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Click here to subscribeA JAPANESE BRONZE INCENSE BURNER AND COVER, KORO MEIJI PERIOD, 19TH CENTURY The bulbous body decorated with writhing dragons amongst clouds, raised on three feet shaped as young boys, karako, and with a fourth one to the cover, the handles formed as smaller dragons, signed Yoshi zo to the base, 21cm. (2) Cf. Bonhams London, 14th May 2015, lot 424, for a related koro with boys and dragons by Yoshi.
A PAIR OF JAPANESE BRONZE CANDLESTICKS MEIJI PERIOD, 19TH CENTURY Cast as Ashinaga and Tenaga, the long-legged and long-armed men depicted standing, holding three flower-shaped sconces above their heads, both raised on a rectangular plinth with scrolling feet, each marked Sanri in a rectangular reserve to the back, 38.5cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A PAIR OF JAPANESE BRONZE VASES MEIJI PERIOD, 19TH CENTURY The bodies cast with a continuous scene of a bird of prey and smaller birds amongst pine, the shoulders decorated with bands of lappets, both raised on four shaped feet, both 28cm. (2) Provenance: from the collection of Anne Hull-Grundy (1926-1984) and thence by descent.
A MASSIVE JAPANESE BRONZE JARDINIERE MEIJI PERIOD, 19TH CENTURY Raised on four scrolling legs, the body decorated with four carp in low relief swimming amongst waves, the legs and rim with bands of reticulated key fret in openwork, signed Seiryusai chu in a rectangular reserve underneath, 37.5cm.
A JAPANESE KAGA STYLE BRONZE DISH MEIJI PERIOD, 19TH CENTURY Decorated with a central medallion enclosing the figure of Eguchi no Kimoi as Fugen Bosatsu in shibuichi takazogan, the deity wearing long robes and her hair held up with kanzashi ornaments, holding a long handscroll and standing on an elephant, with twelve inlaid cranes flying amongst scrolling clouds to the cavetto in gold honzogan, 32.5cm. See Bonhams New York, 19th September 2008, lot 5183 for another Kaga style bronze dish. Kimi was a famous prostitute from the village of Eguchi who after assiduously studying Buddhist scriptures became an incarnation of Fugen Bosatsu, the bodhisattva of Universal Goodness, Virtue and Worthiness. See lot 385 for another depiction of this myth.
A PAIR OF LARGE JAPANESE BRONZE SHISHI, OKIMONO MEIJI PERIOD, 19TH OR 20TH CENTURY The lion dogs depicted seated on their haunches, one with its muzzle open and bearing its fangs, both ferocious-looking and with ornate collars decorated with a large flowerhead and scrolling tendrils, with bells and jewels suspended from them, both signed Shuzan / Hideyama, both 38cm. (2)
Ivor Roberts-Jones (British, 1916-1996)Sir Winston Churchill, maquette for the monument in Parliament Square numbered '26' (on the bronze base)bronze with a brown patina on a stone base50.8 cm. (20 in.) high (excluding the base)Footnotes:ProvenanceThe Artist, from whom purchased by the present owners Grandfather, Dr. Eugene Gancz, circa 1971Private Collection, U.K. Dr Gancz was born in Hungary in 1912 but, being Jewish, was forced to flee in the 1930s to Austria to study for his degree in Medicine and then again to Basel, Switzerland after Austria's Anschluss with Germany. After completing his studies to become a doctor in February 1939, just before the outbreak of the Second World War, Dr Gancz applied for citizenship in the United Kingdom where he volunteered to serve in the army as a doctor. During the war, Dr Gancz worked as a doctor in the U.K. and served with the Royal Army Medical Corps in Italy, achieving the rank of Major. After the war he was a General Practitioner in Kent and, for 41 years, a Police Surgeon, for which long service he was made an Honorary Consultant Medical Advisor to the Chief Constable of Kent. Feeling an enormous sense of gratitude to Churchill and the United Kingdom, Dr Gancz purchased the bronze figure of Winston Churchill, the