STATUE DE LAMA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4801 22 cm (8 5/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF A LAMA CENTRAL TIBET, 15TH CENTURY 藏中 十五世紀 銅鎏金喇嘛像Provenance: With Claude de Marteau, Brussels, by 1970s The charismatic face, with a prominent chin, broad smile causing creases on his full cheeks, and high cheek bones, has the mark of a true portrait commemorating an unidentified monastic leader. His identity may well be known in time, given that he appears to be the subject of another gilded bronze, also of great quality, preserved in the Náprstek Museum, Prague, and inscribed 'Kham-po (Abbot) Bsod-nams-Rinch'an la' (Jisl, Tibetan Art, 1957, no. 72). An exemplary level of care has been taken by the artist to convey the variety of patterned hems and fabrics comprising the monk's vest and outer robe. Over the proper right shoulder, the vest is revealed to have a central panel of meandering lotus stems connecting large blossoms viewed from above. Maintaining the perspective, a linear chain of lotus stems and flowers runs across his back, left shoulder, and chest, along the beaded hem of his outer robe. By contrast, the revealed hem of the monastic vest depicts a flatter, continuous leafy vine against a stippled ground. Further embellishments to the outer patchwork robe are worked with chevrons and floral medallions. These patterns imitate luxurious and highly coveted brocaded silk textiles received from the early Ming imperial court. In fact, the vest's central panel seems almost directly inspired by a Ming-dynasty yellow-and-red brocade, a panel of which is held in the Palace Museum, Beijing (Zong [ed.], The Complete Collection of Treasures of the Palace Museum: Textiles and Embroideries of the Ming and Qing Dynasties, 2005, p. 116, no. 133). The close affinity with early Ming textiles and the sheer refinement of this gilded portrait locate it in the 15th century, considered a renaissance period in Tibetan art history. Further still, the particular method of engraving to pattern the garments, the distinctive broad and raised lotus petals around the base, the base's tall foot, and the gilded baseplate on the underside, align with the work of an identified Tibetan master, Sonam Gyaltsen, who is known by inscription to have created superlative gilt bronzes for at least one monastery in Central Tibet, circa 1430 (see the Jamchen Avalokiteshvara by Sonam Gyaltsen sold at Bonhams, New York, 19 March 2018, lot 3033). The eccentricity shown in revealing a couple of toes from the lama's left foot peering out from underneath the outer robe is yet another indicator betraying the hand of a bold artist who delights in including unique features beyond the prescribed format of such portraiture.This lot is subject to the following lot symbols: •• Zero rated for tax, no tax will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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STATUE DU SIXIÈME SAKYA TRIDZIN, SAKYA PANDITA KUNGA GYALTSEN, EN ALLIAGE DE CUIVRE DORÉTIBET, XIVE SIÈCLEA Tibetan inscription at the back of the lotus base, translated: 'The precious statue [of] the great Sakya Paṇ[ḍita] was commissioned by Gyeltso for the benefit of [his] kind mother and father.' Himalayan Art Resources item no. 4847 13.3 cm (5 1/4 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF THE SIXTH SAKYA TRIDZIN, SAKYA PANDITA KUNGA GYALTSEN TIBET, 14TH CENTURY 西藏 十四世紀 銅鎏金六世薩迦法王 薩迦班智達貢噶堅贊像 Provenance:With Claude de Marteau, Brussels, by 1970sFinely modeled and incised, this bronze depicts Sakya Pandita Kunga Gyaltsen (1182-1251), a spiritual ancestor of the Panchen Lama lineage within the Gelug tradition, and a great Tibetan scholar. He is one of the 'five founding fathers' of the Sakya order of Tibetan Buddhism. In 1249, under the Yuan dynasty, he became Viceroy of Tibet. Here, Sakya Pandita is commemorated with the book-and-sword attributes of Manjushri, conveying his perfected wisdom and skillful means, resulting in his attainment of Buddhahood. Distinctive features of the present bronze, such as the rice-grain motif on the hem of the master's densely patterned robe, the delineation of his finger joints, the use of a red-tinged gilding, and the large-beaded rim around the foot of the base, are also shared by the sculpture of the Khasa Malla kingdom, which ruled parts of Western Nepal and Tibet between the 12th-14th century. They strongly suggest that this sculpture originates from the vicinity of Tibet's southern border, perhaps Mustang (c.f. Lo Bue (ed.), Wonders of Lo: The Artistic Heritage of Mustang, 2010).For further information on this lot please visit Bonhams.com
