A Viennese gilt bronze and porcelain cycling trophy,late 19th century, modelled as a mermaid holding aloft a drinking horn, raised on a waisted bronze plinth engraved 'I Preis, Internationales Radwettfahren Zehn Kilometer-Rennen - Wien 31 Mai 1891', the mount for the horn with bead and ribbon decoration, the horn with a medievalist relief of men on horseback over a relief of foliate banding, the horn to the bottom with two stylised reliefs of Celtic knots, 46.5cm highCondition ReportThe horn with craquelure and marks. Some minor nibbles to the bottom of the horn. The bronze throughout with patination.Does not appear to have been used to hold water. The glaze is inconsistent to the interior. Some marks and wear to the interior. Please see additional images.
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A pair of Neoclassical bronze table lamps,late 19th to early 20th century, in the form of twin-handled urns, the red marble neck, leading to a body with applied gilt decoration and engraved swags, on a stepped square bronze and red marble base,36cm high (2)Condition ReportWith interchangeable lamp socket and finials. Nibbles to the bases.
A small Russian nephrite carving,in the manner of Carl Faberge, modelled as a recumbent child holding an orb, with a seated frog, to the underneath with a bronze plaque with 'St Petersburg CF 1892' in relief, 5.5cm x 4cmCondition ReportWith scuffs and scratches. The bronze plaque with tarnish. The plaque slightly askew.
A group of Chinese and Japanese collectables,19th-20th century, including: a Chinese marble table screen, carved as a mountainous landscape, 28cm long, wood stand, a bronze censer, decorated with taotie masks, 10cm high, an embroidered textile with a fisherman and bats against a black ground, 155.5 x 67cm, a Japanese cloisonne box and cover, decorated with butterflies and flowers, 9cm long, three Chinese shoes, and other miscellaneous (qty)Condition Reportkettle - verdigris, handle misshapen, dents and surface scratches, cover with a small hole.Censer - verdigris, dents and surface scratches. Base soldered. Fisherman textile - loose threads, dirt marks, small holes to edges. Table screen - chips to edges, a signature to the lower left corner, wood stand with chips and surface scratches.Cloisonne box - cracks and losses to enamel, minute dents and surface scratches to the metal.Shoes - fabric tired and faded, loose threads throughout, some decoration missing, black and white shoe with holes to fabric.Dolls - larger with head restored and loose from the body, fingers damaged, loose threads. Smaller with surface scratches to head, one foot missing, loose threads.Embroidered purse - faded, loose threads, black fabric worn, splits to edges.Bonnet - tired and faded, stains to the inside, ribbons with pulled threads.Scarab textile - loose threads and crease marks throughout.
A Very Early Lacquered Bronze Buddha, possibly 10th-12th Century. This is an extremely fragile object which is commensurate with its potential age (10th-12th Century). There are traces of gilding to the body and a red band around the base. The hair particularly on the back (see pictures) clearly show the use of ground lapis lazuli which has been painted into the hair.The inside of the back of the buddha is clearly visible as the back has been open and exposed, probably to remove some valuable writing/object that had been stored inside. The damage is not visible from the front. There are traces of a material that has been applied to the interior body of the Buddha - another indication of distinct age.This Buddha is seated in the Bhumisparsha Mudra with the right hand extended towards (touching) the ground and with a very serene face. This is a sign symbolising The Buddha's enlightenment under the bodhi tree, when he summoned the earth goddess, Sthavara, to bear witness to his attainment of enlightenment. The right hand, placed upon the right knee in earth-pressing mudra, and complemented by the left hand - which is held flat in the lapin the dhyana mudra of meditation, symbolises the union of the method and wisdom, smasara and nirvana, and also the realisations of the conventional and ultimate truths. It is in this posture that Shakyamuni overcame the instructions of mara while meditating on Truth.Provenance: This Buddha was gifted to a family who were based in Peking (now Beijing) up until 1914. On their departure to return to the United Kingdom (via the Trans-Siberian route) one of their servants, who had been long serving and loyal to this family presented them with this Buddha which may have been a family heirloom. Height See decription and photographs
A 19th century Sino-Tibetan bronze figure of Buddha, Shakyamuni, late Qing dynasty, wearing elaborate robes seated in padmasana lotus position, 14 cm high to/w two other brass figures of shakyamuni, 17 cm high, three bronze immortals weights, and a smaller paper weight surmounted by a guardian lion and pup (7)
A large 20th century Thai cold-gilt bronze Buddha, Shakyamuni, cast after a 15th century Sukhothai original, modelled with serene expression and downcast eyes, wearing loose robes with hands positioned in bhumisparsha (earth touching) mudra on a shaped triangular base, 65 cm high (base 41 cm wide x 22 cm deep approx.)
