KANAYA GOROSABURO: A BRONZE FLOWER PRESENTATION VASEBy Kanaya Gorosaburo, signed Kanaya GorosaburoJapan, 20th centuryFinely cast, the vase supported by a subtly arched base with a slightly rounded body rising to a dramatically flared diamond-shaped mouth with a single band of rinzu along the rim. Each corner is cast with a bamboo stalk rising from the base to the neck with two ear-shaped handles in the form of rain dragons on either side. The base of the neck is decorated with a band of archaic geometric designs on a diaper ground, while each side of the body bears frames of crashing waves.Inscriptions: The base of the bronze vase inscribed, 'Kanaya Gorosaburo sei, Furomon, toke denrai, hato-mon ryumon-mimi kabin utsushi, kado iemoto, Ikenobo Sen'ei, with the seal Sen'ei' 金谷五良三郎製、不老門、当家相伝、波頭文龍文耳花瓶写、華道家元、池坊専永、印：専永 [Made by Kanaya Gorosaburo, the flower vessel entitled Furomon (The Gate to Immortality), copied from the original bronze flower vessel which has been handed down as a family heirloom at the Ikenobo School of Flower Arrangement, the design has dragons and waves with ear-shaped handles, commissioned by Ikenobo Sen'ei 45th, the Master of the Ikenobo School Flower Arrangement']HEIGHT 26 cmWEIGHT 6,762 gCondition: Excellent condition with only minor wear.Provenance: From the collection of Miyamoto Tanio, acquired from Sen'ei Ikenobo in November 1986 and thence by descent in the same family. A letter from 1986 which accompanies this lot reads, 'To Mr. Miyamoto Tanio. This is a replica based on the original bronze vessel which has been handed down through the Ikenobo family, a one flower vessel, titled Furomon (The Gate to Immortality). I, Ikenobo Sen'ei 45th, present this to you in recognition of your many years of work, dated an auspicious day in November, Showa 61 (1986), Ikenobo Sen'ei the head of the Ikenobo School of Flower Arrangement.' The letter is sealed 'Kado Iemono.' Miyamoto Tanio was an author and historian. He researched the history and tradition of Japanese floral arts, publishing his research in his 1977 book, Nageire kadensho, in the series Kado Koten Meisaku Senshu.With the original fitted tomobako box.Kanaya Gorosaburo is from the 14th generation of Kanaya bronze metallurgists based in Kyoto. The family's work has spread far and wide as their reputation for excellence and exquisite bronze has made them world renowned. Today, several pieces from the family are housed in the Rijksmuseum, National Victoria Museum in Melbourne, and Philadelphia Museum of Art.
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MASATOSHI: A LARGE KOMAI-STYLE MIXED-METAL-INLAID BRONZE BOX AND COVERBy Masatoshi, signed Masatoshi sakuJapan, Meiji period (1868-1912)Of rectangular form, supported on four short bracket feet, the flush-fitting cover and the sides lacquered black and decorated in gold and silver hirazogan and nunome-zogan, the cover featuring a landscape with a shrine and temple surrounded by lush trees, with Mount Fuji in the background, the sides with two dragons, a seahawk causing crashing waves with its wings, two cranes amid bamboo, and huts in a river landscape, the silvered interior engraved with a sparrow and flowering prunus. SIZE 15.4 x 27.5 x 18.4 cmWEIGHT 3,391 gCondition: Good condition with some wear and minor rubbing to inlays, small dents and nicks here and there, light scratches, the base slightly loose.
KANEYOSHI: A PAIR OF GOLD AND SILVER INLAID BRONZE BALUSTER VASES WITH LONG-TAILED ROOSTERS (ONAGADORI)By Kaneyoshi, signed KaneyoshiJapan, Meiji period (1868-1912)Each finely cast, supported on a short round foot and rising to a rounded shoulder surmounted by a short neck with flared and rounded mouth. The shibuichi body is decorated with elaborate gold, silver, suaka (copper), and bronze inlays with a long-tailed rooster and hen standing beneath a large magnolia tree in bloom. Each is signed KANEYOSHI along the lower half of the body.HEIGHT 17.8 cm and 17.9 cmWEIGHT 789.1 g and 821.5 gCondition: Excellent condition with only minor wear.Auction comparison:Compare a near-identical pair of vases of slightly larger size, 24 cm high, at Christie's, The Avo Krikorian Collection: Innovation and Inspiration of Meiji Period Design, 19 February 2007, lot 87 (sold for CHF 5,040).