STATUE DE LOKESHVARA PADMAPANI EN ALLIAGE DE CUIVRE DORÉDENSATIL, TIBET CENTRAL, XIVE SIÈCLEHimalayan Art Resources item no. 4836 26.1 cm (10 1/4 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF LOKESHVARA PADMAPANI DENSATIL, CENTRAL TIBET, 14TH CENTURY 丹薩替 藏中 十四世紀 銅鎏金蓮華手觀音像 Provenance: With Claude de Marteau, Brussels, by 1975 Depicting the bodhisattva Avalokiteshvara holding a lotus, this sculpture's refined modelling, thick gilding, and meticulous inset jewelry exemplifies work executed for wealthy Tibetan monasteries by Newari master craftsmen. While several stylistic features relate to contemporaneous figures produced for worship in Nepal, such as the bodhisattva's broad Malla-style forehead, the near-pristine preservation of the sculpture indicates it was venerated in Tibet. In fact, the specific treatment of the base, with its flat back, beaded rims, and tall plump lotus petals is a quintessential feature of sculptures produced by Newari artisans for Densatil and neighboring monuments during the last quarter of the 14th century. From the late-13th to 15th century, the early Kagyu order known as the Phagmo Drupa established Densatil as their monastic seat of power and commissioned eight lavishly decorated monumental stupas, known as tashi gomang ('many doors of auspiciousness') in the monastery's main hall. These multi-tiered structures represented one of Tibet's great artistic wonders and were covered in gilt bronze sculptures and relief panels.The present sculpture's subject and scale, along with the finishing of its back, suggest it was initially created for the fourth tier of one such tashi gomang stupa, where it would have been paired with a seated attendant figure of Hayagriva (Estournel, www.asianart.com/articles/densatil/, figs. 27 & 28). The sculpture would have almost certainly flanked a Buddha image, but it is also possible that it stood by a Buddha image on an altar, either at Densatil or at neighboring Neudong or Tsetang. Helping to locate the sculpture to the 14th century, stylistic traits such as the long tresses, upswept armbands, and jewelry with uniformly circular inset stones are shared by a group of sculptures produced by Newari artists for the Yuan imperial court in the late 13th to 14th centuries, as well as a 14th-century Nepalese Vajradhara in the Museum Rietberg, Zurich (Bigler, Before Yongle, 2015, pp. 74-91, nos. 17-20; Uhlig, On the Path to Enlightenment, 1995, pp. 60-1, no. 21, respectively). On the whole, Densatil sculpture of the 14th century is more refined than that of the 15th. Other closely related Densatil sculptures attributed to the 14th century are published in Czaja and Proser (eds.), Golden Visions of Densatil, 2014, pp. 116-7, 136, & 167, nos. 21-2, 31, & 42. Three related Lokeshvara Padmapani sculptures are preserved in the Potala Palace, Lhasa (von Schroeder, Buddhist Bronzes in Tibet, 2002, pp. 970-71, nos. 235B-E).For further information on this lot please visit Bonhams.com
