There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA CHINESE BRONZE INCENSE BURNER QING DYNASTY OR LATER The compressed globular body raised from a short spreading foot and with a slightly everted rim, flanked by two mythical mask handles to the shoulder, the base with a four character shi gu zhi bao mark, 1.3kg, 17.8cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A LARGE CHINESE ARCHAISTIC BRONZE VESSEL AND COVER, GUI QING DYNASTY OR LATER The sides decorated with mythical birds with coiled bodies, reserved on a leiwen ground and flanked by a pair of loop handles issuing from the beaks of phoenix, the interior cast with archaistic script, with a reticulated wood cover with jade finial, 5kg, 34cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A CHINESE BRONZE TRIPOD INCENSE BURNER QING DYNASTY OR LATER The compressed globular body surmounted by a short waisted neck and a flat everted rim, supported by three splayed legs, with a four character Xuande mark, 2.8kg, 15cm wide. Provenance: from an English private collection, London, acquired prior to 2000.
A CHINESE BRONZE CIRCULAR INCENSE BURNER AND COVER QING DYNASTY OR LATER The cover decorated with three pierced panels of prunus, chrysanthemum and lotus, the base with a band of lotus scrolls, the base with a four character mark, 858g, 13.5cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A CHINESE SILVER-WIRE INLAID BRONZE TRIPOD INCENSE BURNER, DING QING DYNASTY With a circular rounded body, inlaid in Shi Sou style, with taotie masks and with further archaistic silver inlay to the tall, tapering, cylindrical legs, the rim mounted with loop handles, 707g, 15cm. Provenance: purchased from Christie's London, 3rd October 1996.
A CHINESE EMBOSSED COPPER AND GILT-BRONZE INCENSE BURNER, GUI 17TH CENTURY The compressed circular body decorated with a wide band of mythical creatures between key fret bands inlaid in silver, the handles cast as dragon heads, the base with a six character yun jian Hu Wen Ming zhi mark, 696g, 20cm. Cf. Koller, 6th June 2018, lot 185, for a closely related incense burner.
A CHINESE BRONZE FIGURE OF AMITAYUS BUDDHA 18TH CENTURY Seated in dhyanasana on a rectangular plinth with waisted foliate corners, with hands held in dhyana mudra, wearing elaborate jewellery and robes draped over the left shoulder, 613g, 19.5cm. Provenance: from an English private collection, London, acquired prior to 2000.
A CHINESE PARCEL-GILT AND LACQUERED BRONZE SEATED BODHISATTVA 17TH CENTURY The figure wearing long flowing robes with floral borders, holding a treasure bowl in front of her chest, adorned with jewellery and a crown, fitted to a metal stand, 1.35kg, 27cm. (2) Provenance: from an English private collection, London, acquired prior to 2000.
A CHINESE PARCEL-GILT BRONZE FIGURE OF BUDDHA QING DYNASTY OR LATER Depicted seated in dhyanasana on a double lotus pedestal, with hands in vitarka mudra, wearing a loose flowing sanghati with floral borders, with long earlobes, an urna on the forehead and hair in tight curls, the plate beneath engraved with a visvavajra, 9kg, 33cm.
A BURMESE BRONZE FIGURE OF BUDDHA 18TH CENTURY Seated in dhyanasana on a pedestal with incised lotus petals, with his left hand in dhyana mudra, the right hand in bhumisparsa mudra, the face with serene expression, pendulous earlobes and tight curls surmounted by a ushnisha, 5kg, 40.5cm. Provenance: from an English private collection, London, acquired prior to 2000.
A SRI LANKAN BRONZE FIGURE OF BUDDHA 20TH CENTURY Seated in dhyanasana with his hands in bhumisparsa mudra, dressed in a sanghati with the folds draped over the left shoulder, the face with wide features flanked by pendulous earlobes, the hair in tight curls rising to the ushnisha and topped with a siraspata, 6.5kg, 27.5cm. Provenance: from an English private collection, London, acquired prior to 2000.
A LARGE THAI BRONZE FIGURE OF BUDDHA 16TH/17TH CENTURY Seated on a high stepped plinth in dhyanasana, he holds his left hand upon his lap in dhyana mudra and touches the ground with his right hand in bhumisparsha mudra, wearing a samghati, his hair in tight curls rising to the ushnisha surmounted by a flame, a wood stand, 15kg, 54cm, (55cm overall). (2) Provenance: from an English private collection, London, acquired prior to 2000.
AN INDIAN BRONZE FIGURE OF MANIKKAVACAKAR 18TH CENTURY OR EARLIER Standing in tribhanga upon a lotus pedestal, with his right hand in vitarka mudra, and the left holding a manuscript, wearing beaded jewellery, the face with almond-shaped eyes and pendulous pierced earlobes, 8kg, 38.5cm. Provenance: from an English private collection, London, acquired prior to 2000. Cf. Christie's New York, 21st March 2012, lot 750 for a related figure. Manikkavacakar was a prominent 9th-century saint devoted to the Hindu God Siva, he is also a poet who wrote Tiruvasakam, a book of Shaiva hymns.
