A RARE BRONZE FISH AND MYTHICAL BEAST, DONG SON CULTUREVietnam, 500 BC - 300 AD. The fish with mouth agape and large bulging eyes, the tail fin with characteristic spiral decoration, a small lizard-like beast clambering on its back with similar decoration, five bells hanging from the fish's belly.Provenance: An important Italian private collection.Condition: Some repair and touchups as generally expected from ancient Dong Son excavations. Losses, fissures, erosion, and corrosion. Minor casting flaws. Overall, still good condition, especially for such a rare piece. Fine malachite-green patina with brown encrustations overall.Weight: 481.5 gDimensions: Length 17 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Auction result comparison: Compare a group of four related Dong Son buffalo bells at Christie's London in Peter Petrou: Tales of the Unexpected on 30 January 2019, lot 149, sold for GBP 5,250, and a group of six Dong Son bell necklaces in the same auction, lot 150, sold for GBP 5,625. Compare another figural bronze from the Dong Son culture, sold in these rooms in Fine Chinese Art, Buddhism & Hinduism on 16 October 2021, lot 579, sold for EUR 15,168.
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A GILT BRONZE FIGURE OF GREEN TARA, 15TH-16TH CENTURYTibet. Seated in lalitasana on a sealed double-lotus base with the pendent foot resting on a smaller lotus, the right hand extended in varadamudra and the left held in vitarkamudra. The base plate incised with a vishvavajra.Provenance: Old Swiss private collection, purchased in Nepal, October 1968. Collector's inventory label '8119' to base. Ancient inscription '39' neatly incised in Tibetan to backside of base.Condition: Very good condition with significant old wear, some casting flaws, few small nicks, occasional light scratches, some minor losses, some inlays missing. Fine natural patina overall.Weight: 500.3 gDimensions: Height 12.2 cmThe face with a serene expression surmounted by a foliate tiara, the hair arranged in a tall chignon. Clad in a knee-length dhoti and richly adorned in floral and beaded jewelry, inlaid with glass paste and semiprecious stones.Auction result comparison: Compare a closely related Tibetan gilt bronze figure of Green Tara, also dated to the 15th-16th century, at Christie's New York in Sacred and Imperial: The James and Marilynn Alsdorf Collection Part II on 24 September 2020, lot 947, sold for USD 18,750. 十五至十六世紀銅鎏金綠度母坐蓮像 西藏。綠度母結游戲姿坐於雙層蓮台上，右足踩在一株伸出的小蓮蓬上。右手結與愿印，左手安慰印。底座封板上刻著金剛杵。 來源：瑞士私人老收藏，1968年10月購於尼泊爾。底座上有藏家收藏編號 '8119' 。底座背面刻有藏文"39"字樣。品相：品相極好，有明顯的舊磨損，一些鑄造缺陷，很少的小刻痕，局部有輕微的划痕，一些輕微的缺損，一些鑲嵌寶石缺失。整體精美的天然包漿。 重量：500.3 克 尺寸：高12.2 厘米 拍賣結果比較：一件相近的西藏銅鎏金綠度母像，十五至十六世紀，見紐約佳士得Sacred and Imperial: The James and Marilynn Alsdorf Collection Part II 2020年9月24日，售價USD 18,750。
A HEAVY BRONZE 'LION' WEIGHT, MING DYNASTYChina, 16th to 17th century. Massively cast in the form of a recumbent beast with legs tucked neatly under its robust body which is decorated with swirling scrolls, its backbone and ribs well defined, the mane neatly incised. Provenance: Galerie Zacke, Vienna, 1988. An old Austrian private collection, acquired from the above.Published: Galerie Zacke, Feines altes Kunsthandwerk aus China und Japan, October 1988, p. 22-23, no. 43.Condition: Good condition with minor nicks, dents, a fine natural patina, extensive old wear mostly to base, commensurate with age. The backside with an old fill.Weight: 341.5 gDimensions: Length 6 cmAuction result comparison: Compare a related bronze lion-form paperweight, dated to the 17th century, at Sotheby's Hong Kong on 27 May 2014, lot 688, bought-in at an estimate of HKD 80,000-120,000. 明代銅獅鎮紙中國， 十六至十七世紀。瑞獸俯臥，頭似乎搭在一個球上，身體矯健，脊椎和肋骨輪廓分明，鬃毛整齊地，張牙咧嘴，異常可愛。來源：奧地利維也納Zacke藝廊，1988年。奧地利老收藏購於上述收藏。 出版：Zacke藝廊圖錄, Feines altes Kunsthandwerk aus China und Japan,1988年10月, 第22至23頁, 編號43。 品相：狀況良好，有輕微的劃痕、凹痕、良好的天然包漿，底座上有大量的磨損，與年齡相稱。 背面有舊時填充物。 重量: 341.5 克 尺寸：長 6 厘米 拍賣結果比較：比較一件相近的銅獅鎮紙，十七世紀，見香港蘇富比2014年5月27日 lot 688, 估價HKD 80,000-120,000。
A SET OF THREE CLOISONNE CANDLESTICKS, QIANLONG PERIOD, TAKEN DURING THE 1860 SUMMER PALACE RAIDChina, 1736-1795. The cylindrical body finely decorated in bright enamels with geometrically arranged lotus blossoms borne on scrolling vines against a turquoise ground, surmounted by a gilt-bronze globular mid-section rising to a drip pan decorated with keyfret against a dark-blue ground. (3)Inscriptions: To the shoulder of the largest candlestick, engraved 'Summer Palace. Pekin 1860. Alfred Abercromby Dick. Lieut. & Adjt. Probyn's Horse'.Provenance: Old Viennese private collection. Condition: Very good condition with minor wear and manufacturing flaws, including expected pitting. Small dents, minor nicks, occasional light scratches. The foot ring (above the gilt-bronze base) and the cup (above the drip pan) and associated screws are British replacements added shortly after 1860.Weight: 1,520 gDimensions: Height 19.8 cm (the largest)Probyn's Horse: The regiment known as 11th King Edward's Own Lancers was originally raised on 1 August 1857 by Captain Frederick Wale as Wale's Horse during the Indian Rebellion of 1857 and served at Lucknow. Captain Wale was killed in action in 1858, while leading the regiment in the pursuit of rebels, and was replaced by Major Dighton Probyn, VC. In 1860 the regiment was dispatched to China to take part in the Second Opium War. It participated in the advance on Peking in October 1860.In 1860, during the Second Opium War, British and French expeditionary forces, having marched inland from the coast at Tianjin, arrived in Beijing. In mid-September, two envoys went ahead of the main force under a flag of truce to negotiate with Prince Yi and representatives of the Qing Empire at Tongzhou and to scout out campsites behind enemy lines. The delegates and their escort were taken to the Ministry of Justice (or Board of Punishments) in Beijing, where they were confined and tortured. Nineteen British, French, and Indian captives died.On the night of 5 October, French units diverted from the main attack force towards the nearby Old Summer Palace. At the time, the palace was occupied by only some eunuchs and palace maids; the Xianfeng Emperor and his entourage had already fled to the Chengde Mountain Resort in Hebei. Although the French commander Charles Cousin-Montauban assured his British counterpart, James Hope Grant, that "nothing had been touched", there was extensive looting by French and British soldiers. There was no significant resistance to the looting, even though many Qing soldiers were in the vicinity.On 18 October, Lord Elgin, the British High Commissioner to China, ordered the destruction of the Old Summer Palace. It took 3,500 British troops to set the entire place ablaze, and the massive fire lasted for three days. Once the Old Summer Palace had been reduced a sign was raised by the invaders with an inscription in Chinese stating, 'This is the reward for perfidy and cruelty'. The burning of the palace was the last act of the war. 乾隆時期一套三件銅胎掐絲琺琅燭臺，1860年圓明園被掠中國，1736-1795年。臺座圓柱體，景泰藍地，纏枝蓮紋；頂部通體鎏金，滴水盤。 款識: 最高的燭臺肩部，刻著"Summer Palace. Pekin 1860. Alfred Abercromby Dick. Lieut. & Adjt. Probyn's Horse" （圓明園，北京1860，Alfred Abercromby Dick，中尉，普羅賓的馬） 來源：維也納私人老收藏。 品相：狀況極好，有輕微磨損和製造瑕疵，包括預期的點蝕。 小凹痕，輕微劃痕。圈足（鎏金銅底座上方）和聚蠟盤和相關螺絲是 1860 年後不久添加的英國替代品。重量：1,520 克 尺寸：高19.8 厘米 (最大)
A 'BAGUA' BRONZE CENSER AND COVER, QING DYNASTYChina, 1644-1912. The compressed globular body supported on three short feet, cast and incised with a band of leaves, the rim with two flaring handles, all supporting a cover with eight pierced trigrams surrounding the finial, which is cast as a Buddhist lion showing delicately incised details, with one front paw on a reticulated brocade ball.Provenance: From an old German private collection.Condition: Very good condition with old wear, traces of use, casting flaws, small nicks and occasional light scratches. Fine, naturally grown patina. With encrustations to the interior.Weight: 940 g Dimensions: Height 12 cmAuction result comparison: For another Bagua censer, also with bagua decoration to the cover, height 20 cm, see Bonhams San Francisco in Fine Asian Art on 21 June 2011, lot 8193, sold for USD 134,000. 清代青銅獅鈕八卦蓋爐中國，1644-1912年。爐口平整，束頸鼓腹，肩起雙耳，下承三足。 爐蓋雕刻八卦圖案，爐鈕飾獅子戲球，活潑可愛。來源：德國私人老收藏。 品相：狀況極好，有舊磨損、使用痕跡、鑄造瑕疵、小劃痕和局部輕微劃痕。自然細膩的包漿。内部鏽斑。 重量: 940 克 尺寸：高 12 厘米 拍賣結果比較：另一件八卦爐，蓋上也有八卦紋，高 20 厘米，見舊金山邦翰思Fine Asian Art 2011年6月21日 lot 8193, 售價USD 134,000。