STATUE DE VAJRASATTVA EN ALLIAGE DE CUIVRE DORÉTIBET, XVE SIÈCLEHimalayan Art Resources item no. 4853 24 cm (9 1/2 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF VAJRASATTVA TIBET, 15TH CENTURY西藏 十五世紀 銅鎏金金剛薩埵像Provenance:With Claude de Marteau, Brussels, by 1970sVajrasattva (lit. 'Vajra Being') is identified by the vajra he holds before his chest and the bell he cradles against his hip. He represents the Primordial Buddha, and as such is identical with Vajradhara. Sometimes Vajrasattva is also considered a sixth Presiding Buddha (Tathagata). He is usually invoked during a purification rite undertaken before most tantric instruction in Tibetan Buddhism. Seated in double-lotus posture (vajraparyankasana) above a double-lotus base, the Primordial Buddha raises his chin to impart an uplifting expression. The flared design of his earrings follow the aesthetic traditions of the Kathmandu Valley, and is one of several features indicating the bronze was produced by a Newari master craftsman for a Tibetan patron. The sculpture compares favorably with related examples of Vajradhara published in von Schroeder, Indo-Tibetan Bronzes, 1981, p. 430, nos. 113B-C).For further information on this lot please visit Bonhams.com
STATUE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉTIBET, XIVE SIÈCLEHimalayan Art Resources item no. 4856 22.5 cm (8 7/8 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF VAJRADHARA TIBET, 14TH CENTURY 西藏 十四世紀 銅鎏金金剛總持像 Provenance: With Claude de Marteau, Brussels, by 1970s Vajradhara is the primordial source from which all wisdom and compassion originate, and is here nobly depicted in the upright-seated, 'adamantine-throne' position (vajraparyankasana). Since his true, dharmakaya form is empty and ineffable to the unenlightened mind, Vajradhara is represented with an appealing 'reward body' (sambhogakaya), which portrays the bliss that comes from experiencing the dharma for oneself, while also offering a supple body adorned with resplendent jewelry and sumptuous clothing for the enjoyment and contemplation of practitioners. Vajradhara crosses his hands over his heart in vajrahumkara mudra, which symbolizes the perfect unity of wisdom and compassion needed to understand—and dissolve into—his true dharmakaya existence. There are many characteristics of this inviting gilt bronze that reflect the Nepalese tradition of image-making from the Kathmandu Valley. For example, Vajradhara's wide forehead and broad shoulders, combined with the delicate modelling of his fingers and toes, are classic elements of Newari sculpture. The relatively modest application of jewelry and the mostly un-patterned sheer lower garment both allow large swathes of his sensuous physique to be admired without visual obstruction, epitomizing a core Newari aesthetic rooted in Indian devotional art. More specifically, the incised floral scroll decoration that is applied to the hems of his garment, in addition to the looped sash wrapped around his tapered waist, are characteristic of Newari sculptures produced for worship in Nepal in the 14th century, such as an Indra sold at Christie's, New York, 17 March 2015, lot 11. On the other hand, the construction of the lotus base to accommodate and seal inserted consecrations, the lapis painted within the hair, and the choice of opaque turquoise settings instead of translucent gemstones betray Tibetan religious beliefs and practices, indicating that the Newari master-craftsman produced this handsome sculpture for a Tibetan patron. A group of similar 14th-century Newari-Tibetan bronzes located in Shalu Monastery are published in von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, pp. 959-63, nos. 229C, 230B-C, & 231E). Additionally, see a gilt-bronze image of Manjushri sold at Sotheby's, New York, 23 March 2007, lot 55.For further information on this lot please visit Bonhams.com
STATUE DE BOUDDHA SHAKYAMUNI EN ALLIAGE DE CUIVRE DORÉTIBET, XV/XVIE SIÈCLEHimalayan Art Resources item no. 4846 14 cm (5 1/2 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHATIBET, 15TH/16TH CENTURY西藏 十五/十六世紀 銅鎏金釋迦牟尼像Provenance:With Claude de Marteau, Brussels, by 1970sIndicated by the placement of a vajra on top of the lotus base and the figure's right hand in bhumisparsha mudra, this gilt-bronze commemorates Shakyamuni's enlightenment underneath the bodhi tree at Bodh Gaya in Northeastern India. The artist has given the Historical Buddha a cheerful demeanor, perhaps intending to dispel any potential anger or concern within the viewer. Closely related sculptures are published in von Schroeder, Indo-Tibetan Bronzes, 1981, pp. 431 & 440, nos. 113F & 118A.For further information on this lot please visit Bonhams.com
