We found 12576 price guide item(s) matching your search

Francois Linke. A Louis XVI style gilt bronze mounted mahogany bureau plat, Linke Index number: 118 Linke title: 'Table Louis XVI, bois d'acajou bronze dorés.'with tooled gilt green skiver, acanthus leaf border, vineous scroll frieze enhanced with Bacchic masks, goats and squirrels and central drawer, on squared tapered legs with vine motif mounts and foliate toupie feet, width 129cm depth 66cm height 74cm***CONDITION REPORT***Overall looks to be in good honest condition, the skiver has extensive scuffing scratching and patches of damage with areas of the gilding now missing. Some light surface scratching in the wooden edges of the top which is a little lighter in colour than the underframe. Ormolu mounts with an attractive slightly matted finish and all look to be in good order but for some oxidisation to the lower legs and feet.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A late Victorian Adam Revival oval wall mirror, with urn, foliate scroll, ribbon and harebell motifs, and bevelled glass plate, width 119cm height 118cm***CONDITION REPORT***Numerous small old cracks and losses particuarly throughout the very delicate borders, some areas of restoration where the original gesso has been replaced, typically these are showing as a darker bronze colour, the plate looks original but is oxidised.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

James De Ville, 367 Strand, London. A pair of Regency bronze oil lamps to a design by Thomas Hope, with eagle finials, serpent handles and flowering spouts, length 31cm depth 16cm height 25cm***CONDITION REPORT***Both with an even dark blackish brown patination and look to be in good condition with no faults noted.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Franz Bergman (Austrian, 1861-1936). A cold painted bronze table lamp 'The Carpet Seller', cast Bergman mark to base, 51cm high***CONDITION REPORT***Good original condition, with the original paintwork intact but for some rubbing on the raised extremities, some dirt and oxidisation to the upper surfaces but essentially good order.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Adrien Etienne Gaudez (French, 1845-1902). A bronze group of a huntsman and hound, signed in the bronze, height 39cm***CONDITION REPORT***Overall with a mid to greenish brown patination which has a slightly dull finish, rather dusty but aside from that good untouched condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

After Giambologna. A Grand Tour bronze figure of Mercury, on red marble socle with bronze frieze of putti, height 82cm***CONDITION REPORT***Good condition even rich dark blackish brown patination, one or two small scratches and dirt marks, the joint of the raised arm is slightly apart, Caduceus staff is slightly bent backwardsPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Albert-Ernest Carrier-Belleuse (French, 1824-1887). A parcel gilt bronze and ivory figure, 'Liseuse', the medieval lady standing reading a book, signed in the bronze, on integral socle with title plaque stating 'Grand Prix du Salon', ivory submission reference: 3VJRGY1R height 60cm***CONDITION REPORT***Honest untouched condition, bronze has a dull chocolate brown finish, lighter bronze or gilded areas are rather dirty and dusty, one patch of wear or rubbing running down in the middle fold of her skirt, ivory face has perhaps slipped a little and has dropped down leaving a white line showing where it meets her veil, hands look dirty but otherwise good. Oxidisation throughout and notably around the base.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

After the Antique. A pair of bronze busts of Roman Emperors, on gilt bronze ivy-entwined columns and green marble plinths, width of bases 12cm height 45cm***CONDITION REPORT***Both look to be 19th-century examples, possibly grant to souvenirs, the busts are reasonably finely cast and now have a dull chocolate brown patination with dirt in the crevices, gilding to the columns has rubbed on the extremities, tiny nicks and chips around the edges of the basesPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Ferdinand Barbedienne (French, 1810-1892). A pair of bronze figures of Sophocles and Demosthenes, signed in the bronze, height 43cm and 41cm***CONDITION REPORT***Both with a rich green tinted brown patination. Both signed F.Barbedienne, Fondeur, Paris. Good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

After Lord Frederick Leighton (English, 1830-1896), bronze, The Sluggard, signed in the bronze and titled, height 51cm***CONDITION REPORT***Overall in good condition, the bronze with a greenish brown patination, titled in uppercase to the front and signed to the top of the naturalistic base.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

M. Leducq. A patinated spelter model of a panther crouched upon a rock, signed, on oval marble plinth, width 60cm height 29cm***CONDITION REPORT***Overall with a blackish bronze patination, slightly rubbed down to metallic tones, a little rubbed on the extremities, mainly just the tips of the ears, signed in the metal with Made in France stamped below that, standing upon a veined marble base.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

After Clodion. A bronze figure of a Bacchic satyr, on black marble and brass base.Provenance - Ken Paul collection, featured as a prop in the 1996 American gothic horror film Mary Reilly directed by Stephen Frears and starring Julia Roberts and John Malkovich height 50cm***CONDITION REPORT***Provenance - Ken Paul who collected Asian, Oceanic and European antiques from the 1950s to 1980s to hire as props in movies and television, thence by family descent.Slightly greenish mid-brown to black patination. Signed in the bronze at the back of the plinth, minor chipping around the black marble and oxidisation to the gilt foot.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Salvator Riolo. An Art Deco bronze figure of an archer, kneeling with bow string drawn, on black marble plinth, length 69cm depth 17cm height 39cm***CONDITION REPORT***Bronze with a rich dark chocolate brown patination, perhaps slightly rubbed on the extremities, wire for the bow string is rather slack, no other faults noted, stamped Bronze to one foot, marble plinth with minor rubbing to the edges.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

§ § David Goode (British, b.1966). A large bronze of ‘Snailmaker’, signed and dated 2000, 20/20, on black marble base, height 54cm***CONDITION REPORT***Overall of a green grey slightly matted patination, A little dusty otherwise very good conditionPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

