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Herbert Ward (British, 1863-1919)A Congo type signed 'Herbert Ward' (to neck verso) and bears inscription 'A CONGO TYPE/BY/HERBERT WARD/SOUVENIR JANUARY 11 1907' (on plaque attached to marble base).bronze with green marble base27.4 (10 13/16) highFootnotes:ProvenanceGifted to Laura Benét by Sarita Ward, Herbert Ward's wife, 11 January 1907. Thence by descent.The American biographer Laura Benét was the sister of poets and Pulitzer prize winners, Stephen Vincent Benét and William Rose Benét. Herbert Ward struck up a friendship with William Rose Benét in Paris and the two families became close.Herbert Ward longed for adventure, and at the age of 15, he left England to satisfy his curiosities, spending his youth travelling extensively. In 1884, Ward set out for the Congo where he worked for various companies managing the transport of goods and supplies both to and from Europe. A year into his time in the Congo, Ward joined Henry Morgan Stanley's expedition travelling on the rivers across the country. Ward's appreciation and fascination for the Congo and it's people encouraged him to learn local languages and customs, allowing him to develop good relationships with various communities.Ward left Africa in 1889 and began a career as a touring writer and lecturer, where he paid a particular focus to his time in the Congo. Four years later he turned his attention to the Arts and began his formal artistic training. This led him to Paris to pursue bronze casting and his travel journals from the Congo became a source of inspiration for his sculptures. During his time in Paris, both the French Academy and the general public enjoyed his Congolese subjects. His style adopted a more natural depiction of the human figure, but Ward emphasised that his sculptures were not presented as scientific illustrations, rather they were art to share 'the spirit of Africa in the broad sense'. Throughout his artistic career, Ward begun to question colonialism, especially in Africa. During the First World War, Ward served as a Lieutenant in No. 3 Convoy of the British Ambulance Committee where he distinguished himself. However, his efforts during the war weakened his health and he died in 1919.Saleroom notices:Please refer to the online cataloguing of this lot for provenance details.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

Cartel d'applique d'époque Louis XV, en bronze finement ciselé et doré à décor d'une divinité et de deux amours dans des nuées, fleurs et rocailles cadran émaillé signé Gibault à Paris, marque au C couronné, 85x37 cmUn cartel identique reproduit dans: Kjellberg, Pierre, Encyclopédie de la pendule française du Moyen Age au XXe siècle, 1997, p. 101, ill. GUn cartel similaire vendu chez Christie's, Londres, 1er décembre 2005, lot n°139

* MATÉO MORNAR (FRENCH, 1946-), BRONZE FIGURAL SCULPTURE LATE 20TH CENTURY titled INSOLITE, signed MORNAR, numbered 3/8, dated 1998 and with foundry stampNote: 'Born in Croatia in 1946, Matéo Mornar emigrated to France with his family at the age of ten. They settled in Paris. The young boy liked to spend time in the Louvre, especially in the sections dedicated to sculpture. At 18 he entered the École supérieure des arts modernes (ESAM Paris) school of modern art, where he studied design, graphic design, interior decoration and sculpture techniques. He graduated amongst the top of his class and joined a branch of the Publicis group. He worked for 3 years dedicated to developing scale model which are displayed at trade fair and the moved on to work as a freelancer. For many years, he worked in the area of publishing, graphic creation and interior decoration. An assignment took him to the French Riviera in 1977 where he decided to settle.At the end of the eighties, he envisioned and conceptualized his first sculptures after a meeting with the artist Antoniucci Volti at Villefranche-sur-Mer.In 1995, Mornar decided to devote himself entirely to sculpture and began to exhibit in the French Riviera (Cannes, Nice, Monaco...) his early works of bronze women.In 1997, he opened a school of sculpture in Nice wishing to introduce to people the difficult art of sculpture and to inspire them.'34cm high, 25kg

* MATÉO MORNAR (FRENCH, 1946-), BRONZE FIGURAL SCULPTURE EARLY 21ST CENTURY titled JUEX COQUINS, signed MORNAR, numbered 1/8, dated 2001 and with foundry stampNote: 'Born in Croatia in 1946, Matéo Mornar emigrated to France with his family at the age of ten. They settled in Paris. The young boy liked to spend time in the Louvre, especially in the sections dedicated to sculpture. At 18 he entered the École supérieure des arts modernes (ESAM Paris) school of modern art, where he studied design, graphic design, interior decoration and sculpture techniques. He graduated amongst the top of his class and joined a branch of the Publicis group. He worked for 3 years dedicated to developing scale model which are displayed at trade fair and the moved on to work as a freelancer. For many years, he worked in the area of publishing, graphic creation and interior decoration. An assignment took him to the French Riviera in 1977 where he decided to settle.At the end of the eighties, he envisioned and conceptualized his first sculptures after a meeting with the artist Antoniucci Volti at Villefranche-sur-Mer.In 1995, Mornar decided to devote himself entirely to sculpture and began to exhibit in the French Riviera (Cannes, Nice, Monaco...) his early works of bronze women.In 1997, he opened a school of sculpture in Nice wishing to introduce to people the difficult art of sculpture and to inspire them.'34cm high, 7.2kg

A collection of 1960s British comics to include Swift, Victor, Rover and Wizard, Valiant, etc. and a bundle of various magazines to include Look and Learn, Ranger The National Boys' Magazine, Boys' World. The Golden Age (1935-56), The Silver Age (1956-70) Bronze Age of DC Comics 1970-1984 by Paul Levitz, Taschen, each 400+ pages, hardback. 3 books

A pair of 19th century gilt-bronze table candelabras, each having 5 floral decorated spray arms on cast feet, H50cmBoth in good overall condition, no obvious repairs, general wear consistent with age and use, 1 is slightly loose on the main thread

THREE SALT GLAZED FLAGONS, differing in age and size, a bronze table lamp with foliate detail, three bulb fittings, height 80cm to top of handle, an embossed brass bowl and a large oval copper dish, length 41cm x 34cm (6) (Condition report: the lamp is in need of rewiring, all pieces have scratches and marks commensurate with age)

Limited edition bronze sculpture modeled as standing woman wearing shawl.Signed, dated 1972 and numbered 8/10 on the base. Fixed to black marble base. Artist: Francisco ZunigaDimensions: 8.5"L x 8.5"W x 24"HCondition: Age related wear. Black marble base cracked. Minor chip to corner of marble base.

Brutalist and cubist bronze sculpture of a lion. The head is moveable and removeable. Frank Meisler Israel impressed plaque on rear of base. Artist: Frank MeislerIssued: circa 1960Dimensions: 6.5"L x 5.25"W x 8"HEdition Number: 66/250Country of Origin: IsraelCondition: Age related wear.

A gorgeous three arm bronze antique table lamp with swans, on a carved dish-like base. Green tole-ware shade with a stationary arrow finial. Issued: 20th CenturyDimensions: 16"W x 22"HCondition: Age related wear. Tested, functionality not guaranteed.

MAISON F.BARBEDIENNE "Paar Kerzenleuchter mit Puttis" Paris, Ende 19.Jh., Bronze, feuervergoldet bzw. versilbert, sign. "F. Barbedienne", vollplastische Schaft-Figuren mit Puttis, H: 15 cm. Alters-und Gebrauchsspuren.| MAISON F.BARBEDIENNE "Pair of candlesticks with putti".Paris, end of 19th c., bronze, fire-gilt resp. silver-plated, sign. "F. Barbedienne", fully plastic shaft figures with puttis, h: 15 cm. Signs of age and use.

REITERSTANDBILD DES BARTOLOMEO COLLEONI Italien, 19.Jh., nach dem Original von A. DEL VERROCCHIO (Andrea del Verrocchio, Florenz 1435-1488 Venedig), brünierte Bronze und schwarzer Marmor, auf Hengst sitzender Colleoni in Galarüstung, auf rechteckigem Sockel, H: 50 cm. (mit Sockel) Leichte Alterspuren.| EQUESTRIAN STATUE OF BARTOLOMEO COLLEONIItaly, 19th century, after the original by A. DEL VERROCCHIO (Andrea del Verrocchio, Florence 1435-1488 Venice), burnished bronze and black marble, Colleoni sitting on a stallion in gala armour, on rectangular base, h: 50 cm. (with base) Slight signs of age.

FEHRLE, JACOB WILHELM (1884-1974) "Frau mit Sanduhr" 1955 Bronze, monog. und dat. "IWF 55", H: 30 cm. Leichte Altersspuren. FEHRLE, JACOB WILHELM (1884-1974) "Woman with Hourglass" 1955Bronze, monog. and dat. "IWF 55", h: 30 cm. Slight signs of age.

CARRIER-BELLEUSE, ALBERT ERNST (1824-1887) herausragende, große Bronzefigur "La Liseuse" Bronze, an der Plinthe signiert "A. Carrier.Belleuse", Darstellung einer jungen adeligen Dame in prächtigem Renaissance-Kostüm mit reicher Brokatstickerei, vertieft in die Lektüre eines Buches, H: ca. 80 cm. Normale Alterssuperen. CARRIER-BELLEUSE, ALBERT ERNST (1824-1887) outstanding, large bronze figure "La Liseuse". Bronze, signed on the plinth "A. Carrier.Belleuse", depicting a young noble lady in splendid Renaissance costume with rich brocade embroidery, engrossed in reading a book, h: ca. 80 cm. Normal age supers.

