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Lot 896
Hans Dietrich 1868 Zauchtel - 1936 Wien Büste des Schauspielers Max Devrient in der Rolle des ''Gessler'' in Schillers ''Wilhlem Tell''. Bronze patiniert. Signiert, datiert ''1907'' und bezeichnet. 25,5 x 24 x 14 cm. Maximilian Paul Devrient (1857 Hannover - 1929 Chur/Schweiz), war ein deutscher Schauspieler. Devrient galt als einer der herausragenden deutschsprachigen Schauspieler des ausgehenden 19. Jahrhunderts. Bereits 1882 wurde er an das Burgtheater in Wien engagiert, das zum Mittelpunkt seines künstlerischen Schaffens als Schauspieler wie auch als Regisseur wurde.
Lot 990
Seltene Bodenvase mit Kristallglasur ''Aubert N° 20'' Félix Aubert (Formentwurf) 1921, Sèvres (Ausführung), 1922 Balusterform. Silbriggrüne Kristalle mit rotbraunen Rändern. Beschädigt. Schwarze Fabrikmarke mit Jahreszahl 1922 und DN (pâte dure nouvelle), eingeritzt LG.22.4.PN. Fußrand aus Bronze. H. 62 cm Lit.: Bestandskatalog Bd.V.2 des Bröhan-Museums, Porzellan - Kunst und Design 1889 bis 1939, Berlin 1966, Abb. 302 (formidentische Dekorvariante)
Lot 1298
Cloisonne-Weihrauchbrenner China, Qing-Dynastie, 19. Jahrhundert Bauchiges Deckelgefäß mit gerippter Wandung auf drei volutenartig geschweiften Beinen mit Maskarons sowie zwei Handhaben in Form von plastischen Drachen. Deckel mit durchbrochen gearbeitetem Floraldekor. Unterseitig mit Vier-Zeichen-Marke. Bronze dunkel patiniert, umlaufender, polychromer Blüten- und Rankendekor in Cloisonne-Technik. H. 31,5 x D. 27 cm. Alters- und Gebrauchsspuren.
Lot 52
A LARGE PALE GREEN AND GREY JADE CARVING OF A WATER BUFFALO17th/18th centuryThe recumbent beast naturalistically modelled with its forelegs and hind legs tucked under the powerful body accentuated by a pronounced spine, the tail flicked to the left side and head turned to gaze amenably at the viewer, the gracefully-curved horns flanking the flat forehead, the stone of pale-green tone with dark-grey patches, wood stand. 19cm (7 1/2in) long. (2).Footnotes:十七/十八世紀 青白玉帶皮臥牛Provenance: Erwin Scharf (1904-1978), and thence by descentErwin Scharf (1904-1978) emigrated from Germany to Britain in the 1930s to escape Nazi persecution of the Jews. He graduated from the University of Leipzig with a doctorate in law but never practised, instead going into the family business manufacturing sound-reproducing components. His brother Dr Alfred Scharf was an art historian and it was he who encouraged Erwin's interest in art. 來源：Erwin Scharf（1904-1978）舊藏，並由後人保存迄今Erwin Scharf（1904-1978），二十世紀三十年代，為逃避納粹對猶太人的迫害，自德國移民英國。 Erwin畢業於萊比錫大學並獲法學博士學位，後加入製造聲音再現裝置的家族企業。其兄Alfred Scharf博士是一名藝術史學家，激發了Erwin對藝術的興趣。Buffalos were emblematic of agriculture. As such, in Imperial China, where agriculture was considered by Confucian governments to be the main source of tax revenue, the buffalo - used for ploughing - became a symbol of prosperity and hard work. Emperors frequently likened themselves to farmers ploughing the fields with an ox or buffalo under their reins. See for example, the Yongzheng emperor depicted as a famer in Pictures of Tiling and Weaving Portraying Yinzhen, Kangxi period, in the Palace Museum, Beijing (acc.no.Gu6634-8). Buffalos were also employed in literati paintings, to evoke a bucolic, idealised existence in the countryside. This fitted in with the Confucian ideal of a world in peace and harmony with peasants - the second highest in the Confucian social hierarchy after scholars - contributing to the wealth of the empire. The buffalo in turn, fed into a more mythical or spiritual side, recalling both Buddhist and Daoist preoccupation with simplicity, retreat, and the subjugation of the ego. The philosopher Laozi, is frequently painted and depicted in sculpture riding atop a buffalo. Another aspect of the buffalo is its guardian function, stemming from the legend of the Emperor Yu of the Xia dynasty casting an iron ox to subdue floods. This interpretation was most notably represented in the