man he respected so much and whom he held responsible for saving him and the few of his family who survived the Holocaust.The present work is a maquette for the large scale sculpture of Churchill by Roberts-Jones which stands in Parliament Square and was commissioned in 1971. The first important commission the artist had received came in 1961 from Lord Beaverbrook for a bust of Somerset Maugham. Following this, he was asked to sculpt the memorial statue for fellow artist Augustus John in Hampshire. This major work took three years to complete but was a great success and crucially led to his election as Associate of The Royal Academy. Further honours followed in 1975 when Ivor was awarded the C.B.E. Another cast of the present work was sold in these rooms for £112,500, 14 November 2018.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
Henry Moore O.M., C.H. (British, 1898-1986)Mother and Child: Circular Base signed and numbered 'Moore 8/9' (on the bronze base)bronze with a brown patina on a wooden base13.5 cm. (5 3/8 in.) high (excluding the wooden base)Conceived in 1980Footnotes:ProvenanceThe Artist, May 1981, from whom acquired byPrivate Collection, New ZealandPrivate Collection, U.K.With Berkeley Square Gallery, London, 2003, where purchased byPrivate Collection, U.K. by whom gifted to the present ownerPrivate Collection, U.K.LiteratureAlan Bowness, Henry Moore: Volume 6, Complete Sculpture, 1980-86, London, 1999, p.37, cat.no.790 (ill.b&w., another cast)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
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure: Pointed Legs signed and numbered 'Moore 7/9' (on the bronze base)bronze with a brown patina22.9 cm. (9 in.) long (including the bronze base)Conceived in 1979Footnotes:ProvenanceWith Adler Fielding Gallery, Johannesburg, from whom acquired byPrivate Collection, U.S.A.LiteratureAlan Bowness, Henry Moore: Volume 5, Sculpture and Drawings, Sculpture 1974-80, Lund Humphries, London, 1983, p.45, cat.no.LH777 (ill.b&w., another cast)'From the very beginning the reclining figure has been my main theme', Moore has declared. 'The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures'' (H. Moore, quoted in A. Wilkinson (ed.), Henry Moore, Writings and Conversations, Aldershot, 2002, p.212).The recumbent female form was a theme Henry Moore returned to throughout his nearly sixty-year career. 'The human figure is the basis of all my sculpture,' Moore professed, 'and that for me means the female nude.' Most of Moore's female figures are positioned seated or reclining, a configuration that initially stemmed from Moore's use of stone as his preferred medium and the structural weakness of the material in a standing figure's ankles. 'The reclining figure gives the most freedom, compositionally and spatially. The seated figure must have something to sit on. You can't free it from its pedestal. A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for an eternity' (D. Mitchinson, (ed.), Henry Moore Sculpture, with Comments by the Artist, London, 1981, p.86).The beautifully modulating form for the present work exemplifies Moore's mastery of the bronze medium. Propped on her forearms with her attention directed to her left and legs facing a contra-direction, Reclining Figure: Pointed Legs is animatedly alert and captures an instant of the figure's movement. The motion evoked by the form's curvilinear shape endows the figure with a plasticity that seemingly defies the bronze medium. Although reclining, this brilliantly dynamic sculpture presents dramatic profiles when seen from various viewpoints. The points of the figure's head, breasts, and attenuated arms and legs are counterbalanced by the soft curves of the woman's arching back, stomach, and propped legs.The recumbent woman is an artistic trope harkening to Ingres, Delacroix, Manet, among others, and references the Orientalist fantasy of the odalisque, a nude or partially clad harem girl. However, while most of Moore's reclining women are nude, Moore scholar David Sylvester argues: 'though they lie with knees apart or thighs apart, their overall pose doesn't betoken the availability commonly implied in reclining female nudes' (D. Sylvester, Henry Moore, Tate Gallery, London, 1968, p.5). Moore's women are in contradiction to the voyeuristic gaze of his predecessors. 