A 'FIRE AND FOUR-PETAL LEAVES' BRONZE RITUAL FOOD VESSEL, GUI, EARLY WESTERN ZHOU DYNASTY China, 11th century BC. The deep body of slight S-profile raised on a spreading foot with a tall straight foot rim below a band of leiwen divided by four flanges, cast below the everted rim with a band of alternating fire and four-petal leaves centered on two sides with a small animal mask, flanked by a pair of loop handles with an animal mask at the top and a hooked tab projecting from the bottom. The bronze with a superb, naturally grown, rich, brown patina with distinct malachite and cuprite encrustations.Provenance: Gottfried and Helga Hertel, Cologne, Germany. The property of a gentleman in the United States, acquired from the above. Gottfried Hertel (1925-2019) was the Executive Director of the German Nuclear Reactor Insurance Association in Cologne. Together with his wife, Helga (1928-2013), he formed a substantial collection of Asian art, antiquities, and Old Master paintings, over many decades, beginning in 1970. Parts of the Egyptian art and classical antiquities collection were sold at Bonhams in London, 3 July 2019. Condition: Excellent condition, commensurate with age. Old wear and shallow surface scratches, losses, small nicks and dents. One side of the wall and an area of the foot rim sympathetically restored. The interior of the foot rim with minor flaking. Superb, naturally grown patina overall and thus displaying exceptionally well.X-Ray imagery: X-Ray images of the present lot are available on request.Weight: 1,447 g Dimensions: Width 25.5 cm (across)Literature comparison: Compare a related early Western Zhou dynasty gui, illustrated by Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, pl. 3862. The decoration on the present gui, resembling fire and four-petal leaves, belongs to a distinct type which first appeared in the Western Zhou dynasty, see Shang Zhou qingtongqi wenshi (Decorative Patterns on Shang and Zhou dynasties Bronzes), Beijing, 1984, p. 248, pl. 703-708 for a related discussion and study carried out by the Shanghai Museum Bronze Research Group on this design. Compare the similar gui, also dated early Western Zhou, illustrated by J. Rawson in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol. IIB, Arthur M. Sackler Foundation, 1990, p. 385, fig. 43.1. See, also, the similar gui in the collection of the Danish National Museum, illustrated by M. Boyer, Some Chinese Archaic Bronzes in the Danish National Museum, BMFEA, No. 27, Stockholm, 1955, pp. 1-10, pl. 5 (b).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2011, lot 1247 Price: USD 194,500 or approx. EUR 233,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, early Western Zhou dynasty, 11th century BCExpert remark: Compare the closely related form, handles, and decoration with similar animal masks and alternating fire and four-petal leaves (described here as “stars and whorls”), as well as the related size (26.7 cm). Note the five-character inscription.西周初期青銅簋中國，公元前十一世紀。侈口，垂腹，半環耳，圈足外撇，近底處起淺臺。腹兩側為獸首半環耳，下皆垂珥，口沿下飾一紋飾帶，以浮雕小獸面為中心，兩側為交替的火焰紋和四葉草紋。圈足飾一周雲雷紋襯地。青銅器具有極好的、自然生長的、豐富的棕色銅綉，帶有明顯的孔雀石色和赤色結殼。 來源：德國科隆Gottfried 與Helga Hertel收藏；美國紳士收藏，購於上述收藏。Gottfried Hertel (1925-2019年) 曾是德國科隆核反應堆保險協會的執行董事。自1970 年起，他與妻子 Helga（1928-2013年）建立了亞洲藝術、古物和古典大師繪畫收藏。部分埃及藝術和古典古物收藏於2019年7 月3日在倫敦邦瀚斯拍賣行出售。 品相：狀況極佳，有磨損和表面淺劃痕、缺損、小刻痕和凹痕。一側和腳緣的區域得到了修復。足緣內部有輕微剝落。自然生長的整體包漿。 X光射線檢測: 可詢問獲取X射線檢測圖。 重量：1,447克 尺寸：寬 25.5 厘米 (雙耳之間) 文獻比較： 比較一件相近的西周初期青銅簋，見吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2012年，頁3862。本器紋飾為火焰紋和四葉草紋，屬西周時期最早出現的一種獨特類型，見《商周青銅器紋飾》，北京，1984，頁248，圖703-708；上海博物館青銅器研究組對此相近設計的討論研究。比較相似的西周早期青銅簋，見J. Rawson，《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，卷IIB，Arthur M. Sackler基金會，1990年，頁385，圖43.1。一件相似的西周早期青銅簋，收藏於Danish National Museum，見M. Boyer，《Some Chinese Archaic Bronzes in the Danish National Museum》，BMFEA，編號27，斯德哥爾摩，1955年，頁1-10，圖5 (b)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1247 價格：USD 194,500（相當於今日EUR 233,000） 描述：公元前十一世紀西周初期青銅簋 專家評論：比較非常相近的外形、雙耳，以及相似的輔首、火焰紋和四葉草紋，以及相近尺寸 (26.7 厘米)。請注意此簋有五字款識。

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, GUI, WESTERN ZHOU DYNASTY China, 11th-10th century BC. Well cast with the compressed body resting on a tall splayed foot, decorated below the gently everted rim with a band of stylized mythical birds, the two pairs on the main sides centered by an animal mask cast in high relief, the other two centered on the horned animal heads that surmount the handles, all above a bowstring band, the foot with a geometric band. The beast handles are neatly incised and set with pendent tabs.Provenance: The MacLean Collection of Asian Art Museum, acquired 1996 in Hong Kong and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Published: Richard A. Pegg and Zhang Lidong, The MacLean Collection: Chinese Ritual Bronzes, Chicago, 2010, pl. 19.Condition: Very good condition, commensurate with age. The vessel is slightly leaning and has some old wear as well as minor casting flaws, minuscule nicks, and small dents. The lower body has two small fills, invisible to the naked eye, but precisely detected on the five X-ray images provided (available in the online catalog at www.zacke.at or via e-mail upon request). Spectacular, naturally grown patina overall with several layers of malachite encrustation and small areas of azurite and cuprite. The crisply cast decorations are extremely well-preserved, which makes this one of the most attractive examples of its kind. In such pristine condition, it must be considered exceedingly rare.Weight: 2,878 gDimensions: Width 28 cm (across handles)Gui were used during ritual ceremonies for storing cooked rice or millet. While this vessel shape first appeared in the Erligang phase, they were not widely produced and examples from this period are rare. The form increased in popularity from the early Western Zhou dynasty onwards, and numerous variations of the original shape also began to appear. The present vessel, with its rounded body, everted rim and animal-head handles represents the most popular form.Literature comparison: A related gui unearthed from Xi'an, Shaanxi province, now in the National Museum of China, Beijing, is illustrated in Zhongguo qingtongqi quanji [Complete collection of Chinese archaic bronzes], vol. 5, Beijing, 1996, pl. 61. Another from the collection of T. Yamamoto is published in Sueji Umehara, Nihon Schūcho Shina kodō Seikwa/ Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol. 2, Osaka, 1960, pl. 107. Jessica Rawson notes in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, p. 415, that these types of gui vessels are more common in early Western Zhou, and lists five other examples, including one from Liaoning Kezuo Shanwanzi illustrated in Wenwu, 1977.12, p. 23-33, fig. 55. Compare also a related bronze gui, dated to the Western Zhou dynasty, in the collection of the British Museum, museum number 1955,0519.2. Finally compare a related bronze gui, dated to the Western Zhou dynasty, late 11th to early 10th century, in the collection of the Freer Gallery of Art at the National Museum of Asian Art, Smithsonian Institution, accession number F1924.14a-b.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 September 2020, lot 570Price: USD 478,800 or approx. EUR 540,500 converted and adjusted for inflation at the time of writingDescription: An important archaic bronze ritual food vessel (gui), Western Zhou dynasty Expert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized birds. Note the similar size (29.5 cm) and that this gui has a six-character inscription.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 15Price: USD 125,000 or approx. EUR 157,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel (gui), early Western Zhou dynasty, 11th-10th century BCExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized kui dragons. Note the similar size (29.5 cm) and that the gui has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3181 Price: USD 149,000 or approx. EUR 184,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, the gui early Western Zhou dynasty, 11th century BC, the inscription laterExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized taotie designs. Note the similar size (29.2 cm) and that this gui has a later-added inscription.西周青銅夔紋簋中國，公元前十一至十世紀。圓簋，折沿，雙耳，圓腹，圈足，耳做獸首形，下有附珥，圈足外有外凸的圈足座。口沿下有一圈有夔紋與獸面紋飾帶，器腹素面，足部飾橫條紋。 來源：亞洲藝術博物館MacLean 收藏，1996年購於香港，2022年撤出收藏。MacLean 收藏由來自芝加哥的商人 Barry MacLean 在50 年前創立，他於 1970 年代初開始收藏。他曾多次前往亞洲從商，並開始將注意力集中在來自中國的古代青銅器和後世的仿古青銅器上。The MacLean Collection由Larry Booth設計並於 2003 年完工。自 2004年以來，該博物館已出版了七本書，舉辦了十三次展覽，將藏品借給許多其他博物館，並用十幾個獎學金來培訓未來的專家和愛好者。 出版：Richard A. Pegg 與張立東，The MacLean Collection: Chinese Ritual Bronzes，芝加哥，2010年，圖19。 品相：狀況極好，容器略微傾斜，有一些磨損以及輕微的鑄造缺陷、微小的刻痕和小凹痕。簋下半部分有兩個肉眼看不見的小填充物，但在所提供的五張 X 射線圖像上可以精確檢測到（可在www.zacke.at的在線目錄中找到或通過電子郵件索取）。自然生長的銅綠包漿整體帶有幾層孔雀石綠色結殼和小面積的紅藍斑。清晰明快的鑄造裝飾保存得非常好，這使它極具吸引力。如此原始的狀態，是極其罕見的。 重量：2,878 克 尺寸：兩耳之間寬28 厘米 簋相當於今天的碗，是商周時期的盛飯工具。文獻中説是用來盛黍稷稻粱的器皿。這種器型曾出現在二里崗文化中。青銅簋出現在商代早期，但數量較少，商晚期逐漸增加。商周時期，簋是重要的禮器。 文獻比較： 一件相近的青銅簋，出土於陝西西安，現藏於北京中國國家博物館，見《中國青銅器全集》，卷五，北京，1996年，編號61。另一件收藏於T. Yamamoto，見歐米蒐儲，《支那古銅精華》，卷二，大阪，1960年，編號107。Jessica Rawson在 《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，華盛頓D.C.，1990年，頁415，寫道「此種類型的簋較常見於西周早期」，她也列出了五個例子，包含一件出土於遼寧喀左山灣子的簋，見《文物》，1977年12月，頁23-33，圖55。 比較一件相近的西周青銅簋，收藏於大英博物館，編號1955,0519.2。最後比較一件相近的西周公元前十一世紀晚期至十世紀早期青銅簋 ，收藏於亞瑟·M·賽克勒美術館Freer Gallery of Art，史密森尼學會，編號F1924.14a-b。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2020年9月23日，lot 570 價格：USD 478,800（相當於今日EUR 540,500） 描述：西周侁簋 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的鳥紋。請注意相似的尺寸(29.5厘米)，以及此簋有六字款識。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2013年9月17日，lot 15 價格：USD 125,000（相當於今日EUR 157,000） 描述：西周早期公元前十世紀青銅夔龍紋簋 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的夔紋。請注意相似的尺寸(29.5厘米) ，以及此簋有三字款識。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月16日，lot 3181 價格：USD 149,000（相當於今日EUR 184,000） 描述：西周早期青銅饕餮紋簋，後刻銘文 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的饕餮紋。請注意相似的尺寸(29.2厘米)， 以及此簋有後刻的款識。