TRIADE DE PADMASAMBHAVA ET SES ÉPOUSES, MANDARAVA ET YESHE TSOGYAL, EN ALLIAGE DE CUIVRE DORÉTIBET, CIRCA XVIIE SIÈCLEWith an original silver skull-cup (kapala) mounted within Padmasambhava's left hand.Himalayan Art Resources item no. 4810 24 cm (9 1/2 in.) high Footnotes:A GILT COPPER ALLOY TRIAD OF PADMASAMBHAVA AND HIS CONSORTS, MANDARAVA AND YESHE TSOGYALTIBET, CIRCA 17TH CENTURY西藏 約十七世紀 銅鎏金蓮花生大士與曼達拉娃及益西措嘉像Provenance:With Claude de Marteau, Brussels, by 1970sOne of the finest known examples of this rare, complete subject, the present gilt bronze triad depicts Padmasambhava—the 'Lotus Born'—according to his creation myth, joined by his two wives. Padmasambhava is credited with introducing Buddhism in Tibet in the 8th century. He is also the root guru of the Nyingma order, who regard him as a 'Second Buddha' and maintain he planted treasure teachings (terma) throughout the Himalayas to be discovered when the world is ready. According to traditional biographies, Padmasambhava was miraculously born in the center of a lotus blossom on Lake Danakosha in Oddiyana, which this sculpture commemorates. In delightful detail, two fish, a duck, a goose, an auspicious conch, and a mythical crocodile (makara) populate the lake's swirling vegetal waters envisioned by the ensemble's base. Padmasambhava is joined by his two consorts and close disciples, each smaller and seated on a lotus flower stemming from the same central stalk. His first consort, Mandarava (viewer's left), was a princess from Himachal Pradesh in Northwestern India and is therefore depicted wearing Indianized dress consisting of a pleated sari, large plug earrings, and jewelry with triangular foliate designs. She raises her hands in the age-old gesture of entreaty (anjali mudra), and the branching lotus stem below her also blooms a blue lily. His second consort, Yeshe Tsogyal (viewer's right), hailed from an aristocratic family in Central Tibet, and is therefore dressed in a heavy royal Tibetan cloak and wears floral-medallion earrings with small piercings. She wields the scented skull cup, a vajrayana implement, while displaying the gesture of teaching (vitarka mudra) with her other hand. Below, her stem also sprouts a white lotus bud. Tsogyal, whose name means 'Victor of the Lake', is considered the first Tibetan to have achieved Buddhahood in a single lifetime. The present ensemble ranks highly among a range of other examples depicting this subject listed as HAR set no. 5068. Exquisitely cast, thickly gilded, and featuring a particular style of long, plump lotus petals with frilled tips, this sculpture joins a growing body of sculptures being attributed to Tashi Lhunpo monastery in Shigatse, Central Tibet (for further discussion, see Luo, 'Tashi Lhunpo Statuary: Karma and Mt Meru', in Bonhams, Hong Kong, 26 November 2019). Tashi Lhunpo is the traditional monastic seat of the Panchen Lama, the Gelug order's second-in-command, and maintained a particularly close relationship with the Qing court during the reign of the Kangxi emperor (1662-1722). A related bronze of Panjaranatha Mahakala was sold at Bonhams, New York, 19 March 2019, lot 928.For further information on this lot please visit Bonhams.com
STATUE DE MANJUSHRI EN ALLIAGE DE CUIVRE DORÉDYNASTIE QING, PÉRIODE KANGXI (1662-1722)Himalayan Art Resources item no. 4858 13.2 cm (5 1/4 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF MANJUSHRIQING DYNASTY, KANGXI PERIOD (1662-1722)清 康熙（1662-1722年）銅鎏金文殊菩薩像 Provenance:With Claude de Marteau, Brussels, by 1970sRetaining the hilt of the sword he uses to cut through ignorance, this serene sculpture depicts Manjushri, the Bodhisattva of Perfected Wisdom. He is adorned with a crown, jewelry, and fine silks consisting of a scarf flowing in and around his shoulders and a lower garment with carefully incised floral hems.Like the Yuan and Ming dynasties, the Manchus of the Qing dynasty (1644-1911) continued state sponsorship of Tibetan Buddhism as a way to legitimize and consolidate their rule in China, Mongolia, and Tibet. Forming a teacher-and-disciple relationship with the Gelug Order, the Qing emperors of the 17th and 18th centuries were viewed as the living incarnations of Manjushri, and images such as the present lot were likely made for one of the many Buddhist temples constructed under their imperial patronage. A closely related gilt bronze Manjushri of similar size, although with necklaces that would indicate it was cast after Kangxi period, was sold at Sotheby's, Paris, 23 June 2016, lot 160.For further information on this lot please visit Bonhams.com