'I am not conscious of erotic elements in [my work], and I have never set out to create an erotic work of art,' Moore stated. 'I have no objection to people interpreting my forms and sculptures erotically...but I do not have any desire to rationalize the eroticism in my work, to think out consciously what Freudian or Jungian symbols may lie behind what I create' (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Berkeley, 2002, p.115). 'These reclining women are not the reclining women of a Maillol or a Matisse,' Will Grohmann wrote. 'They are women in repose but also something more profound...the woman as the concept of fruitfulness, the Mother Earth. Moore, who once pointed to the maternal element in the 'Reclining Figures', may well see in them an element of eternity, the 'Great Female', who is both birth-giving nature and the wellspring of the unconscious... To Henry Moore, the 'Reclining Figures' are no mere external objects; he identifies himself with them, as well as the earth and the whole realm of motherhood' (W. Grohmann, The Art of Henry Moore, London, 1960, p.43).'I want to be quite free of having to find a 'reason' for doing the Reclining Figures,' Moore declared, 'and freer still of having to find a 'meaning' for them. The vital thing for an artist is to have a subject that allows him to try out all kinds of formal ideas—things that he doesn't yet know about for certain but wants to experiment with, as Cézanne did in his 'Bather' series. In my case the reclining figure provides chances of that sort. The subject matter is given. It's settled for you, and you know it and like it, so that within the subject that you've done a dozen times before, you are free to invent a completely new form-idea' (quoted in J. Russell, Henry Moore, London, 1968, p.48).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
Lynn Chadwick R.A. (British, 1914-2003)Maquette IV Diamond 1984 stamped with initial and numbered 'C13 2/9' (underneath)bronze with a black patina35.5 cm. (14 in.) longPlease note that this work is incomplete and is one of a two-piece sculptureFootnotes:Provenance:With Marlborough Fine Art, LondonSale; Bonhams, 12 March 2008, lot 48, where purchased by the present ownerPrivate Collection, U.K.Exhibited:London, Marlborough Fine Art, 31 October-7 December 1984, no.16 (another cast)Literature:Dennis Farr and Éva Chadwick, Lynn Chadwick, Sculptor, Lund Humphries, Aldershot, 2006, cat.no.C13, p.351 (another cast ill.b&w)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
Denis Mitchell (British, 1912-1993)Widdon stamped with initials 'DAM' (at the base of the bronze) and inscribed 'TO KATH & TERRY/LOVE/DENIS' (under the slate base)polished bronze on a slate base44.4 cm. (17 1/2 in.) high (excluding the slate base)Conceived in 1970, an Artist's proof from the edition of 4Footnotes:ProvenanceSir Terry Frost (1915-2003), thence by family descent to the present ownerPrivate Collection, U.K.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
Dame Elisabeth Frink R.A. (British, 1930-1993)Mecca-Dante Trophy signed and numbered 'Frink 10/10' (on the bronze base)bronze with a brown patina30.5 cm. (12 in.) highConceived in 1982-3Footnotes:ProvenanceSale; Phillips, London, 25 November 1997, lot 96, where purchased by the present ownerPrivate Collection, U.K.Literature Jill Wilder, Elisabeth Frink Sculpture, Catalogue Raisonné, Harpvale, Salisbury, 1984, p.197, cat.no.276 (ill.b&w, another cast)Annette Ratuszniak, Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.156, cat.no.FCR314 (col.ill., another cast)Commissioned by Mecca Bookmakers for the 1983 Mecca-Dante Stakes, the 1983 winner of which was a horse called Hot Touch, owned by Mr. E Mollers, trained by Geoff Wragg and ridden by Pat Eddery.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