A BRONZE BELL, YONGZHONG, WESTERN ZHOU DYNASTYChina, 1100-771 BC. The bell is cast to either side with three rows of neatly cast protruding spiral bosses, divided by rope-twist lines.Provenance: From an important old French private collection assembled since the end of the 19th century. The family used to own one of the most expensive pieces of Asian art ever sold in France. According to the previous owner, “the present lot was hidden in a chest” and he discovered it there when he went to the place for the first time, many years ago. Condition: Original condition, commensurate with age. Wear, small dents, minor losses, minuscule nicks, signs of weathering and erosion, encrustations. The base of the handle with ancient soldering marks, probably inherent to manufacture, or from only a little time thereafter. No hidden restoration whatsoever. Spectacular naturally grown patina with various tones of green, including deep malachite.Weight: 1,595 g Dimensions: Height 33.8 cm Expert's note (added 20.2.2023): The three throws of spikes on either side of the present bell have tips of varying shape, indicative of probable filing post manufacture, and neither the result of casting nor subsequent wear or weathering. Instead, there is a theory that suggests that these spikes were used for tuning the bells (see image section, for an enlargement showing this). Examples like the present lot were often found in the tombs of nobility, such as the set discovered in a grave chamber of the Marquis Yi of Zeng (see image section).Bells of this type were made in graduated sizes to form a set or instrumental 'chime'. Each bell was capable of emitting two different tones, dependent on the exact location struck. Robert Bagley explains, “sets of bells were both aurally and visually the most prominent instruments of musical ensembles” in ancient China, but were unknown outside of China, see Jenny So (ed.), Music in the Age of Confucius, Freer Gallery of Art and Arthur M. Sackler Gallery, Washington DC, 2000, pp. 35-63.Literature comparison: Compare a related bell, 54.7 cm high, dated to the Warring States period, ca. 300-250 BC, in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2558.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 September 2013, lot 1477 Price: USD 47,500 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A Small Bronze Bell, Yongzhong, Early/Middle Western Zhou Dynasty, 11th-9th Century BCExpert remark: Note the much smaller size (25 cm)Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 20 March 2019, lot 663 Price: USD 325,000 or approx. EUR 343,000 converted and adjusted for inflation at the time of writing Description: An Extremely Rare Set of Seven Archaic Bronze Ritual Bells (Zhong) Western Zhou DynastyExpert remark: Note this lot contains a complete set of 7 bells西周甬鐘中國，公元前1100-771 年。甬鐘成合瓦形結構，兩面左右各有三行三道枚。 來源：重要法國私人收藏，建立於十九世紀末。該家族曾經擁有法國有史以來售出的最昂貴的亞洲藝術品之一。據前任主人說，“現在的拍品藏在一個箱子裡”，這是他多年前第一次去那裡時發現的。 品相：原始狀態，有磨損、小凹痕、輕微缺損、微小刻痕、風化和侵蝕跡象、結殼。手柄底部帶有舊時焊接痕蹟，可能是製造時固有的。沒有任何隱藏的修復。自然包漿，帶有各種綠色調銅綉。 重量：1,595 克 尺寸：高33.8 厘米 文獻比較： 比較一件相近的戰國時期大約公元300至250年甬鐘，54.7 厘米高，收藏於 Arthur M. Sackler Gallery of the National Museum of Asian Art，史密森學會，館藏編號S2012.9.2558。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月20日，lot 1477 價格：USD 47,500（相當於今日EUR 55,000） 描述：西周早/中期青銅甬鐘 專家評論：請注意尺寸小很多(25 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 663 價格：USD 325,000（相當於今日EUR 343,000） 描述：西周青銅饕餮紋鐘一組七件 專家評論：請注意此為一組七件。

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, LI, LATE WESTERN ZHOU DYNASTYExhibited: According to label 'Univ Museum Exhibition C10 4-33' exhibited at Treasures of the Chinese Scholar, Chinese Culture Center of San Francisco, USA, 1997, and University of Pennsylvania Museum of Archaeology and Anthropology, USA, 1998.China, 9th-7th century BC. The compressed body raised on three legs with flat, partially open backs, each leg positioned below a notched flange centering pairs of stylized confronting dragons, the flat everted rim undecorated. The bronze with a superb, naturally grown, rich patina with distinct malachite and azurite encrustations.Provenance: Sotheby's New York, 28-29 November 1994, lot 202 (dated late Shang to early Western Zhou dynasty). Lacquered with an inventory number, 'L-1042-145', indicating a prior museum deaccession. The Ji Zhen Zhai Collection, Dr. John Fong, acquired from the above. The underside of one foot with two labels, 'Ji Zhen Zhai Collection' and 'Univ Museum Exhibition C10 4-33'. John K. Fong (Fang Jinpei) was a psychiatrist and Professor of Archaeology at The University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia, USA. He studied and collected Chinese art for more than 25 years, developing the Ji Zhen Zhai (Studio of Accumulated Treasures) Collection. He curated the exhibition Treasures of the Chinese Scholar, which first opened at the Chinese Culture Center of San Francisco, USA, in 1997 and then moved to the University of Pennsylvania Museum of Archaeology and Anthropology in 1998. Condition: Superb original condition, commensurate with age, with no fills or restorations. As expected with minor nicks and small losses, signs of weathering and corrosion, soil encrustations.Weight: 1,215 g Dimensions: Diameter 17 cm, Height 12.5 cmExpert's note: Decorated with a shallow yet crisp design of taotie masks or S-shaped dragons, vessels of this type were discovered in Fufeng, Shaanxi Provence.Literature comparison: Compare a closely related bronze li, 13 cm high, dated to the Western Zhou dynasty, ca. 8th-7th century BC, in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institution, accession number S1987.351, illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, Washington DC, 1990, pp. 328-329, no. 29.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2011, lot 1251 Price: USD 62,500 or approx. EUR 75,000 converted and adjusted for inflation at the time of writing Description: A Bronze Ritual Tripod Food Vessel, Liding, Late Western Zhou Dynasty, 8th Century BC Expert remark: Compare the closely related form, flanges, and dragon decoration. Note the near-identical diameter (18 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2011, lot 31 Price: USD 56,250 or approx. EUR 67,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual food vessel (li), late Western Zhou dynasty, 9th / 8th century BCExpert remark: Compare the closely related form, flanges, and dragon decoration. Note the larger size (height 18.4 cm).西周末年青銅禮器鬲中國，公元前九至七世紀。寬唇，短頸，腹部呈淺分襠式，袋狀足粗短，器身飾有三道較窄的扉棱。每隻鬲的腹部飾有六隻龍紋，為不對稱排列，頭居中，作回顧形，體部逶迤舒曲，從下緣環回至尾端，自然生長的包漿良好，帶有孔雀石綠色和藍色結殼。 展覽：標籤“Univ Museum Exhibition C10 4-33' 表明該器曾在美國舊金山中國文化中心 Treasures of the Chinese Scholar，展覽中展出，1997年'美國賓夕法尼亞大學Museum of Archaeology and Anthropology，1998年。 來源：紐約蘇富比，1994年11月 28-29日，lot 202 (斷代為商末至西周初)；庫存編號 'L-1042-145'，表明之前從博物館售出。Dr. John Fong教授的集珍齋購於上述拍賣。一足底部有兩個標籤 'Ji Zhen Zhai Collection' 與 'Univ Museum Exhibition C10 4-33'. John K. Fong (Fang Jinpei)曾是美國費城賓夕法尼亞大學精神病學家和考古學教授。他研究和收藏中國藝術超過 25 年，建立了集珍齋收藏。1997年，他策劃的“Treasures of the Chinese Scholar”展覽首先在美國舊金山中國文化中心開幕，1998年來到賓夕法尼亞大學考古與人類學博物館。 品相：極好的原始狀態，沒有填充或修復，有輕微的劃痕和小缺損、風化和腐蝕的跡象、土壤結殼。 重量：1,215 克 尺寸：直徑17 厘米，高12.5 厘米 專家注釋：陝西扶風曾出土此類器物，飾饕餮紋或S形龍紋。 文獻比較： 比較一件非常相近的西周公元前八至七世紀青銅禮器鬲，高13 厘米，收藏於Arthur M. Sackler Gallery of the National Museum of Asian Art，史密森學會，館藏編號S1987.351，見Jessica Rawson，《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，Arthur M. Sackler基金會，華盛頓DC，1990年，頁328-329，編號29。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1251 價格：USD 62,500（相當於今日EUR 75,000） 描述：公元前八世紀西周末期青銅禮器鬲 專家評論：比較非常相近的外形、分檔式和龍紋。請注意幾乎相同的直徑(18 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2011年3月22日，lot 31 價格：USD 56,250（相當於今日EUR 67,500） 描述：公元前九至八世紀西周末期青銅禮器鬲 專家評論：比較非常相近的外形、分檔式和龍紋。請注意尺寸較大(高18.4 厘米)。

A SUPERB BRONZE FIGURE OF A DRAGON, EASTERN ZHOU DYNASTY, CHINA, 770-256 BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Finely cast as a dragon standing foursquare with the head turned back. The elegantly curved tail with a curled tip, the body with raised and finely incised S-scroll, clouds, and spiral designs. The bronze with a solid and naturally grown, rich patina with malachite and cuprite encrustation.Provenance: Sotheby's London, 1995. Friedrich Georg Zeileis, acquired from the above, according to his publication, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Remarkably well preserved, commensurate with age. Extensive wear, minor losses, some nicks, scratches, signs of weathering and erosion, soil encrustations. Fine naturally grown patina overall, with small areas of faint cuprite and various shades of malachite green.Weight: 288.2 g Dimensions: Length 16 cmLiterature comparison: Compare a near identical bronze in the form of a dragon, 16.2 cm long, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2118.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 28 July 2022, lot 3031 Price: HKD 352,800 or approx. EUR 41,500 converted at the time of writing Description: A rare bronze figure of a winged tiger, Eastern Zhou dynastyExpert remark: Note the much smaller size (11 cm)Auction result comparison: Type: Closely related Auction: Christies New York, 22 March 2013, lot 1233 Price: USD 62,500 or approx. EUR 72,500 converted at the time of writing Description: A Very Rare Bronze Tiger-Form Applique, Late Eastern Zhou Dynasty, 5th-4th Century BCExpert remark: Note the much smaller size (11.1 cm)西元前770-256年青銅龍鑄造精良，龍頭後轉，龍尾捲曲，造型美觀，龍身飾雲紋和螺旋紋。表面銅鏽堅固且自然，並有綠色紅色結殼。 出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three和a Half Millenia of Chinese Bronze)》，1999年，第318頁，圖118。 來源：倫敦蘇富比，1995年；Friedrich Georg Zeileis，根據他出版的書上記載，購於上述拍賣。Dr. Friedrich Georg Zeileis博士（生於 1939 年）是一位退休醫生，收藏了大量中國古代玉器和青銅器。他還是一位鋼琴家和作曲家，出版了數本書籍與大量藝術收藏品目錄，其中包括精美的中國玉器和青銅器。 品相：保存完好，年代久遠。嚴重磨損、輕微缺損、一些刻痕、劃痕、風化和侵蝕跡象、土壤結殼。整體有自然美麗的銅綠，帶有小面積的微弱紅色和各種深淺不一的綠色結殼。 重量：288.2 克 尺寸：長16 厘米 文獻比較： 比較一件幾乎相同的青銅龍，長16.2 厘米，收藏於Arthur M. Sackler Gallery in the National Museum of Asian Art，史密森學會，館藏編號S2012.9.2118。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年7月28日，lot 3031 價格：HKD 352,800（相當於今日EUR 41,500） 描述：東周銅翼虎 專家評論：請注意尺寸小很多(11 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月22日，lot 1233 價格：USD 62,500（相當於今日EUR 72,500） 描述：公元前五至四世紀東周青銅虎 專家評論：請注意尺寸較小很多(11.1 厘米)。

