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Lot 239
Ferdinand Victor Blundstone (1882-1951) The Film Weekly Award, 1937 a patinated bronze sculptural award, of Comedy & Tragedy, given to Herbert Wilcox for the production and direction of Victoria the Great, best British Film, 1937, on ebonised wood base signed with monogram FVB in the cast 30cm. high
Lot 482
Paul Jenkins (b.1949) Four bronze models of hares the running hare is signed near the base, 9.5cm high overall, the others are all unsigned, seated hare 9.5cm high, recumbent hare 11cm long, 3cm high, and one other 5.5cm high x 8cm long (4)Condition report: All with minor overall display wear, only one is signed, otherwise ok.
Lot 20
BRONZE INCENSE 'DEITY ON STAG' BURNER MING DYNASTY, 17TH CENTURY 明 銅仙人騎鹿香薰 the horned stag depicted in a standing posture, the bewhiskered male deity sat on the back of the stag and holding a scroll in his left hand, the figure loosely fitted on the hollow-moulded animal, allowing the perfume or smoke to evaporate through the gap(18cm wide)
Lot 23
BRONZE CENSER 永世之寶款 銅鑄香爐帶木座及蓋 of compressed globular form, rising from a short splayed foot to gently everted rim, set with two loop handles, the base cast with 'Yong Shi Zhi Bao' (treasure of eternity) in a recessed square panel, with a fitted wooden stand and cover, the cover set with a pale celadon jade carving of a 'bamboo' finial(16cm wide; 925g)
Lot 24
PAIR OF GILT BRONZE TAOTIE-MASK HANDLES MING DYNASTY OR LATER 明或以後 銅鎏金獸面鋪首銜環（一對） each cast with curving and bulging eyes, detailed with fine bosses on eyelids, forehead and ears, a pair of everted sharp teeth beneath the flaring nose flank the snout forming a loop holding a large loose ring, both sides of the ring further carved with inscriptions(32.5cm high each; 1583g and 1661g)
Lot 247
TWO JAPANESE BRONZE 'CRANE' KORO 20TH CENTURY 二十世紀 鑄銅鶴形香薰（一對） each cast as a figural group of two cranes, arched back and wings of the larger crane with three perforations as cover, the body hollowed out as vessel(Heights: 29.3cm and 30cm)Provenance: Sir Maurice William Ernest de Bunsen (1852-1932), and then by descent. Sir Maurice William Ernest de Bunsen was British Diplomat Sir Maurice William Ernest De Bunsen who held many important international diplomatic positions in the very early 20th century, notably, Ambassador to Spain between 1906 and 1913 and then Austria between 1913 and 1914.
Lot 28
COLLECTION OF ELEVEN BRONZE ARTICLES 銅鑄瑞獸紙鎮兩件 及 各式印章九件（共十一件） comprising: two paperweights, one cast as a recumbent mythical beast with an elaborate tail, the other as two confronting hounds group holding lingzhi fungus in the centre; together with nine various seals, one with a boy finial(largest paperweight: 8cm wide; 140g)
Lot 30
GILT-BRONZE FIGURE OF A LAMA 銅鎏金喇嘛座像 cast seated on a double lotus throne, his right hand in bhumisparsha mudra, left in dhyana mudra, he wears an elaborate robe wrapped around the body and covering his folded legs, the hem incised with details, his face with a pensive expression and a subtle smile flanked by two pendulous ears, the base sealed with a plaque carved with a double dorje(16.7cm high; 2.19kg)Footnote: Note: The figure is possibly depicting the First Panchen Lama, Lobsang Chokyi Gyaltsen Pelzangpo. A comparable gilt-bronze Panchen Lama, was sold in 'Portraits of the Masters', Bonhams New York, 14 March 2017, lot 3293. The two share similar facial features, hand gestures, robes, and pointed lotus petals
Lot 32
GILT BRONZE FIGURE OF ZHENWU MING DYNASTY OR LATER 明或以後 銅鎏金真武大帝 cast in generous proportions, the figure seated mightily with legs bent and both hands rested on knee and thigh, he wears an armour beneath his full robe draping naturally, the front of his robe featuring a ferocious coiling dragon underneath a studded belt, the hems further carved and etched with details, his face with authoritative expression, a long wispy beard flanked by long pendulous ears, hair neatly combed back to a pointed end falling below the waist, with traces of black pigment(34.5cm high; 4.5kg)Footnote: Note: Zhenwu was an important Daoist and Buddhist symbol due to his identity as a warrior god and also as the protector of the North, an area at constant risk of invasion from foreigners and the Demon King. He was known as Supreme Emperor of the Dark Heaven and the Perfected Warrior. Ming emperors held him in very high esteem. The Yongle emperor attributed his success in the civil war to Zhenwu who was the subject of a state cult as protector of the Ming Dynasty and Yongle famously credited him with enabling him to seize the throne. From 1412 onwards, the Yongle emperor commissioned a series of temples and shrines to be built on the highest peaks in the Mount Wudang area. The Yongle emperor built Zijincheng or Forbidden City at the top of Mount Wudan and in 1416 installed an image of Zhenwu of larger dimensions but similar in appearance to this bronze in the Golden Hall. There are various theories and stories about Zhenwu's appearance. When the Emperor commissioned a figure of Zhenwu, the artist questioned how Zhenwu might look, Yongle famously quipped, 'Look at me'. He had recently risen from a bath, so with bare feet, wet, slicked black hair and a relaxed pose, he modelled for the sculptor, creating what was to become the known and popular image and pose of the hero. Another theory is that Zhenwu adopted a relaxed way to dress his hair and robes whilst in a spiritual retreat on Mount Wudang in Hebei Province. Other theories include that upon accepting his appointment as Emperor of Heaven he had been in a state of partial dress, combing his hair. After the acceptance, he found he could not put his hair up, realising that his present appearance was now unchangeable. This is how the depiction of Zhenwu tends to be recognisable, particularly with his long hair flowing down his back and bare feet. His pose is relaxed, yet imposing, with one hand resting open on his knee, the other hand facing down, at the same time regal yet not threatening. His robes, opening up at the chest, reveal his armour, a nod to his military past. His celestial scarf flows over his shoulders. He is often accompanied by a dragon and a snake around his feet, absent in this depiction. This particular pose became popular amongst later depictions of other gods such as Guandi, the God of War.