A LARGE COPPER REPOUSSE FIGURE OF TARA, LATE 18TH CENTURYInner Mongolia or China. Seated in dhyanasana atop a double lotus base with beaded upper edge, the hands held in vitarka mudra, clad in a flowing dhoti with hems neatly incised with a foliate pattern, and richly adorned with beaded jewelry inlaid with turquoises. The face is centered by a third eye at the forehead, and the hair is pulled into a tall chignon behind the foliate tiara.Provenance: Old Belgian private collection. A Hungarian collector, acquired from the above.Condition: Good condition with minor old wear, small nicks and dents, light scratches, minuscule losses. The base unsealed and covered with ancient fabric. Remnants of gilt.Weight: 2,100 g Dimensions: Height 38.5 cmThis elegant figure of Tara exhibits many characteristics common to Buddhist imagery from the Qianlong period (1736-1795), made in the lamaist workshops in and around Beijing. In the latter half of Qianlong's reign, when the construction of Buddhist temples and the associated Buddhist images reached its apogee, the use of repousse, where thin metals are beaten rather than cast, became more prevalent in an effort to save materials and time. The artisans of the period quickly mastered the process, and details such as the ornately worked crown and flowers at the shoulders in the present figure demonstrate the mastery of the technique.Auction result comparison: Compare a related gilt bronze figure of Tara, 39.4 cm high, also dated to the late 18th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 673, sold for USD 21,250. Compare the bodily proportions, the repousse details, and the treatment of the lotus base of the present work with a Qianlong-period figure of a bodhisattva, 37.1 cm high, at Christie's New York in Fine Chinese Ceramics and Works of Art on 16 September 2016, lot 1231, sold for USD 35,000. 十八世紀末大型度母錘鍱銅像內蒙古或中國。度母結跏趺坐坐於蓮上，頭戴寶冠，冠葉細小，冠葉間距大，佩飾鑲嵌綠松石。華麗優美。像修眉廣目，面型圓滿，儀容端莊秀麗，姿態典雅。左手拇指與無名指相捻結施依印，右手結與願印置於膝上。長裙衣紋自然流暢，裙擺垂蓋蓮座。 來源：比利時私人老收藏；匈牙利藏家，購於上述收藏。 品相：狀況良好，有輕微磨損、小劃痕和凹痕和細微缺損。底座未封閉，覆蓋著老織物。鎏金殘留。重量：2,100 克 尺寸：高 38.5 厘米 拍賣結果比較：比較一對相近的十八世紀鎏金度母銅像，高4 厘米，見紐約佳士得Indian, Himalayan & Southeast Asian Works of Art 2019年3月 20日 lot 673, 售價USD 21,250；比較一件局部锤揲的乾隆時期菩薩造像，高37.1 厘米， 見紐約佳士得Fine Chinese Ceramics and Works of Art 2016年9月16日 lot 1231, 售價USD 35,000。
A CARVED WOOD FIGURE OF A MONGOOSETibet, 17th-18th century. Boldly carved in a dynamic posture with the limbs stretched out, the mouth wide open showing teeth, with large bulging eyes.Provenance: From the collection of Helen Cunningham and Ted Newbold. Ted Newbold (1930-2018) was a broker and civic leader in Philadelphia, with a lifelong passion for art. In 1984, he married Helen Cunningham, who shared his love for the arts and collecting. Works of art donated by Helen Cunningham and Ted Newbold are in the collections of the Philadelphia Museum of Art, the Woodmere Art Museum, and the Fleischer Art Memorial, among others.Condition: Condition commensurate with age and as expected, overall with old wear, age cracks, chips, minor losses, remnants of ancient pigment, nicks and scratches, two segments of the tail reattached. Fine, naturally grown patina. Presenting remarkably well.Weight: 592.5 g (excl. stand)Dimensions: Height 25 cm (excl. stand) and 26.5 cm (incl. stand)With a modern metal stand. (2)Expert's note: The present figure of a mongoose was most likely once part of a larger sculpture depicting Kubera or Jambhala, two deities associated with wealth in Hinduism and Buddhism, respectively. Often, these mongooses are held in the deity's hand and spew jewels.Literature comparison: Compare a related gilt-bronze figure of a mongoose, 11 cm long, dated circa 16th century, at Christie's Paris, 13 June 2013, lot 76.木雕貓鼬西藏，十七至十八世紀。木雕貓鼬（吐寳鼠），四肢伸展，大嘴張開，露出尖利的牙齒，大眼凸出。 來源：Helen Cunningham 與 Ted Newbold收藏。Ted Newbold (1930-2018) 曾是費城的經紀人和公民領袖，對藝術充滿熱情。1984 年，他與和他一樣熱愛藝術和收藏的Helen Cunningham結婚。Helen Cunningham 和 Ted Newbold 捐贈的藝術品被費城藝術博物館、Woodmere Art博物館和Fleischer Art Memorial藝術紀念館等收藏。 品相：狀況與年齡相稱，總體上有磨損、老化裂縫、碎屑、輕微缺損、古代色素殘留和劃痕，尾巴的兩段重新連接。包漿精細自然。 重量：592.5 克 (不含底座) 尺寸： 高25 厘米 (不含底座) 與 26.5 厘米 (含底座) 現代金屬底座 (2)
A JASPER SNUFF BOTTLE WITH LION MASK HANDLES, 1750-1860China. Well hollowed, of rounded rectangular square form, surmounted by a tubular neck with flat lip, the shoulders finely carved with lion masks and mock ring handles, supported on an oval foot ring, the remaining surfaces unadorned to display the deep-green ground with its spectacular blood-red markings.Provenance: From the collection of Dr. Erika Pohl-Stroeher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Stroeher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world's most valuable collections of gems and minerals.Condition: Good condition with some nibbling to the base, a small nick to the lip and foot rim, the latter smoothened over time. The stone with natural fissures and inclusions.Stopper: Ruby red glass stopper with gilt-bronze mounting, carved spoon Weight: 53 g Dimensions: Height including stopper 66 mm. Diameter neck 19 mm and mouth 6 mm. Auction result comparison: Compare a related jasper 'mask handle' snuff bottle, dated to 1750-1860, at Bonhams New York in Chinese Art from the Scholar's Studio on 16 March 2015, lot 8003, sold for USD 3,500.1750-1860年碧玉石獅面輔首鼻烟壺中國。掏膛良好，寬肩微削，橢圓形圈足，圓柱形頸，平唇，肩部獅面輔首；深綠色地，夾雜著血紅色紋理。 來源：Erika Pohl-Stroeher（1919-2016）博士收藏，保存於同一家族至今。Erika Pohl-Stroeher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。她是一位有熱誠的收藏家，一生中積累了許多重要的藝術收藏，以及世界上最有價值的寶石和礦石收藏之一。 品相：狀況良好，底部有一些小凹痕，唇部和足部邊緣有一個小缺口，隨著時間的推移，缺口已變得平滑。具有天然裂紋和內沁的石料。 壺蓋：寶石紅玻璃壺蓋，包鎏金銅，雕刻的小勺 重量：53 克 尺寸：含壺蓋高66 毫米. 頸部直徑19 毫米 ，嘴部直徑6 毫米. 拍賣結果比較：比較一件相近碧玉石輔首鼻烟壺，1750-1860年，見紐約邦翰思 Chinese Art from the Scholar's Studio 2015年3月16日 lot 8003, 售價USD 3,500。
A GILT BRONZE 'KARANA MUDRA' FRAGMENTARY ARM, MING DYNASTYChina, 1368-1644. This gesture, also known as tarjani mudra, expels demons, and removes obstacles such as sickness or negative thoughts. It is performed by raising the thumb, index and little finger, thereby folding the remaining fingers. Skillfully rendered as bent left forearm and hand, the wrist adorned with a plain bracelet below a small vajra in relief to the lower forearm incised with two further vajras.Provenance: UK trade. Condition: Extensive old wear, few small losses and dents, shallow surface scratches. The hollow cast arm was additionally fitted with a wooden core for stabilization some time ago. Fine patina overall, displaying remarkably well.Weight: 268.8 gDimensions: Length 17 cmAuction result comparison: Compare a closely related gilt bronze fragmentary arm, 31.5 cm long, also dated to the Ming dynasty, at Sotheby's Hong Kong, 21 May 2020, lot 5036, sold for HKD 200,000.明代銅鎏金羯剌拏手印殘臂中國，1368-1644年。這個手印也被稱為tarjani手印，可以驅逐惡魔，消除疾病或消極思想。它是通過抬起拇指、食指和小指來完成的。殘臂彎曲，左前臂，手腕上裝飾著一個小金鋼杵與樸素的手鐲，前臂下方刻有另外兩個金鋼杵。 來源: 英國古玩市場。 品相: 大面積磨損，少量缺損和凹痕，表面淺劃痕。空心鑄造的銅臂安裝了一個木芯用於穩定。整體包漿精美。 重量: 268.8 克 尺寸: 長 17 厘米 拍賣結果比較: 比較一件十分相近的明代鎏金銅臂殘片，長31.5 厘米，見香港蘇富比2020年5月21日 lot 5036, 售價HKD 200,000。
A SILVERED BRONZE 'MYTHICAL BEASTS' MIRROR, TANG DYNASTYChina, 618-907. Of circular form, cast with four leonine beasts racing around the central pierced knop, encircled by a raised border surrounded by a recessed outer band with alternating birds and floral sprays below a band of spaced floral scrolls to the stepped rim.Provenance: From an English private collection. Condition: Very good condition, commensurate with age. Old wear and casting irregularities, signs of weathering and erosion, few small nicks and light scratches. Fine, naturally grown patina with areas of malachite and azurite encrustation, particularly to the front of the mirror.Weight: 643.2 gDimensions: Diameter 12.3 cmLiterature comparison: Compare a related bronze mirror, also dated to the Tang dynasty and illustrated by Ju-hsi Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, The Cleveland Museum of Art, 2000, p. 62, no. 50.Auction result comparison: Compare a related bronze mirror with similar creatures at Christie's New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 238, sold for USD 13,750 (part lot, together with another bronze mirror).唐代鎏銀瑞獸銅鏡中國，618-907年。鏡呈圓形，半球鈕，上飾斜立二重齒紋圈，分為內外二區。內區飾四瑞獸為主題，圍繞著中央鏡鈕。外區飾花草鳥紋。 來源：英國私人收藏。 品相：狀況極好，與年齡相稱。 磨損和鑄件瑕疵，風化和侵蝕的跡象，輕微小刻痕和劃痕。包漿自然細膩，在鏡子前面帶有藍綠色鏽斑。 重量：643.2 克 尺寸：直徑12.3 厘米 拍賣結果比較：比較一件相近的瑞獸銅鏡，見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 2009年3月18日 lot 238, 售價USD 13,750 (其中一件，與另一件銅鏡)。
A LARGE BRONZE OF BUDDHA, SHAN STATEBurma, 18th - 19th century. The Buddha seated in vajrasana with his right hand lowered in bhumisparsa mudra and his left held palm-upward in dhyana mudra as he sits in meditation on a triangular sectioned plinth, wearing a monastic robe, with crisply cast facial features, the eyes inlaid in glass, the hair worked in tight curls surmounted by the ushnisha.Provenance: Old German private collection.Condition: Condition commensurate with age. Old wear, some casting flaws, nicks and dents, few small losses. The left hand is an old replacement and removable. The interior with extensive cuprite encrustation. Displays remarkably well overall.Weight: 10 kg Dimensions: Height 43 cmAuction result comparison: Compare a related Shan style bronze dated to the 17th century at Christie's Amsterdam in Indian Himalayan and Southeast Asian Art on 18 October 2005, lot 118, sold for EUR 11,950.