A GOLD AND SILVER-INLAID 'FIGHTING BEARS' BRONZE MAT WEIGHT, WARRING STATES TO HAN DYNASTYOpinion: While bronze mat weights from the Warring States Period or the Han dynasty are rarer and rarer to come across on the market, it has nowadays become almost impossible to find one with such well preserved and detailed inlay work. The drama of the depiction has been copied over and over during later periods, and for all kinds of purposes, but it has never been achieved again to the extent found in the present lot.China, 5th century BC to 2nd century AD. Boldly cast as two ferocious bears locked in combat, one biting into his opponent's back as this one roars in anguish with his tongue outstretched. Finely inlaid in gold and silver, the two animals with scroll and geometric decoration as well as subtle detailing to their bodies, the sides of the circular base with a scroll band between line borders.Provenance: From a noted private collector in the Pacific Northwest, USA.Condition: Superb condition, commensurate with age. Wear, signs of weathering and erosion, corrosion, malachite and cuprite encrustation, nicks, scratches, losses and cracks. The gold and silver inlays exceptionally well-preserved. A bronze weight of around 2,000 years of age or more in such well-preserved condition must be considered exceedingly rare.Weight: 590.0 gDimensions: Diameter 6.7 cm, Height 5 cmWith a velvet-padded silk storage box. (2)Mat weights crafted from precious materials such as bronze and jade, often gilded or inlaid with gold, silver or gemstones, were produced in sets of four and served a practical function of anchoring down woven mats for seating. Mats and corner-weights were believed to have been used at banquets, even those laid out in tombs. Inlaid animal-form weights were discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels.The sculptural depiction of animals in combat was introduced to China from the nomadic and semi-nomadic cultures of Central Asia, the Eurasian steppes, and the Ordos region, and was an innovation particular to the Warring States and Han dynasty periods. During the early Western Han dynasty, the imperial Shanglin zoological park and hunting reserve adjacent to the walled city grew in size and importance. Conceived as a microcosm of the empire, it allowed the emperor and his courtiers to observe and study the various species of plants and animals known at the time. The site also served as a venue for orchestrated animal combat for the entertainment of the court.Literature comparison: Compare a closely related silver and gold-inlaid bronze mat weight from the Han dynasty depicting a ram and tiger, illustrated by Jenkins, Mysterious Sprits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, page 60, and now in the collection of the Portland Art Museum. Compare a pair of related bronze figures of tigers, with similar gold and silver inlay, but of larger size (29 cm), dated to the Warring States period, illustrated by Christian Deydier, Oriental Bronzes, XXIIIe Biennale des Antiquaires, Paris, September 2006, pages 10-21.Auction result comparison:Type: Related Auction: Christie's New York, 16 September 2010, lot 886 Price: USD 182,500 or approx. EUR 240,000 converted and adjusted for inflation at the time of writingDescription: A Rare Gold and Silver-Inlaid Bronze Tiger-Form Weight, Eastern Han Dynasty (25-220 AD) Expert remark: Compare the similar size (6.7 cm) and purpose, and the inlay in gold and silver.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 13 October 2021, lot 3674 Price: HKD 441,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writingDescription: An inscribed gold and silver-inlaid bronze weight, Han dynastyExpert remark: Compare the closely related subject matter, dynamic posture, and size (6.8 cm). Note the different decoration, albeit still employing gold and silver inlay.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2022, lot 7 Price: USD 88,200 or approx. EUR 86,500 converted at the time of writingDescription: A gold, turquoise and malachite-inlaid bronze weight, Early Western Han dynastyExpert remark: Compare the closely related subject matter, gold inlay, and size (6.9 cm). Note the use of turquoise and malachite inlays. 戰國至漢代錯金銀“斗熊”銅席鎮中國，公元前五世紀至公元二世紀。銅鎮作兩隻正在打架的熊造型，一隻熊正雙目圓睜，雙耳後抿，寬鼻闊嘴，回首咆哮；另一隻咬住對手的後背。細部刻畫入微。通體採用錯金銀工藝。形小而氣勢雄渾，造型生動自然，十分精緻。專家注釋：戰國或漢代的青銅席鎮在市場上越來越少見，幾乎找不到一件保存完好且鑲嵌工藝如此精湛的青銅席鎮。 來源：美國太平洋西北部知名私人收藏。 品相：狀況極佳，與年代相符。有磨損、風化和侵蝕、紅綠色結殼、刻痕、劃痕、缺損和裂縫的跡象，金銀鑲嵌保存完好，實爲罕見。 重量：590.0 克 尺寸：直徑6.7 厘米，高5 厘米 天鵝絨襯墊的真絲儲物盒。(2) 席鎮多由銅和玉石等材料製成，通常鎏金或錯金銀或鑲嵌寶石，一般一套為四件，古人就在蓆子的四角放置鎮，用來壓席，席鎮便應運而生。在漢代中山王劉勝的妃子竇琬（公元前 113 年逝世）的墓中發現了的動物形席鎮以及食物和酒器。戰鬥中的動物造型是從中亞、歐亞草原和鄂爾多斯地區的游牧和半游牧文化傳入中國的，戰國和漢代的創新。西漢初期，毗鄰城牆的皇家上林園和狩獵區的規模和重要性日益增加，為皇帝和他的朝臣可以觀察和研究當時已知的各種動植物提供了機會。當時還出現了動物打鬥場所，供娛樂消遣。文獻比較：比較一件非常相近的漢代公羊和老虎錯金銀銅席鎮，見Jenkins，Mysterious Sprits，Strange Beasts，《Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection》，波蘭，2005年，頁60，現收藏於波蘭藝術博物館。比較一對相近的戰國時期老虎青銅席鎮，相似的錯金銀，但尺寸較大(29 厘米)，見Christian Deydier，《Oriental Bronzes，XXIIIe Biennale des Antiquaires》，巴黎，2006年9月，頁10-21。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2010年9月16日，lot 886 價格：USD 182,500（相當於今日EUR 240,000） 描述：東漢錯金銀老虎銅席鎮 專家評論：比較相似的尺寸(6.7 厘米)和目的，以及錯金銀裝飾。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年10月13日，lot 3674 價格：HKD 441,000（相當於今日EUR 57,500） 描述：漢代銅錯金銀熊虎鎮紙 《日利千金富》銘款 專家評論：比較非常相近的主題、動作姿態和尺寸 (6.8 厘米)。請注意不同的裝飾，但仍然採用錯金銀的製作方式。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2022年3月22，lot 7 價格：USD 88,200 （相當於今日EUR 86.500） 描述：西漢初期銅錯金嵌寶虎獵羊形鎮 專家評論：比較非常相近的主題、鑲嵌金和尺寸 (6.9 厘米)。請注意綠松石和孔雀石鑲嵌的使用。

AN OVAL BRONZE FOLDING OIL LAMP, DENG, HAN DYNASTY China, 206 BC to 220 AD. The lamp is made in the shape of an ear cup and raised on a narrow foot ring. One side of the cover is hinged and has a spout at one end and a pricket on the interior. The cover is divided into quadrants cast with dragons and tigers separated by a central panel with inscriptions and set with tiny loops similar to a third at one end of the lamp. The dragon and tiger motifs are repeated on the handles.Inscriptions: To the central panel, '[…] zi ji'.Provenance: Guy Portier, Paris, France, 22 February 1969. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.1.1. Guy Portier (1919-2005) was an important French auctioneer and Asian art expert. His father Andre specialized in the import of silk from the Far East and later served as an expert in the sales of major French collections of Asian art. Guy was in charge of the silk department of the family company until he took over in 1942, gradually focusing on Far Eastern works of art, Japanese prints being one of his passions. In 1967, he included a list of estimates for the objects put up for sale in one of his catalogs for the first time, back in these days a revolutionary change. The family company, Cabinet Portier, still exists to this day. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. Condition: Very good condition, commensurate with age. Extensive wear, minor losses, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown, rich patina with malachite and cuprite encrustations.Weight: 287.6 g Dimensions: Length 10 cmDr. Wou's immense passion and superior knowledge sometimes allowed him to pick up unusual and exquisite Chinese works of art with rare inscriptions, right under the noses of the most experienced dealers and collectors of his days, simply because most of them were unable to read Chinese. The present lot is yet another testimonial to this fact.Literature comparison: A closely related bronze oil lamp, also dated to the Han dynasty, is illustrated in Bronze Articles for Daily Use: The Complete Treasures of the Palace Museum, Hong Kong, 2006, no. 90. It is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover. Note that two of these characters ('zi' and 'ji') are also found on the present lot. A closely related bronze oil lamp, 13 cm long, also dated to the Han dynasty, is in the Art Institute of Chicago, reference number 1930.907, illustrated by C.F. Kelley and Chen Mengjia in Chinese Bronzes from the Buckingham Collection, 1946, p. 199, pl. LXIX.Auction result comparison: Type: Near-identical Auction: Christie's New York, 22 March 2013, lot 1245 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A small bronze oval oil lamp, Han dynastyExpert remark: Compare the near-identical form, decorations, and size (10.2 cm). Note that the oil lamp is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover, with two of these characters ('zi' and 'ji') also found on the present lot.漢代銅燈中國，公元前206 年至公元220 年。燈做成耳杯狀，橢圓形淺圈足上。蓋子的一側是鉸接的，一端可以上翻。燈罩分為龍紋和虎紋，由帶有銘文的中央面板隔開，並在燈的一端設置類似於三分之一的小環。手柄上重複出現龍虎圖案。 款識：[…] 子 吉 來源：法國巴黎Guy Portier，1969年2月22日；吳權博士購於上述藝廊。吳蓮伯美術館，館藏 H.1.1.號。Guy Portier (1919-2005) 是法國重要的拍賣師和亞洲藝術專家。他的父親Andre專門從事從遠東進口絲綢，後來成為法國主要亞洲藝術收藏品的銷售專家。Guy在 1942 年接任之前負責家族企業的絲綢部門，逐漸專注於遠東藝術作品，收藏日本版畫是他的愛好之一。1967 年，他首次在自己的目錄中列出了待售物品的估價清單，這在當時是一個革命性的變化。家族企業 Cabinet Portier 至今仍然存在。吳權博士(1910-1997) 是一位中國外交家和知名中國藝術學者。 品相：品相極好，與年齡相稱。嚴重磨損、風化和侵蝕跡象、小刻痕、輕微劃痕。細膩包漿，帶有紅綠色結殼。 重量：287.6 克 尺寸：長10 厘米 吳博士對收藏有著巨大的熱情和豐富的知識，他能夠在他那個時代最有經驗的經銷商和收藏家的眼皮子底下挑選到不尋常且精美的帶有罕見銘文的中國藝術品，僅僅因為他們中的大多數人都看不懂中文。現在的拍品是這一事實的又一證明。 文獻比較： 一件非常相近的漢代銅油燈漢代銅油燈，見《故宮博物院藏文物珍品大系‧青銅生活器》，香港，2006年，編號90。此銅燈蓋上刻有銘文「宜子孫吉」。請注意其中兩字銘文「子」和「吉」，和我們的銅燈相同。一件非常相近的漢代銅油燈，13 厘米長，收藏於芝加哥藝術學院，收藏編號1930.907，見C.F. Kelley和Chen Mengjia，《Chinese Bronzes from the Buckingham Collection》，1946年，頁199，圖LXIX。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2013年3月22日，lot 1245 價格：USD 30,000（相當於今日EUR 36,000） 描述：漢「宜子孫」銘燈 專家評論：比較幾乎相同的外形、裝飾和尺寸(10.2 厘米)。請注意此銘燈蓋上刻有「宜子孫吉」。