huge bronze ox commissioned by the Qianlong emperor in 1755 and placed gazing out over the Kunming Lake at the Summer Palace. Depicted in jade rather than bronze, with an eternally placid yet watchful expression, the present lot surely also observes and protects its owner. See a related jade buffalo, Qing dynasty, illustrated in Jade: Ch'ing Dynasty Treasures, Taipei, 1997, no.151. A larger, green jade buffalo, Qianlong, is also illustrated in The Woolf Collection of Chinese Jade, London, 2003, no.99.Compare with a slightly smaller mottled dark green and grey jade buffalo, 17th century, which was sold at Christie's New York, 21 March 2019, lot 1172. See also another celadon and grey jade buffalo, 17th/18th century, which was sold at Christie's London, 8 November 2016, lot 4.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 57
A CLOISONNÉ ENAMEL AND GILT-BRONZE HAT-STANDQianlongThe hollow stand composed of four segments, rising on a domed foot, supporting a tall shaft formed from baluster and gu-shaped sections, all below a compressed globular top, the bronze elements gilt and the surface covered in vibrant polychrome interlacing designs and blossoming lotus, all on a bright turquoise ground. 28cm (11 1/8in) high.Footnotes:清乾隆 銅胎掐絲琺瑯番蓮紋帽架Provenance: a French private collection來源：法國私人收藏See a similar cloisonné enamel hat stand, ,mid Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Enamels, 4, Beijing, 2011, p.174, no.123. Compare also with a related cloisonné enamel hat stand, Kangxi, in the Metropolitan Museum of Art, acc.no.29.110.32. A related pair of cloisonné enamel hat-stands, Qianlong, was sold at Christie's New York, 24 March 2011, lot 1622.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 59
A LARGE CLOISONNÉ ENAMEL AND GILT-BRONZE 'DRAGON' BOX AND COVERLate Qing DynastyOf circular form, the domed cover brightly enamelled in colours with a central medallion enclosing a striding dragon pursuing a flaming pearl on a dense ground of vaporous ruyi clouds, the sides with four shaped cartouches at the compass points depicting blossoming peonies, chrysanthemums, lotus and flowering prunus branches alternating with four applied high-relief gilt-bronze dragons, the body similarly decorated with floral cartouches and four further applied dragons, the base centred with a Shou medallion surrounded by five bats and ruyi clouds, the interiors with further Shou and bats designs, all on a vibrant turquoise ground. 37.5cm (14 6/8in) diam. (2).Footnotes:清晚期 銅鎏金掐絲琺瑯龍紋圓捧盒Provenance: Bernheimer, Munich, 11 October 1985 (invoice)A European private collection來源：1985年10月11日，購自慕尼黑古董商Bernheimer（發票）歐洲私人收藏Finely decorated with combined designs of dragons, bats and blossoming flowers, the present box underscores multiple layers of auspicious symbolism. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and empowered with extraordinary powers that compared with those of the emperor. Even the number 'nine', for the dragons decorating the present box, evoked Infinity, partly because it was the product of 'three times three' - the most basic unit of three being Heaven, Earth and man- and partly because the number 'nine' is homophone with the word for Infinity. The number 'five' is also a propitious number, and the groups of five red bats depicted on the present box provide a rebus for wufu, the 'Five Blessings' of longevity, health, wealth, love of virtue and a good end to life. Finally, the lotus, emerging from the mud, is emblematic of purity but also symbolises progeny because of its homophonic association with the word for continuation; the peony conveys wishes for status and wealth, the chrysanthemum is homophone with eternity and finally, the prunus, blossoming in the colder months, symbolises fortitude.See a related cloisonné enamel box and cover with dragons, late Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Enamels, 4, Beijing, 2011, p.314, no.255. Compare also with a related cloisonné enamel box and cover, 18th century, similarly decorated with floral cartouches and applied gilt-bronze dragons but on the cover with a landscape scene depicting deer and peach trees, illustrated by G.G.Avitabile, Cloisonné und Champlevé-Arbeiten. Von 1400 Bis 1900, Hannover, 1981, p.130, no.62.For further information on this lot please visit Bonhams.com
