A GILT-BRONZE FIGURE OF CHAKRASAMVARA14/15th centuryThe deities in yab-yum with twelve-armed Chakrasamvara wearing a tiger skin around his waist and a garland of severed heads descending between his legs, Vajravarahi wrapping her limbs around him, gazing into the first of his four wrathful faces, pedestal. 19cm (7 1/2in) high (excluding the pedestal). (2).Footnotes:十四/十五世紀 銅鎏金勝樂金剛像Through its beauty, complexity, and energy, this exquisite figure expresses one of the most important transcendental ideals in Buddhist art – the supreme bliss of enlightenment attained through the perfect union of wisdom and compassion.The male deity, Chakrasamvara, represents Buddha-like compassion. The female deity, Vajravarahi, embodies Buddha-like wisdom. They are depicted here in ecstatic embrace. He cradles her in his primary arms, producing vajrahumkara mudra by crossing the vajra and ghanta in his hands, symbolising that wisdom and compassion have dissolved into one perfect interpenetrative union.Chakrasamvara (literally meaning 'Wheel of Bliss') is the transformative deity yiddam at the heart of the 'Chakrasamvara Tantra', one of the main Tantric Wisdom traditions. This sculpture sought to inspire the practitioner to complete his practice and achieve that same blissful state of mind. Until then, every symbolic nuance of the deity's iconography will help him to fully comprehend the deity's consciousness. Chakrasamvara features prominently across all Tibetan Buddhist schools and is the principal transformative deity of both Kagyu and Sakya lineages. Rising to great prominence in the 14th-16th centuries, both these orders formed strong ties with the Imperial Yuan and Ming Courts, and Tibetan Buddhist iconography strongly informed Buddhist art of the early Ming period. Compare with a related but larger gilt-bronze figure of Chakrasamvara, 15th century, illustrated by F.Rüttimann, Liebeskunst: Liebeslust und Liebesleid in der Weltkunst, Zurich, 2002, p.131, no.93, which was sold at Bonhams New York, 16 March 2015, lot 18.For further information on this lot please visit Bonhams.com
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A RARE GILT-BRONZE FIGURE OF AVALOKITESHVARA15th centuryThe deity finely cast seated in rajalilasana (royal ease), each hands holding the ends of a lotus stem, extending up the arms to flank the shoulders, the graceful figure wearing an elegantly draped dhoti secured with a sash and elaborate jewellery including necklaces, armlets, large circular earrings and a foliate tiara beneath an artfully arranged chignon, base unsealed. 18.5cm (7 2/8in) high.Footnotes:十五世紀 銅鎏金觀音像This very fine sculpture of Avalokiteshvara is particularly rare. It displays finesse and mastery of detail, embodying the sophisticated nuances of expression in the Buddhist imagery created during the 15th century. The figure radiates compassion with his downward gaze and gentle expression- the essential quality of the bodhisattva. Avalokiteshvara, known as the 'Infinitely Compassionate Being' and 'Protector of the World' is the subject of the twenty-four chapter of the Lotus Sutra, in which he attempts to save all beings from the suffering of the world. Meaning 'enlightened being', bodhisattvas attained enlightenment but selflessly postponed entry into nirvana in order to assist other sentient beings in attaining enlightenment and thereby release from the samsara cycle of birth and rebirth. Bodhisattvas thus embody the Mahayana Buddhist ideal of delivering all living creatures from suffering. Thanks to the enormous stores they have amassed, bodhisattvas are able to assist others through the transfer of meritorious karma to those in need, a concept known in Sanskrit as parinamana.Bodhisattvas are presented in the guise of an early Indian prince, a reference to Siddhartha Gautama's worldly status before he became the Historical Buddha Shakyamuni, implying that just as Siddhartha (c. 563–483 BC), who was born a crown prince, became a Buddha, so will bodhisattvas eventually become Buddhas, once all sentient beings have attained enlightenment. Suggesting both tranquillity and a relaxed withdrawal from the world, the Royal Ease pose implies that the figure so seated is at peace with both world and self and is engaged in contemplation. The pose of Royal Ease, the literal translation of the Sanskrit terms lalitasana, traces its origins to ancient India. A crossbar roundel from the stone stupa of Amaravati in the British Museum, London, depicts King Suddhodana, the Buddha's father, so seated during a visit to Queen Maya, the Buddha's mother, in the Asoka Grove in Lumbini, thus giving literal association to the term 'pose of Royal Ease'.The elaborate jewellery and the sinuous body of the present figure closely compare with a gilt-bronze figure of Padmapani, Ming dynasty, 16th century, in the Cleveland Museum of Art, Ohio, illustrated by U.von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.530, fig.151F.For further information on this lot please visit Bonhams.com
A VERY LARGE AND RARE GILT-BRONZE FIGURE OF ANANDAMing DynastyThe imposing arhat finely cast with a contemplative expression on his face and a raised urna on the forehead flanked by long pendulous ears, heavily modelled standing on a lotus pedestal with both hands joined in prayer, wearing a long flowing robe delicately cast with floral hems. 68.5cm (27in) high.Footnotes:明 銅鎏金阿難尊者立像Provenance: Spink & Son Ltd., LondonA British private collection, acquired from the above on 20 August 1979來源：倫敦古董商Spink & Son Ltd.