David Goode (British, b.1966). A small bronze of Sneakweed, signed and dated 2015 and numbered 18, on ebonised bronze base, height 36cm***CONDITION REPORT***Coppery brown patination, green to the leaves, slight rubbing around the base.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

David Goode (British, b.1966). bronze; The Drinker, signed and dated 2014 and numbered 16, on naturalistic base, height 29cm***CONDITION REPORT***Even coppery brown patination, some dust dirt and small green verdigris spotting across the back and base but overall fair to good conditionPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

David Goode (British, b.1966). A Chelsea Flower Show Centenary bronze model of Jackpot, signed and dated 2011, on separate 19 13–2013 Chelsea flower show centenary plinth, height 26cm***CONDITION REPORT***Good condition, the main figure of a dark chocolate brown patination, The base with a more coppery tonePLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

David Goode (British, b.1966). A Chelsea Flower Show Centenary bronze of a crouching pixie tickling a trout, signed, on bronze socle, height 23cm***CONDITION REPORT***Even reddish brown patination, a little dusty otherwise good condition, stands loose upon the basePLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

§ § David Goode (British, b.1966). A bronze of a pixie saxophone player, signed and dated 1998, numbered 15/?, on black marble socle, height 61cm***CONDITION REPORT***Overall with a pale grey over chocolate brown patination, good ConditionPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

§ § David Goode (British, b.1966). A very large bronze of Sneakweed, signed and dated 1998, 26/50, on black marble base, width 109cm height 103cm***CONDITION REPORT***Overall of a light to metallic brown patination, A little dusty with some dirt spots to the exposed upper areas but essentially good conditionPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

David Goode (British, b.1966). A bronze figure ‘Snailmaker’, signed and dated 2010, on black marble plinth, height 27cm***CONDITION REPORT***A little dusty otherwise good condition, even chocolate brown patinationPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

§ § David Goode (British, b.1966). A bronze and marble water fountain ‘Jackpot’, signed and dated 1998, numbered 22/200, with glass pebble filled green marble bowl, mounted upon a white painted pedestal with internal fountain mechanism, height with marble bowl 61cm height overall 183cm***CONDITION REPORT***Slightly matted mid-brown patination, A little dusty, staining to the internal cauldron and the rim where water has flowed over it. Pedestal base is constructed from MDF and would now benefit from a fresh coat of paint, Fountain mechanism not testedPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Ladislav Jan Šaloun (Czech, 1870-1946) a large bronze group of a dignitary greeting two men, early 20th century, signed to the base, on an oak plinth, 72cm high, 64.5cm wide***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Fredda Brilliant (Polish, 1903-1999). A cast bronze figure of Anton Chekhov (Russian, 1860-1904), playwright and short story writer), signed in the bronze, with a copy of the 1976 retrospective exhibition catalogue, depth 13cm height 22cm***CONDITION REPORT***Essentially good condition, a blackish brown patination with some light rubbing at the extremities, one back leg of the stool is bent slightly out of shapePLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Serafin Nikolaevich Sud'binin ( Russian, 1867-1944). A bronze figure of the ballerina Tamara Karsavina on simulated marble socle, height 54cm***CONDITION REPORT***Good condition, and even dark blackish brown patination, socle with some slight rubbing and chipping to the edgesPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

§ § Sydney Harpley R.A. (British, 1927-1992), bronze, 'Girl with a beach ball', Signed beneath the beach ball ‘Harpley 2/9’, figure 78cm high, on a black slate and cream painted pylon shaped plinth, Total height including plinth 104cm high***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

§ § Sydney Harpley R.A. (British, 1927-1992), bronze, 'Girl on a Swing', signed and numbered 7/9, on black marble plinth with title plaque, overall height 85cm excluding white marble pedestal***CONDITION REPORT***Good untouched condition, rich chocolate brown patination, a little dusty in the crevices, signed and numbered on the edge of her skirt, plinth with title plaque dated 1986PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Tiffany Studios, a counter-balance patinated bronze desk lamp with ‘favrile’ glass shade, c.1905, with adjustable angle and tilt of shade, the shade engraved ‘L.C.T’, the bronze base stamped ‘TIFFANY STUDIOS NEW YORK 417’, maximum height 41cm, shade 17.3cm diameter***CONDITION REPORT***Good untouched condition, the bronze has a greenish tint to the patination, switch looks to be the original Bryant example, shade looks original with some very light rubbing to the pinkish inner edges, original bulb holder fitted but later electric cable.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Japanese bronze model of a sword fittings master craftsman, by Miyao Eisuke, Meiji period, the seated artist chasing a bronze tsuba, signed ‘Miyao saku’, total height 18cm including original gilt lacquered wood stand, small section of bronze lacking***CONDITION REPORT***As catalogued, small section missing which should be attached alongside the kneeling artisan; his left hand a little loose; figure and cylindrical bench-table removeable from plinth; three plinth feet cracked and/or re-attached.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Japanese bronze model an eagle standing on a rock, Meiji period, in two parts, incised five character signature to base, 44.5cm high***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Ca. 900-800 BC.A single-handled blackware cup, that stands on a slightly rounded, wide base. The bulged shoulder is embellished with diagonally cut linear patterns. Villanova or Villanovan culture (900-700 BC) is the term used by archaeologists to designate an Iron Age culture which represents the oldest phase of Etruscan civilization, derived from the Proto-villanovan culture of the late Bronze Age. It was named after a major archaeological site discovered in 1853 - Villanova di Castenaso, located in the Bologna region.Size: L:48mm / W:100mm ; 135gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.