STATUE DE PALDEN LHAMO EN ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE SIÈCLEHimalayan Art Resources item no. 4837 20.8 cm (8 1/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF PALDEN LHAMOQING DYNASTY, 18TH CENTURY清 十八世紀 銅鎏金吉祥天母像Provenance:With Claude de Marteau, Brussels, by 1970sThis sizable depiction of Palden Lhamo (lit. 'Glorious Goddess') portrays the only female among the Eight Dharma Protectors (dharmapala). A myth surrounding her tells of how, moved by compassion for all sentient beings, Palden Lhamo threatened to kill her own son if her husband would not cease from performing human sacrifices. Forced to carry out her ultimatum, she used her son's flayed skin as a saddle whilst fleeing the kingdom.Palden Lhamo, especially in her two-armed form, enjoyed great popularity during the Qing dynasty and a good number of gilt bronze images were created. As with the present bronze, she is often depicted seated sideways atop a mule while striding through a sea of blood and body parts on a mountain plateau. She holds a skull cup in her left hand, while a ritual staff would have been placed in her raised right hand. Exposed fangs, bulging eyes, a skull diadem, and a garland of freshly severed heads express her vehemence. Compare the treatment of the figure and the stylized base to a closely related 18th-century Palden Lhamo sold at Bonhams, Hong Kong, 26 November 2019, lot 22. Another example with similarly exaggerated flaming hair is preserved in the Rose Art Museum, Massachusetts (Rhie & Thurman, Wisdom and Compassion, New York, 2000, p. 303. no. 116).For further information on this lot please visit Bonhams.com
STATUETTE DE BOUDDHA EN ALLIAGE DE CUIVRE DORÉTIBET, XVIIE SIÈCLETibetan number inscribed on reverse '20' Himalayan Art Resources item no. 4843 12.5 cm (4 7/8 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF BUDDHA TIBET, 17TH CENTURY 西藏 十七世紀 銅鎏金佛陀像 Provenance:With Claude de Marteau, Brussels, by 1970s This image depicts the Buddha Shakyamuni with his arm outstretched, calling upon the Earth to witness his enlightenment while his other hand gently cradles an alms bowl. Because of the inscribed Tibetan number located behind his seat, it is likely that this bronze belongs to a retinue of thirty-five Confession Buddhas. These Buddhas are mentioned in the Triskhandhadharma-sutra, or the Sutra of the Three Heaps, a Mahayana text that was first introduced by the Gelugpa founder Je Tsongkhapa (1357-1419). It provides a route to absolution for those who had violated their Buddhist vows by instructing practitioners to offer gifts to the thirty-five Confession Buddhas. While the fine application of lapis blue pigment suggests that this bronze was intended for a Tibetan patron, Shakyamuni's slender proportions and large, beaked nose indicate that the artist was working in a revivalist style of the Nepalese Licchavi period (c. 400-750 CE). For comparisons with other similar images of the Buddha in bhumisparsha mudra and holding an alms bowl, see one sold at Nagel Auktionen, Stuttgart, 6 June 2015, lot 1550, and another image sold at Bonhams, San Francisco, 18 June 2007, lot 616. Also compare with similar bronzes in the Licchavi-Revival mode, for instance a larger image of Maitreya sold at Bonhams, Hong Kong, 21 December 2021, lot 1006.For further information on this lot please visit Bonhams.com
