborough Anderson (1865-1936) - Oil on canvas - Half length portrait of the pioneering British alpine skier Doreen Elliott, signed and dated 1916, 58cm x 48cm Doreen Elliott was a founder member and former president of the Ladies Skiing Club. She was an Olympian and in 1928 raced in the inaugural Murren Inferno, the worlds longest downhill ski race. In the World Alpine Ski Championships of 1932 she won a bronze medal in the slalom and achieved 5th place in the combined event. Condition: **General condition consistent with age
SCHUMACHER PATINATED BRONZE AND MARBLE BUST OF DANTE, his head in white veined marble, on a black veined marble base, signed 'Schumacher' with circular mark. 27cm high approx.(B.P. 24% incl. VAT) CONDITION REPORT: Appearing in good overall condition with no obvious significant damage, minor wear and tear with age accepted.
Patrick O'Reilly (b.1957) MARIONETTE, 2006 bronze signed and dated on cross Patrick O’Reilly was born in 1957 in Kilkenny. At the age of 17 he studied at the Belfast College of Art, but left after one year. He then pursued his business career while still practising his art privately. The first exhibition of his work took place in 1996 at the Galway Arts Festival. Since then he has exhibited throughout Ireland, England, and Europe with major solo exhibitions in Dublin, Belfast, Berlin, London, Paris, Athens, Vienna, Brussels, Montreal, Marseilles and China.An early installation work was the subject of a solo-exhibition at the Dublin City Gallery The Hugh Lane in 1996 and was aptly titled ‘A Silent Scream’. He subsequently enjoyed successful solo exhibitions with the Mayor Gallery, London, Solomon Gallery, Dublin and Galerie Piltzer in Paris. Public commissions have included Queen Maeve on Burlington Road and the Three Bears outside the Point Village in Dublin. O’Reilly has also collaborated with Galway based performance company Macnas on a number of exciting projects.His work can be found in the collections of Dublin City Gallery The Hugh Lane, AIB Bank, Bank of Ireland and other important public and private collections in Ireland, Europe and America. 45.50 by 34 by 4.50in. (115.6 by 86.4 by 11.4cm)
Francis O'Donohoe ARHA (1878-1911) PORTRAIT OF MARY ELLEN O’DONOHUE, MOTHER OF THE ARTIST, AND HER DAUGHTER, MARY JOSEPHINE FENNING (NÉE O’DONOHUE), SISTER OF THE ARTIST oil on canvas Family of the artist Francis O'Donohoe was born at 40 Cuffe Street, Dublin. At the age of 11 he became a pupil in the Metropolitan School of Art under James Brenan. He was twice awarded the national bronze medal, and at the age of 16 obtained second place for drawing. In 1896 he was sent to attend a special course at South Kensington. As a student in the Royal Hibernian Academy he was likewise successful, carrying off the first prize for drawing and painting two years in succession. He afterwards went to Paris and studied in the Académie Julien under Benjamin Constant. Returning to Dublin he was appointed Art Master in the City of Dublin Technical Schools. He began to exhibit in the Royal Hibernian Academy in 1899 and was elected an Associate of that body. He did not, however, paint any important easel pictures, but found employment in Church work. One of his first commissions for ecclesiastical painting was a set of Stations of the Cross for the parish church of Screen, Co. Wexford. Subsequently he painted a picture of The Sacred Heart for the Cathedral at Loughrea. His next important commission was the painting of figures of The Twelve Apostles for the decoration of St. Andrew's Church, Westland Row, which were placed in the transept. A career of some promise was cut short by a tragic end in a car crash in Donnybrook on 23 December 1911. A memorial exhibition of his pictures and drawings was held at The Arts & Crafts Society of Ireland in 1912. 27 by 22.75in. (68.6 by 57.8cm)
A 19th Century bronze figure of a scantily clad male CONDITION REPORTS Unsigned. Has general patina, surface scratching, dirt, etc. There is a small fracture to his left hand leg around the ankle area. Otherwise general wear and tear conducive with age and use. See images for further details. Approx 21 cm
Late 10th-early 11th century AD. A bronze pommel formed with three bulbous lobes and two flared finials, of Petersen's Type S; hollow with aperture to the upper face. Cf. the example from Sandbu, Vaage, Norway in Peirce, I. Swords of the Viking Age, item C237 p.102-3. 58 grams, 50mm (2"). Very fine condition. From an old North Country collection; formed between 1970-2000.