Ca. 3100-2900 BC.An early Bronze Age red burnished terracotta jar with a globular-shaped body with four prominent ledge handles situated at the shoulder. Standing on a flat base. For similar see: Ruth Amarian, Pottery of the Holy Lands. Size: L:140mm / W:240mm ; 1.17KgProvenance: Property of a London gallery; formerly in High Wycombe Estate collection; formerly acquired on the UK Art market.

Ca. 500BC - 300 AD.A cast bronze fish crafted with careful attention to detail, boasting all fins intricately incised to depict their texture. Further diligence has been devoted to the face of the fish, and both sides are decorated in the same manner. ?ông S?n was a prehistoric culture of the Indochinese peninsula from the Bronze Age. The name comes from the archaeological site in the village of ?ông S?n on the Mã River in the Thanh Hóa Province of North Vietnam. The most characteristic objects of the ?ông S?n culture are richly decorated bronze drums found throughout Southeast Asia, as well as in southern China. Size: L:200mm / W:100mm ; 508gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 202BC - 220AD.An ornate pottery goose standing on its stylised, well-defined bronze legs, which support a globular body and elegantly slender neck terminating in a red-coloured head with a beak and open, attentive eyes. The body is decorated with pigments, imitating the bird's natural plumage. Geese were a significant motif in Han dynasty-era poetry. They were typically distinguished between two types of geese, the domestic goose and the wild goose. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:225mm / W:200mm ; 940gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 202BC - 220AD.A beautiful pottery duck standing on its detailed bronze legs, which support a globular, squat body and a short neck terminating in a dark brown coloured head with a red beak and open, attentive eyes. The body is decorated with colourful pigments, imitating the bird's plumage. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances, including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:150mm / W:140mm ; 485gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 500BC - 300 AD.A cast bronze fish crafted with careful attention to detail, boasting all fins intricately incised to depict their texture. Further diligence has been devoted to the face of the fish, and both sides are decorated in the same manner. ?ông S?n was a prehistoric culture of the Indochinese peninsula from the Bronze Age. The name comes from the archaeological site in the village of ?ông S?n on the Mã River in the Thanh Hóa Province of North Vietnam. The most characteristic objects of the ?ông S?n culture are richly decorated bronze drums found throughout Southeast Asia, as well as in southern China. Size: L:200mm / W:100mm ; 982gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 2500-1800 BC.A square-shaped seal in white steatite; Indus valley signs in a formal script slightly slanting left, unicorn standing left facing an altar, with double loop handle. For a similar see The Metropolitan Museum of Art, 49.40.1. Cf. Pittman, Holly. 1984. Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley. New York: The Metropolitan Museum of Art, pp. 83-84, fig. 38a.Size: L:27mm / W:27mm ; 11gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 2500-1800 BC.A square-shaped seal in white steatite; Indus valley signs in a formal script slightly slanting left, unicorn standing left facing an altar, with double loop handle. For a similar see The Metropolitan Museum of Art, 49.40.1. Cf. Pittman, Holly. 1984. Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley. New York: The Metropolitan Museum of Art, pp. 83-84, fig. 38a.Size: L:30mm / W:30mm ; 11gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 900-1100 AD.A beautiful semi-circular bronze bracelet; the decoration is divided into rectangular sections with the same geometric, wavy, and linear incised motifs. Good condition; beautiful patina. In Viking society, bangles and bracelets were not only decorative but also served to mark loyalty between a ruler and his followers in a culture where honour was a matter of life and death. Such items were also given to young men to mark their coming of age. Bracelets made of precious metals were also used as a means of payment in a time before the widespread availability of coinage.Size: L:58mm / W:46mm ; 18.67g.Provenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. 1200 BC.A finely modelled cast bronze double axe head, composed of a tubular socket, a convex axe blade and an adze blade to the rear. Bronze weaponry production flourished in Europe from 3000 BC to 1200 BC, when it was gradually replaced by iron over the following 500 years. Swords, axes, spears, and arrows were important symbols of war in Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it.Size: L:250mm / W:100mm ; 1.39KgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Greek Archaic, Ca. 1200-800 BC.An ancient Greek era cast "Trojan" Bronze Age sword blade with a narrow, triangular blade; raised midrib; with sharp projecting lateral flanges and insertion tang with pointed finial.Size: L:520mm / W:60mm ; 310g.Provenance: Property of a London gentleman, formerly with the Parthenon gallery, previously in an old English collection formed in the 1980s.

Ca. 1200-700 BC.A pair of cast bronze arrowheads, each with a lentoid-sectioned blade with a raised midrib, short neck, and tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it.Size: L:60-50mm / W:30-20mm ; 25gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.