A BRONZE FIGURE OF A DAOIST DIGNITARY, MING DYNASTYChina, 1368-1644. The seated dignitary with his right hand holding a small double gourd vase, his face displaying a serene expression with downcast eyes, mustache, beard, whiskers and courtly headdress.Provenance: Swiss private collection.Condition: Good condition with old wear and casting flaws, shallow surface scratches, small nicks and dents, minor losses and a small repair to the backside. The interior with cuprite encrustation. Remnants of gilding.Weight: 2,475 g (excl. base) Dimensions: Height 26.5 cmWith an associated wood base. (2) 明代道教人物銅像中國，1368-1644年。道教人物右手拿著一個小葫蘆，面色沉靜，垂眸，頭戴宮帽飾。 來源：瑞士私人收藏 品相：狀況良好，有磨損和鑄造瑕疵、表面淺劃痕、小刻痕和凹痕、輕微缺損和背面小修復。內部有結殼，鎏金餘留。重量: 2475 克 (不含底座) 尺寸：高 26.5 厘米 木質底座 (2)
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 15TH CENTURYNepal. Seated in dhyanasana on a double-lotus base with beaded edges, his right hand lowered in bhumisparsamudra with the vajra resting before him, the left held above his lap holding a turquoise-inlaid Three Jewels emblem, clad in a diaphanous sanghati with the folds elegantly piled beneath the ankles, the beaded hems incised with wavy lines, the face with elongated eyes flanked by pendulous earlobes and surmounted by a prominent ushnisha.Provenance: Leonardo Vigorelli, acquired in the Hong Kong trade during the late 1990s. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Very good condition, some wear, particularly to gilt, minor nicks, surface scratches, small dents, the inlays possibly later replacements. The base resealed.Weight: 1,088 gDimensions: Height 18.5 cmAuction result comparison: Compare a closely related gilt bronze figure of Buddha Shakyamuni, 11.7 cm high, also dated to the 15th century, at Christie's New York in Indian & Southeast Asian Art on 12 September 2012, lot 549, sold for USD 15,000. 十五世紀銅鎏金釋迦牟尼坐蓮像尼泊爾。釋迦牟尼坐於帶珠邊的雙層蓮花座上，右手垂下施觸地印，金剛杵置於身前，左手舉於膝上，手持綠松石鑲嵌的三寶徽記，天衣褶皺紋路優雅流暢。表情安詳，眼睛細長，雙眉之間為白毫，兩側是長耳垂。 來源：Leonardo Vigorelli收藏，上世紀九十年代購於香港。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度佛教藝術。在學習人類學並數十年在印度、喜馬拉雅地區、東南亞和非洲旅行，進行實地研究之後，他在意大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況極好，有些磨損，尤其是鎏金，輕微劃痕、小凹痕，鑲嵌物可能曾經更換過。底座重新密封過。 重量：1,088 克 尺寸：高18.5 厘米 拍賣結果比較：比較一件十分相近的十五世紀釋迦牟尼銅鎏金造像，高 11.7 厘米，見紐約佳士得Indian & Southeast Asian Art 2012年9月12日 lot 549, 售價USD 15,000。
A SMALL ORDOS BRONZE PLAQUE, 7TH-6TH CENTURY BCChina, Inner Mongolia. Of circular form, cast in openwork with a coiled beast, the animal's front and hind quarters with short bent legs tucked underneath the curled body, the head defined by two large eyes, all within a beaded border.Provenance: Michel Pasiello, Venice, 2001. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good, original condition, remarkable considering its age. With extensive wear, small nicks and scratches. Areas of malachite and soil encrustations to the reverse.Weight: 14.8 g Dimensions: Diameter 3.3 cmAuction result comparison: Compare a related gold plaque at Sotheby´s London, Masterpieces of Chinese Precious Metalwork, Early Gold And Silver; Early Chinese White, Green And Black Wares on 14 May 2008, lot 3, sold for GBP 14,900 (part lot, together with a small Ordos gold fitting). 公元前七至六世紀鄂爾多斯小銅牌中國，内蒙古。圓牌，鏤空鑄盤繞的野獸，彎曲的短腿藏在捲曲的身體下方，兩隻大眼睛，邊框珠紋。來源：倫敦Grays Antique Center藝廊，1999年。Dr. Koos de Jong收藏，2004年購於紐約亞洲藝術博覽會（發票已遺失）。Drs. de Jong是一位荷蘭藝術史學家，幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 品相：良好的原始狀態。 有一些磨損、微小的劃痕，背面有輕微的結殼。 重量: 14.8 克 尺寸：直徑3.3 厘米 拍賣結果比較：比較一件相近的金牌，見倫敦蘇富比Masterpieces of Chinese Precious Metalwork, Early Gold And Silver; Early Chinese White, Green And Black Wares 2008年5月14日 lot 3, 售價GBP 14,900 (2件鄂爾多斯拍品中的一件)。
A GILT BRONZE FIGURE OF AMITAYUS, MID-QINGChina, 18th century. Finely and heavily cast seated in dhyanasana on a double-tiered lotus pedestal with beaded rim, wearing long flowing robes incised with detailed floral scroll borders, beaded necklaces, armlets and bracelets. The serene face with heavy-lidded downcast eyes below gently arched eyebrows, a broad nose, and slender lips, flanked by long pendulous earlobes with lotus earrings, the hair arranged in a high chignon behind the elaborate crown.Provenance: Antiquitaeten Gabriele Ruef, Munich, Germany, 30 May 1967. Collection of Leopold Strasser (1919-2010), acquired from the above and thence by descent within the same family. Old collector's number '0324' written in white to the interior of the base. Copies of the original invoice, dated 30 May 1967, signed by Gabriele Ruef and stating a purchase price of DM 390, as well as an attached expertise, erroneously describing the statue as Tibetan, and with a hand-drawn image of the bronze, accompany this lot. Condition: Good condition with some casting irregularities, the base unsealed, the interior with encrustations, the inlays and kalasha lost, small nicks and dents, extensive wear to gilt.Weight: 882.1 gDimensions: Height 16.8 cmAuction result comparison: Compare a related gilt bronze figure of Amitayus, also dated to the 18th century and of closely related size, at Christie's New York in Exquisite Splendor: Chinese Ceramics and Works of Art on 1-15 December 2015, lot 44, sold for USD 15,000. Compare also a related but larger (33 cm high) gilt bronze Amitayus at Christie's London in Fine Chinese Ceramics and Works of Art on 10 May 2011, lot 78, sold for GBP 61,250. 清代中期銅鎏金無量壽佛坐蓮像中國，十八世紀。精美製作的無量壽佛手結禪定印，結跏趺坐坐於雙層蓮座上，蓮座周邊寶珠裝飾。無量壽佛身著飄逸長袍，長袍上有著精緻的花卉紋，佩戴著串珠項鍊，臂環和手鐲。 無量壽佛平靜的面容，眼瞼下垂，眉毛微微拱起，寬鼻，嘴唇微抿，臉部兩側是長長的耳垂，耳垂上佩戴著蓮花耳環，頭髮高聳，佩戴著精緻的皇冠。 來源：德國慕尼黑Antiquitaeten Gabriele Ruef古玩藝廊，1967年5月30日。Leopold Strasser (1919-2010)收藏，購於上述收藏，保存在同一家族至今。底座内用白色寫著舊時藏家編號'0324'。隨附一份原始單據的複件，可見藝廊主簽名和當時的售價390馬克, 以及鑒定（不過錯誤描述爲西藏造像）與手繪造像。 品相： 品相良好，鑄造不規則，底座未密封，內部有結殼，遺失了鑲嵌寶石，局部小刻痕和凹痕，鍍金層磨損嚴重。 重量：882.1 克 尺寸：高16.8 厘米 拍賣結果比較：一件相近無量壽佛銅鎏金造像，尺寸相近，十八世紀，于紐約佳士得Exquisite Splendor: Chinese Ceramics and Works of Art2015年12月1-15日 lot 44, 售價USD 15,000。 一件相近但更大 (高33 厘米) 的銅鎏金無量壽佛于倫敦佳士得Fine Chinese Ceramics and Works of Art 2011年5月10日 lot 78, 售價GBP 61,250。
