We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
Lot 81
Paul Granlund (American, 1925-2003). Cast bronze sculpture titled "Head of a Young Man" in the form of a man's head, 1964. Signed, dated, and numbered 1/3 along the edge of the bronze base. Affixed to a black marble base.Reference:William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg. 90, plate 226.Kathryn Christenson and Kelvin W. Miller, "Granlund: The Sculptor and his Works," Gustavus Adolphus College (St. Peter, MN: 1978), pg. 221, plate 226.(Including marble base) height: 16 in x width: 8 1/2 in x depth: 8 in. Weight: 18 lbs 12 oz.Condition:The bronze is in good condition with no deep scratches or losses. Some light dirt/dust accumulated in the recessed areas. Light wear including a few small frits along the edges of the marble base.
Lot 82
John Rood (American, 1901-1974). Carved wooden sculpture depicting a recumbent figure in a landscape with two smaller figures standing at the feet of the former. Incised signature along the side.John Rood's time in Minnesota was marked by his influential role as a sculpture teacher at the University of Minnesota, where he worked primarily with wood before expanding into stone carving, bronze, and metal. He married Dorothy Bridgman Atkinson in 1948, and together they established the Rood Sculpture Collection to support arts at the university. Rood's dedication led to his promotion to Professor in 1957. After retiring from teaching, he continued to exhibit his work locally and internationally, exploring new materials such as wrought iron and stained glass. His legacy persists in the abundance of his sculptures in the Twin Cities area, notably housed in the Weisman Art Museum's permanent collection, with his papers archived at Syracuse University.Height: 5 1/2 in x width: 16 1/2 in x depth: 4 1/2 in.Condition:There are no major chips, splits, losses, or restorations. Light wear throughout as expected with age.
Lot 83
John Rood (American, 1901-1974). Cement or concrete composite sculpture of a woman holding a book and a broom. Incised signature along the base.John Rood's time in Minnesota was marked by his influential role as a sculpture teacher at the University of Minnesota, where he worked primarily with wood before expanding into stone carving, bronze, and metal. He married Dorothy Bridgman Atkinson in 1948, and together they established the Rood Sculpture Collection to support arts at the university. Rood's dedication led to his promotion to Professor in 1957. After retiring from teaching, he continued to exhibit his work locally and internationally, exploring new materials such as wrought iron and stained glass. His legacy persists in the abundance of his sculptures in the Twin Cities area, notably housed in the Weisman Art Museum's permanent collection, with his papers archived at Syracuse University.Height: 9 in x width: 3 in x depth: 2 3/4 in.Condition:There are no major cracks, losses, or restorations. Minute chips along the base. Light scuffs and scratches throughout.
Lot 349
A LARGE AND IMPRESSIVE JAPANESE INLAID-BRONZE KORO (INCENSE BURNER) BY MAKINOMEIJI PERIOD, 19TH/20TH CENTURYCast in three separate sections, the globular body and cover decorated with silver and gilt takazogan, the side with a sparrow resting on a bearded iris rendered in relief, the lid surmounted with a large finial shaped as an eagle clutching a hare; the koro raised on an elaborate base with four oni mask-capped feet supporting an upper tier with pierced decoration above a lower circular base, a seal mark reading Makino no in to the base, 65cm. (3)Provenance: the private collection of a lady and gentleman, Derbyshire.With the opening of Japan to the West during the Meiji restoration, Japanese works of art began to feature prominently at the International Exhibitions popular at the time. Large Japanese bronzes were particularly popular, with the dealer Sigfried Bing selling an example to the South Kensington Museum (now The Victoria & Albert Museum) in 1881 for a sum so large that special dispensation was required from the Treasury (see The Victoria & Albert Museum, London, accession no.188:1 to 9-1883). Elaborate craftsmanship was favoured by Western collectors, and complex techniques were often used by makers for virtuoso effect. Takazogan in particular, was often used. Literally translating as 'high inlay', it made use of a variety of metals and alloys, such as gold, silver, copper and shakudō (an alloy consisting mainly of copper and gold), inlaid into the surface of a piece to create elaborate high-relief designs, as seen in the piece offered here.