A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTY 唐初大型重要許願錘鍱鎏金銅牌Expert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURY 大理國罕見觀音銅像Expert'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。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SANDSTONE FIGURE OF STANDING BUDDHAThailand, Lopburi period, 13th century. Standing on a rectangular base, the right hand raised before the chest, the left arm held tightly along the body, the palms of both hands turned outward and bearing a chakra, wearing a samghati over a long dhoti secured with a jeweled belt. His face with a serene expression, the hair with tight curls and surmounted by an ushnisha. Provenance: Jacob Wiegersma, Utrecht, Netherlands. An important Dutch private collection, acquired from the above. Old collector's labels, inscribed 'Collection Wiegersma Utrecht', and 'Siam, Buddha, 12th century, Lopburi/Khmer. Granite, very rare' in Dutch, and an inventory number 'J76' to the base. Jacob Josephus "Jaap" Wiegersma (1898-1967) was a noted Dutch art dealer. Condition: Condition overall commensurate with age. Perfectly repaired single breaks to the neck and the lower part of the body. Old wear, signs of weathering and erosion. Minor losses, nicks, scratches, encrustations, and cracks.Weight: 1,539 g (incl. stand) Dimensions: Height 33.6 cm (incl. stand)This sandstone Buddha is a typical example from the Lopburi period in Thailand, which is strongly influenced by Khmer art of the thirteenth century. Statues from this period are characterized by the palms of their hands always turned outward, and neatly incised with a chakra.Literature comparison:Compare a closely related statue of a standing Buddha, in the collection of the National Museum, Bangkok, Thailand, museum number 041, described as standing Buddha 1, 13c, Lopburi. Compare a related Lopburi sandstone figure of a Buddha, dated to the 14th century, Thailand, at Christie's London, 11 May 2016, lot 93. Two further examples are published by J. Fontein in, The Art of Southeast Asia: The Collection of the Museum Rietberg Zurich, Zurich, 2007, pl. 27 and 28.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2007, lot 287Price: USD 21,600 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A Bronze figure of Buddha, Thailand, Lopburi, 13th centuryExpert remark: Compare the closely related pose, clothing, facial features and size (29.2 cm). Note the different material.

A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIOD 乾隆款及年代青釉暗刻纏枝蓮紋瓶China, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).乾隆款及年代青釉暗刻纏枝蓮紋瓶中國，1736-1795年。圈足内六字篆書款“大清乾隆年製”。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTY 商末至西周青銅觶China, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國，約公元前1050 年。器身細高，敞口，直唇，體呈橢圓形，下腹外鼓，喇叭形高圈足，頸部雷紋帶，圈足上兩道弦紋。該器壁勻薄，造型挺拔優美。青銅表皮自然生長的包漿，呈現出大面積深綠色的銅鏽。由於字數限制，完整中文敘述請至www.zacke.at查看。

Ɏ A RHINOCEROS HORN ARCHAISTIC LIBATION CUP, JUE, EARLY QING DYNASTY 清初螭龍紋犀角杯China, 17th to early 18th century. Finely carved, one side of the vessel with a flattened spout, the other slightly raised and tapering into a wide curve. The lip surrounded by a wave border incised in shallow relief. The body carved with two sinuous chilong holding branches of lingzhi in their mouths. The rhinoceros horn of a deep honey color, darkening towards the legs, and with a silky, naturally grown patina.Provenance: From the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was a State Magistrate in the Civil Service in India from 1928 and 1949. After retiring he returned to Edinburgh, Scotland. Condition: Some losses to lip and body, minor age cracks. Absolutely untouched original condition.Weight: 133.5 gDimensions: Height 12.3 cmThe present libation cup, superbly carved in the form of the well-known bronze ritual vessel jue, exhibits an exceptional level of skill exercised by the carver, who used the highly complex technique of bending different sections of the split horn outwards to form the three splayed blade legs.Literature comparison: See T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, page 93, lot 46, for a similar libation cup from the collection of Chun-hung Li. Compare a rhinoceros horn jue decorated with a taotie design illustrated in The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 205, together with a four-legged ding form cup, pl. 206, and a tripod ding vessel, pl. 207.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2011, lot 2710 Price: HKD 2,420,000 or approx. EUR 413,500 converted and adjusted for inflation at the time of writing Description: A rhinoceros horn 'jue' libation cup, 17th centuryExpert remark: Compare the related color of the horn, splayed legs, and chilong decoration. Note the size (11 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 197Price: USD 182,500 or approx. EUR 230,500 converted and adjusted for inflation at the time of writingDescription: A rare rhinoceros horn archaistic libation cup (jue), Qing dynasty, 17th century Expert remark: Compare the related color of the horn and splayed legs. Note the size (10.2 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.清初螭龍紋犀角杯中國，十七至十八世紀初。爵形杯，雕刻精美，杯子一側的杯流扁平，另一側略微凸起並逐漸變細。杯口外壁淺浮雕波浪紋，外壁浮雕兩條螭龍，嘴裡叼著靈芝。犀角杯呈深蜜色，向腿部往下逐漸變深，並帶有絲般的光澤。 來源：Malcolm Moncrieff Stuart 收藏，OBE，CIE，保存至今。Stuart曾從 1928 年到 1949 年，擔任印度州治安法官。退休後，他回到了蘇格蘭的愛丁堡。 品相：杯口和杯體有局部磕損，輕微的年代裂縫。原始狀況。 重量：133.5 克 尺寸：高 12.3 厘米 文獻比較： 一件相似的犀角杯，Chun-hung Li收藏，見 T. Fok，《Connoisseurship of Rhinoceros Horn Carving in China》，頁93，lot 46。比較一件饕餮紋犀角爵，見《故宮博物院藏珍品全集‧竹木牙角雕刻》，上海，2001年，編號205，與一件四足鼎杯，編號206，和三足鼎，編號207。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2011年4月7日，lot 2710 價格：HKD 2,420,000（相當於今日EUR 413,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色、杯腳外撇和螭龍裝飾。請注意尺寸(11厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2012年3月20日，lot 197 價格：USD 182,500（相當於今日EUR 230,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色和杯腳外撇。請注意尺寸(10.2厘米)。