英國私人收藏，於1979年8月20日購自上者The present figure of Ananda is notable for the exquisite quality of its casting, the refined and well-detailed lotus foliate scrolls adorning the hem of the robe as well as the superb casting of the clasps and naturalistic folds of the robe, attesting to the remarkable craftsmanship practiced during the late Ming dynasty.A luohan ('arhat' in Sanskrit) is a disciple of Buddha who has attained Enlightenment and has achieved the status of the perfected being, but chooses to postpone his accession to Nirvana to remain in the world and aid all sentient beings. The luohan achieves enlightenment through instruction rather than his own insight and meditation, and as a result, ranks below the bodhisattva. The term luohan, means 'worthy' or 'venerable' and refers to the Buddha's original disciples, and by extension, to any holy figure who upheld and defended the Buddhist dharma. Originally only four, their numbers increased to sixteen, then eighteen and ultimately to five hundred.Ananda was a first cousin of Gautama Buddha and one of his ten principal disciples. Amongst the Buddha's many disciples, Ananda stood out for having the most retentive memory. He was also praised by the Buddha for his erudition and compassion. He is therefore also known as the Guardian of the Dharma, as most of the sutras of the 'Sutta Pitaka', or 'Pali Canon', are attributed to his recollection of the Buddha's teachings during the First Buddhist Council. He is often portrayed alongside Mahakasyapa, flanking Buddha on both sides.In the Chan Buddhist tradition, prior to the seventh century, luohans were generally represented as a pair flanking an image of Buddha, usually identified as Kasyapa, like the present figure, and Ananda, and were both two of the ten principle disciples of Buddha and important figures in the early Buddhist monkhood sangha. In these depictions, the figures were usually represented with foreign Indian features. In China, the pair are often portrayed standing on either side of the Buddha in China, namely, Ananda standing to Buddha's right whilst Kasyapa to the left, from at least the Northern Wei dynasty (386-535) and throughout the Sui, Tang, Liao, Song and Ming periods; see, for example, the triad formed by Ananda and Kasyapa flanking the Buddha in the Central Binyang Cave at Longmen, Shanxi, illustrated by A.Howard, Chinese Sculpture, New Haven, 2006, p.238, fig.3.39. Compare with a related bronze figure of a luohan, 17th century, in the British Museum, London (accession no.1990,0529.1). See also a related but smaller (28cm high) gilt-bronze figure of another disciple, Jiayezunzhe, 16th/17th century, with similar oval face and floral-hemmed robe, illustrated in Buddhist Images in Gilt Metal, Taipei, 1993, pp.150-151, no.68. See also a similar large gilt-bronze figure of Ananda, 16th/17th century, which was sold at Bonhams Hong Kong, 29 November 2016, lot 30, and a parcel-gilt bronze figure of Ananda, Ming dynasty, which was sold at Sotheby's New York, 17 September 2014, lot 430.For further information on this lot please visit Bonhams.com
A RARE GILT-BRONZE VAJRAMing Dynasty The thunderbolt-sceptre finely cast with a central bulbous grip separating two lotus pedestals supporting a central column surrounded by eight arched vajra points emerging from the jaws of makara heads. 16cm (6 2/8in) long.Footnotes:明 鎏金銅金剛杵The vajra, also known as dorje, was often employed in Tantric Buddhist practices in Tibet aimed at dispelling the evil forces from sacrificial enclosures. The emblem embodies the spiritual forces and firmness of the spirits and was often complemented by a ritual bell.Compare with a very similar gilt-bronze vajra, 15th century, which was sold at Christie's New York, 22 March 2013, lot 1253.For further information on this lot please visit Bonhams.com
A VERY LARGE GILT-BRONZE FIGURE OF A GUARDIANMing DynastyThe imposing figure finely cast standing on a separate kidney-shaped rockwork base, wearing a chain-mail completely covering the body and extending down to the overlapping ruyi-decorated boots, the shoulders of both with high epaulettes and the belly with a large mask, a celestial scarf billowing up behind the head and trailing down to the base, with further knotted ribbons at the waist, the crisply cast face with a lively expression, surmounted by an elaborate pierced crown, holding a mace in his right hand, the left raised to the chest. 63cm (24 6/8in) high.Footnotes:明 鎏金銅天王像Provenance: a European private collection來源：歐洲私人收藏Figures of guardians, such as the present lot, were semi-divine creatures on earth whose function was to guard the four cardinal points of the world and sacred sites as Protectors of the Buddhist Law dharma. According to legends, the four guardian kings were present at every critical moment in the Buddha's life, helping him with his birth, carrying him when he left his father's place, offering him food before his enlightenment and attending his final nirvana.Guardian figures were usually attired as fierce warriors, dressed in interlocking-chain armour and wearing elaborate helmets; they stand in a dramatic pose with flaming aureoles behind their heads representing the Buddhist Law. Their long scarves billowing around their bodies show the celestial nature of their wearers. Compare with two related gilt-bronze guardian figures, Ming dynasty, with stylistically comparable detailed outfit, in the Seattle Art Museum, Seattle, illustrated by H.Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pls.93 and 94. See also two further related gilt-bronze figures of guardians, Ming dynasty, illustrated in The Crucible of Compassion and Wisdom, Taipei, 1987, nos.120-121. A related but larger gilt-bronze figure of a guardian, late 15th-16th century, was sold at Christie's Hong Kong, 26 November 2014, lot 3111.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A GILT-BRONZE 'HOUND' SCROLL WEIGHTMing DynastyThe slender recumbent hound carved with its head facing forward attentively, with front paws together and hind legs tucked beside its elongated belly, the long tail curling to its right haunch, with fitted box. 8cm (3 1/8in) long (2).Footnotes:明 銅鎏金臥犬鎮紙For further information on this lot please visit Bonhams.com