Early Cycladic II Period, 3rd millennium BC. A marble head from a Cycladic figure, with long slender head with flattened top arching back slightly, long nose and long slender neck; mounted on a custom-made stand. For a similar piece see The Metropolitan Museum of Art, accession number 64.246. For a discussion on Cycladic art see, Stampolidis, N. and Sotirakopoulou, P. Aegean Waves: Artworks of the Early Cycladic Culture in the Museum of Cycladic Art at Athens, Milan, 2008. 496 grams total, 14cm including stand (5 1/2"). Fine conditionEx an important collection; from a Mayfair gallery in the 1990s, and duplicates from the Ian Woodner collection, New York (he amassed a large group of Cycladic works of art before his death in 1990 some of his collection is exhibited in the National Gallery of Art, Washington DC").The Cycladic islands of the Aegean achieved a certain level of prosperity due to the wealth of natural resources on the islands such as gold, silver, copper, obsidian and marble. This prosperity allowed for a flourishing of the arts and the uniqueness of Cycladic art is perhaps best illustrated by their clean-lined and minimalist sculpture which is among the most distinctive art produced throughout the Bronze Age Aegean. Most of the figures were sculpted from slim rectangular pieces of marble using an abrasive such as emery. There are on occasion surviving traces of colour on some statues which was used to highlight details such as hair in red and black and facial features were also painted onto the sculpture such as eyes. Representations of the mouth, however, are very rare on Cycladic sculpture. Their most likely function is as some sort of religious idol and the predominance of female figures, sometimes pregnant, suggests a fertility deity. Supporting this view is the fact that figurines have been found outside of a burial context at settlements on Melos, Kea and Thera. Alternatively, precisely because the majority of figures have been found in graves, perhaps they were guardians to, or representations of, the deceased. Indeed, there have been some finds of painting materials along with figures in graves which would suggest that the painting process may have been a part of the burial ceremony. .
5th-1st century BC.A collection of mainly iron objects forming part of a grave assemblage, comprising: a throwing spear with barbed head and spike finial, ritually bent and broken; a thrusting spearhead with narrow leaf-shaped blade, median square rib, closed socket; a horse's snaffle bit with attachments; fragments of the lateral binding strip for a scabbard, one with a suspension ring; two bronze domed fittings; iron fittings for an organic vessel including a boss and radiating lobed arms, one bent beneath the boss, two substantial rings and a spiked staple; polaroid photograph of the group in conservation (with sword); detailed archaeological drawing of the group at 1:1 scale; detailed drawing of the group's disposition prior to excavation (with sword and vessel), dated 17th October 1986 with sketch map showing the site location close to a road junction near Aguilas, Murcia, Spain. 1.6 kg total, bit: 28cm (11"). Fair condition.Property of a London gentleman; acquired from a major Mayfair gallery; acquired on the London art market before 1999.The throwing spear had been bent and broken before deposition, a common practice in many parts of Europe in the Iron Age whereby items intended for burial had to be ritually 'killed' (put beyond use").
2nd-3rd century AD.A mixed group of bronze bow brooches comprising: a P-shaped brooch with vertical ribbing on the bow, returned foot; a P-shaped brooch with saltire detailing; a crossbow brooch with irregular knops. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985 item 481 493 498. 93 grams total, 64-70mm (2 1/2 - 2 3/4"). Fine condition.Property of a Surrey lady, by inheritance. [3 No Reserve]
4th century AD.A bronze crossbow brooch with three facetted onion-shaped knops to the headplate, openwork scrolls to the upper face of each arm, deep bow with reserved running zigzag, parallel-sided footplate with median zigzag and C-shaped ornaments to the sides and lower edge; pin and catchplate to the reverse with slider mechanism to secure the pin. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985 item 505. 57 grams, 80mm (3 1/4"). Very fine condition.From a private Hampshire, UK, collection; acquired in the 1970s.