A MAGNIFICENT LIMESTONE HEAD OF GUANYIN, YUAN TO MING DYNASTY 元明時期石灰石觀音頭像China, 14th century. The brown and gray stone with its distinct gray striations is deeply carved to depict Guanyin with a serene and benevolent expression, eyes downcast beneath elegantly arching brows centered by a circular urna, the neatly incised curled hair piled into a topknot and secured by a high-peaked Buddhist tiara with small images of the Amitabha Buddha seated in dhyanasana on a lotus pedestal.Provenance: From the collection of Karl Stirner, and thence by descent. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places. Condition: Good condition, commensurate with age, and exactly as expected of an authentic limestone sculpture from the 14th century. Extensive wear, weathering, encrustations and erosion. Losses, structural cracks, and minor nicks here and there. Remnants of multiple layers of lacquer and pigments from different periods.Weight: 18.2 kg (incl. stand) Dimensions: Height 34.5 cm (excl. stand), 56.5 cm (incl. stand) Mounted to a metal and wood stand. (2)Expert's note: The present sculpture bears the telltale signs of raised edges rubbed smooth, unequivocal testimonials of constant worshipping spanning many centuries, where beholders were gripped with the overt temptation to caress the cheekbones, forehead and nose.This remarkably beautiful and large head presents the bodhisattva of Compassion and Mercy. The iconography of the god was originally created on Indian soil and brought to China by monks at the beginning of the Christian era. In the early phase of Chinese Buddhism, stone and bronze examples of the god of Compassion followed these Indian iconographic treatises by depicting him as a male god. By the end of the Tang period (618-907) the depiction of Avalokiteshvara or (in Chinese) Guanyin had gradually become feminized to reach a climax during the Song dynasty (960-1279), when the majority had acquired a definite female appearance. During this period of transition, the mercy aspect of the god was emphasized, resulting in these stronger female features. The present, superbly sculpted head shows the pinnacle of this development, which had become the hallmark for all Guanyin representations from then onwards.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 13 June 2013, lot 261Price: EUR 39,900 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: A limestone Guanyin head, China, 14th centuryExpert's remark: Note the height of 44 cm.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 10 May 2018, lot 986Price: USD 56,250 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A stone head of Guanyin, China, Ming dynasty (1368-1644)Expert's remark: Note the height of 25 cm.元明時期石灰石觀音頭像中國，十四世紀。灰褐色石料上刻有明顯的灰色條紋，觀音菩薩頭戴五葉冠，冠形繁複，上有阿彌陀佛坐像；臉型豐滿圓潤，雙目低垂，雙眉之間有白毫，表情莊嚴大氣。髮髻高聳。 來源： Karl Stirner私人收藏，保存至今。Karl Stirner (1923-2016年) 是一位出生於德國的美國雕塑家，以其金屬造像而聞名於世。他的藝術作品曾在紐約現代藝術博物館、賓夕法尼亞美術學院、費城藝術博物館、科科倫畫廊、拉霍亞當代美術館、James A. Michener美術館、新澤西州漢密爾頓The Grounds 雕塑舘和特拉華美術館等展出。 品相：品相良好，狀況與年代相符。大面積磨損、風化、結殼和侵蝕。很多缺損、結構裂縫和輕微的劃痕。不同時期的漆彩殘餘。 重量：18.2 公斤 (含底座) 尺寸：高34.5 厘米 (不含底座)，56.5 厘米 (含底座) 木底座，金屬支架。 專家注釋：這件造像帶有明顯的凸起邊緣因爲摩擦而變得光滑的跡象，明確證明了跨越多個世紀的膜拜與使用。觀者不由自主被吸引，想要撫摸顴骨、前額和鼻子。由於字數限制，完整中文敘述請至www.zacke.at查看。

A GILT BRONZE FIGURE OF THE ELEVEN-HEADED AVALOKITESHVARA, TANG DYNASTY 唐代銅鎏金十一首觀音Opinion: The elegantly cast figure of Avalokiteshvara is extremely rare in this eleven-headed manifestation. The slim features and elegantly curved posture are representative of the artistic style of the high Tang era.China, 618-907. Finely cast, standing elegantly in tribhanga atop a lotus pedestal, holding a water vessel in the lowered left hand. The deity's eyes half-closed, evoking a sense of peace, the slim features and posture elegantly curved, the body adorned in a long dhoti and flamboyant scarves, the chest with elaborate jewelry. The neatly incised hair falling in strands over the shoulders and surmounted by ten small heads reminiscent of the Buddha Amitabha. The back of the main head with a pierced tab.Provenance: United Kingdom trade. By repute from a private estate in Essex, United Kingdom.Condition: Very good condition, commensurate with age. Extensive wear, some weathering and deterioration, light scratches, few minuscule nicks and dents, small losses. Areas of fine, natural malachite-green patina with expected encrustations.Weight: 94.8 g (incl. stand) Dimensions: Height 13.2 cm (incl. stand) and 10.9 cm (excl. stand)Mounted on an associated wood stand. (2)Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 12 October 2021, lot 3512 Estimate: HKD 2,000,000 or approx. EUR 251,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Avalokiteshvara, Tang dynasty Expert remark: Compare the closely related pose, depiction, expression, and manner of casting. Note that this figure has six arms and is of larger size (21.6 cm). Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 12 October 2021, lot 3518 Price: HKD 119,700 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Avalokiteshvara, Tang dynasty Expert remark: Compare the closely related pose, expression, and manner of casting. Note the smaller size (9.5 cm) and lack of the additional heads. 唐代銅鎏金十一首觀音中國，618-907年。觀音呈三曲式優雅地立於蓮台上，左手持淨瓶。觀音雙眼微閉，給人以平和之感；身姿修長，胸飾瓔珞，腕、臂、足飾寶釧，肩披帛帶，自臂纏繞，垂至裙下，作飛翹狀。頭頂三層面，第一層佛面背面帶有穿孔標籤。 專家注釋：十一首觀音菩薩造型優美，極為罕見。 五官秀美，姿態優雅，盛唐時期藝術風格的代表。 來源：英國古玩交易，據説來自英國 埃塞克斯郡私人舊藏。 品相：狀況非常好，與年齡相符。大面積磨損，一些風化和老化，輕微的劃痕、刻痕和凹痕，小缺損。細膩的天然綠色銅鏽，帶有預期的結殼。 重量：總94.8 克 尺寸：總高13.2 厘米，不含底座10.9 厘米 木質底座。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年10月12日，lot 3512 估價：HKD 2,000,000（相當於今日EUR 251,500） 描述：唐代鎏金銅十一面觀世音菩薩立像 專家評論：比較非常相近的姿勢、形制、表情和這造風格。請注意此像有六臂和尺寸較大 (21.6 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年10月12日，lot 3518 價格：HKD 119,700（相當於今日EUR 15,000） 描述：唐代鎏金銅觀世音菩薩立像 專家評論：比較非常相近的姿勢、表情和這造風格。請注意尺寸較小(9.5 厘米) ，以及只有一顆頭。