Lot 34
GILT BRONZE FIGURE OF MILAREPA QING DYNASTY, 19TH CENTURY 清 銅鎏金密勒日巴坐像 cast seated on a double lotus throne in lalitasana, the sage wears a loose robe with his upper body exposed, a yoga band wraps around his left body across the right shin, his meditative face looks slightly to the right with gently tilted head, right arm rested on right thigh with palm raised, left hand set with a kapala tucked on the lap, the base sealed with a plaque incised with double-vajras, lower back of the throne engraved with Tibetan inscriptions(19.5cm high; 1436g)Provenance: Acquired directly from Tibet by British Diplomat and Tibetologist Hugh Edward Richardson (1905-2000), thence by descentFootnote: Note: Most often depicted with a hand raised to his ear in a listening gesture, Milarepa was a hermit yogi and poet, much-respected and known by the Tibetan people. As a renowned poet, his listening gesture symbolises his unique way of imparting Buddhist's wisdom through songs. The skull cap or kapala vessel is a reminder of the impermanence of life, and the inevitable death, which through the practice of Buddhism, one can achieve enlightenment and be released from Samsara. A silvered copper alloy Milarepa, dated to the 15th century, and with a similar gesture, was sold by Bonhams New York, 13 March 2017, lot 3025
Lot 35
BRONZE TRIPOD CENSER WITH A WOODEN COVER XUANDE MARK 宣德款 銅鑄冲耳三足爐帶木蓋嵌玉鈕 of compressed bulbous form supported on three short tapering feet, flanked by a pair of upward facing loop handles on the rim, the base case with a six-character Xuande mark in recessed panel, with a fitted carved wooden handle topped with a pale celadon carving of a boy as finial(13.8cm wide; 1755g)Provenance: Private American collection, California
Lot 495
Four evening dresses to include: a brown net full length dress with spotted bronze detail, two net underskirts, shoelace straps, by Frances Leopold, Regent Street, no size label A purple, heavy satin full length evening dress by Susan Small with gathered bodice detail over a full skirt. Full length black velvet evening dress with white lace detail to top of bodice. Fitted dress by Carnegie of London size 14. Together with an orange Kitty Copeland dress made from Tricel Fibre, with one shoulder strap and ruched bodice culminating in rose detail at the waist over a full length skirt. Label suggests size 40. (4)(B.P. 21% + VAT)
Lot 338
FERDINAND BARBEDIENNE (French 1810-1890), a bronze figure of Apollo Belvedere after the antique, the base inscribed "Embleme Du Travail Intellectuel", signed with foundry mark, brown patination, 17 3/4" high (Est. plus 21% premium inc. VAT)Patination uniform, slight spot stain to his left thigh
Lot 339
AFTER GEORGES VAN DER STRAETEN (Belgian 1856-1928) an Art Deco bronze and ivory figure cast as a young lady reading a book, wearing an Empire line dress, a bonnet on her left arm, with carved ivory head, arms and book, on a swept polished brown marble book-end base, indistinct cast number to hem of dress, very faint engraved signature to marble, 12" high overall (Illustrated) (Est. plus 21% premium inc. VAT)Figure 10 3/4" high, chips to marble base. Unfortunate and very visible cracks to ivory through chest and backs of arms. Hair good, faint lines through left cheek. Book is in half at spine but probably constructed thus
Lot 345
AFTER JOSEPH D'ASTE (Italian 1881- 1945) an Art Deco bronze figure group cast as two young Dutch children, each holding water pitchers, with carved ivory heads and hands, fixed on to a rough hewn golden marble oval base inset with LN/JL Paris foundry seal, figure 8" high, 9 1/2" high overall (Illustrated) (Est. plus 21% premium inc. VAT)Back of girl's dress, marked '9', all ivory good. Girl lacks left hand--holes obvious for fixings.
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349674 item(s)/page