1st-2nd century AD.A bronze trumpet brooch with hinged pin to the conical head, balustered bow; blue enamelled La Tène style comma-leaf motifs to the head and band of triangles to the lower bow; inset silver filigree filet above the foot. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985 item 434 for type. 21 grams, 55mm (2 1/4"). Fine condition, pin broken.Found Sparle, Norfolk, UK (PAS- NMS-B84471"). [No Reserve]
2nd century AD.A bronze plate brooch with deep bow, enamelled squares to the apex and niello triangles to the ends, acorn-shaped knops. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985 item 582. 13 grams, 46mm (1 3/4"). Very fine condition.Property of a private collector; acquired before 1975.
2nd century BC-1st century AD.A bronze pommel formed as a tapering D-shaped block with square-section spike to the underside. See Stead, I. British Iron Age Swords and Scabbards, London, 2006 for discussion. 81 grams, 64mm (2 1/2"). Fine condition.Private collection, North London; acquired in the early 1990s. [No Reserve]
7th-5th century BC. An iron short sword (Greek akinakes) with narrow triangular lentoid-section blade, rounded shoulder, parallel-sided grip, lobed pommel; eight (of nine) bronze rivets for attachment of organic hilt-plates. See Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006 pp.72-75 for discussion. 227 grams, 45cm (17 3/4"). Fine condition, cleaned and conserved.Property of a North London gentleman; acquired on the UK market before 1992.
3rd millennium BC. A bronze dagger with triangular blade, rounded midrib, short hilt with integral quillons and bulb finial, textured grip. Cf. Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006 p.375 Cat.1 2 inventory no.668. 183 grams, 24.5cm (9 3/4"). Property of a London gentleman; formerly in a German collection, Cologne; formed between 1980 and 1990. Fine condition, edges nicked.
2nd millennium BC. A substantial bronze leaf-shaped spearhead with median rib, flared neck, square-section tang and button finial. Cf. Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006 item 273. 299 grams, 33.5cm (13 1/4"). Fine condition. Property of a London gentleman; formerly in a German collection, Cologne; formed between 1980 and 1990.
Mid 1st millennium BC. A slender iron triangular sword blade, thick midrib extending to a narrow lower guard, fragment of tapering tang. Cf. Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006 item 27. 315 grams, 43.5cm (17 1/4"). Fair condition.Property of a London gentleman; formerly in a German collection, Cologne; formed between 1980 and 1990.
Late 3rd millennium BC. An Early Bronze Age copper flat axe of rectangular section, expanding from a narrow rounded butt to a slightly convex chamfered cutting edge. See Savoury, H. N., Guide Catalogue of the Bronze Age Collections, National Museum of Wales, 1980 fig.17 for similar examples. 29 grams, 77mm (3"). Fine condition.Acquired on the London art market prior to 1980.