A BRONZE HEAD OF SHIVA, KARNATAKA, BHUTA CULTURE, 18TH-19TH CENTURYSouthern India. Cast as the head of Shiva, the round face with bulging eyes, arched eyebrows centered by the third eye, with a parted grin revealing a set of square teeth and fangs, and a mustache below the straight nose.Provenance: From the collection of Peter Cochrane, acquired in 1978, and thence by descent within the same family. Old label to the back. John Peter Cochrane (1913-2004) was a noted English art dealer. At Arthur Tooth & Sons in Mayfair, he started his five-decade career in bringing new European and American art to London just after the war. Later he pursued his increasing personal interests as a collector. Serving as a respected consultant for Christie's London, he always refused a salary, declaring "they can't fire me because they don't pay me". Condition: Overall commensurate with age showing extensive old wear, losses, small nicks, and shallow surface scratches. Minor casting flaws. Naturally grown patina.Weight: 1,424 g Dimensions: Height 18 cmExpert's note: The present lot is likely a fragment of a pole finial, mask or similar fitting, as indicated by the large opening at the back. The distinct form of the open mouth also suggests that it once may have been used as a jingle bell.Literature comparison:Compare a related bronze palki finial of Yali, with similar open mouth and curled fangs as seen on the present lot, in the collection of the Heritage Transport Museum, Gurgaon, India. These finials often depicted birds, flowers and animals as well as figures from mythology and folklore.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 18 March 2013, lot 52Price: USD 8,750 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A brass mask of shiva, South India, Karnataka, Bhuta culture, early 19th centuryExpert remark: Compare the closely related face at the center of the mask with its open mouth and fangs. Note the size overall (40.5 cm).

A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BC 公元前1500-1400年商代早期銅鉞Opinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。 來源：香港Mandala Fine Arts, 1989年；巴黎Acher Eskenasy購於上述藝廊 (發票遺失)；布魯塞爾Martin Doustar 2011年購於上述收藏；一位美國紳士購於上述收藏。隨附一封手寫的信，Acher Eskenasy簽名，確認此拍品于1989年購於香港Mandala Fine Arts，2011年賣于 Martin Doustar。Acher Eskenasy是一位著名的法國學者和亞洲和部落藝術收藏家。 他以前擁有的主要藏品現在都在重要的博物館收藏中，例如紐約大都會藝術博物館和巴黎的 Musee du Quai Branly。 品相：狀態極佳，與年齡相稱。大面積磨損、風化和侵蝕、輕微劃痕和裂縫。細膩的包漿，孔雀石色結殼。 重量：838.8 克 (不含底座) 尺寸：長24.9 厘米 (不含底座) 金屬支架。由於字數限制，完整中文敘述請至www.zacke.at查看。

A BLACK POTTERY AMPHORA WITH APPLIED BRONZE BOSSES, HAN DYNASTY 漢代黑陶嵌銅泡釘雙耳壺China, 202 BC to 220 AD. With waisted, incised neck and everted, pinched mouth emanating two bold wide strap handles joining the ovoid, tapering body centered by spiral designs. Applied overall with conical metal bosses.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 11 July 2022, based on sample number C122f97, sets the firing date of two samples taken at 1500 - 2400 years ago. A copy of the report, issued by Oxford Authentication, is accompanying this lot.Provenance: From a private collection in Bavaria, Germany, built since the 1970s into one of the largest collections of Buddhist bronzes and sculptures in Central Europe. The collector was a noted magician and as such guided by the fundamental idea that one thing can also be another, always looking for a second nature or hidden meaning behind the primary appearance of an artwork. Condition: Good condition with old wear and weathering, some casting flaws, small nicks here and there, the bosses with malachite-green encrustations and corrosion, some losses and minor repairs, all exactly as expected from an authentic piece with this age. Small holes from sample-taking.Weight: 1,391 g Dimensions: Height 21.6 cm Many non-Han peoples lived in southwest China, even after the establishment of the Qin and Han dynasties. This unusually shaped amphora may have been the product of the Qiang people who probably came from the steppe but later also lived in the region of the Dian people in southwest China. Vessels such as this with lozenge shaped mouths and twin flat handles have been discovered in present day Sichuan and are known as Lifan ware, after the area in Sichuan Province where such jars have been found.Auction result comparison: Type: Near identical Auction: Galerie Zacke, Vienna, 5 March 2021, lot 138 Price: EUR 56,880 or approx. EUR 61,500 adjusted for inflation at the time of writingDescription: A black pottery amphora with applied bronze bosses, Han dynastyExpert remark: Note the larger size of 33 cm in height.漢代黑陶嵌銅泡釘雙耳壺中國，公元前202至公元220年。縮頸，壺口外撇，鼓腹，寬大的雙耳從壺口延伸到腹部。壺上鑲嵌泡釘。 科學檢測報告：隨附牛津熱釋光檢測報告副本，根據樣本C122f97，2022年7月11日測試結果，該拍品應爲1500 - 2400年前所製。 來源：德國巴伐利亞的私人收藏，該收藏創建於1970年代，是歐洲最大的佛教青銅器和造像收藏之一。這位收藏家是一位著名的魔術師，因此遵循“一物也可以是另一物”這一基本理念，總是在藝術品的主觀背後尋找第二本性或隱藏的意義。 品相：狀況良好，磨損和風化，一些鑄造瑕疵，到處都是小刻痕，銅綠與結殼。因爲檢測進行樣品採集而鑽孔，一些缺損和小修，與其年代相符。重量：1,391克 尺寸：高21.6厘米拍賣結果比較： 形制：幾乎相同 拍賣：維也納Zacke藝廊，2021年3月5日，lot 138 價格：EUR 56,880（相當於今日EUR 61,500） 描述：漢代黑陶嵌銅泡釘雙耳壺專家評論：請注意尺寸較大(33厘米)。