A GILT BRONZE 'TAOTIE MASK' BELT HOOK, SPRING & AUTUMN TO WARRING STATES PERIODChina, 771 BC to 221 BC. Cast in high relief as an imposing Taotie mask, with almond-shaped eyes and upstanding ears, the hook tapering into a small dragon-head.Provenance: From the estate of Lim Kee Chin, who was active as Singapore's trade commissioner in Hong Kong during the 1960s.Condition: Overall in good condition with significant old wear, signs of weathering and corrosion, minor dents. Solid, naturally grown patina overall with distinct areas of malachite and cuprite encrustation. Remnants of gilt.Weight: 50.3 gDimensions: Length 10.8 cmAuction result comparison: Compare a related belt hook, dated to the Han dynasty, of similar size (10.5 cm), at Christie's New York in Important Chinese Ceramics and Works of Art on 25 September 2020, Lot 1756, sold for USD 5,000 (part lot). 春秋戰國銅鎏金饕餮紋帶鈎中國，公元前771至 221 年。高浮雕饕餮紋，大眼，耳朵高竪，龍頭鉤。 來源：Lim Kee Chin收藏，他曾於上世紀六十年代擔任新加坡駐香港貿易代表。品相：整體狀況良好，有明顯的磨損、風化和腐蝕跡象、輕微凹痕。 整體堅固、包漿自然，有明顯的綠色和褐色結殼區域。鎏金餘留物。 重量：50.3克 尺寸：長10.8 厘米 拍賣結果比較: 比較一件相近的漢代帶鈎，10.5 厘米，見紐約佳士得Important Chinese Ceramics and Works of Art2020年9月25日 Lot 1756, 售價USD 5,000 (此號拍品中的一件)。
A BRONZE GROUP OF SHIVA AND PARVATI, PALA PERIODNortheastern India, 11th-12th century. The divine couple seated in lalitasana on a double lotus pedestal, Shiva's primary right hand reaching towards his consort's chin, his primary left around her back and cupping her breast, both backed by a flaming halo.Provenance: From a French private collection. Condition: Good condition, commensurate with age, with traces of age and wear, a few losses, some casting flaws, nicks, dents, and with a fine natural patina overall.Weight: 437 g Dimensions: Height 12.9 cm Auction result comparison: Compare a related bronze group of Shiva and Parvati, dated 11th-12th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 650, sold for USD 15,000.
A MINIATURE GILT BRONZE LION, 16TH - 17TH CENTURYTibetan-Chinese. The beast stands foursquare on a lotus pedestal, with ferocious facial features, a finely incised mane and curling tail. The front side of its body is protected with armor and a bell hangs around its neck.Provenance: French private collection.Condition: The bronze with some wear to the gilt, extensive surface wear and traces of use, casting flaws, nicks, dents, losses to the rim of the pedestal.Weight: 293.6 gDimensions: Height 7.3 cm, length 6.5 cm, width 4.5 cm十六至十七世紀小鎏金銅獅子擺件漢藏。獅子立於蓮台上，張牙咧嘴，五官猙獰，鬃毛捲曲。身體的正面被鎧甲保護著，脖子上掛著鈴鐺。 來源：法國私人收藏。 品相：一些鎏金磨損，表面磨損和使用痕跡，鑄造瑕疵，刻痕，凹痕，底座邊緣缺損。 重量: 293.6 克 尺寸：高 7.3 厘米, 長 6.5 厘米, 寬 4.5 厘米
A BRONZE 'PUXIAN' ELEPHANT-FORM CENSER, MING DYNASTYChina, 1368-1644. The mighty animal standing foursquare in an alert posture with flared ears. The thick curved trunk is flanked by a pair of large tusks with smaller auxiliary tusks, which clearly identifies the beast as the elephant of Samantabhadra (Puxian). A seat atop its back is fitted with a loop to the backside, once used to attach the cover of the incense burner.Provenance: French trade.Condition: Good condition with minor wear and casting flaws, small nicks and dents, light scratches, the cover lost. Fine, naturally grown patina overall.Weight: 3,405 gDimensions: Height 20.5 cm, Length 28 cmSamantabhadra is the bodhisattva associated with the practice of Buddhist teaching and joins Manjushri, the lord of transcendent wisdom, in a trinity with Shakyamuni Buddha. The deity is known as 'He whose bounty is omnipresent' and represents the Buddhist Law and compassion. The bodhisattva is borne by a white elephant, symbolic of the strength achieved through the practice of Buddhism.Known as Puxian in Chinese, he is sometimes shown in Chinese art with feminine characteristics, bearing similar dress and features to some depictions of Guanyin. It is in this guise that Samantabhadra is revered as the patron bodhisattva of the monasteries associated with Mount Emei in western China. Some believe that the white elephant mount of Samantabhadra was the same elephant that appeared to Queen Maya, the mother of the Buddha, to herald his birth.Auction result comparison: Compare a related bronze elephant-form censer, 37 cm long, dated to the late Ming dynasty, at Christie's Hong Kong in The Pavilion Sale on 4 April 2017, lot 64, sold for HKD 100,000. 明代象形爐中國，1368-1644年。動物立於四足，大耳張開。粗壯的身軀，一對大牙，其背部頂部有一個環，曾經用於連接香爐的蓋子。來源：法國古玩市場。 品相：狀況良好，有輕微磨損和鑄造瑕疵、小刻痕和凹痕、輕微劃痕、蓋子丟失。整體上包漿自然細膩。重量：3,405 克 尺寸：高20.5 厘米, 長28 厘米 拍賣結果比較：比較一件相近的明末象形銅爐，長37 厘米，見香港佳士得The Pavilion Sale 2017年4月4日 lot 64, 售價HKD 100,000。
A RARE LACQUER-GILT BRONZE FIGURE OF AN ARHAT, AYUTTHAYA PERIODThailand, 16th-17th century. Heavily cast seated in dhyanasana with his right hand lowered in bhumisparsa mudra and the left resting on his lap and holding a small vessel, wearing a monastic robe draped over the left shoulder, the serene face with heavy-lidded eyes below elegantly arched brows, flanked by long pendulous earlobes, the hair arranged in tight curls.Provenance: Collection of Peter Salomon. Peter Salomon (1942-2020) was a Danish designer who developed a passion for Asian art at a young age. He purchased his first Buddhist figure at the age of 12 with his own pocket money. Planning to sell antiques for a living, he traveled to London when he was 19 and purchased many objects around Portobello Road, which he found very hard to part with, however. In the end, Salomon pursued a different career path which was nonetheless inspired by his early passion, and began to design decorative objects himself, while his love for Asian and Buddhist art lasted his entire life.Condition: Good condition, as expected and commensurate with age, with wear and casting flaws, minor losses, small nicks, warping, dents, few structural cracks, extensive wear and flaking to lacquer gilding. Fine, naturally grown patina with a good, unctuous feel overall.Weight: 52.9 kg Dimensions: Height 67 cmThis rare bronze sculpture of an arhat depicts the monk seated in meditation with his right hand extending towards the ground to call on the Earth to bear witness to his enlightenment. An arhat in Theravada Buddhism, which predominates throughout Southeast Asia, represents the spiritual paradigm for ordinary beings to emulate. The highest spiritual goal for followers of Theravada Buddhism is to perfect Shakyamuni's teachings over many lifetimes, which results in becoming an arhat: an enlightened being freed from the cycle of rebirth (parinirvana).Paintings and sculptures of arhats frequent Thai temples. Their depiction largely imitates Buddha images, though without possessing certain key physical characteristics (lakshana) that distinguish Buddha as a supernatural being. As represented in this sculpture, these are the absence of an ushnisha and the orientation of the arhat's left hand. Rather than the back of the hand resting in his lap, it is turned frontally toward the viewer.Auction result comparison: Compare a related copper alloy figure of an arhat, 83 cm high, also dated 16th-17th century, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 23 September 2020, lot 638, sold for USD 47,575.