Lot 335
A JAPANESE PARCEL-GILT BRONZE OKIMONO BY AKASOFU GYOKKŌ (ACT. LATE 19TH CENTURY)MEIJI ERA, 19TH CENTURYModelled as two figures wrestling, one standing and twisting the other's arm behind his back, the crouching man biting his lips and contorting with pain; the victor wearing lose garments decorated with cartwheels amongst waves, the other with butterfly roundels; rendered in two shades of warm chocolate-brown bronze and with details highlighted in gilt; signed in a rectangular cartouche Gyokkō, and with remnants of a paper label for Kevin Page Oriental Art underneath, 34cm.Akasofu Gyokkō was a bronze sculptor and a prominent member of the Tōkyō Chōkinkay (Tokyo Cast Metalworkers' Association). He was particularly renowned for his depictions of birds of prey, felines and samurai warriors. See lot 311 of this sale for a large model of a tiger by Gyokkō.
Lot 391
NO RESERVETSUDA EIJU (1915-2001) SHOWA ERA, 20TH CENTURY A tall Japanese bronze vase, the cylindrical body with a reddish-brown patina and cast with a series of horizontal ribs, with a seal mark for Eisu to the base; together with a trumpet-shaped bronze vase with a central bulb, unsigned; both with inscribed tomobako wood boxes, 24cm and 29.9cm respectively. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: a British private collection. Cf. T & M Becker, Twentieth Century Japanese Bronze Flower Vases, The Becker Collection, pp.122-123, where the ribbed piece is illustrated and discussed. The authors explain that Tsuda Eiju worked mainly for the Imperial family, and became particularly famous for his murashi-do patina. He was awarded the Grand Prize at the Nitten Japanese Fine Art Exhibition in 1962.
Lot 362
NO RESERVEA SMALL JAPANESE INLAID-BRONZE VASE BY THE INOUE COMPANY OF KYOTO MEIJI PERIOD, 19TH CENTURY The slender baluster-shaped body decorated in kebori and gold takazogan with peony, bamboo, orchids and a flowering prunus issuing from rockwork, with a bird perched amidst the branches and another in flight, the base signed Inoue zo, 14.8cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, Sussex.
Lot 386
NO RESERVETSUDA EIJU (1915-2001) SHOWA ERA, C.1950 A Japanese bronze vase cast in the shape of a stylised apple; with a round body, the neck modelled as the stem and with a small handle to the side suggesting a leaf; the surface with a warm mottled chocolate-brown patina, the base impressed with a square seal mark reading Eiju, 18.7cm; with an inscribed tomobako wood box. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: a British private collection. Cf. T & M Becker, Twentieth Century Japanese Bronze Flower Vases, The Becker Collection, pp.114-115, where this very piece is illustrated and discussed. The authors explain that Tsuda Eiju worked mainly for the Imperial family, and became particularly famous for his murashi-do patina. He was awarded the Grand Prize at the Nitten Japanese Fine Art Exhibition in 1962.
Lot 300
TWO JAPANESE PARCEL-GILT BRONZE SAWASA BOXES EDO PERIOD, MID-18TH CENTURYThe larger of square form, the cover decorated with a shaped gilt panel depicting a shishi and two birds in flight by a large flowering peony, all rendered in relief against a granulated background, reserved on a black lacquer ground detailed with gilt engraved lotus and a bird in each corner; the sides with gilt waves and blossom sprays alternating with formal lotus scrolls, the base and the inside gilt, 4.5cm x 10.8cm x 10.8cm; the smaller box of rectangular form, decorated all over with panels of gilt foliate scrolls in low relief against a granulated black lacquer background framed by gilt borders, the hinged cover centred with a formal lotus flower, the base lacquered black and the interior gilt, 1.8cm x 4.3cm x 3cm. (3)Sawasa pieces, historically labelled 'Tonkin Ware' and thought to be of Chinese origin, have now been re-evaluated as being Japanese, manufactured from the mid-18th century in Nagasaki for export via Deshima. The larger box and cover is closely related to the circular incense boxes and covers in the Rijksmuseum, Amsterdam, illustrated in M De Brujin et al., Sawasa: Japanese export art in black and gold, 1650-1800, pp.107-110, nos.E.5.1 to E.5.7. The smaller piece, similar to Western snuff boxes, features the unusual arrangement of gilding to the highpoints and black lacquer to the background, in a fashion similar to a cup and cover in the Rijksmuseum, Amsterdam, illustrated in op. cit., p.94, no.D.5.1. Its European shape is typical of Sawasa ware, which generally took its forms from Dutch originals, ranging from snuff and tobacco boxes to tea sets and coffee urns.