Sophie Ryder (British, born 1963)Lady-Hare on Dog bronze with a grey patina150 cm. (59 in.) highConceived in 1999 and cast in an edition of 9Footnotes:ProvenanceWith Berkeley Square Gallery, London, 2000, where purchased by the present ownerPrivate Collection, U.S.A.This lot is subject to the following lot symbols: * AR W* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.W Objects displayed with a 'W' will be located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Barry Flanagan, R.A. (British, 1941-2009)Horse on Anvil signed with monogram, numbered '3/8' and stamped with the foundry mark (on the base)bronze with a black patina56 cm. (22 in.) highConceived and cast in 2001Footnotes:ProvenanceWith Solomon Gallery, DublinPrivate Collection, U.K.Sale; Phillips, 6 October 2016, lot 148Private Collection, SwitzerlandExhibitedSalzburg, Thaddaeus Ropac, Barry Flanagan, 14 February-6 April 2002 (another cast)Recklinghausen, Kunsthalle Recklinghausen, Barry Flanagan: Sculpture & Drawing, 4 May-14 July 2002 (another cast)Dublin, Irish Museum of Modern Art, Barry Flanagan: Sculpture 1965-2005, 28 June-24 September 2006 (another cast) Dublin, Solomon Gallery, The Secret Garden, 15-26 May 2008 (another cast)Paris, Galerie Lelong, Barry Flanagan: Chevaux et Compagnie, 7 April-14th May 2011 (another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reg Butler (1913-1981)Study for Girl Tying her Hair, 3 signed with monogram and numbered '3/8' (on the base) bronze with a dark brown patina47 cm. (18 1/2 in.) highConceived in 1959Footnotes:ProvenanceCollection of the Mary Duke Biddle Trent Semans FoundationExhibitedLondon, Hanover Gallery, Reg Butler: Sculpture, 9 June-8 July 1960, cat.no.10 (another cast)New York, Pierre Matisse Gallery, Reg Butler: Recent Sculpture: 1959-1962, 30 October-17 November 1962, cat.no.13 (another cast)Kentucky, J.B. Speed Art Museum, Reg Butler: A Retrospective Exhibition, 22 October-1 December 1963, cat.no.88 (another cast)LiteratureMargaret Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & Hampshire, 2006, p.155, cat.no.197 (ill.b&w., another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reg Butler (1913-1981)St Catherine signed with monogram, numbered '7/8' and stamped with a Susse foundry stamp (on the base)bronze with a black patina45 cm. (17 3/4 in.) wideConceived in 1959Footnotes:ProvenanceSale; Christie's, London, 6 November 1998, lot 232, where purchased by Gallery Pangolin, Chalford, by whom gifted to the present owner on his retirementPrivate Collection, U.K.ExhibitedLondon, Hanover Gallery, Reg Butler: Sculpture, June-July 1960, cat.no.5New York, Pierre Matisse Gallery, Reg Butler: Recent Sculpture: 1959-1962, 30 October-17 November 1962, cat.no.3Kentucky, J.B. Speed Art Museum, Reg Butler: A Retrospective Exhibition, 22 October-1 December 1963, cat.no.84Chalford, Gallery Pangolin, 'Vitalism' British Sculptors of the '50s, 12 November–22 December 2001 (as Figure in Space)LiteratureMargaret Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & Hampshire, 2006, p.152, cat.no.185 (ill.b&w., another cast)The present work was titled Figure in Space in the Gallery Pangolin exhibition in 2001 under the instruction of the Artist's widow Rosemary Butler.We are grateful to Margaret Garlake for her assistance in cataloguing this lot.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