A SILVER WIRE-INLAID BRONZE FIGURE OF A QILIN, ATTRIBUTED TO SHISOU, QING DYNASTYChina, 1644-1912. Finely cast seated on its haunches, the front legs braced, the head with sharply cast, elegantly curved antlers, large ears, bulging eyes, a ruyi-shaped nose, the mouth open revealing teeth, sharp fangs, and tongue. The furcated tail curling to one side, the spine neatly articulated.Provenance: From a private collection in northern Germany, acquired before 2000.Condition: Very good condition with minor wear and casting flaws, few losses to inlays, occasional light scratches, few minuscule nicks. Fine, naturally grown, dark patina.Weight: 2,439 g (incl. base)Dimensions: Height 18 cm (excl. base) and 19 cm (incl. base)The bronze is finely inlaid with silver wire to depict the wavy fur, spirals to the spine and head, and a scroll design to the collar. The beast wears a collar around its neck attached with two small double-gourds and a drop-shaped ornament as well as a loop to the back.Mounted to a modern base.Little is known about the historical figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists'). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity'). Although the present piece is unsigned, the high quality of the casting and intricate silver-wire inlays make an attribution to Shisou or a related workshop more than reasonable.Auction result comparison: Compare a related bronze lion-form censer, with similar silver-inlaid wavy fur and spirals to the spine, also dated to the Qing dynasty (50.2 cm high), at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 November 2016, lot 3246, sold for HKD 300,000. 清代石叟款銅錯銀麒麟擺件中國，1644-1912年。銅麒麟作昂首挺立的姿勢，身形修長，儀態優雅，微展雙角立於頭之上，以陰線雕刻眼眶，突出一對圓鼓的雙目，嘴微微張開，面部用陰線簡單勾勒表現五官，頸部略靠後，胸脯前突。來源：德國北部私人收藏，購於2000年之前。品相：狀況極好，有輕微磨損和鑄造瑕疵，少量鑲嵌缺損，局部有輕微劃痕，少量微小刻痕。包漿細膩且自然生長。重量：總2,439 克尺寸：高18 釐米 (不含底座)，總 19 釐米現代底座。拍賣結果比較：比較相近的清代銅獅香爐，毛與脊椎部位有著相近的錯銀紋理，高50.2釐米，見香港佳士得Important Chinese Ceramics and Works of Art 2016年11月30日 lot 3246, 售價HKD 300,000。
A DEHUA PORCELAIN CENSER WITH MARK, LATE MING DYNASTYChina, 17th century. In the form of an archaic bronze ding with curved sides, supported on three straight cylindrical feet and rising to a short neck with everted rim and upright loop handles, covered overall in a thick, creamy white glaze with a distinct ivory tone. The base impressed with a four-character mark.Inscriptions: 'Lin Shi Zi Xin'.Provenance: From a Portuguese private collection. Robert Bradlow Fine Art, 8 July 2019, Oxfordhsire, United Kingdom. A Brooklyn private collection, New York, USA, acquired from the above. A copy of an invoice from Robert Bradlow Fine Art, dated 8 July 2019, stating a sales price of GBP 3,300 (ca. EUR 3,970) is accompanying this lot. Condition: Superb condition with little wear, some manufacturing flaws such as dark spots.Weight: 184.6 gDimensions: Height 8.4 cm. Diameter 7.2 cm.Auction result comparison: Compare a related dehua tripod censer, of slightly larger size (11.3 cm), dated to the 17th century, at Sotheby's New York in Fine Chinese Ceramics And Works Of Art on 11 September 2012, lot 33, sold for USD 12,500. 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 明末德化窯雙耳三足爐中國，十七世紀。仿商周青銅鼎，平口出沿，口沿上置方形沖天耳，盆腹，下承足，白釉色澤光潤明亮，底部四字款。 款識: 林氏之信來源：葡萄牙私人收藏；英國牛津郡Robert Bradlow Fine Art藝廊, 2019年7月8日；美國紐約布魯克林私人收藏，購於上述藝廊。隨附一份Robert Bradlow Fine Art藝廊的發票副本，日期爲2019年7月8日，以及價格爲GBP 3,300 (約 EUR 3,970) 。 品相：狀況極佳，輕微磨損，一些製造瑕疵，如黑點。重量：184.6 克 尺寸：高8.4 厘米；直徑 7.2 厘米 拍賣結果比較：比較一件相近的十七世紀德化窯三足爐，尺寸稍大 (11.3 厘米)，見紐約蘇富比Fine Chinese Ceramics And Works Of Art 2012年9月11日 lot 33, 售價USD 12,500。
A BRONZE 'BUDDHIST LION' CENSER AND COVER, QING DYNASTYChina, 18th-19th century. Formed as a stout Buddhist lion standing on its haunches, the front legs braced, and cast with cloud-like scrolls on the body. The separately cast head with large bulging eyes, a broad ruyi-shaped nose, thickly curling mane and brows, the mouth wide open revealing teeth and tongue, and a tang for attachment to the censer. The tail is also separately cast with curling tufts of hair.Provenance: From an English private collection.Condition: Very good condition with some wear and minor casting flaws, minuscule nicks, light scratches, small dents.Weight: 3,064 gDimensions: Height 21.5 cmAuction result comparison: Compare a closely related censer formed as a Buddhist lion, also dated 18th-19th century (34.8 cm high), at Christie's New York in Chinese Art from the Art Institute of Chicago on 17 September 2019, lot 109, sold for USD 21,250 (part lot, with another related lion-form censer, 35.6 cm high and also dated 18th-19th century).清代銅獅薰爐 中國，十八至十九世紀。此器以銅鑄雄獅，獅子體態健碩渾圓，身上飾祥雲紋，仰首傲立，雙目圓瞪，炯炯有神，如意狀鼻子，整體氣勢威嚴；頭部可掀開，腹部中空，可作香薰使用，口張開，以便香味飄散；其面相、毛髮、獸爪等細節刻畫栩栩如生，線條流暢精細。 來源：英國私人收藏。 品相：狀況極好，有一些磨損和輕微的鑄造瑕疵、微小的刻痕、輕微的劃痕、小凹痕。 重量：3,064 克 尺寸：高 21.5 厘米 拍賣結果比較：比較一件十八至十九世紀銅獅爐 (高34.8 厘米)，見紐約佳士得Chinese Art from the Art Institute of Chicago 2019年9月17日 lot 109, 售價USD 21,250 (此拍品的一部分，兩外還有兩件銅獅爐高 35.6 厘米，十八至十九世紀)。
A 'LUDUAN' BRONZE CENSER, 17TH CENTURYChina. Finely cast as the beast standing foursquare with a detachable head, portrayed with a single horn, bushy tail, bulging eyes, bared teeth, a finely incised mane and swirling scrolls on the stout body.Provenance: Old Austrian private collection. Acquired from Galerie Asboth, Vienna, Austria, ca. 1985-1995. A copy of a certificate of authenticity from Galerie Asboth, signed by Ute Asboth, undated, describing the present bronze as a "Fo Dog", accompanies this lot.Condition: Very good condition with expected surface wear, casting flaws, nicks and dents, and a good, naturally grown dark patina.Weight: 361.2 g Dimensions: Height 11 cm, length 9 cm, width 4.6 cmCensers of this type were modeled to allow the smoke of the burning incense to emerge from the beast's mouth, giving the impression of a living creature breathing smoke.Auction result comparison: Compare a Luduan censer, also dated to the 17th century, of slightly smaller size (7.5 cm), at Sotheby's London, in A English Private Collection of Chinese Animal Carvings, on 10 May 2017, lot 29, sold for GBP 13,125. 十七世紀甪端銅爐 中國。銅鑄獨角瑞獸甪端，獨角如弓，怒目圓瞪，張嘴露齒，捲雲鼻，尾部向上豎起，呈火焰狀高聳，髮鬚翻轉直上，氣勢威嚴。 來源：奧地利私人收藏，約1985-1995年間，購於維也納Asboth藝廊。隨附一份Asboth藝廊出具的真品證書，由Ute Asboth簽名，但沒有日期，證書上描述為"太獅"。 品相：狀況極好，表面磨損、鑄造瑕疵、刻痕和凹痕，以及良好的自然生長的深色包漿。 重量：361.2 克 尺寸：高 11 厘米, 長 9 厘米, 寬4.6 厘米 焚香時，香氳自口湧出，甪端如生，吐納自若，設計巧妙。拍賣結果比較：比較一件甪端香爐，十七世紀，尺寸稍小 (7.5 厘米), 見倫敦蘇富比 A English Private Collection of Chinese Animal Carvings 2017年5月10 日 lot 29, 售價GBP 13,125。
A COPPER AND SILVER-INLAID BRONZE 'FLORAL' VASE, ATTRIBUTED TO THE SHISOU WORKSHOPChina, 17th-18th century. The very heavy, compressed globular body rising from a spreading foot to a waisted neck with a cup-shaped mouth and lipped rim, the body decorated with a network of flowerheads connected by straight or gently curved lines, below wire-inlaid bands of lappets and scroll to the mouth and oval designs to the foot. The base with a silver wire-inlaid two-character seal mark within a square.Inscriptions: To base, 'Rongtai'.Provenance: UK trade.Condition: Very good condition with minor wear and casting irregularities, few minor losses to inlays, small nicks, light scratches.Weight: 3,421 gDimensions: Height 23 cmLittle is known about the historical figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists'). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity'). Although the present piece does not bear his name, the high quality of the casting and fine silver-wire inlays make an attribution to Shisou or a related workshop reasonable. 石叟款銅錯銀花卉紋瓶中國，十七至十八世紀。花瓶厚重，侈口，縮頸，削肩，鼓腹，圈足外撇。口沿下蕉葉紋，頸部與腹部錯銀網狀紋，交叉處花卉紋，圈足部位雙圈紋。底部四方錯銀"榮泰"款。 來源：英國古玩市場。 品相：狀況極好，有輕微磨損和鑄件不規則，鑲嵌物有輕微缺損，小刻痕，輕微劃痕。重量：3,421 克 尺寸：高23 厘米
A SUPERB INDIAN STONE LINGAM, LATE 19TH - EARLY 20TH CENTURYDeemed the purest embodiment of Shiva, the lingam serves as the primary emblem of worship for this Hindu deity. Its aniconic form symbolizes a phallus or a pillar of light. Self-manifested or svayambhu lingas are spawned in the bed of the sacred Narmada River in Western India. Occurring through natural rock formations and erosions, ovoid boulders such as the present lot are considered remarkably propitious.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s.Condition: Excellent condition with minor wear.Dimensions: Height 50 cm (excl. stand)With a modern wood stand. (2)Auction result comparison: Compare a related stone lingam, 129.5 cm high, at Sotheby's New York in Indian & Southeast Asian Works of Art on 19 March 2014, lot 21, sold for USD 17,500. A related stone brahmanda, 46 cm high, dated to the 19th century, with a matching bronze tripod stand, was sold in these rooms in Fine Chinese Art, Buddhism & Hinduism on 6 March 2021, lot 748, sold for EUR 16,432.