3rd century BC-1st century AD. A mixed group of bronze bow brooches comprising: two Iberian types each with single-coil spring, conical knop; a La Tène II type with twisted returned foot; a Knotenfibel with hatched panel to the bow; an Aucissa type with beaded detailing to the ribbed bow; an Aucissa type with deep bow, median line of beading, transverse zigzag to the headplate. Hattatt, R. Brooches of Antiquity, Oxford, 1987 item 1359; Hattatt, R. Ancient and Romano-British Brooches, Sherborne, 1982 items 7 43; Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985 item 263 751. 35 grams total, 31-56mm (1 1/4 - 2 1/4"). Fine to very fine condition.From an important London collection, acquired in the 1990s. [6]
4th-3rd century BC. An unusual bronze fibula of La Tène, Type I, with deep D-section bow and returned foot with bell-shaped finial and knop with glass insert; flat-section shank pierced to accept a separate pin; old collector's label '89.399' to underside. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985 items 220 222. 11 grams, 41mm (1 1/2"). Fine condition.From an important Mayfair, London collection, acquired 1989 inventory no.399. [No Reserve]
6th-9th century AD. A mixed bronze group comprising: two dress pin fragments with facetted heads; three hooked dress fasteners; three wrist clasps; sixteen strap ends of various types. See Hines, J. Clasps-Hektespenner-Agraffen, Stockholm, 1993 for discussion of wrist-clasps, Thomas, G. Late Anglo-Saxon and Viking Age Strap-Ends 750-1100: Parts 1-II, Finds Research Group datasheet 32 Sleaford, 2007 for strap ends. 103 grams total, 20-52mm (3/4 - 2"). Property of a Canadian lady; acquired 1970s-1990s. [24 No Reserve] Fair condition.
3rd-5th century AD0. A restrung necklace of mainly blue glass annular and spherical beads with two bronze crescentic dangles, bronze pendant with a standing male and a female couple, each with the right hand holding the stretched left hand, each touching the other's genitals; lower part of the legs missing. See Oldtidens Ansigt, Det kongelige Nordiske Oldskiftselska og Jysk Arkaeologisk Selskab, 1990 p.134 138 for the gesture and design. 17 grams, 37cm (14 1/2"). Fine condition.From the family collection of a London gentleman; formed in the late 1940s-1950s; thence by descent.A parallel to the style and pose of this 'couple' can be seen on several small bronzes inspired by Roman statuettes representing gods. However, similar bronze statues were already known in Scandinavia in the Bronze Age and were most likely of a ritual significance. The specific crossed hands on the chest is a puzzling symbol, possibly symbolising a gesture of a specific god, ritual act or blessing. Some facial similarities can be seen on the Broddenbjerg man, a wooden statue with a strong phallic symbolism, most likely pointing to fertility. Another similarity can be observed on rock art in Scandinavia, especially the long neck features and the image of a 'divine couple', a strong motif found extensively in the late Iron Age on many golden sheets, known as guldgubbers. Several scholars argue that this image represents the marriage of god Freyr and giantess Gerd; however it may also represent a union of Freyr with his sister Freya. From later sources, it is known that the Vanir, an ancient race of gods, had a custom to marry or have intercourse with their siblings. Njord, the father of Freyr and Freya was from this tribe, and sources suggest that they were conceived with his sister-wife. She might have been the mysterious Suebi goddess Nerthus, which Roman historian Tacitus wrote about in Germania. Her statue was kept in a sacred grove on an unknown island, drawn in a holy cart and only priests could touch her. Everywhere the goddess came she was met with celebration of peace and hospitality. After she returned to the temple, everything was washed by slaves, who were drowned short after. Her connection with fertility, peace, and water, definitely points to the Vanir race; she shares several similarities with the later worshipping of Frey. This mount probably represents either Njord and Nerthus, or Freyr and Freya, and may had been used as a votive offering or worn as an amulet to invoke the fertile powers of those gods.
2nd millennium BC.A Bronze Age dagger with leaf-shaped blade, median vertical lines or blood letting ridges, separately convex guard and bulbous grip with raised cross and raised detail. Cf. Khorasani, M.M. Arms and Armour from Iran - The Bronze Age to the End of the Qajar Period, Tuebingen, 2006 p.375 Cat.1 2 inventory no.668. 163 grams, 23cm (9"). Fine condition.From an important London collection, acquired in the 1990s.