Lot 330
A JAPANESE BRONZE OKIMONO OF JUROJIN BY KANO SEIUN (B.1871)MEIJI OR LATER, 20TH CENTURYThe God of Longevity is depicted sitting against his pet stag, holding a sacred scroll in one hand and pointing toward the ground with the other; the animal rendered in a different chocolate-brown bronze and with the spots on its back highlighted in gilt; the base signed Seiun, 24.5cm.Cf. J Earle, Splendors of Imperial Japan, Arts of the Meiji Period from the Khalili Collection, p.378 no.271, for another okimono by Seiun.
Lot 311
A LARGE JAPANESE BRONZE OKIMONO OF A TIGER BY AKASOFU GYOKKŌ (ACT. LATE 19TH C.)MEIJI ERA, 19TH CENTURYThe impressive model depicting the feline standing four-square, mid-roar and baring its fangs; realistically rendered with its stripes depicted in different colours, signed in a rectangular cartouche to the belly Gyokko saku, 65cm.Akasofu Gyokkō was a bronze sculptor and a prominent member of the Tōkyō Chōkinkay (Tokyo Cast Metalworkers' Association). He was particularly renowned for his depictions of birds of prey, felines and samurai warriors. See lot 335 of this sale for a model of wrestling figures by Gyokkō.
Lot 309
A JAPANESE BRONZE OKIMONO BY FUMIO ASAKURA (1883-1964) AND HOSOYA REIKO (ACT. C.1900)MEIJI ERA, 19TH/20TH CENTURYThe large model depicting a lion standing four-square on a rocky outcrop, its head slightly turned to the right and with its eyes gilded, the feline's fur and mane realistically rendered; with signatures for Hosoya Reiko and Fumio Asakura with kao at the back, 55cm.Fumio Asakura was a prominent Japanese artist working in Western style, sometimes referred to as the 'Father of Modern Japanese Sculpture' and the 'Rodin of Japan'.
Lot 304
A JAPANESE HAKUDO KORO OF A CRANE AND A MINOGAME MEIJI OR LATER, 20TH CENTURYThe tall bird standing with its head slightly turned to the left, with areas of the plumage rendered in shakudo, signed Gyoun saku for Kawawa Gyoun (b. c. 1870), a student of Ōshima Joun (1858-1940); the bird is looking down on a minogame with long seaweed trailing behind its back, the top of the carapace opening up; on a black-lacquered rectangular stand; in a tomobako wood box inscribed Hakudo tsurukame okimono (A display object, a crane and turtle, made in white bronze) and Zo, Ogoshi Tomonori, Showa junananen shigatsu kichijitsu, Nihon Menka Dogyo Kai (A gift item to Mr Ogoshi Tomonori who worked at the Toyo Cotton Company, on an auspicious day in April of Showa 17, 1942, Japan Cotton Trade Association), 36cm x 48.5cm. (6)
Lot 334
A JAPANESE BRONZE OMIKONO OF AN ARCHER BY THE MIYAO EISUKE COMPANY OF YOKOHAMA MEIJI ERA, 19TH/20TH CENTURYModelled as a kneeling archer ready to shoot, his right arm drawing back the notched arrow and his left arm raised to hold forth his taut bow, wearing elaborate robes detailed in gilt, signed Miyao on the back, raised on a rectangular wood plinth, the figure 21.3cm, 30.3cm overall. (4)Cf. J Earle, Splendors of Imperial Japan: Arts of the Meiji Period from the Khalili Collection, pp.132 and 134-135, no.85, for a larger pair of samurai also by the Miyao Company of Yokohama. Under its founder Miyao Eisuke, it became one of the most prolific workshops of the Meiji era, specialising in ornamental cast-bronze sculptures mainly for the export market. The subject of warriors, such as archers and samurai, was a favourite theme, appealing to the exoticist tastes of Western collectors.