A GILT-BRONZE FIGURE OF THE MEDICINE BUDDHAWell cast with eyes downcast in meditative expression, seated in dhyanasana atop a double-lotus pedestal with Tibetan inscription on the reverse, with the right hand raised in abhayamudra, the left hand held gently in the lap in dhyanamudra, dressed in a long flowing robes detailed with draping folds and incised floral hems, with a prominent usnisha formed with tightly coiled curls, the lotus base incised with a Tibetan inscription. 24.5cm (9 6/8in) high. Footnotes:銅鎏金藥師佛像The Tibetan inscription incised at the base reads as follow:༡ ༄། བདེ་གཤེགས་མཚན་ལེགས་ཡོངས་དྲག་དཔལ་ལ་ན་མོ།།Which may be translated as: 'Homage to the Thus-gone Supari¬kīrtita¬nāma¬dheyaśrī' Supari¬kīrtita¬nāma¬dheyaśrī is known as the Glorious Name Widely Renown. There seems to be two slightly different Tibetan spellings: mTshan legs par yongs bsgrags dpal and mTshan dpal shin tu yongs su grags pa. He figures among the Thirty-Five Buddhas of Confession, generally in the 28th position.The finely-cast figure depicts the Buddha reaching forward with his right hand to call the earth to witness his right to attain enlightenment. Rendered with exceptional elegance, this sculpture perfectly captures an idealised form of The Enlightened One. Furthermore, the well-proportioned body clad in a close-fitting garment with richly engraved seams shows a high artistic sensibility. The Buddha's tender expression is marked with large, doubled-eyelids beneath a slightly dipped brow that bears a central rounded urna. The Buddha's smile is delightful; modelled in high-relief, the corners of his lips are playfully upturned. His neck is marked with three concentric lines reminiscent of the beauty of a conch shell, as per iconographic prescriptions in early Buddhist scripture. The webbed-hands are cast with naturalism. The form-fitting patchwork robe is chased with fine patterns. The artist has achieved his harmonious image with consummate attention to detail.The cult of the Medicine Buddha started in Northern India before spreading to the Himalayas, East Asia, and Southeast Asia. He is widely worshiped in both Vajrayana and Mahayana Buddhism to assist practitioners in overcoming physical, mental, and spiritual sickness, and to purify karmic debt. According to the Bhaisajyaguru sutra, he resides in the Eastern Pure Land of Vaiduryanirbhasa,The drapery and style are reminiscent of those worn by a 15th century Tibetan gilt-bronze figure of the Tathagata Aksobhya seated in front of a vajra, illustrated in On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, Zurich, 1995, p.72, no.30.See a related gilt-bronze figure of Buddha Shakyamuni, 15th century, which was sold at Sotheby's New York, 22 March 2018, lot 1037.For further information on this lot please visit Bonhams.com
A BRONZE PALA-STYLE FIGURE OF TARA18th centuryThe figure seated in dhayasna on a double lotus base, her right hand carrying a visvavajra, the left hand holding a ghanta, clad in finely detailed jewellery and an elegant dhoti folding into neat pleats, the face with contemplative expression beneath a five-pointed tiara and a high chignon. 12.5cm (5in) high.Footnotes:十八世紀 銅帕拉風格度母像For further information on this lot please visit Bonhams.com
A RARE GILT-BRONZE 'MAKARA' BASE18th centuryThe mythical creature cast with a curved fish body and a horned dragon head defined by bulging eyes and open fangs, finely depicted emerging from tumultuous waves. 14cm (5 1/2in) high.Footnotes:十八世紀 銅鎏金「摩伽羅」底座The present makara would have likely served as a base supporting one of the Eight Buddhist Emblems, bajixiang, which were positioned on altar tables during the performance of Buddhist rituals. Compare two similar gilt-bronze makaras, Yongzheng, supporting respectively a conch and a parasol, in the Ji Zhen Zhai Collection, illustrated by Fang Jing Pei, Symbols and Rebuses in Chinese Art, Berkeley, CA, 2003, nos.36 and 49.In ancient Indo-Tibetan cosmology, makara are sea-monsters that balance the universe on their backs as they move through the cosmic ocean. The mythical creature combines the jaws of a crocodile, trunk of an elephant and lion's paws.For further information on this lot please visit Bonhams.com
A FINE GILT-BRONZE FIGURE OF MAHAKALA18th century The ferocious deity with flaming hair striding in alidhasana on a prostrate figure with an elephant head, all atop a lotus-petal stand, the deity's six arms holding various ritualistic ornaments including a kapala and kartrika on the primary hands, wearing a tiger skin loin cloth, adorned with a billowing scarf and various jewelleries. 19.5cm (7 5/8in) high.Footnotes:十八世紀 銅鎏金六臂大黑天像The protector deity Mahakala is a wrathful form of the primordial Vajradhara, the supreme essence of all Buddhas. He can be two-armed, four-armed or six-armed as in the present lot. In his six-armed form he is also considered as a fierce and powerful manifestation of Avalokiteshvara, the Bodhisattva of Compassion.Mahakala's fearsome appearance and the terrifying implements that he holds display his capability to cope with our persistent and unwanted negativities. His most distinctive symbolic attributes are the chopper kartri and the skull bowl kapala filled with blood, symbolising the sharp edge of wisdom shredding all materialistic negative attitudes in the human-skull bowl of emptiness that holds the blood of defeated evil and demonic elements. Compare with a related powerful figure of Mahakala, 17th century, in the Royal Ontario Museum, Toronto, illustrated by M.Rhie and R.Thurman, Wisdom and Compassion: The Sacred Art of Tibet, New York, 1996, pl.111. See also a six-armed Mahakala illustrated by B.Lipton and N.Ragnubs, Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art, New York and Oxford, 1996, pl.84. Compare with a related gilt-bronze figure of Mahakala, 18th century, which was sold at Bonhams London, 15 May 2014, lot 314.For further information on this lot please visit Bonhams.com