A COLLECTION OF THIRTEEN CHINESE BRONZE MIRRORS HAN DYNASTY AND LATER Variously decorated with mythical beasts, birds, Chinese characters, floral motifs and 'TLV' designs, some with malachite markings and encrustations, one mirror with a label for Christie's, 16.8cm max. (13) Provenance: purchased from Christie's London, 19th January 1995, lot 43.
A SMALL COLLECTION OF CHINESE ITEMS QING DYNASTY Comprising: two soapstone seals inscribed with calligraphy, a pale celadon jade two handled cup, two bronze lion dog scroll weights, an agate snuff bottle and a malachite gourd-shaped ewer and cover, with a wood stand, 11cm max. (9) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
AN UNUSUAL CHINESE BLUE AND WHITE 'ANIMALS' VASE LATE QING DYNASTY Painted with zodiac and other animals, the base with a Xuande mark, together with a small bronze tripod incense burner with a four character Xuande mark, 453g the incense burner, 23cm the vase. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A CHINESE GILT-DECORATED 'BRONZE IMITATION' ARCHAISTIC VASE, POU PROBABLY REPUBLIC PERIOD The bulbous body raised on a slightly flared foot, decorated with narrow band of kui dragons and mythical beast masks divided by flanges, the shoulder with four mask handles, applied with mottled olive-green glaze, splashed in turquoise and gilt to simulate bronze patina and malachite encrustation, the base with an impressed four character Qianlong mark, 14.5cm.
Giovanni Schoeman (South Africa 1940-1980) - A retro mid Century cast resin wall plaque of Art Nouveau influence having a varying sized blocks with each having Goddesses / Gods decorated in relief. Varying tones of bronze with red and silver coloured blocks throughout. Signed by the artist. Measures approx; 29cm x 20cm.
A collection of LOTR Lord Of The Rings diecast model figures / figurines and a pewter chess set. The x25 hand painted New Line Production figures on a diorama display stand and the pewter and bronze effect chess set depicting characters including Gandalf, Denethor, Orc Soldiers, Boromir, Aragorn, Eomer and others. Some small elements may be missing.
From the private collection of a continental ladyA DIAMOND RING, BY CARLO ILLARIO FOR FASANOComposed of wavy lines of brilliant-cut diamonds interspersed by further wavy lines of polished gold, mounted in 18K gold, signed Fasano, with maker's mark for Carlo Illario, ring size MBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Diamonds: approx. 0.28ct total, unable to assess colour due to yellow mount, estimated clarity VS-SIStamped 750 for 18K gold located inside hoop as well signature and maker's markNormal signs of wear, overall in good conditionTotal gross weight approx. 10.3g
From the private collection of a continental ladyA RUBY AND DIAMOND DRESS RING, BY CARLO ILLARIO FOR FASANOThe central cushion-shaped ruby within collet-setting, between calibré-cut ruby shoulders, between calibré-cut diamonds, mounted in 18K gold, diamonds approximately 2.50cts total, signed Fasano, Italian registry mark '26AL' for Carlo Illario, ring size Q½Born to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Central ruby: please note the weight to be very approximate due to collet setting, approx. 2.10cts, of purplish-red hue, good transparency, medium to dark tone, facets are smoothRemaining rubies: of purplish-red hue, medium to dark tone, good transparency, overall well matched in colourDiamonds: approx. 2.50cts total, unable to assess colour due to yellow mount, estimated clarity VSSignature and Italian assay mark located inside the hoop, 750 for 18K gold located inside hoopMinor signs of wear, overall in good conditionTotal gross weight approx. 8.6g* Please note that the ruby was verbally tested at GCS laboratory in London in February 2022. It was found to be natural, Thai origin with indications of heating with minor residue in healed fissures.