Lot 7
A RARE AND LARGE GILT-BRONZE HEAD OF A GUARDIANYuan/early Ming DynastyThe fierce face finely cast with large bulbous eyes beneath protruding furrowed brows and large nose defined by wide nostrils between full cheeks, above long moustaches and pursed lips, all flanked by pendulous ears, the hair framed by a curved diadem, metal stand. 13cm (5 1/8in) high. (2).Footnotes:元/明早期 銅鎏金天王頭像This powerfully cast head would have belonged to a large Buddhist figure of one of the four 'Celestial Kings of the Directions', Tianwang, the Guardians of the Four Quarters of the world. The Heavenly Kings were originally placed on the four sides of stupas, guarding the Buddhist relics inside. However, in China, the figures took the form of various Chinese warriors and would have been situated at the entrance to a temple in order to protect against evil spirits and barbarian invasions. The imagery of the Four Heavenly Kings was also adopted into the Daoist tradition. In addition, each king was associated with a specific direction and with the 'Four Heraldic Animals' of Chinese astrology, ensuring favourable weather for crops and peace throughout the land; see P.B.Welch, Chinese Art: A Guide to Motifs and Visual Imagery, Vermont, 2008, p.194. 'The Hall of the Heavenly Kings' is a standard component of Chinese Buddhist temples and gilt-bronze figures of the Tianwang were often placed in important temples.Compare with a related gilt-bronze head of a Heavenly Guardian, Ming dynasty, in Compton Verney House, Warwick, acc.no.CVCSC 0244.2.A. See also a large gilt-bronze head of Dvarapala, Yuan dynasty, in the British Museum, acc.no.1960,0729.1.For further information on this lot please visit Bonhams.com
Lot 8
A VERY RARE GILT-BRONZE FIGURE OF VAJRAPUTRA14th/15th century The figure sturdily cast seated in rajalita asana with the left foot resting on a lion cub, holding a bead of mala from a rosary in his right hand and a ruyi sceptre in his left, the contemplative face with a serene expression defined by gently-pursed lips and downcast eyes beneath long, arched eyebrows flanked by pendulous ears and curly locks at the temples, the beard arranged in small curls around the chin, wearing a loosely-fitting shawl covering the shoulders above a diaphanous dhoti finely detailed with incised floral scrolls at the hem, falling gently over the legs and secured by a bow around the bare chest, stand. 23cm (9in) high. (2).Footnotes:十四至十五世紀 銅鎏金笑獅羅漢像Provenance: a distinguished Italian private collection來源：歐洲傑出私人收藏The present figure is a rare and fine example of Buddhist portraiture, displaying remarkable casting and vividly-exemplified craftmanship. The figure is elegant and well proportioned, and meticulous attention to detail has been devoted to the harmonious rendering of the gentle facial expression, the tight curls of the hair and beard, and finally the elegant features of the garments, from the fine gentle folds of the shawl, conveying the weight and texture of the fabric, to the bowed sash securing the robe around the waist.Vajraputra was a lion hunter before converting to Buddhism. After the attained Enlightenment, a little lion came playfully to his side. The animal seemed to be grateful to him for giving up the life of killing lions, sparing its parents and brothers. Since then, Vajraputra and the lion have become inseparable. The lion with its roar symbolises the invincibility of Buddhism; see T.Watters, 'The Eighteen Lohan of Chinese Buddhist Temples', in Journal of the Royal Asiatic Society of Great Britain and Ireland, 1898, pp.329-347.Luohan were perfected beings, disciples of Buddha who attained Enlightenment