A FINE GILT-BRONZE FIGURE OF YAMA DHARMARAJA18th centuryCast in two parts, the buffalo-headed deity depicted astride his bull mount, with bulging eyes, bared fangs, and flaming hair, clad in heavy jewellery and garlands of heads, the bull also decorated with beaded jewellery, atop a further figure lying prostrate. 15.5cm (6 1/8in) high. (2).Footnotes:十八世紀 銅鎏金閻魔護法像According to the Vajrabhairava Tantra, Manjushri took the form of Yama Dharmaraja to subdue Death ('Yama'), the personification of endless suffering through the cycle of death and rebirth. As this tantra is widely practiced in Tibetan Buddhism, Yama Dharmaraja can be found as an important wisdom deity in all traditions including the Sakya, Kagyu, and Gelug schools. He holds special significance for the Gelugpa, who regard him, alongside Shadbhuja Mahakala and Vaishravana, as one of the order's three principal protectors. See a related figure of Yama Dharmaraja illustrated by U.von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pp.550-551, no.157E.A similar gilt copper alloy figure of Yama Dharmaraja, 18th century, was sold at Bonhams Hong Kong, 7 October 2019, lot 941.For further information on this lot please visit Bonhams.com
A RARE GILT-BRONZE FIGURE OF GUANYIN18th century Finely cast seated in dhyanasana above a thick cluster of vaporous clouds, with a contemplative face framed by long pendulous ears and beard, crowned with a band above the tight curls, the right hand in vitarka mudra, the left hand resting on the lap, wearing long flowing robes open at the chest, attired in robes finely incised with floral hems and adorned with beaded jewellery, base unsealed. 11.5cm (4 1/2in) high.Footnotes:十八世紀 銅鎏金觀音像For further information on this lot please visit Bonhams.com
A GILT-BRONZE FIGURE OF TARA18th century Well cast seated in dhyanasana on a double lotus base, the right hand lowered in varadamudra and the left hand raised in vitarkamudra, dressed in a loose flowing dhoti and elaborated beaded jewellery, with two pendent sashes draped over the base, flanked by long blooming lotus stems, the face with contemplative expression surmounted by an elaborate tiara, the hair arranged in a high chignon. 11cm (4 3/8in) high.Footnotes:十八世紀 銅鎏金度母像For further information on this lot please visit Bonhams.com
A PAIR OF BRONZE BUDDHIST LIONS AND STANDSWanli four-character marks, late Qing DynastyThe pair comprising a powerful and fiercely cast seated male lion with brocade ball, and matching female playing with a cub, both with tightly scrolling manes and bell and tassel-ornamented bands across their broad chests, each with associated rectangular stands cast with brocade covers decorated with intricate diaper designs. Overall 34cm (13 3/8in) high. (4).Footnotes:清晚期 銅獅一對「大明萬曆年製」款Provenance: formerly in an English private collection來源：英國私人舊藏Compare with a related pair of bronze models of Buddhist lions and stands, 19th century, which was sold at Christie's London, 9 November 2010, lot 151.For further information on this lot please visit Bonhams.com
A COPPER-WIRE HANDLED FLOWER BASKETMeiji era (1868-1912), late 19th/early 20th centuryThe rectangular angled body predominantly worked in matsuba-ami ('pine needle' plaiting), the base in yotsu-ami (square plaiting) the tall triple handle wrapped and knotted, patinated to resemble susudake (smoked bamboo), unsigned; with a bamboo otoshi (water container) and a wood tomobako storage box inscribed Odo matsuba-ami kaki (Yellow bronze pine-needle plaiting flower container) and signed and sealed Heian Makosai (Makosai of Kyoto). 41cm (16 1/8in) high. (3).Footnotes:Although woven in copper wire rather than bamboo and rattan, this basket follows the Chinese style, popular with aficionados of the sencha style of tea-drinking, which was prevalent in the Kansai region throughout the nineteenth century and into the opening decades of the early twentieth century.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A KOSHIRA-E (MOUNTING) WITH A TANTO (DAGGER)Edo period (1615-1868), mid-19th centuryThe saya (scabbard) lacquered and inlaid with horizontal bands of alternating black lacquer and minute shell inlays, the tsuka (hilt) covered in dyed same (rayskin) with purple silk tsukamaki wrapping in lozenge pattern, the metal fittings comprising kashira (hilt pommel), menuki (hilt grips), fuchi (hilt collar), tsuba (sword guard), kozuka (handled knife), all of shibuichi nanako and gold or silver chiselled, inlaid with samurai or horses apart from the tsuba of a shakuko ground decorated in gold and bronze takazogan with a continuous scene of a herdsman leading an ox over a drum bridge, signed Hamano Masayuki tsukuru; the kozuka blade inscribed Nakasone Koetsu Nyudo Okisato, the kurigata (cord runner) and kojiri (butt piece) of plain black lacquer; the blade of plain shinogi-zukuri form, the tang iri-yamagata with one mekugi-ana and katte-sagari filemarks, unsigned; with a silk brocade bag. Total length: 40cm (15¾in) long; the blade: 32.8cm (12 15/16in) long. (2).Footnotes:Provenance:A French private collection.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