A BRONZE 'HUNTING' GROUP, MING DYNASTYChina, 1368-1644. Finely cast as a dog seated on its rear haunches, its spine neatly articulated, the mouth agape revealing teeth and a long tongue, the bulging eyes lending the animal a quizzical expression, a collar around its neck centered by a small double-gourd. A small falcon with incised wings is perched on the dog's head.Provenance: French trade. Condition: Very good condition with minor wear and casting flaws, few small dents and minuscule nicks, occasional light scratches. Fine, naturally grown, smooth patina.Weight: 662.5 gDimensions: Height 13.7 cmExpert's note: The dog depicted in this bronze is most likely a Saluki, originally bred in the Fertile Crescent and once used by nomadic tribes to run down game animals. Examples of dogs that look like Salukis were painted by the Xuande Emperor, who himself was an avid hunter, a characteristic shared by many Ming Emperors. The falcon, depicted in the present bronze perched on the dog's head, is another animal widely used in hunting, and would have been known as such to the Ming from the previous ruling dynasty in China, the Yuan.明代銅犬鎮紙中國，1368-1644年。銅犬蹲坐，背部挺拔，嘴巴張開，露出牙齒和舌頭，大眼凸出，似乎露出疑惑的表情，脖子上戴著項圈。一隻展翅的小獵鷹站在它的頭上。 來源：法國古玩市場。 品相：狀況極好，有輕微磨損和鑄造瑕疵、小凹痕和微小的刻痕，局部有輕微的劃痕。包漿自然光滑細膩。 重量：662.5 克 尺寸：高13.7 厘米
A GILT BRONZE FIGURE OF A LAMA, 17TH-18TH CENTURYTibet. Heavily cast seated in dhyanasana on a double lotus base, the right hand lowered in bhumisparsa mudra and the left held in dhyana mudra, dressed in a vest and billowing sanghati with neatly incised patterned hems, the folds gathered over the ankles, the serene face finely cold-painted with a meditative expression marked by heavy-lidded eyes, arched brows, and full lips. The base sealed, the seal plate inset with a gilt medallion, cast with a double-vajra in relief.Provenance: From the collection of an artist and university professor in Vienna. The base with an old merchant label, 'Ref. 540. CR$ […]'.Condition: Good condition with some wear and casting flaws, minuscule nicks, light scratches, small dents, some rubbing to gilt, minor loss to pigment.Weight: 1,255 gDimensions: Height 13.1 cm 十七至十八世紀鎏金銅喇嘛像西藏，喇嘛結觸地印，以冥想姿勢坐在雙層蓮花座上，身著敞右肩僧服，衣紋整齊，褶皺聚攏至腳踝，面容安詳，帶有沉思的表情，眼睛微閉，眉毛微攏，嘴唇豐滿。底座封口，封底有雙金剛杵紋。 來源: 維也納一位藝術家、大學教授的收藏。底座上可見商家標籤，"Ref. 540. CR$ […]"。 品相: 品相良好，一些磨損和鑄造瑕疵，微小的刻痕，小凹痕，鎏金處有磨損，輕微的色彩損失。重量: 1,255 克 尺寸: 高13.1 厘米
AN IMPERIALLY INSCRIBED BRONZE INCENSE TRAY, QING DYNASTYChina, 1644-1912. Of square form with indented corners, the interior cast with a poetic inscription and an apocryphal Xuande date, the base with four feet in the form of ruyi heads and in the center two sinuous dragons pursuing a flaming pearl and writhing around a two-character inscription.Inscriptions: To base, 'nei yong' (for internal [Imperial] use).Provenance: Old private collection, acquired in China between the 1930s and 1940s, thence by descent. Sotheby's New York, 23 March 2019, lot 1339, sold for USD 3,000. A noted French private collection, acquired from the above.Condition: Excellent condition with some old wear, minor casting flaws, good naturally grown patina overall.Weight: 464.9 gDimensions: Size 13.8 x 13.7 cmWith a fitted wood base, probably dating from the earlier 20th century. (2)Literature comparison: Compare a near-identical incense tray, dated to the 19th century, in the collection of the British Museum, museum number 1943,0215.4.Auction result comparison: Compare a related bronze quatrefoil tray, also with an apocryphal Xuande mark, at Sotheby's Hong Kong in Water, Pine And Stone Retreat Collection, Scholarly Art II on 3 April 2012, lot 141, sold for HKD 125,000. 清代"御製錦堂春詞"銅四方倭角香盤中國，1644-1912年。此件香盤精銅鑄造，呈四方倭角式造型，寬折沿，緣邊起弦紋一套，淺腹弧壁，平底，如意雲頭形四足，足間雙龍戲珠紋，五爪龍身姿矯健，龍首尾相對，盤旋追逐，中環抱"內用"楷書二字。 來源: 私人收藏，上世紀三十至四十年代購於中國，保存至今。紐約蘇富比2019年3月23日 lot 1339, 售價USD 3,000。法國知名私人收藏, 購於上述收藏。 品相: 狀況極佳，一些磨損，輕微鑄造瑕疵，包漿細膩。 重量: 464.9 克 尺寸: 13.8 x 13.7 厘米 木底座可能爲二十世紀初。(2) 拍賣結果比較: 比較一件相近的宣德款倭角方盤，見香港蘇富比Water, Pine And Stone Retreat Collection, Scholarly Art II 2012年4月3日 lot 141, 售價HKD 125,000。
A BRONZE 'LUDUAN' CENSER, EARLY QING DYNASTYChina, 17th-18th century. Finely modeled as a mythical beast standing foursquare, detailed with neatly delineated mane and tail above a stout body with stylized markings, the head forming the cover with bulging eyes, ruyi-shaped nose, and mouth agape revealing tongue and teeth.Provenance: Austrian trade, by repute from a private estate.Condition: Good condition with old wear and casting flaws, tiny losses, minuscule nicks, and light scratches, the underside with a minor old fill, few small drilled holes.Weight: 1,822 gDimensions: Length 19 cmThe throne of the Emperor of China in the Hall of Supreme Harmony has two incense burners shaped as Luduans, the legendary Chinese auspicious creatures who can travel 18,000 li (9,000 km) in a single day and speak all world languages. A legend says that a Luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India. The auspicious nature of luduan was particularly appropriate for the purpose of these censers. Cast with hinged or removable heads, they were made for burning incense and smoke would emerge from the beast's mouth, animating and empowering the sculpture. As Chuimei Ho and Bennet Bronson note in their discussion of a pair of Qianlong cloisonne enamel examples from the Palace Museum, Beijing, included in the exhibition 'Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong' by The Field Museum, Chicago, 2004, these burners were traditionally valued at the Imperial Court, as with their open mouths and smoke billowing forth, they were a reminder to the emperor that he should always be receptive to honest advice (see page 37).Auction result comparison: Compare a closely related bronze luduan censer, 7.5 cm high, bearing a Xuande mark, dated to the 17th century, at Sotheby's London in Menagerie: An English Private Collection of Chinese Animal Carvings on 10 May 2017, lot 29, sold for GBP 13,125.清初甪端銅香薰爐中國，十七至十八世紀。昂首傲立，雙目圓瞪，如意鼻，髮鬚盤結，頭部與身體相分開，便於燃香，腹部中空，口齒鏤空，以利香散，設計巧妙。體態飽滿圓潤。全器包漿厚實凝重，形制古樸。 來源：奧地利古玩市場，據説購於私人收藏。 品相：狀況良好，磨損和鑄造瑕疵、微小的缺損和刻痕以及劃痕，底部有少量舊填充物，有小孔。 重量：1,822 克 尺寸：長 19 厘米 拍賣結果比較：比較一件相近的甪端銅爐，高 7.5 厘米，有宣德款，十七世紀，見倫敦蘇富比Menagerie: An English Private Collection of Chinese Animal Carvings 2017年5月10日 lot 29, 售價GBP 13,125。
A FIGURAL BRONZE SCROLL WEIGHT, MING DYNASTYChina, 16th - 17th century. Cast in the form of an immortal seated on a large artemisia leaf, leaning back supported on one arm, the other hand holding a sprig of lingzhi, wearing a long loose robe, a belt suspending a gourd at the back.Provenance: Old Austrian private collection. By repute acquired from Galerie Asboth, Vienna, Austria, ca. 1991.Condition: Good condition with minor nicks, dents, minuscule losses, a fine natural patina, extensive old wear mostly to base, all commensurate with age.Weight: 250.7 g Dimensions: Length 10 cmAuction result comparison: Compare a closely related bronze scroll weight at Sotheby's New York on 13 September 2016, lot 388, sold for USD 2,500. 明代葉上仙人銅鎮紙中國， 十六至十七世紀。一葉為舟，鑄成書生，單手向後撐地，一手執靈芝，身著寬鬆長袍，背後系腰帶掛葫蘆。來源：奧地利私人老收藏，據説購於奧地利Asboth藝廊，約在1991年。 品相：狀況良好，有輕微的劃痕、凹痕、微小的缺損、良好的天然包漿、大量的舊時磨損，主要在底座上，都與年齡相稱。 重量: 250.7 克 尺寸：長 10 厘米 拍賣結果比較：比較一件相似的銅鎮紙，見紐約蘇富比2016年9月 13日 lot 388, 售價USD 2,500。
A PAIR OF BRONZE 'LUDUAN' CENSERS, 17TH-18TH CENTURYChina. Each boldly cast standing foursquare, the mouth agape to release smoke, with a pierced horn extending from the top of the head, curling mane and brows, leaf-shaped ears, ruyi-form nose, and a large bushy flame-like tail behind. (2)Provenance: Danish trade. Condition: Good condition with minor wear and casting flaws, minor nicks and light scratches, small dents, one lion with a minor structural crack to the body, the interiors with traces of use.Weight: 701.9 g and 759.5 gDimensions: Height 12.6 cm and 12.3 cmAuction result comparison: Compare a closely related luduan censer, 13.1 cm long, also dated 17th-18th century, at Sotheby's Hong Kong in CHINA / 5000 Years on 5 June 2020, lot 424, sold for HKD 52,500 (for a single censer).十七至十八世紀一對甪端香爐中國。昂首傲立，頭頂獨角，雙目圓瞪，葉形耳，如意鼻，發須如火焰紋，前胸配以纓絡鈴鐺，頭部與身體相分開。腹部中空，設計巧妙。體態飽滿圓潤。(2) 來源：丹麥古玩市場。 品相：狀況良好，有輕微磨損和鑄造瑕疵、輕微刻痕和劃痕、小凹痕，一隻甪端的身體有輕微的結構裂縫，內部有使用痕跡。 重量：分別為701.9 克與 759.5 克 尺寸： 分別高12.6 厘米 與12.3 厘米 拍賣結果比較：比較一件十分相近的甪端香爐，長13.1 厘米，十七至十八世紀，見香港蘇富比CHINA / 5000 Years 2020年6月5日lot 424, 售價HKD 52,500 (一個單獨的爐)。