A RARE BRONZE TRIPOD VESSEL AND COVER, LIAN, HAN DYNASTY China, 2nd century BC to 2nd century AD. The deep cylindrical body supported on three crouching bear-shaped legs and cast with three strapwork bands, the central band divided by a raised fillet below the two taotie masks suspending loose rings (one lost). The fitted domed cover with three recumbent dogs, encircled by a band of neatly incised animals, enclosing a similarly incised foliate design centered by a loop handle with a ring.Provenance: From a German private collection, assembled before 1990. Condition: Condition commensurate with age, still displaying remarkably well. Extensive wear, losses, dents, scratches, old repairs and fills, encrustations, corrosion, signs of weathering and erosion.Weight: 2,989 g Dimensions: Diameter 23.5 cm, Height 24.4 cmExpert's note: It is rare to find a Han-dynasty lian vessel with a matching cover. Auction result comparison: Type: Closely related Auction: Sotheby's New York, 22 October 2003, lot 370 Price: USD 5,700 or approx. EUR 8,300 converted and adjusted for inflation at the time of writing Description: A pair of Chinese archaic bronze tripod vessels, Lian, Han dynasty Expert remark: Compare the closely related form and decoration with similar crouching bear-shaped legs, strapwork bands, and taotie handles. Note that the lot comprises two vessels, each of which is missing the cover. Note the diameter (22.2 cm). Auction result comparison: Type: Closely related Auction: Sotheby's New York, 22 March 2011, lot 195 Price: USD 62,500 or approx. EUR 74,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze vessel and cover (lian), Han dynasty Expert remark: Compare the closely related form and related decoration with similar taotie handles. Note the diameter (22.2 cm).漢代匲式青銅三足蓋爐中國，公元前二世紀至公元二世紀。深圓柱體，三個熊形足，器身三道弦紋，飾饕餮紋啣活環（一個丟失）。圓蓋上有三隻臥犬，中央一個圓環鈕。 來源：德國私人收藏，建立於1990年前。 品相：品相良好，大面積磨損、凹痕、劃痕、小修和結殼、風化和侵蝕的跡象。 重量：2,989 克 尺寸：直徑23.5 厘米，高24.4 厘米 專家注釋：漢代的蓋子相配實屬難得一見。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2003年10月22日，lot 370 價格：USD 5,700（相當於今日EUR 8,300） 描述：一對漢代匲式青銅三足蓋爐 專家評論：比較非常相近的外形和熊形足，帶狀紋和饕餮手柄。請注意此為一對三足蓋爐，蓋皆遺失。請注意直徑(22.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2011年3月22日，lot 195 價格：USD 62,500（相當於今日EUR 74,500） 描述：漢代匲式青銅三足蓋爐 專家評論：比較非常相近的外形和相近饕餮手柄。請注意直徑(22.2 厘米)。

A SILVERY BRONZE 'MYTHICAL BEAST' MIRRORChina, Han Dynasty (206 BC to 220 AD). The circular mirror with a central domed knob surrounded by four bosses interspersed with two kneeling figures and mythical creatures, framed by raised geometric borders.Condition: Fine condition, commensurate with age, extensive wear, weathering, corrosion, nicks, losses. Superb, naturally grown patina with extensive malachite and cuprite encrustations. Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels 'RIE.1976.259' and '2' to the mirror. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Weight: 321 gDimensions: Diameter 13.1 cmWith a padded box. (2)Auction result comparison:Compare a related bronze 'Tigers and dragons' mirror, Han dynasty (206 BC- 220 AD), sold at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 November 2011, lot 3350, for HKD 87,500.

A SILVERY BRONZE EIGHT-LOBED 'PHOENIX AND BIRDS' MIRRORChina, Tang Dynasty (618-906). Of lobed form, cast at the center with a domed knob encircled by two phoenixes and two birds, the raised rim with butterflies and floral sprays.Condition: Fine condition, commensurate with age, extensive wear, weathering, corrosion, nicks, losses. Superb, naturally grown patina with extensive malachite encrustation. Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels 'RIE.1976.311' and '9' to the mirror. A copy of an old handwritten note by Dr. Rieder, describing the piece as '2 Birds, 2 Kilin [sic!] (?) & ornamental pattern'. The padded box inscribed, noting that the piece was a goodbye present from 1938 from the trade commissioner Yamamoto. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Weight: 195 gDimensions: Diameter 9.7 cmWith a padded box bearing a dedication mark of being a present in 1938. (2)Auction result comparison:Compare a related silvery grey bronze eight-lobed mirror, Tang dynasty (618-907), sold at Christie's New York in Fine Chinese Ceramics and Works of Art Part I and Part II Including Property from the Arthur M. Sackler Collections on 24 March 2011, lot 1268, for USD 8,125.

A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYChina, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonné, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece’s impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmReferring to the importance of reverence to the past in Chinese art, Ulrich Hausmann writes:“Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable, so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. Generations of painters and calligraphers [...] spent a lifetime studying these inscriptions. What could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.” (Quote from Ulrich Hausmann, Later Chinese Bronzes: In Search of Later Bronzes in Documentary Chinese Works of Art: In Scholars' Taste, Ed. Paul Moss, Sydney L. Moss, London, 1983, page 233, requoted again by Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and the Fung Ping Shan Museum, University of Hong Kong, 1986, cat. no. 161.)Expert’s note: The present steamer is quite likely to date from the Song dynasty, because the earliest archaistic bronzes generally tend to be the closest in form and design to their archaic prototypes. This is clearly the case here, as shown by the two literature comparisons below, which prove that the present lot is very much in the spirit of its Shang and Western Zhou paragons. The example from the National Palace Museum, Taipei, even has gold and silver inlays just like our vessel, which is unusual for such an early piece. Another important aspect is the superb, naturally grown patina on the present lot with its distinct malachite encrustations. This is beyond doubt not a patina from the late Ming or early Qing dynasty: It not only does closely resemble that of ancient bronzes, but with its unique appearance, reminiscent of savage elementary forces rather than the genteel creations of later periods, essentially makes this bronze an archaic vessel of its own merit.Literature comparison: Compare a closely related prototype for this steamer, also with gold and silver inlays, dated to the Shang dynasty, in the National Palace Museum, Taipei, image number K1A002369N000000000PAB. A related prototype, lacking gold and silver inlays, dated to the Western Zhou dynasty, 11th-10th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b, is illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Vol. IIB, Massachusetts, 1990, pp. 342-344, no. 33.Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby’s New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby’s London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).宋至明代銅錯金銀三足銅甗中國，960-1644年。甗分上下兩部分：一甑一鬲。甑部與鬲部相連，甑部有一對拱形直耳，外壁飾雷紋地鳳鳥紋飾帶與蕉葉紋，同樣是雷紋地上獸面紋。鬲部修飾獸面紋。表面神色包漿堅實，散佈著孔雀石色結殼。 來源：Dr. David McCay收藏，在同一家族保存至今。Dr. David McCay是一名英國醫生，後來在印度孟加拉的印度醫療部擔任外科醫生。他在義和團運動期間被派往中國擔任軍醫。在印度期間，他寫了一本名為《孟加拉監獄飲食調查》的書。退休後，他帶著他收藏的中國青銅器、景泰藍和瓷器回到英國。在他去世後，他的妻子將他最喜歡的一件非常重要的萬曆蒜頭瓶贈予維多利亞和阿爾伯特博物館，編號為 CIRC.23-1950，至今仍保存在博物館。品相：狀況極好，有磨損和使用痕跡、一些鑄造不規則、小刻痕和缺損、輕微劃痕、腳底面有微小的填充物。錯金部分整體狀況非常好。錯銀部分變暗並顯示出光澤。 重量：5,200 克 尺寸：高 31.5 厘米

A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC WINE VESSEL, YOU, 17TH-18TH CENTURYChina. The flattened, pear-shaped body cast on each side with a large taotie mask with silver and gold-inlaid details, flanked by flanges, between bands of archaistic birds centered by animal masks at the neck and divided by flanges at the foot, all reserved against a leiwen ground. The arched, rope-twist handle attached to projecting bars with animal mask terminals.Provenance: From an old French private estate. Condition: Some old wear, few nicks, small dents, light surface scratches, and casting flaws. The original cover lost.Weight: 5,326 g Dimensions: Height 42.8 cm (incl. handle) and 27.6 cm (excl. handle and cover)With an associated bronze cover dating from the 19th to the early 20th century. (2)The present lot derives from an archaic bronze prototype, you, which was used as a ritual wine vessel during the Shang and Zhou dynasties.Literature comparison: Compare a related bronze vessel and cover with a rope-twist handle, dated to the 18th century, illustrated by Sydney L. Moss, The Second Bronze Age: Later Chinese Metalwork, London, 1991, pl. 58.Auction result comparison: Type: Closely related Auction: Sotheby's London, 15 May 2019, lot 59 Price: GBP 25,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, 17th/18th century Expert remark: Compare the closely related form and decoration. Note the much smaller size (25.4 cm) and original cover.Auction result comparison: Type: Closely related Auction: Sotheby's London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynasty Expert remark: Compare the closely related form and decoration. Note the smaller size (30.2 cm) and original cover.Auction result comparison: Type: Closely related Auction: Sotheby's London, 11 May 2011, lot 253 Price: GBP 30,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold inlaid bronze wine vessel and cover, you, Qing dynasty, 18th century Expert remark: Compare the closely related form and decoration. Note the smaller size (30.5 cm) and original cover.十七至十八世紀銅錯金銀提梁卣中國。小巧而精緻的鑄件，造型靈感來自商代銅卣，表面錯金銀絲，加強裝飾效果，雷紋地，饕餮獸面紋，上有提梁索股。 來源：法國私人舊藏。 品相：一些磨損、少量刻痕、小凹痕、輕微表面劃痕和鑄造缺陷。原始蓋丟失。 重量：5,326 克 尺寸：高42.8 厘米 (含提梁)，27.6 厘米 (不含提梁) 帶有可追溯至十九世紀至二十世紀初的青銅蓋。(2) 文獻比較： 比較一件相近的十八世紀銅錯金銀提梁卣，上有提梁索股，見Sydney L. Moss，《The Second Bronze Age: Later Chinese Metalwork》，倫敦，1991年，圖58。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2019年5月15日，lot 59 價格：GBP 25,000（相當於今日EUR 33,000） 描述：十七/十八世紀銅錯金銀饕餮紋提梁卣 專家評論：比較非常相近的外形和裝飾。請注意尺寸小很多(25.4 厘米) 和原始的蓋子。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2014年5月14日，lot 252 價格：GBP 80,500（相當於今日EUR 116,000） 描述：明銅錯金銀獸面紋帶蓋提梁卣 專家評論：比較非常相近的外形和裝飾。請注意尺寸較小 (30.2 厘米) 和原始的蓋子。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2011年5月11日，lot 253 價格：GBP 30,000（相當於今日EUR 46,000） 描述：十八世紀銅錯金銀帶蓋提梁卣 專家評論：比較非常相近的外形和裝飾。請注意尺寸較小 (30.5 厘米) 和原始的蓋子。