FIVE ASSORTED MASK NETSUKEEdo period (1615-1868) to Meiji era (1868-1912), 18th to 19th centuryAll unsigned unless otherwise stated; the first wood, a shishi (Chinese mythical lion) mask, with a hinged moveable jaw, the eyes inlaid, 4.6cm (1 13/16in) long; the second wood, a Hannya (Female Demon) mask, signed Shugetsu saku with a seal, 4.8cm (1 7/8in) high; the third wood, a shishi mask, lacquered red, gold, and black, 6.5cm (2½in) long; the fourth a bronze, gilt, and lacquered wood oni (demon) mask, the eyes inlaid in gilt with dark pupils, 4cm (1 9/16in) high; the fifth shibuichi and wood, an Okina (Old Man) mask, 7cm (2¾in) high. (5).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A BRONZE OKIMONO (TABLE ORNAMENT) OF A TIGER AND AN ARTICULATED SENTOKU (COPPER ALLOY) MODEL OF A SPINY LOBSTERThe tiger by Jozan, Meiji era (1868-1912), late 19th/early 20th century and the lobster by Hiromi, Taisho (1912-1926) or Showa (1926-1989) era, 20th centuryThe tiger shown striding forward with its tail stretching out behind, its mouth wide in a snarl, the stripes delineated in subtly-toned patination, its eyes of glass with black pupils; signed on its belly Jozan saku within a rectangular reserve, 21.5cm x 45cm (8½in x 17¾in); the lobster naturalistically modelled, formed from individual sections, cast and hammered to resemble the lobster's shell with well-chiselled details, assembled with fully articulated joints to allow lifelike mobility; signed on the belly Hiromi; with a lacquered-wood storage box, 21cm (8¼in) long, distended antennae. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
TOUNA Cast-Bronze Candlestick Holder in the Form of a Dragon Meiji era (1868-1912), late 19th/early 20th centuryThe three-clawed dragon lying on its back with its serpentine body and tail rising upwards, one claw holding a circular base for the candlestick; signed with a stamped signature Toun iru with a kao within a rectangular reserve.68cm (26¾in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
GENRYUSAI SEIYAA Bronze Okimono (Table Ornament) of a Japanese Macaque Meiji era (1868-1912), late 19th/early 20th centuryNaturalistically cast crawling on all fours, its head slightly raised and one forepaw clutching a leafy sprig of kaki (persimmon) fruit; signed in tensho script on its belly Genryusai Seiya tsukuru within a rectangular seal. 24cm x 43.5cm (9½in x 17 1/8in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
HIROAKIA Bronze Okimono (Table Ornament) Group of Two Rabbits Meiji era (1868-1912), late 19th/early 20th centuryComprising two rabbits snuggled against each other, one recumbent, leaning forward while her mate sits at the side, resting with one forepaw raised; signed on the base with chiselled characters Hiroaki within a large seal. 16cm x 20cm (6¼in x 7 7/8in).For further information on this lot please visit Bonhams.com
HIDEYOSHI AND SUIGAKUA Bronze Group Okimono (Table Ornament) of a Puppy and a Tortoise Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryCast in the form of a seated, mischievous puppy with its front paw resting bemusedly on the carapace of a passing turtle; signed Hideyoshi within an oval reserve on the underside of the puppy and Suigaku within a rectangular reserve on the underside of the tortoise. 8.6cm x 11cm (3 3/8in x 4 3/8in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
AN ARTICULATED BRONZE MODEL OF A CRABMeiji era (1868-1912), late 19th/early 20th centuryThe crab separately cast and assembled, the legs and claws fully articulated, the surface worked to resemble the crab's natural shell, patinated to a reddish-brown finish; unsigned. 14.5cm (5 11/16in) across.For further information on this lot please visit Bonhams.com
OSHIMA JOUN (1858-1940)A Bronze Koro (Incense Burner) in the Form of the Bunbuku Chagama (Badger Tea Kettle) Taisho era (1912-1926), early 20th centuryThe squat vessel cast as if turning into a badger, the detachable cover pierced, the shoulder applied with two ring handles, the base signed in chiselled characters Joun; with wood tomobako box titled Tanuki chagama no koro (Incense burner in the form of a badger tea kettle), the inside of the lid with an inscription indicating that this item was presented on the fifth day of the fifth month of 1919, with seal Karaku and signed Ichijoken Oshima Joun saku with seal. 12.1cm x 16.5cm (4¾in x 6½in). (3).Footnotes:Oshima Joun (given name, Yasutaro) was the son and pupil of his father, the cast-metal worker Oshima Takajiro. He became one of the most successful sculptors of the late Meiji, Taisho and early Showa eras, exhibiting first in Paris in 1878. He also taught at Tokyo Art School from 1887 until 1932 and was a member of innumerable committees and panels of judges at art exhibitions and competitions.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
GENRYUSAI SEIYAA Bronze Okimono (Table Ornament) of a Bactrian Camel Meiji era (1868-1912), late 19th/early 20th centuryNaturalistically rendered, the shaggy camel standing upright, slightly turning to its left to look out, its two humps slightly shrunken and leaning to the left; signed in seal form Seiya sei. 23.2cm x 25cm (9 1/8in x 9 13/16in).For further information on this lot please visit Bonhams.com
FOUR BRONZE MINIATURE ANIMAL OKIMONO (TABLE ORNAMENTS)Meiji era (1868-1912), late 19th/early 20th centuryEach naturalistically rendered, comprising: the first a grasshopper, possibly stamped Mano, 11.4cm (4½in) long; the second a mole cricket, indistinctly stamped, 7.2cm (2 13/16in) long; the third a stag beetle, stamped Dou [...], 7cm (2¾in) long; the fourth a seated frog, indistinctly stamped, 4cm (1 9/16in) long. (4).For further information on this lot please visit Bonhams.com
A BRONZE SLENDER SINGLE-STEM FLOWER VASEEdo period (1615-1868), probably mid-19th century Of tsurukubi (crane's-neck) form, the elegant, slender neck rising from a pear-shaped body supported on a circular foot, unadorned, the metal with an attractive reddish-brown patina overall, suffused with characteristic irregular darker areas; unsigned. 28cm (11in) high.For further information on this lot please visit Bonhams.com