but chose to remain engaged in the world, postponing nirvana, in order to aid all sentient beings. These figures achieved Enlightenment through instruction, not meditation, and as a result, ranked just below bodhisattvas. In Buddhist texts, the Buddha is described variously as being accompanied by luohan, either fifty, five hundred, or multiples of this number. These numbers are usually taken to give an indication as to the size of the multitude, and are not meant to be literal. In Chinese art however, these numbers became a convenient convention for portraying these worthy disciples of the Buddha. One of the earliest portrayals of the luohan dating to the 6th century, depicts them as a group listening to the Buddha's teachings in a Buddhist cave at Longmen, in Henan Province. The earliest reference to a group of sixteen arhats, believed to be the earliest followers of the Buddha, occurs during the 8th century. By the Song dynasty (960-1279), this number had expanded to eighteen and by the Ming dynasty, arhats were also depicted in set of sixteen, as seen in the figures sculpted in the Shuanglin Temple, Pingyao, Shanxi Province, illustrated in Buddhist Sculpture of Shanxi Province, Beijing, 1991, pp.193-226.The facial features and garments worn by the present figure closely compare with a gilt-bronze figure of Avalokiteshvara, Yuan dynasty, and another gilt-bronze figure of a luohan, Ming dynasty, Hongzhi period, 1426, both illustrated in Buddha: 2000 Years of Buddhist Art. 232 Masterpieces, Cologne, 2016, pp.178-179, no.62, and pp.182-183, no.64.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 82
AN EXTREMELY RARE IMPERIAL HEIR-APPARENT APRICOT-GROUND SILK EMBROIDERED DRAGON ROBE, JIFUQianlong/JiaqingMeticulously worked on the front and back in satin stitch and couched gold threads with nine writhing, five-clawed dragons clutching or pursuing flaming pearls amidst dense trailing scrolls of five-coloured clouds interspersed with bats, Shou characters and Wan symbols, all above the terrestrial diagram and lishui stripe at the hem, picked out in vibrant shades of blue, yellow, red, coral and green, reserved on a deep apricot ground, the matching dark-blue-ground collar and cuffs worked with further dragons amidst further bats, clouds and waves, lined in blue silk. 166cm (65 3/8in) wide x 149cm (58 5/8in) long.Footnotes:清乾隆/嘉慶 杏黃地繡金龍彩雲紋皇太子吉服袍Provenance: an American private collectionLinda Wrigglesworth, London來源：美國私人舊藏倫敦Linda WrigglesworthSuperbly embroidered on both the inner and outer surface with nine resplendent lively five-clawed dragons riding the heavens, finely worked in metallic gold threads amidst a profusion of five-coloured trailing clouds interspersed with a multitude of bats, the present robe is a rare and remarkable example of its type. The remarkable embroidery and auspicious symbolism relating to the ten thousand folds of happiness is conveyed by the combination of multiple bats and wan symbols, making it very likely that the robe would have been worn by Aisin Gioro Yongyan, before he was enthroned as the Jiaqing emperor following the Qianlong emperor's formal retirement in 1795. All parts are original including the apricot-orange ribbed sleeve extenders.The impeccable tailoring and the depictions of dragons clutching, rather than chasing, flaming pearls, suggest that this robe would have been worn by a high-ranking individual. According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court'Huangchao liqi tushi 皇朝禮器圖式, edited in 1759, the apricot-orange colour xinghuang of this magnificent robe, was one of the 'Five Imperial Yellows' that could only be worn by the Heir Apparent to the emperor, as well as Princes and Princesses of the First Rank and Imperial Consorts of the Second and Third Degree; see M.Medley, The Illustrated Regulations for Ceremonial Paraphernalia of the Ch'ing Dynasty, London, 1982, and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30. The 'Regulations' confirmed