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH – MID-13TH CENTURYExpert’s note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th – mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie’s New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。該像法相威儀，觀音跣足而立，右手低垂結與願印，左手置於胸前。身著飄逸的長袍，線條流暢，佩戴瓔珞。觀音面部平靜慈祥，雙眼微垂，雙眉之間有白毫。頭髮披肩，葉冠后高髻。專家注釋：大理國銅器的一個獨特之處是合金中的砷含量高，使銅質變得柔軟，並因合金產生微小的孔洞。後來的銅器和其他地區的銅器沒有這個特徵，這在本拍品和同類銅造像器中清晰可見（見拍賣結果比較）。大理銅造像的風格包括細長的臉、精緻的頭飾和纖柔的手，這些特徵仍然顯示出印度和東南亞佛教造像的影響。文獻參考： (1) Denise Patry Leidy，Donna Strahan，《Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art》，紐約，耶魯大學出版社， 2010年，頁206-207。 (2) Albert Lutz，《Der Goldschatz der drei Pagoden》，蘇黎世Rietberg博物館, 1991年。Paul Jett，《Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich》，頁73。 (3) 同上本書，頁71。 (4) Wenli Zhou，《Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911)》，倫敦大學學院2012年，頁26。 (5) 同上本書，頁39。 (6) 同上本書，頁46-47。

A GILT COPPER-ALLOY FIGURE OF VAJRADHARA, 15th-16TH CENTURY OR EARLIERTibet. The primordial Buddha seated in dhyanasana on a double lotus base, his arms crossed in front, holding a vajra in his right hand and a ghanta in his left, wearing a tight-fitting robe and richly adorned with beaded and floral jewelry. His serene face with heavy-lidded eyes below gently arched brows centered by an urna, framed by his hair falling elegantly in curled strands over the shoulders and piled up into a topknot surmounted by a vajra behind the elaborate foliate crown.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: Excellent condition, commensurate with age. Some wear and casting irregularities. Small nicks, minor dents and losses, and light surface scratches. The base unsealed. Fine, naturally grown patina overall.Weight: 750.1 gDimensions: Height 18 cmLiterature comparison: Compare a related bronze of Vajradhara, dated 15th-16th century, in the collection of the British Museum, museum number 1979,0514.1.Auction result comparison: Type: Related Auction: Sotheby's New York, 21 September 2007, lot 40Price: USD 40,000 or approx. EUR 56,000 converted and adjusted for inflation at the time of writingDescription: A silver and copper inlaid bronze figure of Vajradhara, Western Tibet, 15th centuryAuction result comparison: Type: Related Auction: Christie's Paris, 12 June 2012, lot 415Price: EUR 20,000 or approx. EUR 24,000 adjusted for inflation at the time of writingDescription: A copper and silver inlaid bronze figure of Vajradhara, Tibet, 15th century十五至十六世紀或更早銅鎏金金剛總持西藏。金剛總持結跏趺坐在雙層蓮座上。上身挺直，左右手臂戴釧，雙手當胸交叉，左手在內持鈴，右手在外持金剛杵，胸前的鈴與杵代表智慧與善巧的結合。造像頭戴五葉寶冠，眼眉細長，雙眉之間有白毫。耳垂戴圓鐺，頸戴瓔珞。 來源：維也納私人舊藏，整個收藏構建與1910-1975年間，歷經幾代人，保存在同一家族至今。 品相：品相極佳，與年代相符，一些磨損和鑄造不規則。小刻痕、輕微的凹痕和缺損，表面有輕微的劃痕。底座開封。 整體包漿細膩。 重量：750.1 克 尺寸：高18 厘米 文獻比較： 比較一件相近的十五至十六世紀青銅金剛總持 ，收藏於大英博物館，編號1979,0514.1。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2007年9月21日，lot 40 價格：USD 40,000（相當於今日EUR 56,000） 描述：十五世紀西藏西部銅銀鑲嵌青銅金剛總持 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2012年6月12日，lot 415 價格：EUR 20,000（相當於今日EUR 24,000） 描述：十五世紀西藏銅銀鑲嵌青銅金剛總持

A KHMER BRONZE FIGURE OF GARUDA, ANGKOR PERIODKhmer Empire, 12th century. Garuda is shown standing on a rectangular base with both hands raised before his spread wings, an anchor-shaped symbol to his chest, the face with a fierce expression and bulging eyes, the beak pointing upwards, his head surmounted by a conical headdress. The plumage finely incised.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition overall, commensurate with age and as expected for a bronze from this period. Extensive wear, signs of weathering and corrosion, encrustations, and minor losses. Fine, naturally grown malachite and cuprite patina.Weight: 335.2 g Dimensions: Height 14.5 cmLiterature comparison:Compare a related Khmer bronze figure of Garuda, 25.1 cm high, dated ca. 1150, in the Detroit Institute of Arts, accession number 43.419. Compare a related bronze figure of Garuda with Vishnu, dated to the Angkor period, 12th century, in the collection of the Art Institute Chicago, reference number 1980.270. Compare also a related bronze figure of Garuda with Vishnu, dated to the late 11th century, in the collection of the Walters Art Museum, accession number 54.2722.Auction result comparison:Type: RelatedAuction: Bonhams Paris, 25 October 2022, lot 82Price: EUR 7,650Description: A copper alloy group depicting Vishnu on Garuda, Cambodia, Angkor Wat style, 12th centuryExpert remark: Compare the related pose of Garuda, incision work, and dress. Note the size (20 cm)

A KHMER BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR PERIODKhmer Empire, 12th century. The bodhisattva standing in samapada on a square base, holding in his four hands a lotus bud, water vessel, scroll, and rosary, wearing a short pleated sampot with a striated belt decorated with pendent tassels. Richly adorned with jewelry, the hair arranged in a high topknot with a small Buddha Amitabha behind the circular diadem. The face finely detailed with full lips, ridged brows, and almond-shaped eyes.Provenance: Art of the Past, New York, 3 December 2002. Collection of Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, dating the piece to the 12th century, accompanies this lot. Condition: Excellent condition commensurate with age. Old wear, minuscule nicks here and there. Fine and naturally grown malachite-green patina overall.Weight: 297.8 g Dimensions: Height 14.5 cmAvalokiteshvara is the personification of compassion, and the figure has a lively facial expression with alert eyes and a pleasant smile, bestowing benevolence on the devotee.The rigid frontal pose is characteristic of the Angkor Wat period and, in contrast to the preceding Baphuon style with its delicate curves, sculptures display an authoritarian nature not seen since the Bakheng period, possibly reflecting political developments at the time. The eyes are prominently outlined, the corners extending towards the temples, a feature found extensively in both stone and bronze sculpture of this period.Literature comparison:Compare a related bronze figure of Avalokithesvara, Angkor period, in the collection of the Metropolitan Museum of Art, accession number 1999.262.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2008, lot 243Price: USD 73,000 or approx. EUR 97,000 converted and adjusted for inflation at the time of writingDescription: Avalokiteshvara, copper alloy, Khmer, Angkor PeriodExpert remark: Compare the closely related pose and facial features. Note the significantly larger size (34 cm).

A LARGE BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Finely cast, standing in samabhanga atop a square plinth, holding in his four hands a water vessel, rosary, lotus flower, and a book. Wearing a short sampot secured with an elaborate belt and the fishtail hem extending to the knee. His serene face with almond-shaped eyes, gently arched brows, and full lips, the hair drawn up into a high chignon centered by a small image of the Buddha Amitabha and secured with a foliate crown.Provenance: From the private collection of Camille Mines (1950-2018), Luxembourg. By repute acquired by his father, Rene Mines, in the local trade during the early 1970s. By descent to Robert Mines. A copy of a handwritten provenance statement signed by Robert Mines, dated 15 September 2022, confirming the above, accompanies this lot.Condition: Very good condition, commensurate with age. Extensive wear, some losses and cracks, small nicks, light scratches, signs of weathering and erosion, possibly minor old fills. Fine, naturally grown, solid patina with malachite encrustations.Dimensions: Height 40.5 cm (incl. stand), height 33.5 cm (excl. stand)Mounted on a modern stand. (2)Literature comparison: For similar examples see P. Krairiksh, Khmer Bronzes - A Selection from the Suan Phka Tevoda Collection, Lugano, 1982, fig. 3; and G. Coedes, Bronzes Khmers, Ars Asiatica, Vol. V, Paris, Les Editions G. Van Oest, 1923, pl. XXVI, no. 3.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2008, lot 243 Price: USD 73,000 or approx. EUR 91,500 converted and adjusted for inflation at the time of writing Description: Avalokiteshvara, copper alloy, Khmer, Angkor period Expert remark: Note the size (34 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2007, lot 366 Price: USD 21,250 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Lokeshvara, Khmer, Angkor period, Bayon style, 13th century Expert remark: Note the size (26.5 cm).