SUZUKI CHOKICHI (KAKO, 1848-1919)A Bronze Baluster Vase Meiji era (1868-1912), early 20th centuryThe body cast and carved in varying degrees of relief depicting an egret about to alight on a lotus pond filled with large, overlapping, leafy lotus flowers and pods, the feathers of the bird and surface of the foliage rendered in a naturalistic manner, the egret's eye inlaid in gold; signed on the base with a cast mark Dai Nihon Kako tsukuru (Made by Kako of Great Japan) within an oval reserve. 33.8cm (13 5/16in) high.Footnotes:One of the most celebrated monumental bronze casters of the Meiji era, from around 1900 Suzuki Chokichi seems to have worked at a less monumental scale and in a more refined manner, as here. See Joe Earle, Suzuku Chokichi: Master of Metal Raptors, in Victoria Weston ed., Eaglemania: Collecting Japanese Art in Gilded Age America, exhibition catalogue, Boston, McMullen Museum of Art, Boston College, 2019, p.28.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MIYAO EISUKE COMPANY OF YOKOHAMAA Gilt-Bronze Figure of a Samurai Warrior Meiji era (1868-1912), late 19th/early 20th centuryProbaby representing one of the Akoroshi samurai, standing and clutching a detachable halberd in one hand and blowing a fog horn held in his other hand, a wakizashi and a katana tucked into his waist band, dressed in richly brocaded clothes and wearing a helmet, affixed to typical Miyao-style wood stand decorated in gold takamaki-e with ho-o birds amid karakusa ('Chinese grasses'); signed in a rectangular reserve Miyao with seal Ei. 24.5cm (9¼in) high, including stand. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
KOGYOKUSAI KAZUHISAAn Inlaid Bronze Globular Koro (Incense Burner) And Cover Meiji era (1868-1912), late 19th/early 20th centuryThe lower edge of the cover inlaid in shakudo, shibuichi, bronze, and gold low relief with a profusion of overlapping, tightly clustered chrysanthemums of different size, the upper edge of the body similarly inlaid with a matching design, the rim fitted with two short, upswept bracket handles, the detachable, en-suite bombé cover carved in low relief with foliage and surmounted by a finial in the form of three clustered bronze chrysanthemum heads, the stamens of some of the chrysanthemum heads further inlaid in gold, supported on three tall legs, the base signed with chiselled sosho characters Kogyokusai with a rectangular gold seal Kazuhisa. 17cm (6¾in) high. (2).Footnotes:For Kogyokusai Kazuhisa, see Robert E. Haynes, The Index of Japanese Sword Fittings and Associated Artists, Ellwangen, Germany, Nihon Art Publishers, 2001, no.H02994.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A CYLINDRICAL TETSUBIN (IRON TEA KETTLE) AND BRONZE COVERMeiji (1868-1912), Taisho (1912-1926), or Showa (1926-1989) era, late 19th/early 20th centuryThe cylindrical body cast in iron, simulating a rocky surface, decorated in high relief with crabs crawling over the exterior, the cover finished in a mottled red and brown patina and surmounted by a pierced rotating floriate knob; the inside of the cover inscribed Ryubundo tsukuru.13.2cm (5 3/16in) high excluding handle. (2).For further information on this lot please visit Bonhams.com
SUNRYUSAI KYOCHIKA (DATES UNKNOWN) AND SHIBATA ZESHIN (1807-1891)A Gold-Lacquer Four-Case Inro Edo period (1615-1868), 19th century A Lacquer Hako-Netsuke Meiji era (1868-1912), late 19th centuryThe kinji ground inro decorated in various shades of silver and gold takamaki-e and e-nashiji depicting a peacock strutting behind rocks beside a cherry tree, its tail feathers trailing behind shown on the reverse, the interior of rich nashiji, signed on the base in gold lacquer Sunryusai Kyochika; with a rounded-square box netsuke lacquered in shitan-nuri and black kanshitsu with autumn plants bending gently over a hill, a shoreline with waves combed in the seigaiha-nuri technique in the distance, signed in scratched characters on the reverse Zeshin; with a bronze ojime in the form of a tama (jewel); unsigned. The inro: 7.8cm (3in) high; the hako-netsuke: 3.3cm x 3.2cm (1¼in x 1¼in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SHOKASAI (ACTIVE 19TH CENTURY)An Inlaid Gold-Lacquer Four-Case Inro Edo period (1615-1868) or Meiji era (1868-1912), early/mid-19th centuryThe lenticular kinji ground decorated in gold takamaki-e and e-nashiji, one side with Tekkai Sennin inlaid in high relief shakudo, gold, and bronze seated on rocks beneath a pine tree blowing out his anima, water cascading down rocks shown on the other side, with details of kirikane, the interior of rich nashiji, signed on the base Shokasai. 9cm (3½in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
AN INLAID BRONZE OR COPPER SMALL TWO-CASE INROEdo period (1615-1868), 19th centuryThe upright body decorated in high relief metal inlays of gilt, silver, and bronze with Daikoku dragging his sack, a basket containing shells lying on a sprig of flowers and Daruma on one side and a tamamushi (jewel beetle), a peony blossom, and a prancing shishi (Chinese mythical lion) on the other, unsigned; with an ojime pierced with autumn plants and flowers and a flattened, circular openwork bronze manju netsuke carved with overlapping dragonflies, wasps, and cicadas crawling over autumn plants and flowers; unsigned. The inro: 6.7cm (2 5/8in) high; the manju netsuke: 4.5cm (1¾in) diam.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
λ JONATHAN WYLDER (b. 1957), A BRONZE LIMITED EDITION MODEL OF A RECUMBENT WHIPPET1999signed, dated, and numbered 1/615cm high, 28cm wide, 35cm deep Provenance: Sold by order of a member of the de Rothschild FamilyCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOverall with red-brown patination, some verdi-gris to the underisdePlease refer to additional images for visual reference to condition Condition Report Disclaimer
λ PHILIP BLACKER (b. 1949), A LIMITED EDITION BRONZE MODEL OF A GREYHOUND Signed to cast, dated 01, and numbered 4/9 to the base Mounted on a grey marble plinth 35cm high overallProvenance: Sold by order of a member of the de Rothschild Family Condition Report: Overall in a condiiton reflecting its lack of age and only probable use as an ornamentThere is a small patch of discolouration to the base, this was largely scratched off by a finger nail and appears to only be in the surfaceOverall solid and stable, no wobble to the bronze and firmly attached to the marble basePlease see additional images for visual reference to conditionCondition Report Disclaimer