the importance of a new type of robe, the jifu or longpao, as semi-formal court wear and brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the empire. Dragon robes thus became supreme significant social markers representing access to power. The right to wear such garments was dependent on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi emperor, the Manchu elites were keen wearers of richly-ornamented dragon robes on semi-formal court occasions and official duties. In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The product of three threes, nine has a long association with the emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of ruler's possessions and symbolic conveyers of power.Wearing robes decorated with dragons, therefore, facilitated the Manchus' transformation of their image in the eyes of the Han populations from chieftains to legitimate rulers of China. The Qing robes, however, had their own distinctive shapes and trimmings. For example, the slits appearing at the centre seams, at the front and back hem, as well at the sides, were Manchu innovations that made it comfortable for the garment to be worn during riding. In addition, dragon robes were secured at the waist with ceremonial belts suspending narrow and straight streamers, and sometimes, purses. Other conspicuously-displayed accessories further identified Manchu dress, such as a hat, a surcoat and a necklace; see V.Garrett, Chinese Dress From the Qing Dynasty to the Present, 2008, North Clarendon VT, pp.16-17.Compare with a related apricot-ground silk embroidered dragon robe, late 18th century, illustrated by R.D.Jacobsen, Imperial Silks: Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, vol.1, Minnesota, 2000, pp.146-147, no.44. See also a related apricot-ground dragon robe, Jiaqing, in the Qing Court Collection in the Palace Museum, Beijing, acc.no.00042987.For further information on this lot please visit Bonhams.com
Lot 10
A LARGE GILT-BRONZE FIGURE OF BUDDHAMing DynastyThe benevolent figure finely cast seated in dhyanasana with the right hand reaching down towards the ground in bhumisparsha mudra, the left hand held gently in the lap in dhyana mudra, the face in a meditative expression with downcast eyes flanked by pendulous earlobes, crowned by tightly-curled hair rising to a high chignon, seated cross-legged with both hands held in dhyana mudra, wearing a long layered robe decorated on the hems with delicate foliate scrolls, open at the chest revealing a wan emblem. 31cm (12 2/8in) high.Footnotes:明 銅鎏金佛坐像The present figure may represent Buddha Shakyamuni, one of the most-widely-represented subjects in Buddhist art. Modelled in the earth-touching gesture or bhumisparsha mudra, the Buddha recalls the moment of his Enlightenment, in which he called upon the earth as his witness of his battle against the temptations and attacks of Mara and his demons. Compare with a related gilt-bronze figure of Buddha Shakyamuni, 16th/17th century, in the Chang Foundation, illustrated in Buddhist Images in Gilt Metal, Taipei, 1993, pp.32-33, no.9.A related gilt-bronze figure of the Medicine Buddha, late Ming dynasty, was sold at Bonhams London, 17 May 2018, lot 127.For further information on this lot please visit Bonhams.com
Lot 11
A GILT-BRONZE FIGURE OF GUANYIN17th centuryThe figure seated in dhyanasana, the right hand raised in vitakamudra, the left in dhyanamudra, wearing loose robes hemmed with scrolling lotus and open at the chest to reveal a beaded necklace, the face with a serene downcast expression and wearing a five-pointed crown with Amitabha set into each leaf, the hair dressed in a curled topknot surmounted by a jewel and tied in tresses falling over the shoulders. 24.5cm (9 6/8in) high. Footnotes:十七世紀 銅鎏金觀音像This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 12