A MONUMENTAL SICHUAN POTTERY FIGURE OF A HORSE, HAN DYNASTY 漢代四川立馬陶俑China, 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 MASSIVE AND VERY LARGE 'BUDDHIST LION' BRONZE CENSER, 17TH-18TH CENTURY 十七至十八世紀大型太獅銅薰爐China. Naturalistically cast as a Buddhist lion with two cubs clambering on its back, seated, with a large bushy tail, finely incised mane, and tufts of curling hair, wearing a bell around the neck, the left paw resting on a reticulated brocade ball, the head raised and turned to the left, with large bulbous eyes, curly eyebrows, and the mouth open to reveal sharp teeth, fangs, and tongue.Provenance: From a private estate in Central California, USA. Condition: Very good condition commensurate with age showing natural old wear, typical casting irregularities, minor nicks and dents, some shallow surface scratches, several old metal fills, most of which are probably inherent to manufacturing. The tail with traces of old soldering. The hardwood stand with extensive wear, some losses, age cracks, and a fine golden-brown patina overall.Weight: 15.1 kg (excl. base), 17.8 kg (incl. base) Dimensions: Length 53.3 cm. Height 52.4 cm (including the base) and 32 cm (without base).With a matching and finely carved hardwood stand dating to the Qing dynasty. (2)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 14 September 2017, lot 722Price: USD 43,750 or approx. EUR 49,500 converted and adjusted for inflation at the time of writingDescription: A large bronze 'Buddhist lion' censer and cover, 17th-18th centuryExpert remark: Compare the closely related form, elaborate incision work to tail, mane, and face, and related height (30.5 cm, lacking the stand).十七至十八世紀大型太獅銅薰爐中國。銅質精粹。薰爐整體鑄成“太獅”狀，雄獅四肢健碩矯健，側回首，雙目圓睜，開口露利齒，氣勢洶洶。腳踩繡球，鬃髯捲曲，盤旋如螺髻。雕刻入微，絲絲畢現。兩少獅踞坐於雄獅背上。獅子憨態可掬，造型動感十足，顧盼相望，妙趣橫生。 來源：美國加利福尼亞私人收藏。 品相：品相極好，與年齡相符，自然磨損、典型的鑄件不規則性、輕微的劃痕和凹痕，表面有一些淺劃痕、一些舊金屬填充物，其中大部分可能是製造過程中固有的。尾部有焊接痕跡。硬木支架大量磨損、一些缺損、老化裂縫，整體呈金棕色光澤。 重量：15.1 公斤 (不含底座), 17.8 公斤 (含底座) 尺寸：長 53.3 厘米。高52.4 厘米(含底座) 與32 厘米(不含底座). 清代相配硬木雕底座。(2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年9月14日，lot 722 價格：USD 43,750（相當於今日EUR 50,000） 描述：十七至十八世紀大型太獅銅蓋爐 專家評論：比較非常相近的外型、精細雕刻的尾巴、鬃毛和臉部，以及尺寸 (高30.5 厘米，無底座)。

A BRONZE FIGURE OF SHADAKSHARI LOKESHVARA, PALA PERIODNortheastern India, 10th - 13th century. Seated in vajrasana on a double lotus base, his principal hands in anjalimudra, the secondary hands holding a lotus flower and forming the vitarkamudra. Dressed in a dhoti, adorned with fine beaded jewelry, the face with a serene expression and downcast eyes below gently arched eyebrows, centered by an urna, the hair tied in a high chignon secured with a tiara, the face flanked by elongated earlobes suspending two circular earrings. Provenance: Schoettle Ostasiatica, 31 October 1980. A copy of the invoice is accompanying this lot. A Bavarian private collection, acquired from the above and thence by descent. Dutch trade, acquired from the above via the German auction market. Condition: Good condition commensurate with age. Extensive wear and some casting flaws, few losses, nicks and dents, naturally grown patina. The base unsealed.Weight: 404.1 g Dimensions: Height 14.5 cmExpert's note: The lack of beaded borders to the base of the present lot is unusual for Pala bronzes, but examples do exist. Compare with a bronze figure of Marici at Christie's New York, 20 March 2009, lot 1204, sold for USD 18,750 and a bronze figure of Acala, Christie's New York, 22 March 2011, lot 368, sold for USD 11,875.Auction result comparison:Type: RelatedAuction: Christie's New York, 20 March 2012, lot 78Price: USD 35,000 or approx. EUR 45,300 converted and adjusted for inflation at the time of writingDescription: A Bronze Figure Of Tara, Northeastern India, Pala Period, 10th CenturyExpert remark: Compare the related alloy, cast and patina. Also note the similarity of the beaded jewelry. Finally compare the overall characteristics of both statues, most notably the unadulterated facial expression.