STATUE DE VISHNU EN ALLIAGE DE CUIVRE INCRUSTÉ D'ARGENTGRANDE RÉGION DU KASHMIR, VII/VIIIE SIÈCLEHimalayan Art Resources item no. 4842 16.9 cm (6 5/8 in.) high Footnotes:A SILVER INLAID COPPER ALLOY FIGURE OF VISHNUGREATER KASHMIR, 7TH/8TH CENTURY克什米爾 七/八世紀 銅錯銀毘濕奴像 Published:Arman Neven, Sculpture des Indes, Brussels, 1978, p. 77, no. 136. Exhibited: Sculpture des Indes, Société Générale de Banque, Brussels, 8 December 1978 - 31 January 1979. Provenance:With Claude de Marteau, Brussels, by 1970sThis distinctive bronze of Vishnu follows an early aesthetic tradition placing the chakra and mace in his lower hands, where they could serve as structural supports for the sculpture. This function is similarly exhibited by a terracotta sculpture from the Gupta period in the Metropolitan Museum of Art (1987.142.293). A rare bronze representation of Surya attributed to the 6th/7th century in the Ashmolean Museum, Oxford (EA1986.2), also employs this device, but the attributes are personified as attendant figures. The figure's pronounced pectorals, wild curly tresses recalling Gandharan flowing locks, and simple three-leaf crown, all suggest an attribution to the region of Greater Kashmir, at the crossroads of Northwest India, the Himalayas, and Central Asia. The region thus spanned Himachal Pradesh, Swat, and even beyond the Khyber Pass, modern-day Afghanistan. For instance, the Ashmolean Surya, which displays a similar facial type with added silver inlay, is attributed to the Kabul Valley. An early Vajrapani attributed to 6th-/7th-century Kashmir also shares these features, with the addition of a svelte, lightly clad physique similar to that of the present sculpture, a silhouette derived from the Gupta period (see Bonhams, New York, 18 March 2013, lot 40). An Avalokiteshvara attributed to 7th-century Swat provides a further landmark in the corpus of enigmatic, early Northwestern Indian bronzes which the present sculpture belongs to (von Schroeder, Indo-Tibetan Bronzes, 1981, p. 83, no. 5A).For further information on this lot please visit Bonhams.com
SANCTUAIRE DE SURYA EN LAITONHIMACHAL PRADESH, XIIE SIÈCLEHimalayan Art Resources item no. 4838 26.3 cm (10 3/8 in.) high Footnotes:A BRASS SHRINE OF SURYAHIMACHAL PRADESH, 12TH CENTURY喜馬偕爾邦 十二世紀 太陽神銅像 Published:Arman Neven, Sculpture des Indes, Brussels, 1978, p. 224, no. 166.Exhibited: Sculpture des Indes, Société Générale de Banque, Brussels, 8 December 1978 - 31 January 1979.Provenance:With Claude de Marteau, Brussels, by 1970sThis simple yet striking shrine features Surya flanked by his clerk and measurer, Pingala and Danda. The chief attributes of Surya are presented as massive, batten-like scepters. His face, crown, and the jewelry across his torso are worn almost completely smooth, and only the form of the sword across his thighs is discernible.In a comprehensive survey of sculpture from Himachal Pradesh, closely related examples are attributed to the 11th century, based on the structure of the throne (Postel et., al, Antiquities of Himachal, 1985, figs. 179 & 182). Also compare the stepped base and lotiform motif with another bronze group of Lakshminarayana from the collection of Dr. Leo S. Figiel at the Smithsonian's National Museum of Asian Art (S1992.2).For further information on this lot please visit Bonhams.com
A Danish silver kneeling deer brooch, by Georg Jensen, designed by Arno Malinowski, No. 256, post 1945 maker’s marks and hallmark for London 1957, numbered ‘256’, length 45mm. £150-£200 --- Arno Malinowski (1899-1976) was multi talented artist, being a successful silver designer, sculptor, ceramist, engraver and medalist. He trained at the Royal Danish Academy of Fine Arts and School of Sculpture in Copenhagen from 1919-1922 and worked for Georg Jensen between 1936-1944 and again from 1949-1965, creating designs for jewellery and hollowware. His pieces tend to be executed in low relief medallist form, his designs often including stylised animals; the Art Deco style Kneeling Deer being one of his most popular which he designed in 1937. He received several awards for his designs for objects made of silver, porcelain and bronze, including a silver medal at the Paris international exposition in 1925, the Eckersberg Medal (1933) and the Carlson Prize (1936).