Anton van Wouw (South African, 1862-1945)The Bushman Hunter signed and dated 'A.v.Wouw 1902' (base); further inscribed 'G. NISINI-FUSE - ROMA -' (base)bronze49 x 30 x 33cm (19 5/16 x 11 13/16 x 13in).Footnotes:ProvenanceA private collection, UK.LiteratureUniversity of Pretoria, Anton van Wouw en die van Wouwhuis (Pretoria, 1981), p. 27 (another edition illustrated)A.E. Duffy, Anton van Wouw: The Smaller Works (Pretoria, 2008), pp. 36-38 (another edition illustrated)J Ernst, Anton van Wouw: 'n Biografie deur J. Ernst (Vanderbijilpark, 2006), p. 66 (another edition illustrated)A.J. Werth, PIERNEEF/VAN WOUW: Paintings and sculptures by two South African masters (Cape Town, 1980/81), plate 43 (another edition illustrated).Exemplifying the expressive detail and finely wrought textures associated with Anton van Wouw's masterly sculptural practice, The Bushman Hunter has become one of the artist's most admired works. The small-scale sculpture depicts a male figure in a contrapposto stance, his weight resting on his front leg. The hunter's head is thrust forward as if searching ahead, while his tensed muscles engage in the interplay of action and reaction characteristic of the sculptural scheme. Declaring '[n]ature is the only method that endures', van Wouw pursued a naturalistic mode of representation rooted in his European art training (van Wouw, 1926: p. 9). Indeed, the artist's treatment of the male nude has garnered comparisons to Auguste Rodin's John the Baptist (preaching) (1877-1878), asserting the influence of the French sculptor on van Wouw who had encountered his work while a student at the Academie van Beeldende Kunsten in Rotterdam. Such impetus towards realism represented by The Bushman Hunter positioned the artist at the forefront of the Western sculptural tradition in South Africa. The artist's pursuit of realism is further evidenced in his decision to use highly skilled European foundries to produce his bronzes. He favoured two workshops based in Rome that had developed strong reputations for fine craftsmanship: Galileo Massa and Giovanni Nisini. An inscription to the base of the present sculpture asserts that it was produced by the Nisini foundry. The accomplished casting process highlights van Wouw's masterly approach to capturing the minutiae of the subject's physicality: each forehead wrinkle, fold of skin, and curl upon the head of the hunter are finely articulated in bronze. Van Wouw worked from life, exercising a keen perceptiveness that allowed him to powerfully capture his subjects in diverse moods and situations. Following his emigration from the Netherlands to South Africa in 1889, the artist found himself compelled to represent the indigenous peoples he encountered. The present work depicts Korhaan (also known as Kiewiet) who worked for a year as a servant in van Wouw's household. During this time, he modelled for several works by the artist including a large bust and a body cast of the Bushman made for the Transvaal Museum in Pretoria. Demonstrating the precarity of the lives of the indigenous population in this period, Korhaan was subsequently enslaved and taken to America where he was exhibited in the P T Barnum & Bailey Circus for thirty years.Contextualising small-scale works such as The Bushman Hunter within van Wouw's wider oeuvre, A.E. Duffy opines that they 'do not only attest to Van Wouw's meticulous workmanship but also his profound knowledge of his subject matter' so that 'each individual work of art not only possesses minute detailing but also inner power and monumentality' (A.E. Duffy, 2008: p. 77). Indeed, Van Wouw understood his small sculptures to be a vital part of his oeuvre. It was this aspect of his practice that he chose to foreground in his first solo show which took place in Johannesburg in 1908, following the first presentation of The Bushman Hunter in November 1904 at the premier exhibition of the Pretoria Art Association. Van Wouw's best known sculpture remains central within the artist's body of work, with other Roman casts held in the collections of South African House in London, the Van Wouw Museum in Pretoria, and the Rupert Museum in Stellenbosch.BibliographyA.E. Duffy, Anton van Wouw: The Smaller Works (Pretoria, 2008)Anton van Wouw, 'Sculpture', in The Common Room Magazine (Summer, 1926), pp. 8-11.For further information on this lot please visit Bonhams.com
Wim Botha (South African, active 1974)Prism 18, 2015 signed and numbered '2/3' (bronze verso)bronze with wooden pedestal, edition of 3 + 2APbronze 71 x 35.5 x 33cm (27 15/16 x 14 x 13in)overall 173 x 35.5 x 33cm (68 1/8 x 14 x 13in).Footnotes:ProvenanceStevenson, Cape Town;A private collection (acquired from the above in 2016).Prism 18 (2015) belongs to an ongoing series of semi-abstracted busts created by South African artist, Wim Botha. Botha, who lives and works in Cape Town, has gained a reputation for reconfiguring art historical tropes through his use of unconventional materials including stacked books and government documents. The present work is formed from a polystyrene block which has been roughly shaped using a chainsaw and wire cutter before being cast in bronze. The face of the figure never fully emerges from the carved block. The features remain unarticulated and are further obscured by the intersecting cuts that crisscross the surface of the blackened bronze. The violent treatment of the bust is carried through to the wooden plinth which features a jagged incision to its right side. The angular lines and blackened quality of the bronze sculpture destabilise the meanings traditionally granted to a portrait. Rather than identifying a subject, the bust stands as an index of process, prompting us to reconsider the role of artmaking in the formation of identity and power.Botha's confrontational practice has granted him a number of prestigious awards including the Helgaard Steyn Prize for sculpture in 2013, the Standard Bank Young Artist Award in 2005, and the first Tollman Award in 2003.For further information on this lot please visit Bonhams.com
Dylan Lewis (South African, born 1964)Walking Lion signed and numbered 'Dylan Lewis/ 10/15/ S177' and bears SCS foundry mark (side of base)bronze, edition 10 of 1527.5 x 51.8 x 8.2cm (10 13/16 x 20 3/8 x 3 1/4in).Footnotes:ProvenanceHeritage Auctions, Dallas, 7 October 2021, lot 28046;A private collection.For further information on this lot please visit Bonhams.com
Cior, Charles Pierre (1769 - 1840). Damenbildnis-Miniatur, 1. Hälfte 19. Jh. Gouache auf Elfenbein, vergoldeter Bronze-/Metallrahmen mit Schleifenbekrönung, frontal leicht gewölbt verglast, verso mit vergoldeter Metallplatte verschlossen; das Brustbildnis zeigt eine Dame mit biedermeierlicher Frisur in dunklem Kleid mit einem weißen Gaze-Spitzentuch vor Landschaftshintergrund; unten rechtsseitig signiert "Cior."; Maße ca. 10 x 7,4 cm. Gesamtgewicht ca. 73 g. Weitere Fotos auf Anfrage.
Figur eines chinesischen Kriegers bzw. Feldherrn, China, wohl 19. Jh. Bronze, grünliche Patina mit Resten von Vergoldung; auf geecktem, verso geöffnetem Sockelpostament sitzende bärtige Gestalt in Rüstung mit helmartiger Kopfbedeckung; vielleicht Darstellung des als Gottheit verehrten chinesischen Feldherrn Guan Yu (160 - 219); Sockel frontal mit 2 Lochbohrungen, rechtsseitig kleines Loch und Fehlstelle; Höhe 18 cm. Gewicht ca. 1,2 kg. Weitere Fotos auf Anfrage.