An antique Japanese bronze figure of a cockerel - the bronze 36cm high on carved wooden stand CONDITION REPORTpossible foot repair and one wing tip damagedCondition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
An album of collectable Roman coins, together with an early Bronze Age arrowhead from Arreton Downs CONDITION REPORTCondition disclaimer Our team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956).Dining table, ca. 1900.Walnut wood and brass.Measurements: 80 x 130 x 110 x 110 cm (closed); 80 x 250 x 110 cm (with two extensions).Art Deco style table with an emphatic, monolithic structure, based on the expressiveness of regular geometric volumes and contrasting planes and materials. It has an extendable tabletop, almost square when folded, with a profile highlighted by a perpendicular veneered profile, evoking the forms of a frame and panel structure, in a nod to tradition. It stands on four legs in the form of octagonal, faceted and polished pillars, with an equally prismatic, undecorated base and capital. These legs are placed on a sloping pedestal with a wooden central surface and sides covered in hammered bronze, which was widely used between the end of the 19th and the beginning of the 20th century as a reminder of the old metal forging techniques. At the corners, this pedestal has openwork reinforcements with curved cut-outs.
One bearing the name FALCON, each with bronze muzzle plug, one carriage with distresseach barrel 92cm long (2)Accompanied by a letter from The Armouries, HM Tower of London addressed to Capt. Charles Struben, dd 29th April 1953, in which the Assistant to the Master of the Armouries provides some information regarding the name Falcon. In the letter he states that Lord Yarborough, the Commodore of the Royal Yacht Squadron had a number of vessels named Falcon in the 19th century. In 1829 Lord Yarborough went on a cruise with the Channel Fleet in his then named yacht Falcon which was fully armed. The yacht later went to China and became an opium clipper. The letter does state that the information 'is far from definite but may anyway form a basis for surmise'.
bronze and granite with steel bolts on a granite and steel base128cm high EXHIBITEDThe Gallery at Grande Provence, Franschhoek, Deduct, 2006 With thanks to The Angus Taylor studio for their assistance with this lot. From the exhibition catalogue: Taylor has developed a solid reputation for his accomplished and humorously ironical bronze sculptures. But now his new show 'Deduct' marks a departure from this medium that he has grown to know so well. His purpose for this show is twofold; he wished to dislodge himself from his previous comfort zone in terms of sculptural techniques and materials, and in so doing, hopes to strip away the polished surfaces of the finished piece to reveal the physical and mental processes involved in its making. Taylor works from the premise that deduction gathers a valid conclusion from a more general premise to a more specific. The process of induction involves drawing general conclusions based on a limited and specific inference. Thus, in a technocratic culture that favours simulation and speed over real-time relationships, people and things are reduced to quick-time taxonomies. Deduction implies the opposite. To deduce involves reasoning from the general to the, underscoring the need to engage with culture in terms of its flexible morphology. In this body of work, Taylor attempts to peel away the surface of his art to explore its innards, forcing the viewer to engage with the process of art making. He says in this regard: "Information overload causes the domination of inductive reasoning. I am presenting the sculpture or an idea in aspects, perspectives or in different mediums. By showing a sculpture in repetition but a variant with different defined parts or perspectives I am forcing the viewer to assemble the whole from different aspects. One gains access to the part in considering the whole. The collective defines the individual. For, in the words of Meyer Vaisman, "there is nothing more meaningful than taking meaning apart"". In this way, the induction / deduction binary is conflated in Taylor's work which, as a collection, is both scopic and expansive. Together, his use of a traditional medium like bronze with the plastic form of LED lights pokes fun at old and new canons. This exhibition, in other words, plays with the cultural and art-historical tropes of meaning making in contemporary Africa. Provided by the Angus Taylor Studio
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