Kenneth Armitage (British, 1916-2002)Standing Figure with Arms Sideways signed with initials 'KA' (on the base)bronze with a black patina40.7 cm. (16 in.) high (including the base)Conceived in 1956-7Footnotes:ProvenancePrivate Collection, U.S.A.ExhibitedVenice, British Pavilion, XXIX Venice Biennale, 1 June-30 September 1958, cat.no.29; this exhibition travelled to Paris, Musee National D'art Moderne, 22 November-21 December 1958, Cologne, Wallraf-Richartz-Museum, 10 Jan 1959, Brussels, Palais Des Beaux-Arts De Bruxelles, 6 March-29 March 1959, Zurich, Kunsthaus, 10 April 1959, Rotterdam, Museum Boymans-Van Beuningen, 2 June-30 June 1959 (another cast)London, Whitechapel Art Gallery, Kenneth Armitage: Retrospective Exhibition of Sculpture and Drawings, July–August 1959, cat.no.29 (another cast)Arts Council of Great Britain, Kenneth Armitage, Beirut, American University, 1961; this exhibition travelled to Greece 1961, Austria 1962, Spain 1963, Australia 1965, Singapore, 1968, Cuba 1970, Argentina 1971, Brazil, 1973, Norway 1974, Malaysia, 1975 (another cast)Arts Council of Great Britain, 40 Years of British Sculpture, Jordan, Amman, Jordan National Gallery, 1981; this exhibition travelled to Zimbabwe 1982, South Africa 1983, Yugoslavia 1986, Slovenia 1986, Turkey 1986, Greece 1987, Egypt 1988, Botswana 1988, Cyprus 1988, New Zealand 1989, Philippines 1990, Canada 1991-2, Estonia 1993, Riga 1993, Lithuania 1993, Ukraine 1994 (another cast)British Arts Council, A Changing World 50 Years of Sculpture from the British Council Collection, St Petersburg, 18 October-21 November 1994; this exhibition travelled to Moscow 28 April-28 May 1995, Prague, 27 June-30 September, Casablanca, 10 January-14 March 1996, Essen, 21 April-2 June 1996 (another cast)British Arts Council, Kenneth Armitage 1916-2002 Centenary Sculpture Exhibition, Bath, Victoria Art Gallery, 10 September-27 November 2016; this exhibition travelled to Leeds, Leeds University, The Stanley & Audrey Burton Gallery, 15 March-15 July 2017 (another cast) LiteratureTamsyn Woollcombe, Kenneth Armitage, Life and Work, Henry Moore Foundation in association with Lund Humphries, Much Hadham and London, 1997, p.144, cat.no.KA63 (as Standing Woman with Arms Sideways)James Scott, The Sculpture of Kenneth Armitage, Lund Humphries, London, 2016, p.44, 109 (ill.b&w., another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sir Jacob Epstein (British, 1880-1959)Joseph Conrad signed 'Epstein' (verso)bronze with a green patina on a marble base43.3 cm. (17 in.) high (excluding the base)Conceived in 1924Footnotes:ProvenancePrivate Collection, U.S.A.LiteratureE.P. Schinman and B.A. Schinman, Jacob Epstein, A Catalogue of the Collection of Edward P. Schinman, Farleight Dickinson University Press, 1970, p.47 (ill.,another cast)Evelyn Silber, The Sculpture of Epstein with a Complete Catalogue, Phaidon, Oxford, 1986, p.156, cat.no.149 (ill.b&w., another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A LATE VICTORIAN GILT-BRONZE COMMEMORATIVE CHESS PIECE BY CARLO AND ARTHUR GIULIANO, modelled as a rook, inset to the top with a section of Trans-Atlantic telegraph wire, inscribed 'CHESS MATCH BY CABLE BETWEEN HOUSE OF COMMONS, LONDON AND HOUSE OF REPRESENTATIVES, WASHINGTON PLAYED OVER THE LINES OF THE ANGLO AMERICAN TELEGRAPH CO, LONDON AND WESTERN UNION TELEGRAPH CO, NEW YORK 1897 and CONTRACTORS THE TELEGRAPH CONSTRUCTION AND MAINTENANCE CO., LONDON, signed C&AG to base, 7.5cm high This souvenir chess piece was produced by Carlo Joseph and Arthur Alphonse Giuliano, sons of the celebrated Italian artist jeweller Carlo Giuliano, to commemorate the first chess match played between the House of Commons in London and the House of Representatives in Washington, D.C. Each team comprised five players and the chess moves were relayed back and forth across the Atlantic by telegraphic cable, starting on Monday 31 May 1897. The match was drawn after two days of play, each side scoring 2.5 points.