Paar kleine Vasen mit Silber-, Gold-(?) u. Kupferapplikationen, Japan, Meiji-Zeit. Bronze mit silber-, gold- und kupferfarbigen Applikationen und Einlagen; ovoide beidseitig abgeflachte Korpusform auf rechteckigem Sockel mit kurzem runden Mündungshals; beidseitig ovale, profiliert erhabene Medaillonschilder, darauf jeweils feingliedrig detaillierte Naturszenen mit Vögeln, Insekten und teils floraler Vegetation (2 x variierte Teichmotive mit Seerosenblättern, Wasserpflanzen und je einem Reiher; 2 x Brunnenmotive mit Singvögeln und Blütenzweigen), jeweils reliefiert und graviert; auf den Schulterseiten jeweils partiell gold- und silberfarbig akzentuierte Blüten- und Blattrankengravuren; Höhe 12,5 cm; unterseitig eingeprägte japanische Schriftzeichen-Marken im Kreis. Gewicht (zus.) 609 g. Weitere Fotos auf Anfrage.
Arenas, Javier (*1960). Tierplastik "Adlerkopf", Edition von "D'Argenta internacional", Mexico, 2009. Bronze, teils mit Silberbeschichtung und Goldauflage (24k); auf kupferfarbig patiniertem Pyramidal-Sockel aus plastischen unregelmäßig kubischen Felssteinformationen der naturalistisch gestaltete große Adlerkopf als Büste in Silberbeschichtung mit vergoldetem Schnabel; etwas undeutlich verschlungen monogrammiert "JAP (R?)" mit geritzter Limitierungs-Nummerierung "10/500"; aus einer Edition verschiedener Wildtier-Büsten-Figuren nach unterschiedlichen Künstlerentwürfen; Höhe ca. 44,5 cm, Breite ca. 48 cm, Tiefe ca. 22 cm; unterseitig originales Herstelleretikett "D'Argenta internacional Hecho en Mexico". Gewicht 12,90 kg. Weitere Fotos auf Anfrage.
Brief-/Papierklammer in Entenkopf-Form, wohl Frankreich, um 1900. Messing/Bronze mit roten Glasaugen; Spange in naturalistischer Gestaltung eines Entenkopfes, am Unterteil mit passig konturiertem Schildauszug, darin Aussparung zur Wandaufhängung; Kopf mit feingliedriger Federnstruktur in täuschend echtem Naturalismus; der per Druck auf die Grifffläche oberhalb des Kopfes sich öffnende Schnabel dient zur Sammlung von Briefen oder Papieren; leicht berieben; Länge 15,5 cm. Gewicht 200 g. Weitere Fotos auf Anfrage.
2 moderne Künstler-Miniaturbronzen (Figuren-Plastik + Kerzenleuchter), 2. Hälfte 20. Jh. Bronze, matt braungoldfarbig patiniert, 1 x mit Teilvergoldung; Plastik in Gestalt eines stehenden stilisierten weiblichen Akts auf ansteigendem Rundsockel, anstelle des Kopfes ein großes herzförmiges Blatt mit Vergoldung; der surreale Figurenstil erinnert an Bronzeplastiken von Paul Wunderlich oder Bruno Bruni, Höhe 11 cm; kleiner Leuchter in konkav geschweifter Topfform mit seitlichem kleinen Griffauszug und bekrönender kleiner Taubenplastik, Höhe 4 cm; beide Teile mit stilisierter Monogramm-Prägung ".V." Gesamtgewicht 137 g. Weitere Fotos auf Anfrage.
Historismus-Taschenuhrhalter mit Puttofigur, wohl Frankreich, 2. Hälfte 19. Jh. Bronze/Metall/Holz (?), vielleicht in Teilen eine Marriage; auf dunkel patiniertem, metallumkleideten Sockel in quadratischer Form profilierte goldfarbige Basis mit Palmettenbordüre, darüber säulenartiges dunkel patiniertes Postament mit goldfarbigem Abschluss, darauf die stehende Bronze(?)-Miniaturfigur eines Puttos, der einen goldfarbigen Metallkranz aus kleinen frontal reliefierten Rosenblüten hält; daran von hinten angesetzter Lünettenrahmen mit Taschenuhrenaufhängung sowie halb geschlossener gewölbter Metallrückseite (wohl aus einer halben Tischuhrwerksglocke umgearbeitet); frontal reliefierte Blütenkranzfassung mit reliefierter Palmettenbekrönung; frontal seitlich 2 weitere Aufhängungsmontierungen; punktuell fleckig/Alterspatina, Höhe 28 cm. Gewicht 628 g. Weitere Fotos auf Anfrage.
Kleine Bronzeplastik eines sitzenden Mopses, wohl Wiener Bronze, um 1900/1920. Messing-/Bronzeguss mit heller (lackierter?) Patina, auf geschliffenem Glassockel; naturalistisch gestaltete Mopshund-Figur, verschraubt montiert auf quadratischer Glassockelplatte mit gerundeten Ecken; Figur unterseitig mit Stempelprägung "Austria", untere Glassockelkante mit Chip-Bestoßung; Gesamthöhe 6,5 cm. Gewicht ca. 277 g. Weitere Fotos auf Anfrage.
Italian school, 17th century."Vanitas".Carved and polychrome wood. Brass, bronze and silver.Measurements: 22 x 38 x 11,5 cm,A sculpture is presented in the form of a coffin with the front dominated by a glass that allows the spectator to see inside. In the centre of the piece, a skeleton lies dead on a red and gold bed. Death is not represented in a peaceful way, showing the corpse's passage to eternal life, but is presented in an exacerbated and dramatic way, with a skeleton whose skull has a gesture of terror with its mouth wide open. The body, which is turned so that the viewer can contemplate it more easily, is infested with maggots that crawl all over the bone, coiling around them, even on the face. The presence of the worms, as devourers of flesh, warns the viewer about the temporality of life and of his body as matter, thus delivering a reflection related to eternity and the correct way of life with which the faithful can attain glory.This completely detailed sculptural work, both in the conception of the skeleton and the coffin that preserves it, is part of the genre of vanities, which was so important during the Baroque period. The transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounced the relativity of knowledge and the vanity of the human race subject to the passage of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.
Early 18th century Dutch school."Still life of flowers".Oil on canvas.Measurements: 68 x 52 cm; 87 x 70 cm (frame).On a background with baroque draperies there is a gilded bronze vase that contains a bouquet of varied flowers, of different colours, accompanied by some stems. Due to its stylistic characteristics, it is possible to observe the artist's taste for capturing naturalism, describing in detail the details of the elements that make up the ensemble with a great interest in capturing the qualities of each of them. The flowers appear full, almost on the point of wilting, in contrast to the Rococo period, in which he preferred to show the flowers half-opened, without that fullness already achieved. The vase is in the centre of the painting, with the usual diagonals of Baroque compositions drawn by the flowers and their stems. The lighting aspect, on the other hand, is key in this work, and reveals the direct influence of the Tenebrist Baroque, which reached these still-life painters of the time.A still life or still life usually depicts inanimate objects, and this pictorial genre can be found in Ancient Egypt and in Greece and Rome. They would make a strong comeback in the Renaissance, thanks, above all, to Northern European painting and its use of oil paint. This technique allowed a much more realistic painting. In these early times, still lifes had a strong religious symbolic content, expressed by the objects they depicted. From the 15th century, with Leonardo da Vinci, Albrecht Dürer, etc., this Christian meaning began to be abandoned, and from the 16th century, interest in still life painting increased until it became a genre in its own right.
Sir William Nicholson: watercolours, still life, brass bowl and onions, "National Bronze Medal 1908", 14" x 19", in ebonised strip frame (ESK blind stamp)Condition:Condition of the picture is good. no visible damages.Mount is slightly seperated from the frame on the right side.Frame has some minor marks around the edges.
Great War Salonika Casualty Medal Pair and Memorial Plaque Group Durham Light Infantry, British War and Victory medal, “9-6885 PTE. A. C. CLEASBY DURH. L.I.” with a bronze Memorial Plaque “ARTHUR CHARLES CLEASBY”. Also numbered as 326810, entitled to a pair only. Arthur Charles Cleasby from Hornsey London was serving with the 2/9th Battalion Durham Light Infantry in Salonika when he died of disease on 29th September 1917. Arthur Cleasby is buried in Kirechkoi-Hortakoi Military Cemetery, Greece. Ex John Ingham collection.
Great War September 1918 Killed in Action Medal Pair and Memorial Plaque Group 2nd Durham Light Infantry, British War and Victory medal, “32322 PTE. J. ROBINSON DURH LI” with bronze Memorial Plaque “JOHN ROBINSON”. 35 year old John Robinson, a resident of Houghton-le-Spring, Co. Durham was killed in action on 24th September 1918 with ‘C’ Company 2nd Durham Light Infantry during the attack on Douai trench near Holnon, France. During the attack the Battalion lost 7 officers and 216 other ranks. John Robinson is buried in Trefcon British Cemetery, Caulaincourt, France. Entitled to a pair only. Ex John Ingham collection
A Good Example of the Royal Humane Society Small Bronze Medal for a Successful Rescue at Cowes, Isle of Wight, medal engraved on edge “MISS FRANCES H LOYD 3RD SEPTR 1883”. Medal with original ribbon buckle and in case of issue. Accompanied by the original award certificate ‘FOR HAVING SAVED LIFE FROM DROWNING’ and dated 19th September 1883. Frances Loyd, the daughter of Lieutenant -Colonel F. Loyd received this award for saving the life of a 10-year old boy at Cowes on the Isle of White. The boy fell off the quay opposite the Royal Squadron club house and was being washed out to sea, Miss Loyd having seen his predicament plunged into the sea fully clothed and swam out to him and with great difficulty brought him back to shore.
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