A BRONZE FIGURE OF SAMANTABHADRA ON AN ELEPHANTLate Ming DynastyThe deity seated atop an elephant on a double-lotus pedestal, the hands in varada and abhaya mudras as they hold the ends of lotus stems that rise to the shoulders where they support a scroll and a book, wearing long robes open to expose the bare chest and elaborate jewellery, the face with a meditative expression, the hair gathered in a high chignon surrounded by a foliate tiara. 27cm (10 5/8in) high.Footnotes:明晚期 銅普賢菩薩騎象像For further information on this lot please visit Bonhams.com
Lot 14
A RARE CLOISONNÉ ENAMEL AND GILT-BRONZE TRIPOD INCENSE BURNER16th century The vessel of a compressed globular form supported on three gilt-bronze elephant feet, the flat rim cast with a pair of gilt-bronze handles shaped as sinuous chilong, decorated around the sides with six large blossoming lotus heads borne on scrolling leafy tendrils, below a green-ground band of flower-heads, the base with further flower-heads. 20.5cm (8in) wide.Footnotes:十六世紀 銅鎏金掐絲琺瑯纏枝蓮紋沖耳象足爐Provenance: Galerie Gross, Wiesbaden, Germany, 31 October 1986 (invoice)A European private collection來源：於1986年10月31日購自德國威斯巴登Galerie Gross（發票）歐洲私人收藏The present lot exhibits a rare feature in the treatment of the lotus, having a lotus pod emerge from the lotus blossom. See a similar decoration of lotus pod in a lotus blossom, in a simplified form, on a cloisonné enamel long neck vase, Xuande mark and period, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Enamels, 1, Beijing, 2011, no.54. The gilt-bronze sinuous chilong handles and feet also exhibit the highest level of craftsmanship at court; see a related cloisonné enamel incense burner, first half 16th century, featuring the same gilt-bronze feet and handles but decorated with cranes amidst clouds, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, Zurich, 1989, no.56. See also a related cloisonné enamel incense burner and cover with similar motif of lotus, Yuan dynasty, illustrated in Ibid., no.9.A similar cloisonné enamel and gilt-bronze incense burner, 16th/early 17th century, was sold at Christie's New York, 22 March 2019, lot 1792.For further information on this lot please visit Bonhams.com
Lot 16
A GILT-BRONZE FIGURE OF TARA18th century The deity seated in lalitasana on a double-lotus pedestal with her hands in varada and vitarka mudras, dressed in a diaphanous dhoti with a pendent sash draped over the base, the face with downcast eyes surmounted by an elaborate tiara, the hair arranged in a high chignon secured with a finial. 15.5cm (6 1/8in) high.Footnotes:十八世紀 銅鎏金度母像Provenance: a European private collection來源：歐洲私人收藏For further information on this lot please visit Bonhams.com
Lot 20
A BRONZE TRIPOD INCENSE BURNER, LIDINGXuande seal mark, 17th/18th century Of compressed globular form raised on three low conical feet, the sides flanked by a pair of loop handles, the underside crisply cast with Xuande seal mark in a rectangular cartouche. 13cm (5 1/8in) wide.Footnotes:十七/十八世紀 銅雙耳壓經爐「宣德年製」篆書款Finely cast, the present incense burner belongs to a special group of vessels bearing apocryphal Xuande reign marks, which were often inspired in form by Southern Song dynasty ceramic censers; see G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, p.150, no.123, where a related incense burner covered in gold splashes is illustrated. Compare with a similarly-shaped bronze tripod incense burner but with a circular foot, 17th century, in the Victoria and Albert Museum, London, illustrated by R.Kerr, Later Chinese Bronzes, London, 1990, pl.24.A related bronze incense burner, 17th century, was sold at Sotheby's Hong Kong, 8 April 2013, lot 173.For further information on this lot please visit Bonhams.com
Lot 1793
Scheib, Hans. Havanna. Bronze mit roter Ölfarbe. Auf dem Sockel mit geritztem Künstlermonogramm, Datierung und Nummerierung. Exemplar: 1/6. 1998. Größe: 32 x 13 x 8 cm.Sehr schöne Bronze mit Aktdarstellung des deutschen Bildhauers und Graphikers Hans Scheib. - Sehr gut erhalten. - Provenienz: Privatsammlung Berlin.
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350105 item(s)/page