Lot 393
NO RESERVEHASUDA SHUGORO (1915-2010) SHOWA/HEISEI, 20TH CENTURY A Japanese nickel vase, the tall square-section body with an elongated neck and a small triangular handle; the sides embellished with five horizontal lines, the base signed Shugoro, 24.3cm; with an inscribed tomobako wood box. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: a British private collection. See Christie's New York, 22nd September 2005, lot 249, for a related patinated vase by Hasuda Shugoro. Hasuda Shugoro is considered one of the leading Japanese modernist artists working in bronze during the Post-War Period. After graduating from Tokyo School of Art in 1938, he participated in founding the Creative Crafts Association (1952), the Japan Modern Craftsmen's Association (1961) and the Japan Metal Sculpture Institute (1976). His first award was at the 5th Nitten in 1949, and he later received the Hokuto Award (1953) amongst many further prizes. In 1987, he was designated a person of Cultural Merits, and he was later decorated with the Order of Cultural Merit in 1991.
Lot 344
NO RESERVEA JAPANESE BRONZE VASE BY GENRYUSAI SEIYA MEIJI ERA, 19TH CENTURY With a trumpet-shaped body and decorated with a dragon in relief holding a small crystal ball, its long scaly body coiled around the vessel, signed Seiya chu underneath, 27.5cm; together with a smaller vase of baluster shape with another dragon applied to the neck and shoulder, signed Ikko, 15.5cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, Sussex.
Lot 361
NO RESERVEA LARGE JAPANESE BRONZE TETSUBIN (TEA KETTLE) MEIJI ERA, 19TH/20TH CENTURY With a flattened ovoid body, a short spout and a curved bail handle, the surface of rough ishime texture imitating stone, the lid with an inlaid key fret border and topped with a trilobe knop, 27cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, Sussex
Lot 322
A JAPANESE BRONZE OKIMONO OF JUROJIN BY HORI MASAGORO / JOSHIN (1907-93)DATED TAISHO 11, 1922The God of Good Fortune is depicted standing, wearing long robes and a tall hat, holding his detachable gnarled staff with a makimono attached to it; signed Joshin with kao at the back, 36.5cm; with a tomobako wood box inscribed Seido Jurojin okimono, Taisho juichinen inu tsukuru kore, Yamashiro ke jusei, on-kamashi Hori Masagoro, Joshin (A figure of Jurojin, bronze, okimono, made in Taisho 11 (1922), by the metal maker Hori Masagoro, the Hori Yamashiro line, and the tenth generation, art name Joshin), and sealed Joshin. (3)
Lot 387
NO RESERVENAKAJIMA YASUMI II (1905-86) SHOWA ERA, C.1960 A Japanese bronze vase cast as a stylised bird and entitled Hina (chick), depicted with its beak wide open and with a flattened curved body, the base signed, 18cm; with an inscribed tomobako wood box. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: a British private collection.
Lot 389
NO RESERVEAIDA TOMIYASU (1903-88) SHOWA ERA, 20TH CENTURY Two Japanese bronze vases, both of tall slender shapes and with deep brown patinas, the tallest with small rectangular handles to the sides; both with a two-character signature to the base for Tomiyasu, 20.5cm and 28.5cm respectively; each with an inscribed tomobako wood box. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: a British private collection.
Lot 332
A LARGE JAPANESE SILVER OKIMONO BY THE MARUKI COMPANY OF TOKYOMEIJI ERA, 19TH/20TH CENTURYDepicting a fisherman removing a large crab off his shoulder, another crustacean escaping to the side of his wicker basket; the man wears a short tunic decorated with waves and a skirt made of sea grass; all raised on a base shaped as a rocky outcrop with further waves crashing to the side; with the Maruki seal mark to the back of his garment and another mark to the rock base, possibly for Zuishozo, the underside with a stamped gin (silver) mark, 40cm.See Bonhams, London, 12th May 2016, lot 538, for a bronze okimono by the Maruki Company depicting the same model.
Lot 342
NO RESERVEA JAPANESE BRONZE VASE (USUBATA) MEIJI OR TAISHO, 19TH OR 20TH CENTURY In two parts, the lower half with a bulbous body raised on three scrolling feet, the sides decorated with buildings in mountainous river landscapes, the handles shaped as elephant heads with extended trunks, the upper section consisting of a removable circular tray wedged at the top, unsigned, 26.6cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, London.