A LURISTAN BRONZE 'DOUBLE IBEX' FINIAL, IRAN, CIRCA 1350-1000 BCFinely cast in the form of two confronted rampant ibexes, with curved horns, long erect ears, and short tails. With an associated pin, neatly incised with geometric decorations, dating from the same period.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection Monsieur H., Brussels, acquired from the above. Collection Madame D.T., acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations.Weight: 49.5 g (the ibex finial) and 19.5 g (the pin) Dimensions: Height 8.4 cm (excl. stand) and 17.2 cm (incl. stand)With a modern metal stand. (3)Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Literature comparison: Compare a closely related Luristan bronze finial in the form of confronted two ibexes, 10 cm high, dated 1000-800 BC, in the Louvre, inventory number AO 20503. Compare a closely related Luristan bronze standard finial, 11.5 cm high, dated circa 1350-800 BC, in the Los Angeles County Museum of Art, accession number M.76.97.48.Auction result comparison: Type: Related Auction: Sotheby's New York, 7 June 2007, lot 86 Price: USD 12,600 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A Luristan bronze finial, circa 800 BC Expert remark: Note the size (18.1 cm)

A VERY LARGE AND MASSIVELY CAST BRONZE TEMPLE URLI, KERALA, 19TH CENTURYSouthwestern India. Set with a shallow rounded base, short bulbous sides, and thick everted rim, a single scroll handle to each side, decorated with crescent moons and ornamental designs, the neck with ribs, incised to one side with a short inscription.Provenance: From a private collection, London, United Kingdom. Inscription '67 KG' and label 'KG 67', as well as an illegible inscription to the interior of the bowl. Condition: Very good condition commensurate with age showing old wear and weathering, casting flaws, small losses, minor cracks inherent to manufacturing, nicks, scratches, and dents, all as expected from a large temple urli of ca. 150 years of age.Weight: 67.1 kg Dimensions: Diameter 74.1 cm, Height 28.5 cmThe Musari community of traditional metal casters of the Kammalan caste in Kerala have perfected the complex technique of casting large utensils in one single piece using lost-wax process. The chakkaru and urli are two important vessels made by the Musaris. So arduous is the process of preparing the clay mold, the wax replica, and the final casting, that elaborate ritual prescriptions are observed by the Musaris for faultless casting.Literature comparison:Compare a related example in the collection of the National Handicrafts and Handlooms Museum, New Delhi, illustrated in Jyotindra Jain and Aarti Aggarwala, National Handicrafts and Handlooms Museum, Ahmedabad 1989, page 42.Auction result comparison:Type: RelatedAuction: Christie's London, 20 June 2013, lot 353Price: GBP 7,500 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: An Indian or South-East Asian bronze Urli, 19th century

A MONUMENTAL SICHUAN POTTERY FIGURE OF A HORSE, HAN DYNASTYChina, 206 BC to 220 AD. Powerfully modeled standing foursquare in a pose of alert attention, its strong neck and head poised with open mouth and flaring nostrils, the legs supporting a muscular body, the upturned tail ending in a knob, the head and back incised with lines representing the halter, bridle, and saddle.Provenance: From a private collection in London, United Kingdom.Condition: Very good condition overall, commensurate with age. Some repairs and touchups as generally expected from Han dynasty excavations of this important size. Extensive wear, losses, encrustations, structural cracks. Drilled holes from sample-taking.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 25 June 1997, based on sample number C97b48, sets the firing date of two samples taken between 1300 and 2000 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot. A copy of a Polaroid photograph of the present horse, inscribed 'Submitted as C97b48' (the sample number for the Oxford Authentication thermoluminescence analysis report), accompanies this lot. Dimensions: Height 116 cm, Length 100 cmExpert's note: Large horses of this type have been found in a number of tombs within the Han empire. Among the most famous are those from the graves of the well-known Han dynasty minister Zhou Bo and his son excavated at Yangjiawan, Xianyang, Shaanxi province, see Los Angeles County Museum of Art, The Quest for Eternity, Thames and Hudson, 1987, Catalogue, nos. 11-15. The well-sculpted head, flaring nostrils and upwardly-curling top lip are characteristic of these Han horses, typified by the large bronze horse excavated at Hejiashan, Jinyang, Sichuan province and recorded in Wenwu, 1991, no. 3, page 9, pl. iii.Auction result comparison: Type: Closely related Auction: Christie's Amsterdam, 16 December 2008, lot 6 Price: EUR 23,750 or approx. EUR 30,500 adjusted for inflation at the time of writingDescription: A massive Chinese Sichuan painted grey pottery figure of a horse, Han dynasty Expert remark: Compare the closely related pose and decoration. Note the slightly smaller size (110 cm).漢代四川立馬陶俑中國，公元前206年至公元220年。通體素面，造型敦實。馬作直立狀，右腿向前邁出，昂首挺胸，腰肥體壯，雙耳豎立，小耳大眼，目光前視，鼻翼翕張，尾巴上翹，身軀健碩。 來源：英國倫敦私人收藏。 品相：整體品相極好，與年齡相應。漢代如此重要規模的考古工作通常會進行一些修復和修飾。大面積磨損、缺損、結殼、結構裂縫。取樣鑽孔。科學檢測報告：1997年6月25日牛津熱釋光報告，樣本編號 C97b48，根據兩個樣本結論為1300 至2000年前。隨附報告複印件。隨附檢測時的照片複印件。 尺寸：高116 厘米，長100 厘米 專家注釋：類似這樣的陶馬佣在漢墓考古發現中出現了一大批。其中最著名的是，出土於陝西咸陽楊家灣的漢朝大臣周勃周亞夫父子墓，見洛杉磯美術館，《The Quest for Eternity，Thames and Hudson》，1987年，畫冊，圖11-15。漢馬造型精巧，鼻孔張開，上唇上翹，以四川晉陽何家山出土的大型青銅馬為代表，見《文物》，1991年，圖3，頁9，圖 iii。 拍賣結果比較： 形制：非常相近 拍賣：阿姆斯特丹佳士得，2008年12月16日，lot 6 價格：EUR 23,750（相當於今日EUR 30,500） 描述：漢代四川灰陶立馬陶俑 專家評論：比較非常相近的姿勢和裝飾。請注意尺寸稍小 (110 厘米)。

A Bronze-Age socketed axe head, Circa, 1000 B.CSocketed with loop and arched head, 7cm long 

Bronze Age votive figure of a horse, probably Celtic circa 3rd - 2nd Century BC, 6.8cm long x 3.8cm high (ex. base)

Bronze Age votive figure, probably Celtic-Iberian, circa 4th Century BC, 7.1cm high (ex. base)

A Chinese gilt bronze incense burner raised on four legs, character marks to base, age undetermined, 19.5cm tall

Rowan Gillespie (b. 1953)Peace II  (1998)Bronze 78cm (30¾")Signed, inscribed and dated on the base No. 9/9Provenance: With The Solomon Gallery, Dublin, where purchased by the present owners.Literature: Roger Kohn, Rowan Gillespie Looking for Orion, O'Brien Press, 2007, illus. p. 97Female figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women.Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form.There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, Leta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope.While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Irelands Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, May 2023

Gerda Frömel (1931-1975)Head (c. 1972/73)White marble, 36cm (14¼") highOn a rectangular steel base, 20.2 x 26.5cm (8 x 10¾")Provenance: With The Dawson Gallery, Dublin, May 1973, where purchased, thence by descent to the present owners; The Estates of Dr. John & Mary Esther O’Driscoll, KildareBorn in Czechoslovakia in 1931, Greda Frömel was the eldest of four children born to German parents. When she was 14 the family moved to Vienna. Three years later she was attending the Stuttgart Academy of Art and Design studying sculpture, winning in 1949 the Scholarship for Young Artists. In 1953 she spent a year in Ireland, and while there met Werner Schürmann, a young German sculptor and musician, whom she married in 1955. It was in Ireland that she began to exhibit her work in earnest. By 1954 she had begun to exhibit in the Irish Exhibition of Living Art (IELA) and continued to show there regularly, while in 1962 and ‘63 she exhibited at the Independent Artists, also exhibiting at the Oireachtas, where in 1973 she won the Gold Medal. In 1964 and 1970 she had solo exhibitions with Leo Smith in The Dawson Gallery in Dublin, and had a joint show there with Michael Scott in 1967. Frömel’s work achieved critical acclaim and with it many important commissions, including in 1970 her polished stainless steel work entitled Sails for P.J.Carroll and Son, Dundalk. This was, at the time, the largest private sculptural commission in Ireland. Frömel also worked in stained glass for churches in Ireland and Germany, including a stained glass-window at St Brigid’s Cathedral, Kildare. Prof. Paula Murphy noted that Frömel brought several influences to bear in her work, “from Brancusi, in her smooth ovoid forms worked in stone”, (as in the present work), “and Giacometti, in her seemingly melting, textured bronze sculptures, to the Henry Moore circle, notably Hepworth and Ben Nicholson, in her abstract discs and rectangular forms.”Frömel died in a drowning accident, while on holidays with her children in Co. Mayo, at the age of 44. The following year a major retrospective exhibition of her work, organised jointly by the Arts Council and the Goethe Institute, was held at Dublin’s Hugh Lane Gallery.

Single strand of 70 light gold to bronze color faux pearls. With 14/20 gold filigree fishhook clasp. Dimensions: 24"LCondition: Good, minor age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4

Bank rolls with the Union Jack; each roll contains 50 bronze penny coins.Reverse side of the penny shows Britannia seated wearing a helmet and holding a trident. Obverse side features the bust of Queen Elizabeth II facing right. 1 roll measures: 3.75in H x 1.25in Dia. 1 penny measures: 1.25in Dia. 1 penny weighs: 10g. Artist: Mary Gillick and Charles W. CoombesIssued: 1967Country of Origin: EnglandCondition: Age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4

Bank rolls with the Union Jack; each roll contains 50 bronze penny coins.Reverse side of the penny shows Britannia seated wearing a helmet and holding a trident. Obverse side features the bust of Queen Elizabeth II facing right. 1 roll measures: 3.75in H x 1.25in Dia. 1 penny measures: 1.25in Dia. 1 penny weighs: 10g. Artist: Mary Gillick and Charles W. CoombesIssued: 1967Country of Origin: EnglandCondition: Age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4

Bank rolls with the Union Jack; each roll contains 50 bronze penny coins.Reverse side of the penny shows Britannia seated wearing a helmet and holding a trident. Obverse side features the bust of Queen Elizabeth II facing right. 1 roll measures: 3.75in H x 1.25in Dia. 1 penny measures: 1.25in Dia. 1 penny weighs: 10g. Artist: Mary Gillick and Charles W. CoombesIssued: 1967Country of Origin: EnglandCondition: Age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4

Vintage bronze, gold and copper color metal mesh four piece set. The wristlet has a chain drawstring. The largest Whiting and Davis handbag is 6.75"L x 8.25"W x 0.5"H. Condition: Age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4

FINE BRONZE AGE HALLSTATT SPIRAL FIBULA SOUTH CENTRAL EUROPE, LIKELY BALKANS, C. 1000 - 800 B.C. bronze wire, the base of the fibula formed of a single large spiral below a bow with eight smaller lateral spirals, which are attached to the central bow by three cuffs, the head formed into a loop with a quadruple spiral, the reverse with surviving pinDimensions:21.2cm longProvenance:Provenance:Private collection, Walton-on-Thames, acquired 1930-1970sPrivate collection, United Kingdom, acquired from the above 1970sNote:Note:The spiral motif is a prevalent feature of Bronze Age art across Europe, particularly in the Late Bronze Age around 1300-700 B.C. The spiral is believed to have held symbolic meaning, and its presence in various forms of art suggests that it held significance for people during this period. Its importance is widely debated, but it is often associated with notions of cyclical time, movement, and transformation. The significance of the spiral in Bronze Age art may have also been influenced by the materials and techniques used in its production. Bronze Age artisans were skilled in the creation of intricate metalwork, and the spiral may have been seen as a way to showcase their technical abilities. It is also possible that the spiral was used as a decorative element to enhance the beauty and value of objects, such as jewellery and weapons.