From the private collection of a continental ladyAN ENAMEL PENDANT, BY CARLO ILLARIO FOR FASANOThe white oval plaque with enamel baronial family coat of arms depicting three bull’s heads on a red shield crowned by a coronet and knights helmet, the textured and foliate gold frame with similar bale, mounted in 18K gold, signed Fasano, Italian registry mark ‘26AL’ for Carlo Illario,, length (including bale): 7.2cm, width 4.8cmIllario's workshop was able to confirm that this ring was a unique piece made in the 1970s for Fasano.Born to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Minor signs of wearSignature and maker's mark located on loopMinor signs of wear, overall in good conditionTotal gross weight approx. 35.4g
From the private collection of a continental ladyA MAGNIFICENT AQUAMARINE, SAPPHIRE AND DIAMOND DRESS RING, BY CARLO ILLARIO FOR FASANO, CIRCA 1970The rectangular-cut aquamarine weighing 13.30cts within a double four-claw setting, between calibré-cut sapphire and brilliant-cut diamond shoulders, mounted in 18K gold, signed Fasano, partial Italian registry mark for Carlo Illario, with document, with maker’s case, ring size L½Illario’s workshop was able to confirm that this ring was a unique piece made in the 1970s for FasanoAccompanied by a document from a Instituti Analisi Gemmelogiche in Valenza (Italy) stating that the aquamarine is weighing 13.304cts and is natural. Report number VKX181091Born to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Aquamarine: of blue hue, medium tone, good transparency, facets are smoothSapphires: of blue hue, medium tone, good transparency, overall well matched in colourDiamonds: unable to assess colour due to yellow mount, estimated clarity VSItalian assay mark for Illario.Minor signs of wear, overall in good conditionTotal gross weight approx. 13.8g
From the private collection of a continental ladyA DIAMOND SINGLE-STONE RING, BY CARLO ILLARIO FOR FASANOComposed of a cut-cornered step-cut diamond weighing approximately 2.50cts within collet-setting, to a plain hoop, signed Fasano, with Italian registry mark for Carlo Illario, ring size LBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Principal diamond: please note that the diamond was gauged within collet-setting, approx. 2.50cts, unable to assess colour due to yellow mount, estimated clarity VS2-VS1Superficial signs of wear, overall in good conditionTotal gross weight approx. 9.4g
From the private collection of a continental ladyA DIAMOND AND SAPPHIRE PENDANT ON CHAIN, BY CARLO ILLARIO FOR FASANO, CIRCA 1990Of bombé design, pavé-set with brilliant-cut diamonds and calibré-cut sapphire highlights, with cabochon sapphire accent, suspending from a cable-link chain, both mounted in 18K gold, diamonds approximately 1.50ct total, both signed, pendant with Italian registry mark for Carlo Illario in Valenza, pendant length 3.1cm, chain length 53cmBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Diamonds: approx. 1.50ct total, unable to assess colour due to yellow mount, estimated clarity VSSapphires: of blue hue, medium to dark tone, facets are smooth, overall well matched in colourNormal signs of wear, overall in good conditionTotal gross weight approx. 18.4g
A pair of 19th century Louis XVI style satinwood and mahogany pedestals Applied with gilt bronze mounts, each of square tapering form and mounted with a medallion of flora, each 37cm wide, 37cm deep, 112cm high. (2) Provenance: Property from a private collection of European Decorative Arts Please note: an additional fee of 5% VAT is payable on the hammer price as this lot is subject to temporary importation.
A late 19th century Louis XVI style mahogany and gilt bronze mounted commode à vantaux by Gouffe à Paris After the model by Joseph Stöckel and Guillaume Benneman, the shaped rectangular marble top, above three frieze drawers centred by a lion mask, surmounting two cupboard doors, each with scrolling foliage, centred by a medallion depicting a bacchic scene, the interior fitted with six drawers, the sides each with scrolling foliage, centred by a mythological medallion, on toupie feet, labelled inside central frieze drawer ‘Gouffe A Paris’ and inscribed in chalk ‘31187’ to reverse, 175cm wide, 64cm deep, 97cm high. Stöckel and Benneman designed the original model that this commode is based on for Marie-Antoinette for the Salon des Jeux at Fontainebleau.Guillaume Benneman was the chief ébéniste to Louis XIV and Marie-Antoinette from 1786 to 1792, producing many fine pieces for the Royal Chateaux at Versailles and Fontainebleau under the directorship of Jean Hauré until 1788 and later under Thierry de Ville d’Avray. Benneman was influential in introducing a more disciplined neoclassical approach to furniture design with emphasis on pure outlines and architectural references that were to predominate under the Consulat and Empire. Provenance: Property from a private collection of European Decorative Arts
A late 19th century Louis XVI style mahogany and gilt bronze mounted commode à vantauxAfter the model by Joseph Stöckel and Guillaume Benneman, the shaped rectangular verde antico marble top, above three frieze drawers centred by a lion mask, surmounting two cupboard doors, each with scrolling foliage, centred by a medallion depicting a classical scene, the interior fitted with two mirrored compartments, the sides each with scrolling foliage, centred by a mythological medallion, on toupie feet, 183cm wide, 76cm deep, 93.5cm high.Stöckel and Benneman designed the original model that this commode is based on for Marie-Antoinette for the Salon des Jeux at Fontainebleau. Guillaume Benneman was the chief ébéniste to Louis XIV and Marie-Antoinette from 1786 to 1792, producing many fine pieces for the Royal Chateaux at Versailles and Fontainebleau under the directorship of Jean Hauré until 1788 and later under Thierry de Ville d’Avray. Benneman was influential in introducing a more disciplined neoclassical approach to furniture design with emphasis on pure outlines and architectural references that were to predominate under the Consulat and Empire.Provenance:Property from a private collection of European Decorative ArtsPlease note: an additional fee of 5% VAT is payable on the hammer price as this lot is subject to temporary importation.
Loading...