A PAIR OF REGENCY GILT AND PATINATED BRONZE TWIN-LIGHT TABLE LUSTRESCIRCA 1815 each 32cm high, 22cm wideProvenance:Property of The Hon. Catherine Mary Wass, OBE (1942-2021) most likely inherited from the 7th Viscount Gort in 1975 from Hamsterley Hall, Co. Durham Condition Report: With marks, knocks, scratches, abrasions consistent with age, handling, cleaning and everyday useThese formerly would have had candle sconces to the centre of each- now absent. There are still visible screw holes and threads where these would have been fitted. Dreweatts can make no comments or guarantees how easily these would be to replace. The glass is a bit of a mix suggesting various stages of ad hoc replacement. Would suggest that little remains of original glass fitments. One tubular gilt sprung branch holder looks to be laterSurface with some tarnishing, surface dirt and oxidization concealing colours underneath. We have elected not to try and clean this- to allow the potential purchaser either to leave it as it is- or effect remedial cleaning to their own preference.There are four entire drops missing to one lustre, to both there are some variation to the drops and these are by no means a complete 'set' various replacements over the years have been used it is impossible to say which may be original or not Please refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A FRENCH GILT BRONZE FIGURAL CANDLESTICK AFTER CORNEILLE VAN CLEVE (1645-1732) LATE 18TH OR EARLY 19TH CENTURY The candlestick formed as a Satyr seated on a dog and holding a cornucopia terminating in the candle sconce, raised on a heavy pierced rococo base 37cm high overall The design of this candlestick is a variant on a design by the French baroque sculptor Corneille Van Clève. has been noted that a pair of three-light candelabra recorded as lot 154 in the 1761 sale of the late Trésorier général de la Marine, Marcellin-Francois-Zacharie de Selle: "Deux très beaux Chandeliers à trois branches, enriches d'ornemens. Les tiges sont compoées l'une d'une Bacchante, qui ayant un pied posé sur un Dauphin, tient de la main droite un autre Dauphin par la tête, dont la queue soutient la bobèche, A l'autre tige, est un Satyre assis sur un Tigre, il teint une corne d'abondance d'où sort la bobèche; leurs pieds sont en rocailles et moulures." This example substitutes a dog for the tiger- a less martial display more suitable for a household setting.Condition Report: Marks, knocks, scratches, abrasions consistent with age and useDirt and discolouration to the gilt metal, areas of rubbing and wear, unevenness to the surfaceSome pittingDoes not appear to have been drilled to convert to electricity, there is some wax deposits to the interior of the sconce. The sconce appears fixed in place, this is probably later adhered.Please refer to additional images for visual reference to conditionThe measurement was missing, this is 37cm high Condition Report Disclaimer
A GILT BRONZE FIGURE OF THE DANCING FAUN WITH CYMBALS 19TH CENTURY PROBABLY FRENCHAfter the model by Massimiliano SoldanI but with unusual goatskin decorated column behind, associated plinth base 23cm high overall, base 8cm wideCondition Report: The figure is loose to the base and wobbles, there is a securing wing-nut that needs tightening, there is nothing to secure his right foot to the bellows. there appears to be a missing element, there is a filled socket to the side with hole beneath.Appears to have been re-gilded, some marks, discolouration, scuffs, some polish deposits to recessesOne cymbal appears to have a nick out of onePlease refer to additional images for visual reference to conditionCondition Report Disclaimer
AN EXCEPTIONALLY RARE BLUE AND WHITE '384 SHOU' BRUSHPOT, BITONGKangxi six-character mark and of the periodThe cylindrical vessel rising from a grooved foot ring, painted around the exterior of the straight walls in vibrant tones of cobalt-blue with 384 Shou ('longevity') characters in various calligraphic styles of seal script. 17cm (6 3/4in) diam. Footnotes:清康熙 青花寿字笔筒青花「大清康熙年製」楷書款Provenance: J.J. Lally & Co. Oriental Art, New York, 10 December 1990Exhibited: Oriental Ceramic Society, China Without Dragons, Rare Pieces from Oriental Ceramic Society Members, London, 2016, no.149Published and Illustrated: Oriental Ceramic Society, China Without Dragons, London, 2018, p.248, no.149 S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.11 (fig.6), 118-121來源：紐約古董商 J.J. Lally & Co. Oriental Art，1990年12月10日展覽：東方瓷器協會，《China Without Dragons, Rare Pieces from Oriental Ceramic Society Members》，倫敦，2016年，149號錄著：東方瓷器協會，《China Without Dragons, Rare Pieces from Oriental Ceramic Society Members》，倫敦，2016年，149號S.Marsh，《Brushpots: A Collector's View》，香港，2020年，頁11（插圖 6），頁118-121The present brushpot with continuous rows of 384 Shou ('longevity') characters in different forms of seal script, channelled foot ring and Imperial reign mark, is extremely rare. There is a closely related brushpot with Shou characters in underglaze copper-red, Kangxi, but supported on three short feet and with no mark on the base, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red, Shanghai, 2000, p.182, no.166, where the authors note that it was made in the late Kangxi period. Another related blue and white brushpot decorated with Shou characters, Chenghua six-character mark, Kangxi, with flat and slightly recessed 'button' base, is in the Art Museum, The Chinese University of Hong Kong (acc.no.2000.0081). Stylistically, the present brushpot with numerous Shou characters is also related to a large blue and white 'ten thousand Shou character' zun vase, Kangxi, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red, Shanghai, 2000, pp.8-9, no.5. Another similar blue and white zun vase with Shou characters, Kangxi, is in the Nanjing Museum, and illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no.12. See