COLLECTION OF LURISTAN PERSIAN SPEAR HEADS NEAR EAST, C. 1000 - 750 B.C. cast bronze, each with leaf-shaped blade and raised central mid-rib, rounded shaft and squared shank below, each raised on a bespoke mount and displaying a beautiful range of deep green and azure blue patination (7)Dimensions:largest 48cm longProvenance:Provenance:Private collection, United Kingdom, acquired on the UK art market 1980sPrivate collection, London, United Kingdom 2017 from the aboveNote: Note: It is generally believed that the Luristan region was a significant centre for metalworking during the Iron Age in the ancient Near East; producing weapons, ornaments, and other objects of bronze and iron. A large number of these artefacts, especially weaponry, have been found in other neighbouring territories, suggesting that they may have been traded or commissioned, including to the Persian Empire.

EUROPEAN BRONZE AGE FLAT AXE WESTERN EUROPE, C. 1500 - 1200 B.C. cast bronze, the haft recessed with dual flanges meeting at the base of the shaft, the blade tapering at the centre and leading to a convex cutting edge, displaying a dark olive patinaPrivate collection, Walton-on-Thames, acquired 1930-1970sPrivate collection, United Kingdom, acquired from the above 1970sDimensions:21cm long

BRONZE AGE BANGLE CENTRAL EUROPE, C. 1200 - 800 B.C. cast bronze, the broad pennanular bangle with subtle tiering at the terminals, incised with geometric patterning throughout, rich green patinationDimensions:8.5cm diameterProvenance:Provenance:Private collection, Walton-on-Thames, acquired 1930-1970sPrivate collection, United Kingdom, acquired from the above 1970sNote: During the Late Bronze Age in Central Europe (1300 to 800 B.C.), and indeed Europe more widely, archaeological evidence suggests that societies were increasingly characterised by a martial ethos, hierarchical social structures and a focus on military prowess as a means of securing and expanding territory. There is evidence of the emergence of a specific warrior class that held a prominent place in society. Many such individuals were buried with their weapons and other possessions, which were believed to be necessary for their journey into the afterlife. The following collection contains a range of objects that would have belonged to people from this world. Echoes of this martial culture are to be found in Homer's contemporaneous epic poem, the Iliad, which provides a vivid portrayal of the spirit of the Late Bronze Age, where large groups of armed individuals would travel significant distances in search of plunder and enrichment. The actual reasons for the emergence of these warrior cultures is not entirely clear. However, some scholars suggest that it may have been driven by a need for protection and control of natural resources such as metal ores and fertile land. Others propose that it may have been linked to the increasing complexity of political structures and the need for military power to enforce social order. In Central Europe, this warrior elite appears to have enjoyed high social status and power, and the objects featured here reflect their world of privilege. The drinking cup (lot 17) would likely have originally been part of a set, with a number of such cups accompanying a larger vat from which would have been served beer or in more southerly locales, wine. Archaeological evidence from burials also reveals the importance of personal grooming in Late Bronze Age Central Europe. Alongside martial gear, warriors were often buried with personal care items such as razors and knives (see lots 18, 19, 20) suggesting that personal grooming and appearance was an important aspect of their culture. For example, a burial discovered in Hungary contained the remains of a male warrior who was buried with a set of bronze grooming tools, including tweezers, a razor, and a comb. The presence of these grooming items alongside weapons and armour suggests that personal appearance and hygiene were important considerations for warriors, and that they may have used these items to maintain a clean-shaven or trimmed appearance. Further to the south in Mycenaean Greece, we have contemporaneous literary traditions making reference to such practices. For instance, within the Iliad there are several references to personal grooming among the warrior elites. In Book 18, the Trojan prince Hector is described as taking a moment to comb his hair and beard before re-entering the battle. This moment of personal grooming suggests that even in the midst of a violent conflict, appearance and presentation were still important considerations for warriors. The twisted torque (lot 22), bronze bangle (lot 24), spiral fibula (lot 29) & spiral brooch (lot 21) are fine examples of the ostentatious jewellery worn by the elites of the Late Bronze Age. In the case of the brooch & fibula, their use of the spiral is also significant; the spiral is believed to have held symbolic meaning, and its presence in various forms of art suggests that it held significance for people during this period. Its importance is widely debated, but it is often associated with notions of cyclical time, movement, and transformation. The significance of the spiral in Bronze Age art may have also been influenced by the materials and techniques used in its production. Bronze Age artisans were skilled in the creation of intricate metalwork, and the spiral may have been seen as a way to showcase their technical abilities.

BRONZE AGE NECK TORC CENTRAL EUROPE, C. 1200 B.C. cast bronze, of twisted construction, the tapering ends with flattened, coiled terminalsDimensions:21.5cm diameterProvenance:Provenance:Private collection, Walton-on-Thames, acquired 1930-1970sPrivate collection, United Kingdom, acquired from the above 1970s

British Bronze age axe head, circa 800 - 700 BC, 10.5cm long 

A Russian lacquered tea caddy,19th Century, the lid painted with two female figures, 12.5cm wide9cm deep9cm hightogether with four further Russian lacquer boxes, two icons, two Orthodox crosses, the largest 32cm high and a bronze religious panel 15cm high (11)Condition Reportthe Russian boxes with small knocks and chips the lacquer with signs of crackleur, the panels chipped and scratches and with loses. the brass cross bent and dented, the bronze with signs of ware and damages, numerous areas of damage throughout largely in line with age and use.

Konvolut Orden, Auszeichnungen und Weiteres, dabei Deutschland 1933-45 - 12-teiliges Konvolut, dabei u.a. 1 x Deutsches Turn- und Sportabzeichen bis 1934 in Bronze, Anstecknadel und deren Halterung verbogen. 1 x Deutschland 1933-45 - Allgemeines Sturmabzeichen ohne Einsatzzahl als Hohlprägung sowie 1 x Deutschland 1933-45 - Verwundetenabzeichen in Silber, 2. Form massiv. Dazu Weiteres. Stets mit deutlichen Alters- und Gebrauchsspuren, oft Tönung, Abrieb, Kratzer, Patina, Anstecknadel und deren Halterung stets verbogen. | Mixed lot of orders, decorations and other, besides Germany 1933-45 - 12-piece set, including 1 x German gymnastics and sports badge until 1934 in bronze, pin and its holder bent. 1 x Germany 1933-45 - General storm badge without mission number as hollow embossing as well as 1 x Germany 1933-45 - Wounded badge in silver, 2nd form solid. In addition further. Always with clear signs of age and use, often toning, abrasion, scratches, patina, pin and its holder always bent.

Buddha aus Bronze. THAILAND, 1880-1900. Stehende Darstellung, die rechte Hand ist im Abhaya Mudra auf Brusthöhe erhoben und nach vorne hin geöffnet, sie symbolisiert Ermutigung und Furchtlosigkeit. Wie eine schützende Hand segnet Buddha durch diese Geste den Empfänger. Bronze mit Resten einer Vergoldung, auf hohem rechteckigem Holzpodest. Alters- und Gebrauchsspuren besch., besonders an der linken Hand.| Bronze Buddha. THAILAND, 1880-1900. Standing figure, the right hand is raised in the Abhaya Mudra at chest level and open to the front, symbolizing encouragement and fearlessness. Like a protective hand, Buddha blesses the recipient through this gesture. Bronze with remains of gilding, on high rectangular wooden base. Signs of age and use dam. especially on the left hand.

BOLOGNA, Giovanni da NACH (1529-1608), 'Sieg der Tugend über das Laster', Bronze, braun patiniert, vollplastische Darstellung von Mann und Frau im Kampf, mit Plinthe aus einem Guss, auf Steinsockel montiert, HxB: gesamt ca. 33x15 cm. Alters- und Beriebspuren.| BOLOGNA, Giovanni da AFTER (1529-1608), 'Victory of virtue over vice', bronze, brown patina, three-dimensional depiction of a man and woman fighting, with a plinth made of one piece, mounted on a stone base, hxw: total approx. 33x15 cm. Signs of age and rubbing.

RODIN, Auguste NACH (1840-1917), 'Die Badende', Bronze, im Verfahren der verlorenen Form gegossen, braun patiniert, im Guss signiert, HxB: ca. 45x19 cm. Alters- und Beriebsspuren.| RODIN, Auguste NACH (1840-1917), 'The bather', bronze, cast using the lost mold method, brown patina, signed in the cast, HxW: approx. 45x19 cm. Signs of age and rubbing.

RODIN, Auguste NACH (1840-1917), 'Schlangenfrau', Bronze, im Verfahren der verlorenen Form gegossen, braun patiniert, im Guss signiert, HxB: ca. 38x13 cm. Alters- und Beriebsspuren.| RODIN, Auguste NACH (1840-1917), 'Snake woman', bronze, cast using the lost mold method, brown patina, signed in the cast, HxW: approx. 38x13 cm. Signs of age and rubbing.

PESCHKE, CHRISTIAN (1946-2017), 'Handstand', Bronze, im Wachsausschmlezverfahren gegossen, gold patiniert und poliert, aus einem Kreis herausgearbeiteter weiblicher Körper im einarmigen Handstand, rechtes Bein im Guss nummeriert 23/99 und signiert, auf Steinsockel montiert, HxB: gesamt ca. 23x15 cm. Alters- und Beriebspuren.| PESCHKE, CHRISTIAN (1946-2017), 'handstand', bronze, cast using the lost-wax process, gold patinated and polished, female body in a one-armed handstand worked out of a circle , right leg numbered 23/99 and signed in the cast, mounted on a stone base, hxw: total approx. 23x15 cm. Signs of age and rubbing.

CHIPARUS, Demétre NACH (1886-1947), 'Art Déco Tänzerin', Masse in Bronzeart, auf gestuftem Sockel, Museumsreplika, HxB: gesamt ca. 49x27 cm. Altersspuren.| CHIPARUS, Demétre NACH (1886-1947), 'Art Deco dancer', mass in bronze type, on a stepped base, museum replica, hxw: total approx. 49x27 cm. Signs of age

SEIFERT, VICTOR HEINRICH (1870-1953), "Trinkende", Bronze, poliert und part. brüniert, vollplastischer weiblicher Akt mit Trinkschale, auf runder Plinthe stehend, auf der Plinthe im Guss signiert 'Prof. V. Seifert', auf schwarzem, marmorisiertem Steinsockel montiert, HxBxT: Figur ca. 36,5x10,5x15 cm, gesamt ca. 46x10,5x15,5 cm. Altersspuren, Patina leicht fleckig, Riss an ihrem rechten Armansatz. | SEIFERT, VICTOR HEINRICH (1870-1953), "Drinking", bronze, polished and part. browned, fully plastic female nude with drinking bowl, standing on a round plinth, signed in the cast 'Prof. V. Seifert', mounted on a black, marbleized stone base, HxWxD: figure approx. 36.5x10.5x15 cm, total approx. 46x10.5x15.5 cm. Signs of age, slightly stained patina, crack at the base of her right arm.