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Lot 502
Lot: 2 Plaketten Naher Osten, 19./20.Jh. Beidseitig eingravierte Inschriften. (1) Silber. Geschweiftes Kopfstück. Im Zentrum runde Kupferauflage mit Buchstabe. Rückseite mit Sonnenmotiv. (2) Bronze, versilbert. Mit massiver Kette an 2 Ösen. H 8 bzw. 9,5 cm (ohne Kette). - Alters- und Tragespuren.
Lot 4003
Telleruhr Wohl Deutschland, 18.Jh. Eisengehäuse mit Seitentürchen. Getriebene, reich verzierte Bronzezifferfront. Zinnzifferring mit römischen Stunden- und arabischen Minutenzahlen. Spindelwerk mit Vorderzappler und eisernen Triebrädern. Vierviertelstunden und Stundenschlag auf zwei Glocken. Birnenförmige, in Bronze gefasste Bleigewichte an Kettenzug. Gehfähig. 38x30 cm.
Lot 1101
Wasserkanne vom Typ "He" China, Ming-Dynastie. Bronze. Imitation einer archaischen Ritualkanne vom Typ "He". Bauchiges Gefäss auf drei Beinen in Form von Fabeltieren,Tülle in Form eines Vogels und hoher, gewölbter Henkel. Archaisierender Reliefdekor auf Schulter und Körper. Deckel innen sowie Gefässinneres mit Inschrift. Die Inschrift läss sich etwa wie folgt übersetzen: "Möge dieses Gefäss ewig weitergegeben werden und zukünftige Generationen sich für immer an ihre Ahnen erinnern." H 18 cm. Schweizer Privatsammlung Herman Berninger (1911–2012)
Lot 1077
Grosser Buddhakopf Thailand, Chien Seng Stil. Bronze. Grosser Buddhakopf mit sanftem Lächeln und meditativ gesenkten Augen. Hohe, abnehbare und vermutlich nicht zugehörige Ketumala. H 51 cm (ohne Sockel). - Gussfehler. Schweizer Privatsammlung Charles A. Béguelin (1888–1979), von 1912 bis 1934 als Architekt für den siamesischen Hof in Bangkok tätig
Lot 1074
Buddhakopf Ayutthaya-Stil, Thailand, 17./18.Jh. Bronze. Das freundliche Gesicht mit gesenktem, in sich gekehrten Blick, darüber bogenförmige Augenbrauen, der Mund zu einem sanften Lächeln geformt. H ohne Sockel 27 cm. - Ketumala verloren. Schweizer Privatsammlung Charles A. Béguelin (1888–1979), von 1912 bis 1934 als Architekt für den siamesischen Hof in Bangkok tätig
Lot 1075
Buddhakopf Thailand, Sukhothai-Stil, wohl 15.Jh. Bronze. Meditativer, gesenkter Blick, lächelnder Mund, der Kopf mit schneckenartig eingerollten Buckellocken. H ohne Sockel 23,5 cm. - Nase und Ohrläppchen bestossen. Ketumala verloren. Schweizer Privatsammlung Charles A. Béguelin (1888–1979), von 1912 bis 1934 als Architekt für den siamesischen Hof in Bangkok tätig
Lot 1259
2 etruskische Bronzespiegel 3.Jh. v.C. Bronze. Rückseite der Spiegelfäche mit eingerizter Darstellung vermutlich von Castor und Pollux. L 24, D 12 cm. / Spiegelfäche mit Darstellung einer stehenden weiblichen Figur in Chiton (Turan?) im Gespräch mit sitzender männlichen Figur. L 24, D 16 cm. - Stark korrodiert, restauriert und nachbearbeitet. Schweizer Privatsammlung vor 1992
Lot 136
Tony CraggGrenze weg Stahl mit Rostpatina Ca. 39 x 55 x 28 cm. Mit dem Signaturstempel "Cragg". Exemplar 24/35 (+6 A.P.). Edition Bild-Zeitung, Berlin.Mit beiliegendem signierten Photozertifikat des Künstlers.Abbildung eines anderen Exemplars.Von Beginn an hat Tony Cragg sein Verhältnis zum Organischen und deren Widergabe für sich geordnet mit der Entscheidung, Spuren der Natur in ihrer Reduktion nachzuahmen mit der Gewissheit, „dass Plastik die Kraft der Rekonstruktion hat und in sich selbst zum Instrument wahrer Imagination werden kann“. (Germano Celant) So gesehen hat Cragg die Eigenschaften des Materials als Voraussetzung für seine Arbeiten bevorzugt genutzt, eine für ihn über die Jahre typische Bildsprache zu entwickeln, von den Materialbildern aus gefundenem Holzabfall und Plastikteilen bis zu selbstentwickelten wie erfundenen Formen und Objekten. Die Bandbreite von stabilen Kunststoffen und die unendlichen Möglichkeiten, sie zu verarbeiten und zu gestalten, eröffnet dem Bildhauer für seine Bildwerke auch entsprechende Materialien zu entwickeln. Aus der Dominanz des Materials, sei es Kunststoff, Holz, Marmor, Glas, Bronze, Eisen fertigt Cragg bis heute überraschende, bis dato nicht gedachte, geradezu barock anmutende Skulpturen. Die Illusion in den erfundenen Formen ist dabei auffallend und ist vom Künstler eindringlich inszeniert. Die Frage nach dem „Wie“ und dem „Woraus“ geht einher mit der Frage nach dem Sinn der Form. Bei all dem verliert Cragg nie den Blick auf die Ästhetik, die nicht zuletzt in der Oberfläche seinen edelsten Auftritt hat. Bei gusseisenen Objekten, wie diese hier, gilt dies auf eine ganz besondere Weise. Gegenüber harten Kunststoffen oder Glas hinterlässt der Guss eine sehr sensible und verletzbare Oberfläche, gleichsam eine puderige Patina, die das geglättete Material Eisen nach dem Guss aus sich selbst heraus im Prozess der Oxidation erzeugt. Tony Cragg überlässt der chemischen Reaktion also die Einflussnahme auf das ästhetische Erscheinen seines Bildwerks. Tony CraggGrenze weg Steel with rust patina Approx. 