A RARE AND LARGE JADE DISK, BI, LIANGZHU CULTUREJade. China, late Neolithic period, Liangzhu culture, c. 3300-2200 BCPublished: Filippo Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, p. 42-43, no. 46.Of circular form with a central aperture drilled from both sides to form an encircling ridge. The variegated stone of a deep green and russet tone with darker green shadings, patches of grayish-beige color, and extensive veining.Bi disks are a type of jade which continued to be crafted in numbers by cultures located in central and northwest China during the transitional period between the Neolithic and Bronze Age. The majority of these discs range in size between ten and twenty centimeters: large ones, such as the present lot, are rare. Their size and weight, requiring both hands to hold them, suggest that these imposing discs were displayed and used in a ritual context. The bi's surfaces were thoroughly polished, with the exception of the central aperture, which was drilled from both sides of the jade using sections of bamboo and sand abrasives, with the ridge in the center marking the point where the two holes meet.Museum comparison: Compare a related jade bi, dated c. 2500 BC, 32.5 cm diameter, in the collection of the Victoria & Albert Museum, accession number A.42-1936.Auction comparison: Compare a related jade bi, dated c. 2000 BC, 34.1 cm diameter, at Christie's New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 277 (sold for USD 194,500).DIAMETER 45.8 cmProvenance: Private Collection of Irene and Wolfgang Zacke.

A RARE BRONZE SWORD, JIAN, WARRING STATES PERIOD 戰國時期罕見銅劍China, 475-221 BC. The long, tapering blade has beveled edges and a median ridge on each side. The guard and pommel are prominently cast with a taotie mask in high relief, and the hilt is encircled by raised diagonal designs.Provenance: From the collection of Harry Geoffrey Beasley (1881-1939), acquired 1 October 1929 (according to label) and thence by descent. From the collection of Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.2.24. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters.Condition: Very good condition, commensurate with age. Extensive wear, losses and fissures, some possibly with associated old fills, weathering and erosion. Fine, naturally grown patina with extensive malachite and cuprite encrustation.Weight: 579.7 gDimensions: Length 40.4 cmLiterature comparison: Similar cast decoration can be seen on the guard of a Warring States bronze sword of related size (42.1 cm) included in the Illustrated Catalogue of Ancient Bronze Weaponry in the National Palace Museum, Taiwan, 1995, p. 204, pl. 33. Related taotie masks can also be seen on the guards of two Warring States bronze swords illustrated by M. Loehr in Chinese Bronze Age Weapons, Baltimore, 1956, pls. 38 and 40, nos. 98 and 99. Compare also with a closely related sword in The Frank Collection, Christian Deydier, Paris, 2011, page 60, number 19, dated mid - late Spring and Autumn period, 6th-5th century BC, probably Qin culture.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 September 2013, lot 1443 Price: USD 27,500 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A bronze sword, early Warring States period, 5th century BCExpert remark: Compare the similar form and related but sparse taotie mask design. Note the size (56.5 cm).戰國時期罕見銅劍中國，公元前475-221年。劍柄頂端和劍身頂端鑄有饕餮紋，劍柄扁圓分格，劍身有道稜於中間突起，通身積厚綠銅鏽。 來源：Harry Geoffrey Beasley (1881-1939)收藏，購於1929年10月1日 (根據標籤)，保存至今；吳 權博士購於上述收藏，收錄與吳蓮白美術館，收藏編號 H.2.24。Harry Geoffrey Beasley (1881-1939) 是一位英國人類學家和博物館館長，他在二十世紀初建立了一個重要的民族志收藏，現在收藏在英國的各個博物館中。Beasley和他的妻子Irene一起建立了Cranmore民族志博物館，該博物館最終收藏了 6,000 多件民族志方面的物品。Beasley 收集了來自歐洲各地的物品，從拍賣行和當地博物館購買以擴大收藏範圍，其中包含來自太平洋、亞洲、非洲和美國西北部的資料。Beasley為人類學期刊撰寫了大量文章，被公認爲是該領域的專家。他於 1939 年去世，他的藏品幸虧在戰爭期間被存放在大英博物館裏，而Cranmore博物館被轟炸摧毀。戰後，大部分藏品被轉移到大英博物館、愛丁堡皇家博物館、劍橋大學考古與人類學博物館、Pitt Rivers博物館和Merseyside County博物館。其他收藏，例如現在的拍品，由他的遺孀出售，在她 1974 年去世後，由他們的女兒出售。品相：狀況機好，與年齡相符。大面積磨損、缺損，有裂縫，有些可能與修補、風化和侵蝕有關。天然包漿，大量紅綠色銅鏽。 重量：579.7 克 尺寸：長40.4 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

BATMAN #328, 329, 330, 331, 332, 333, 334, 335, 336, 337, 338, 339, 340, 341, 342, 343, 345 (17 in Lot) - (1980/1982 - DC) - Includes the first solo story featuring Catwoman, the first appearance of Dr. Death in the Bronze Age and the third appearance of Tim Fox - Flat/Unfolded

TOMB OF DRACULA #10 - (1973 - MARVEL - UK Price Variant) - GRADED 6.0 (FN) by CGC - HOT KEY BOOK & CHARACTER - First appearance of Blade the Vampire Slayer, who is scheduled to return to the Marvel Cinematic Universe in the near future + Currently at #16 most valuable book on Overstreet's Top 25 Bronze Age Comics list - Gene Colan cover and interior art - Flat/Unfolded - CGC 6.0 (FN) White Pages - Presented Slabbed & Sealed