Lot 312
A JAPANESE BRONZE OKIMONO OF AN ELEPHANT BY GENRYUSAI SEIYAMEIJI ERA, 19TH/20TH CENTURYThe pachyderm standing four-square and with its trunk lowered, the rough texture of its thick skin realistically depicted and with a benevolent expression, signed Seiya saku, together with a wood stand, 34.5cm. (2)
Lot 307
NO RESERVEA JAPANESE BRONZE OKIMONO SHAPED AS A CARP MEIJI ERA, 19TH/20TH CENTURY The fish realistically rendered, depicted swimming with its scaly body slightly curved to the right and its mouth agape, 30cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, Sussex.
Lot 319
NO RESERVEA JAPANESE BRONZE OKIMONO BY GENRYUSAI SEIYA MEIJI ERA, 19TH/ 20TH CENTURY Depicting a street entertainer, his foot resting on a small cabinet and carrying a wrapped koto on his back, signed Seiya zo in a rectangular cartouche on the base, 29.5cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Lot 392
NO RESERVEHASUDA SHUGORO (1915-2010) SHOWA/HEISEI, 20TH CENTURY A Japanese hakudo (white bronze) vase, the tall square-section body with an elongated neck and a small triangular handle; the sides embellished with a network of vertical and horizontal lines, the base signed Shugoro, 25.8cm; with an inscribed tomobako wood box. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: a British private collection. See Christie's London, 7th November 2012, lot 128, for a related hakudo piece by Hasuda Shugoro.
Lot 299
A JAPANESE PARCEL-GILT BRONZE SAWASA TOBACCO BOXEDO PERIOD, MID-18TH CENTURY Of compressed oval form, the hinged cover decorated with a bracket-lobed panel enclosing two ho-o birds in flight above a large peony with a shishi underneath, all lacquered black against a gilt granulated background; the base with another panel depicting a Chinese landscape, with birds among fruiting branches issued from rockwork before two pavilions, the sides with birds among flowering and fruiting stems, the interior gilt, 2.3cm x 7cm x 9cm.The present lot is closely related to contemporary European tobacco boxes, particularly those of Dutch manufacture. This feature is typical of Sawasa ware, which generally took its forms from Western originals and included articles such as snuff and tobacco boxes, drinking utensils, sword hilts and other small accessories. Sawasa pieces were made in Nagasaki and exported from Deshima via the VOC, contrary to the earlier understanding that it was of Chinese origin and accordingly labelled 'Tonkin Ware'. A related group of Sawasa tobacco boxes are in the Rijksmuseum, Amsterdam, illustrated in M De Brujin et al., Sawasa: Japanese export art in black and gold, 1650-1800, pp.57-62, nos.B.1.1 to B.4.2. Examples nos.B.2.2 and B.2.3 also feature panels of Chinese landscapes similar to that on the base of the piece offered here.
Lot 327
A JAPANESE PARCEL-GILT BRONZE OKIMONO OF KANNON BY TAKAMURA KŌUN (1852-1934)TAISHO/SHOWA, 20TH CENTURYThe Bodhisattva of Mercy is depicted standing on a circular base and holding a tall lotus stalk; she wears long flowing robes and various jewels highlighted in gilt; signed at the back with an impressed seal reading Takamura Kōun, 38cm.Takamura Kōun, a member of the Imperial Art Academy and professor at the Tokyo School of Fine Arts, was an influential figure in the modernisation of Japanese sculpture around the turn of the 20th century and one of the first two sculptors to become Teishitsu Gigeiin (Artist to the Imperial Household), appointed in 1890. His most celebrated works are the large bronzes of Saigo Takamori and Kusunoki Masahige both on public display in Tokyo, yet he initially trained as a wood carver with the traditionalist Buddhist sculptor Takamura Tōun. It was thanks to a sandalwood figure of Kannon that he came to fame in 1877 at the first Naikoku Kangyo Hakurankai (Domestic Industrial Exhibition), and it was not until the 1880s that he began to create wood maquettes for casting in bronze. His specialism in Buddhist iconography remained throughout his career, and he is considered an influential revivalist of Buddhist art during the Meiji, Taisho and Showa eras, often melding traditional Japanese imagery with Western stylistic elements. The standing figure of Kannon often recurs in his work, as seen in the present lot and a similar bronze sold at Bonhams, London, 15th May 2014, lot 542.
Loading...-
350105 item(s)/page