39 x 55 x 28 cm. With signature stamp "Cragg". Numbered 24/35 (+6 A.P.). Edition Bild-Zeitung, Berlin.With accompanying signed photo certificate by the artist.Illustration of an different cast.Right from the start, Tony Cragg classified his relationship to organic aspects and their rendition with the decision to copy traces of reduced forms in nature with the certainty 'that plastics have the strength of reconstruction and can in themselves become an instrument of true imagination.' (Germano Celant) In that respect, Cragg has mainly implemented the characteristics of the material as a prerequisite for his works in order to develop a visual vocabulary that has become typical for him over the years, starting with the material pictures made from finds of wood waste up to self-developed and invented shapes and objects. The range of stable plastics and the infinite possibilities of processing and designing them allows the sculptor to develop the respective materials necessary for his works. To date, Cragg produces astonishing, hitherto unimaginable, almost baroque sculptures, given the dominance of the material, be it plastics, wood, marble, glass, bronze, or steel. The illusion in the invented forms is striking and is forcefully staged by the artist. The question as to 'how' and 'from what' exists paralell to the question concerning the sense of the shape. However, Cragg never loses sight of aesthetics, the most important aspect being the nature of the surface. This is especially the case with cast-iron sculptures such as this one. In contrast to hard plastics or glass, the cast leaves a very sensitive and vulnerable surface and at the same time a powdery patina that the smoothened steel material produces of its own accord during the oxidation process. So Tony Cragg entrusts the aesthetic appearance of his work to the influence of the chemical reaction.
Lot 201
CL.J.R Colinet'Country Dance', circa 1920Green patinated bronze, variegated marble plinth, with applied decorative metal motifs.51.5cm highFootnotes:LiteratureBrian Catley, 'Art Deco and Other Figures', 1978, page 119.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 205
Demetre ChiparusReclining female figure, circa 1925Patinated bronze, black marble.Length 74.5cmSigned in cast Chiparus Etling Paris and stamped BRONZE.Footnotes:ProvenanceSotheby's, London, 'Elton John; Volume III; Art Nouveau and Art Deco', 7th September 1988, lot 803.For further information on this lot please visit Bonhams.com
Lot 206
Bruno ZachWoman with ball, circa 1920Gilded and patinated bronze, marble.41cm highSigned in cast B.Zach with PM foundry stamp.Footnotes:ProvenanceSotheby's, London, 'Elton John; Volume III; Art Nouveau and Art Deco', 7th September 1988, lot 806.For further information on this lot please visit Bonhams.com
Lot 364
Lucie RieSmall vase, circa 1975Stoneware, bronze glaze, incised linear pattern.9.5cm highUnderside with impressed LR seal.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 368
Lucie RieFlared and footed bowl, circa 1982Porcelain, bronze glaze, linear sgraffito decoration.15.8cm diam, 6.2cm highUnderside with impressed LR seal.Footnotes:ProvenanceChristies, London, 'Contemporary Ceramics', 19th February 1985, lot 149This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 369
Lucie RieFooted bowl, circa 1980Porcelain, white glaze, bronze manganese band.8.7cm high, 18cm diameterUnderside with impressed LR seal.Footnotes:ProvenanceSheila Harrison Fine Art, June, 1989.Acquired from the above by the present owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 370
Lucie RieFooted bowl, circa 1980Porcelain, yellow glaze, with golden bronze band.9.5cm high, 16.5cm diameterImpressed with artist's LR seal.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 190
A LATE VICTORIAN SHELL CAMEO BROOCH, the oval shell cameo carved to depict Artemis, the Greek goddess of hunting, as 'Diana Chasseresse', an athletic huntress wearing a tunic, drawing an arrow from her quiver and accompanied by a deer, to a gold frame with hoop and baton accents to the cardinal points, in fitted case signed Alston & Hallam, length 7.9cm This depiction of 'Diana Chasseresse' or 'Diana of Versailles' is after the partially restored Roman marble copy of a 4th century BC bronze, attributed to Leochares, currently located at the Musée du Louvre, Paris. Condition report: Hairline fractures to cameo and small nicks, chips and scuffs to highpoints of carved decoration, occasional small pitted areas. Cameo measures approx. 5.7cm length x 4.3cm width. Surface wear, scuffs, scratches and nicks/chips to mount. Small areas of verdigris at junctions of hoop and baton decoration to mount. Clasp is functioning. Metal standard is untested. Gross weight approx. 29.5gm. General wear to case, small areas of staining to interior and scuffs to exterior.