A CHINESE BRONZE 'LAOZI AND BUFFALO' INCENSE BURNER AND COVER 17TH CENTURY The cover formed as Laozi wearing loose-fitting robes, he sits upon the back of a recumbent water buffalo holding a ruyi sceptre in his right hand, the animal depicted with its head raised and mouth agape revealing its tongue, detailed with swirling tufts of hair to its forehead, 21.8cm, 1.3kg. (2) Provenance: from an Asian private collection. Laozi was a semi-legendary philosopher and is regarded as the founder of Daoism. According to legend, Laozi became disillusioned with the corruptness at the Zhou dynasty court and abandoned his position there as a record keeper. He rode away on a water buffalo to the West, only to be recognised by a border official at the Hangu Pass who asked him to write down his wisdom. It is believed that what he wrote became the Daodejing, the sacred text of Daoism.十七世紀 銅老子出山薰來源：亞洲私人收藏。
A CHINESE BRONZE 'WATER BUFFALO' WATER DROPPER 17TH CENTURY Formed as a standing water buffalo with its head turned to sinister, its ribs and hair finely detailed, with apertures to its spine and open mouth, together with a Japanese wood box and cover, 14cm, 359g. Provenance: from an Asian private collection.十七世紀 銅水牛水滴來源：亞洲私人收藏。
A PAIR OF LARGE AND IMPOSING CHINESE LAPIS LAZULI MODELS OF ELEPHANTS QING DYNASTY Each elephant stands four-square with its large tusks highlighted in gilt, they support gilt-metal saddle blankets and zun-shaped vases inlaid with colourful stones upon their backs, the vessels contain many bronze branches of lingzhi from which bunches of hardstone fruits hang, each item surmounted by five later European sconces, all raised on elaborate gilt-bronze rectangular pedestals decorated with lotus scrolls in coral, turquoise and other jewels, overall height 57cm and 55cm. (2) Provenance: Lionel de Rothschild (1882-1942), Edmund de Rothschild (1916-2009), the Trustees of Exbury House. Cf. The Complete Collection of Treasures of the Palace Museum, Treasures of Imperial Court, p.32, no.25 for a comparable pair of metal-mounted lapis lazuli elephants carrying vases; see also Compendium of Collections in the Palace Museum, Enamels, 4, Cloisonnι in the Qing Dynasty (1644-1911), p.55, no.25 for a related champlevι jardiniθre with lotus decoration similar to the base. The image of an elephant carrying a vase represents the rebus taiping youxiang which carries the sentiment of wishing for peaceful times. An elephant with a vase is a visual embodiment of this expression, as the Chinese words for vase (ping) and elephant (xiang) are homophonous with two words in the saying. Due to their association with this phrase, during the Qing dynasty live elephants carrying vases on their backs were featured in processions celebrating the emperor's birthday. Their presence at these ceremonies was hoped to ensure long-lasting national peace and security under the reign of the ruling emperor. The elephant itself is also symbolic of peace and stability because it is a heavy animal which stands firmly with its four feet flat on the floor.清 銅鎏金嵌百寶裝飾天青石雕太平有象擺件 一對來源：Lionel de Rothschild（1882-1942）舊藏，Edmund de Rothschild（1916-2009），英國漢普郡艾斯博瑞莊園。
A CHINESE GILT-BRONZE TRIPOD INCENSE BURNER QING DYNASTY The compressed body surmounted by a short cylindrical neck, cast with a raised band encircling the flat everted rim, with a six character mark to the base reading jia cang zhen wan zhi bao, 15.5cm, 2kg. Provenance: from an English private collection.清 銅鎏金鬲式爐《家藏珍玩之寶》篆書款來源：英國私人收藏。
A SMALL CHINESE GILT-BRONZE FIGURE OF MANJUSRI 18TH CENTURY The bodhisattva cast seated in dhyanasana wielding a sword in one hand, his other hand is held in kartari mudra and clasps a lotus stem which supports a book, he wears a dhoti and a long flowing scarf that flutters by his sides, his crown, earrings and body jewellery set with coloured jewels, all raised on a lotus base incised with two characters, with the baseplate lacking and prayers visible to the interior, 10.1cm, 437g. Cf. Sotheby's New York, 17th September 2014, lot 455 for a very similar 18th century figure of Manjusri. Manjusri represents transcendent wisdom and it is believed that his purpose on Earth is to save people from ignorance. The lotus flower supporting a scripture in his right hand symbolises the knowledge of the Buddha, whilst his sword represents the need to cut down ignorance and darkness.十八世紀 銅鎏金文殊菩薩坐像