A WWII period female Captain's 4 pocket khaki tunic of the Indian Medical Service, named to "K Patricia Roe", with single bronze collar badge (the other missing), brass buttons (worn), brass shoulder titles, and WWII medal ribbons: Italy Star, Defence and War medal; also a collar less khaki shirt, similarly named. GC (2) £50-70
An exceptional large oval Japanese bronze Censor, Meiji (1868 - 1912), with two opposing full body dragon handles, on a Greek key border, the tapering body with further dragons against a trellis ground on four dragon mask legs, the base with a nine character mark, 12"h x 18" w (30cms x 46cms). (1)
A Japanese bronze Censor and cover, with bonsai finial, Meiji period, with a Greek key and on three legs, 5 1/2" (14cms), a small carved soapstone Brush Rest, a small Satsuma Vase, 6" (15cms), a pair of Japanese porcelain figural Brush Washers, 8" (20cms); and another carved soapstone Group with figures in a boat. (a lot)
The Pliny Doves marble Group, modelled with four doves on a marble urn, 8" (20cms), a Chinese carved soapstone Brush Wash, a Japanese gilt bronze dragon Stand, 6 1/2" (17cms), an onyx Lamp, with ruby reservoir, 11 1/2" (29cms), and four Borden certified fine bone china Festival of Flowers Fairy Plates. (8)
λ JOHN FARNHAM (BRITISH B. 1942)BEAR FORMBronzeSigned and numbered 3/7 (on the base)90 x 90cm (35¼ x 35¼ in.)As well as being an established sculptor in his own right, Farnham was assistant to Henry Moore from 1960 until the latter's death in 1986.Provenance: Property of Elizabeth Gage MBECondition Report: Overall there are scratches, knocks and abrasions consistent with age and use.Variable patina and colour. There is an electronic box fixed to the pebble plinth with a metal pile containing a wire; the base signed and numbered; the pebble plinth with a crack around the top where the bronze base meets it, there are other cracks and losses to the pebble set plinth; there is some movement when wobbled between the sculpture and the base.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
AFTER ISIDORE BONHEUR (1827-1901)A PATINATED METAL MODEL OF A MARE AND FOALEARLY 20TH CENTURYImpressed I Bonheur to base21cm highProvenance: With Alessandro Durini Di Monza (New York) label to undersideCondition Report: Marks, knocks, scratches, abrasions consistent with age and useThe patina is worn to the backs of the horses and is generally uneven, we have catalogued this as patinated metal as does not appear to be made of bronze but certainly has a bronzed appearance in placesoverall solid and stableSplits and cracks to the ebonised plinth and the base is liftingPlease refer to additional images for visual reference to condition Condition Report Disclaimer
AFTER MICHELANGELO BUONARROTI (ITALIAN, 1475-1564), A BRONZE MODEL OF LORENZO DE' MEDICILATE 19TH CENTURY, POSSIBLY F. BARBEDIENNE FOUNDRYPortrayed in armour and seated, his head turned to dexter, being a copy from the tomb of Lorenzo de' Medici, Duke of Urbino, in the New Sacristy of San Lorenzo, Florence44cm highProvenance: Private Collection, Oxfordshire. Purchased from Mallams in 2007Cf. examples sold at Christies and Bonhams of this figure each marked for the renowned foundry.