10th-11th century AD. A bronze openwork mount in the form of an s-shaped beast decorated with panels of hatching interlaced with openwork tendrils, scrolled ends turning to form the frames for the attachment rivets; the design including hatched body panels of the earlier Jellinge style, with later mesh of tendrils and lentoid eye of the Ringerike Style. Cf. the enmeshed animal mount from Hertfordshire in Backhouse, J., Turner, D.H. and Webster, L. The Golden Age of Anglo-Saxon Art: 966-1066 London, 1984 item 107. 26 grams, 62mm (2 1/2"). Very fine condition. Very rare. From an important American collection; acquired 1990s. The Jellinge style takes its name from the ornament on a silver cup found in the north mound of the Danish royal site at Jelling, Jutland, in the burial chamber thought to be that of King Gorm, dated 958/59 AD from wooden fragments in the same site. The small cup stands on a pedestal foot and is decorated only around its bowl with a pair of interlaced animals. These beasts are typical of the Jellinge style with ornament ribbons and heads shown in profile. The long pigtail and spiral hip joint are also characteristic of the Jellinge style animals. These animals are descendants of those of the Broa style, by way of Borre. It seems to have evolved during the ninth century and was in fashion for most of the tenth century.
A large 19th century Nepalese bronze figure of a seated Shadakshari on double lotus base with his head and chest elaborately adorned, incised scroll decorated robes and polished turquoise inset Bindi, height 71cm, width 55cm. CONDITION REPORT: General surface wear and dirt commensurate with age, large areas of patination, copper lined base. Rubbing to the gilt detail and to the raised parts. An Area of dint with splits to the back possibly caused by punch. An area of punching through the base robe approx 1.7cm.
A Chinese bronze twin handled circular censer on three supports, bearing a Xuande six character mark to base, but probably 19th century, diameter 11.5cm. CONDITION REPORT: General condition is very good, areas of surface dirt and wear throughout the outside commensurate with age, traces of usage to the inside, rubbing to the patination underneath the supports. We would estimate the age to be probably 19th century. Weight approx 735g.
A Japanese Meiji period bronze figure of a goat, with signed tableau to the belly and mounted on a shaped associated raised stand, length of goat 12cm. CONDITION REPORT: The stand is associated, very slightly misshaping tot he front right leg, overall in good order with light surface wear commensurate with age.
A JAPANESE GILT BRONZE OKIMONO OF A GOLDEN PHEASANT MEIJI 1868-1912 Its wings outstretched and with long tail feathers, standing on a wooden stand simulating a rocky outcrop, signed Masatsune, 47cm. (2) Cf. L Bordignon, The Golden Age of Japanese Okimono, Dr. Kanter Collection, pp.248-249 for a related pheasant by Masatsune.
A LARGE CHINESE GOLD-SPLASHED BRONZE YEN YEN VASE 17TH/18TH CENTURY The body cast in two sections, the lower section divided into three lobes and cast with ruyi-head motifs in high relief, the tall flaring neck with two thick rings above the shoulder and two chilong handles towards a broad rim, raised on a tall flared foot with applied studs, the brown patinated surface applied with gold splashes, together with a hardwood stand, 50.5cm. (2) Provenance: an English private collection. Cf. Sydney L. Moss Ltd, The Second Bronze Age, Later Chinese Metalwork, no.64-66 for a slightly smaller related vase. See also Sotheby's London, 11th May 2011, lot 236.
Pandora Eutrope Bouret (1833-1906) French bronze figure'Retour des Champs' impressed signature to rim, raised on metal plinth base, height 53cm CONDITION REPORT: Good overall condition, wear marks/minor dents to base but figure, good, no foundry mark impressed signature, age is late 19th Century
A Japanese bronze vase,Meiji period (1868-1912), of baluster form with a flared rim, cast in relief with boar hunting under a pine tree in a mountain landscape, the reverse with hunters chasing rabbits and monkeys, the neck and base decorated with stylised ho-o and dragons amongst clouds, details inlaid with gold and silver, double dragon handles, the base pierced with stylised bats, engraved mark Dai Nihon Kanamori Soshichi sei,53cm, with detachable liner (2)Kanamori Soshichi (1821-1892) opened a copperware shop in Onmadashi-machi at the age of 23. Improving the quality of his copperware, he quickly began to design original and new products. He received a prize at the Vienna Expo held in 1873 and became world famous.
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