A MINIATURE TIBETAN GILT-BRONZE FIGURE OF VAISHRAVANA QING DYNASTY The God of Wealth and Guardian of the North depicted seated upon a recumbent snow lion, he holds a rat in his left hand and a tall canopy in his right, with traces of cold painting to his hair and the lion dog's mane and tail, the base incised with a visvavajra, 4.2cm, 23g. (2)清 銅鎏金財寶天王小像
A CHINESE BRONZE ARCHAISTIC HU-SHAPED VASE SOUTHERN SONG DYNASTY The pear-shaped body surmounted by a tall neck which flares slightly towards the rim, cast in relief with stylised birds amidst rocks and crashing waves, the neck flanked by animal mask handles and decorated with bands of dragons, ruyi-shaped clouds and other archaistic motifs reserved on a leiwen ground, all raised on a tall spread foot, 24cm, 1.1kg. Provenance: from a British private collection, purchased from Carter Fine Art Ltd on 19th March 1993. A copy of the invoice is available. Cf. R Kerr, Later Chinese Bronzes, pp.43-44 and 58-59, nos.31,32, 46 and 47 for a similarly decorated vase dated to 1173. 南宋 銅製龍鳳紋鋪耳壺型瓶來源：英國私人收藏，1993年3月19日購於Cater Fine Art Ltd （復發票複印件）。
A CHINESE BRONZE GU-SHAPED VASE MING DYNASTY Cast with six petal-shaped facets, with a raised band to the tall slender body, all supported on a spread foot and flaring at the mouthrim, the base incised with a two character Xuande mark, 20.2cm, 743g. Provenance: by repute, purchased by Adrian Joseph of Allen Management in Hong Kong c.1983; and then a British private collection, purchased from Adrian Joseph in 1990. Cf. M Maucuer, Bronzes de la Chine impériale des Song aux Qing, p.139, no.90 for a related Ming vase in the Cernuschi Museum.明 銅花口花觚《宣德》款來源：1983年左右購於香港Adrian Joseph of Allen Management，英國私人收藏，1990年購於Adrian Joseph。
A CHINESE BRONZE 'DRAGON' INCENSE BURNER MING DYNASTY The bombé-shaped body cast in relief with two dragons chasing each other through stylised ruyi-shaped clouds, with two handles formed as fantastical beast masks, all raised on a short flared foot, 19cm, 1.4kg. Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1990. Cf. P Moss & G Hawthorn, The Second Bronze Age: Later Chinese Metalwork, no.44 for a similar incense burner with comparable decoration; see also Christie's Hong Kong, 6th April 2016, lot 3664 for another related piece. 明 銅製龍紋香爐來源：英國私人收藏，1990年購於Adrian Joseph。
A LARGE CHINESE BRONZE 'MYTHICAL BEAST' INCENSE BURNER AND COVER QING DYNASTY Cast as a lion-like beast with its head turned to sinister and raised, baring its teeth, the reticulated cover decorated with formal scrolls above a band of key fret, the caparison cast in relief with lotus scrolls, the body inset with coral and turquoise-coloured beads, 33cm high, 35cm across, 2kg. (2) Provenance: from an Asian private collection. Cf. Sotheby's London, 'Water, Pine and Stone Retreat Collection', 12th June 2003, lot 83 for a related example; see also Sotheby's Hong Kong, 8th October 2014, lot 3357 for another comparable piece.清 銅瑞獸香薰來源：亞洲私人收藏。
David Price signed boxing colour photo. High quality 16x12 colour montage photo. David Price (born 6 July 1983) is a British professional boxer. He held the British, English, and Commonwealth heavyweight titles between 2012 and 2013, and was one of the division's top-rated prospects in the early 2010s until several knockout losses derailed his career. As an amateur he won a bronze medal at the 2008 Olympics, gold at the 2006 Commonwealth Games, and three ABA titles: all in the super-heavyweight division. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
A 20th century brass Eastern jewellery casket with lined interior, length 30cm and a Chinese iron teapot decorated with panels depicting objects and a landscape scene, with matched bronze cover, bears signature to the underside, diameter of cover 9cm etc. CONDITION REPORT Teapot heavily pitted throughout and lid appears associated as it is of far superior quality
ARTHUR DOOLEY (1929-1994); a bronze figure of the Madonna with single pearl inlaid to upper chest, inscribed A Dooley number 104 dated 1990 to the reverse, on square marble base, height 20cm. † CONDITION REPORT Provenance, purchased by vendors father in Liverpool approx 30 years ago.Inset pearl rubbed (see additional images). Very light surface scratches, discolouration from handling. Inset 'pearl' heavily rubbed and surrounded by excess polish, otherwise OK.This lot may qualify for Artist Resale Rights. For further information, please visit
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