LOMBARD SCHOOL, AFTER THE MANNER OF BOCCACCINO & DEI CAMPI A patinated bronze plaquette of Ecce Homo 11.3cm high, 8.4cm wide; AND AFTER GIAN FREDERICO BONZAGNAA patinated bronze relief plaquette of the Adorazione dei Pastori (Adoration of the Shepherds)19cm high, 14.4cm wideProvenance: With Alessandro Durini Di Monza (New York) label verso
A FRENCH BRONZE 'OINOCHOE' WINE EWER IN THE ETRUSCAN STYLE, LATE 19TH CENTURY In the form of a head 21cm high Condition Report: There are some marks, scratches, and abrasions consistent with age and use.Rubbed around lower area of spout above head. Loss to surface edges of base. Necklace and headband and eyeballs slightly silver in colour Please see the additional photographs as a visual reference of condition and which form 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. 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 description All 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 SET OF TWO LARGE BRONZE FIGURES OF CHILDREN SECOND HALF 20TH CENTURY Unpatinated, one depicted seated, one lying down, apparently unmarkedthe lying down figure 75cm long, the seated child with knees together 54cm highCondition Report: The surface colour is uniform, they do not appear to have been used or stored outside - there is no obvious verdisgris or discolouration one would expect if they had beenThese are not old as per the catalogue description and the condition and appearance reflects this overall Please refer to additional images for visual reference to conditionCondition Report Disclaimer
A CONTINENTAL BRONZE MODEL OF A RECUMBENT LION 17TH CENTURY Modelled caparisoned with a lambrequin cover seated on black slate base 14cm high, 15.5cm wide, 9cm deep overall Condition Report: Chips to the slate base Metal with some dirt and discolouration and patinaCondition Report Disclaimer
A PAIR OF PARCEL GILT AND PATINATED BRONZE CANDLESTICKS, IN LOUIS PHILIPPE STYLE19TH CENTURY AND LATER ADAPTED AS TABLE LAMPSEach with Campana urn above foliate cast drip pans on reeded stems and on circular spread bases; with tapering and pleated fabric shades above54cm high overallCondition Report: Marks, knocks, scratches, abrasions consistent with age and useThey appear to be very late 19th century and drilled to take a wire, there are no electrics fitted - Please note these are sold as decorative items only and not as working electrical lamps - these would need to be rewired and tested by a professional electrician prior to use in a domestic setting.Some rubbing and wear to the gilt surfacesThe shades appear to be 'new'Please refer to additional images for visual reference to conditionCondition Report Disclaimer
A PAIR OF FRENCH BRONZE AND ORMOLU FIGURAL TABLE LAMPS18TH OR 19TH CENTURY AND LATER ADAPTED Previously chenets, each with opposing patinated figure of a winged cherub above pierced scrolling shell and rocaille baseeach 66cm high overall including fitments, the base 34cm wideProvenance: Private collection removed from 9, Royal Crescent, BathCondition Report: These would seem to possibly include elements of the 1760 period- together with later metal ware. The surface is uniformly dirty and will benefit from a clean. Some elements look to be possibly gilt brass but the chenets have not been taken apart to test the component parts. Later wiring/light fixing will need examination and testing by electrician to ensure safe use- each floral top nozzle drilled to accommodate wire and adapted to house light fitment. Some loose floral mounts and a few small vacant screw holes suggesting further mounts would have been present originally- now missing. Both putti missing whatever they may have originally have been holding.Condition Report Disclaimer
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