Lot 612
A CHINESE PARCEL-GILT BRONZE FIGURE OF GUANYIN MING DYNASTY She sits in a relaxed pose with her arm resting upon her raised knee, with a slender vase to her right side, she wears loose flowing robes adorned with beads and an elaborate crown centred by a figure of Amitabha Buddha, together with a later wood stand, 25cm, 852g. (2) Provenance: from a deceased estate, Hampshire, purchased from Gerard Hawthorn Ltd on 11th July 2006. A copy of the invoice is available.
Lot 622
A CHINESE BRONZE GARLIC-MOUTH BOTTLE VASE HAN DYNASTY The compressed body surmounted by a tall slender neck cast with a raised band and terminating in a bulbous garlic-form mouth, all raised on a short flared foot, 39.4cm, 1.8kg. Provenance: from a deceased estate, Hampshire, purchased from Michael Goedhuis.
Lot 615
A THAI BRONZE FIGURE OF BUDDHA PROBABLY 15TH CENTURY Cast seated with crossed legs, his hands resting upon his lap in dhyana mudra, depicted wearing samghati, his head surmounted by a flame ushnisha, together with a later wood stand, 33cm, 3.9kg. (2) Provenance: formerly the collection of the late Andrew Solomon, purchased from Obelisk Gallery, London, on 22nd October 1969; and then a deceased estate, Hampshire.
Lot 610
A LARGE CHINESE BRONZE FIGURE OF GUANYIN MING DYNASTY Depicted seated in dhyanasana wearing long flowing robes, she wears an elaborate necklace and a crown centred by Amitabha Buddha, holding a medicine jar in her left hand, with her right hand raised in karana mudra, together with an associated stand shaped as a lotus flower rising from a fenced pond, 61cm overall, 18kg. (3) Provenance: from a deceased estate, Hampshire. Cf. The Metropolitan Museum of Art, accession no.12.37.161 for a related figure.
Lot 767
A CHINESE SHIWAN WARE FIGURE OF SHOULAO AND A BRONZE INCENSE BURNER AND COVER QING DYNASTY The God of Longevity depicted holding his staff and a peach, with a vibrant purple glaze with lavender streaks decorating his robe, his head and hands left unglazed, the incense burner shaped as a water buffalo, the cover formed as a seated boy playing the flute, his hair tied in two buns, 27.8cm and 20.5cm, the incense burner and cover 1kg. (3) Provenance: from the collection of Professor Ronald N Arnold (1908-1963) and thence by descent. Professor Arnold was Regius Professor of Engineering at Edinburgh University from 1947 until his death. Following ill health, in 1953 he began to collect Chinese porcelain in his free time, buying most of his pieces from small antique shops and auctioneers in Edinburgh and London. Through the art historian David Talbot-Rice, Professor Arnold became acquainted with several experts in the field of East Asian ceramics, including Sir Harry Garner and Soame Jenyns.
Lot 611
A CHINESE PARCEL-GILT AND LACQUERED-BRONZE FIGURE OF BUDDHA MING DYNASTY Depicted seated in dhyanasana and wearing flowing robes, his bare chest incised with a fylfot, raised on an associated gilt-bronze lotus throne, together with a Qing dynasty miniature bronze figure of Buddha, 16.3cm, 15.4cm and 4cm, 966g, 1.1kg, and 31g. (3) Provenance: from a UK private collection.
Lot 616
A SMALL NEPALESE BRONZE FIGURE OF A FOUR-ARMED TARA PROBABLY 16TH CENTURY Cast seated in lalitasana, with one hand held by her bare chest and another faced downwards by her right leg, her other two hands holding precious objects, she wears an ornate crown and elaborate body jewellery, with a visvavajra to the base, 8.5cm, 185g.
Lot 578
A CHINESE GILT-BRONZE AND ROOTWOOD MODEL OF LIU HAI LATE QING DYNASTY Formed as Liu Hai kneeling down luring the three-legged toad with a string of coins, the deity with a cheerful expression on his face, the bronze figure and animal attached to a gnarled rootwood base, all raised on a wood stand, 28cm. (2)
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