also a blue and white baluster vase, Kangxi, decorated with Shou characters in various seal script, illustrated in Qing Shunzhi Kangxi chao qinghuaci, Beijing, 2005, p.436.With regards to the date of the present lot, the channelled foot ring suggests that it was made in the early Kangxi period. The channelled foot ring is a feature that appeared in the Shunzhi reign. A blue and white brushpot with channelled foot, cyclically dated to 1667, serves to demonstrate that by this year, the potters were still producing pieces with an unglazed channel foot ring. Extant pieces bearing cyclical dates show that by 1671, fully developed unglazed channel foot rings were commonly used. This channelled foot ring however, virtually disappeared by the late Kangxi reign; see T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of 17th-Century Chinese Porcelain, London, 2021, p.374. Therefore, it is very likely that the present brushpot was made circa 1670's. Another clue that the present lot could have been made in the 1670's, is the close stylistic relationship between the style of the Shou characters and a dictionary re-published in 1670. The characters on the present brushpot include unusual variants of the Shou character including in so-called 'tadpole' script (kedou wen 蝌蚪文) and 'birds and worms' script (niaochong wen 鳥蟲文). The characters on the brushpot appear to be based on the Jinshi yunfu (金石韻府) or 'Treasury of Ancient Characters on Bronze and Stone', an epigraphic dictionary that combines characters from earlier dictionaries and a wide range of sources. It was originally compiled by the Ming scholar Zhu Yun in 1530, but in 1670 another edition was published, from which the present lot may have been based on. The Kangxi reign ushered in a new age for epigraphy with numerous scholars and Imperially sponsored projects compiling new dictionaries; the largest among these was the 'Kangxi Dictionary' published in 1716, the most authoritative dictionary of Chinese characters from the 18th century until the 20th century. The proliferation of dictionaries reflects the Kangxi emperor's personal concern for Confucian culture and to foster the standardisation of the writing system. This paved the way for the height of the 'searching for evidence' movement (kaozheng 考證) in the Qianlong era: a rigorous new philology that sparked closer scrutiny of stone inscriptions and inscriptions on archaic bronze. The fascination for characters can be seen on a screen with Shou characters, used in the background of a painting of a lady; see 'Twelve Beauties at Leisure Painted for Prince Yinzhen', late Kangxi, illustrated in China: The Three Emperors 1662-1795, London, 2005, pp.258-259. Scholars generally accept the large blue and white zun vases with Shou characters mentioned above, were ordered by the Kangxi Emperor for his grandmother, the Empress Dowager Xiaozhuang's (1613-1688) 60th birthday (corresponding to 1673 in the Gregorian calendar). Furthermore, in 1674, the major kilns in Jingdezhen were razed to the ground following the chaos and suppression of the Revolt of the Three Feudatories (1673-1681). The rebuilding of the kilns was not completed until 1684. It therefore seems likely that the present lot was also made for the occasion of an Imperial birthday before 1674. Another opinion, though less likely, is that the present lot was made after 1684, for the occasion of Empress Dowager Xiaozhuang's 75th birthday (1687, by Chinese count), which would correspond to the period when several vessels were written and signed by Gong Yuzi (攻玉子). Gong Yuzi was apparently active for only a three year period between the 26th and 28th years of the Kangxi reign (1687-1689). According to research by Lu Chenglong, 'Jianwei zhizhu - You xin faxian de yi xiao kuai cipian tan Kangxi qinghua wanshou zun' (Recognising the Whole from one Small Part: New Discoveries from a Kangxi Blue and White Ten Thousand Shou Character Zun Vase) in Gugong bowuyuan yuankan, no.6, 2002, pp.114-123, which shows a blue and white brushpot signed by Yu Gonzi; Lu argues tenuously that Yu Gongzi possibly inscribed the calligraphy for the Shou character zun vases. See a blue and white brushpot with the 'Ode to Red Cliff', Wenzhang shandou mark, signed by Gong Yuzi, illustrated in Qing Shunzhi Kangxi chao qinghua ci, Beijing, 2005, no.213. Another blue and white brushpot signed by Gong Yuzi, decorated with Shou characters, is in a private collection in Beijing an... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE BLUE AND WHITE 'MYTHICAL BEASTS' BRUSHPOT, BITONGKangxiThe cylindrical vessel boldly painted around the exterior in vibrant tones of cobalt-blue with sinuous archaistic chilong, with bifurcated tails and long scaly bodies, all writhing amidst scallop-shaped ruyi-clouds. 19.3cm (7 1/2in) diam.Footnotes:清康熙 青花瑞獸紋筆筒Provenance: Berwald Oriental Art Ltd., London, June 1996來源：倫敦古董商 Berwald Oriental Art Ltd.，1996年6月Chilong or 'hornless dragon' with bifurcated tails were a common motif originating from ancient Shang and Zhou dynasty bronze vessels. Their appearance on Qing dynasty blue and white porcelain reflects a growing academic trend known as the 'search for evidence' (kaozheng 考證) movement which began in the 17th century. Although this movement originated in a renewed scholarly interest in ancient texts and inscriptions on archaic bronzes, as literati sought a more empirical approach to understanding their ancient heritage and began questioning the received tradition, it led to a greater fascination for decorative designs adopted from ancient bronzes too.See for example a blue and white bowl with related decoration of archaistic chilong, Kangxi, in the Palace Museum, Beijing, illustrated in Qing Shunzhi Kangxi chao qinghuaci, Beijing, 2005, p.202, no.123.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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