MIYAO: A PARCEL-GILT BRONZE FIGURE OF A SAMURAIBy the Miyao company of Yokohama, signed MiyaoJapan, late 19th century, Meiji period (1868-1912)The figure posed standing barefoot in a tense position gripping firmly his drawn sword pointing the blade downward. His face is set with a stern expression and his robes are elaborate, decorated with chidori and surrounded by hanabishi and floral medallions, his sheath hanging empty from his belt. The figure is mounted to a wood base decorated with gold-inlaid karakusa patterns. The back with a rectangular reserve incised with the signature MIYAO.HEIGHT 20.2 cmWEIGHT 690 gCondition: Good condition with wear, the blade of the sword lost, and the sheath slightly bent.Auction comparison:Compare a related gilt-bronze figure of a samurai, by the Miyao company, at Bonhams, Patient Detail, Perfect Design, 3 November 2022, London, lot 255 (sold for GBP 5,100).
MUNECHIKA: A CHARMING BRONZE OKIMONO OF A PUPPYBy Munechika, signed MunechikaJapan, Meiji period (1868-1912)Finely cast, the small puppy resting on its haunches, lifting its paw as it looks into the distance. Covered in finely detailed fur, the puppy's face set with a short snout, whiskers, and a large forehead above eyes of inlaid gold and shakudo. The bronze is covered in a lustrous patina. The base with the artist's signature MUNECHIKA.LENGTH 15.8 cmWEIGHT 1,401 gCondition: Very good condition with minor wear and small casting irregularities.Auction comparison:Compare a related bronze okimono of a Chin dog, by Suzuki Chokichi, at Bonhams, Fine Japanese Art, 7 November 2019, London, lot 229 (sold for GBP 2,550).
MASAHIKO KATORI: A BRONZE OKIMONO OF A RECUMBENT RAMBy Masahiko Katori (1899-1988), signed MasahikoJapan, Showa period (1926-1989)Finely cast, the okimono in the form of a recumbent ram with long horns and thick curls of wool. The relaxed beast has a narrow face, long ears set between its curling horns, and a heavy coat. The flat base is signed Masahiko. The bronze is covered in a rich, chocolate patina.LENGTH 13.3 cmWEIGHT 987.8 gCondition: Very good condition with minor wear and small manufacturing irregularities.Provenance: From a private collection in Somerset, England, acquired in Japan.With the original tomobako wood box inscribed with artists name and stamped.Masahiko Katori was born in Tokyo to Hotsuma and Tama Katori. He studied metalworking at the Department of Casting of the Tokyo School of Tokyo School of Fine Arts (today the Tokyo University of Arts) under the renowned Shinobu Tsuda. His works were displayed at the Paris World Exposition in 1925 where he won a bronze medal during the Art Deco Expo. His work was chosen and displayed in the Exhibition of the Imperial Fine Arts Academy for three consecutive years. He contributed a substantial amount of effort in repairing and protecting cultural relics during the post-war error. The bells in the Enryaku-ji and Shinsho-ji Temples were made and donated by the artist.
A DAISHO CONSISTING OF A KATANA AND A WAKIZASHIJapan, the blades second half of 14th century, early Muromachi period (1336-1573), the mounts Edo period (1615-1868)The blades:The katana of shinogi-zukuri with iori mune and chu-kissaki. The narrow hamon is suguha. The hada is itame. The nakago with one mekugi-ana and kiri jiri. The wakizashi of shinogi-zukuri with iori mune and chu-kissaki. The narrow hamon is suguha with little midare near the hamachi. The hada is masame. The nakago with one mekugi-ana and kiri jiri. The mountings: Each comprising a finely red-lacquered saya; rayskin tsuka with dark-blue tsuka-ito; parcel-gilt bronze menuki in the form of oxen; gilt-bronze fuchi-kashira with basket-weave designs; plain copper habaki; and iron tsuba of kaku-maru-gata with two hitsu and gold hirazogan decoration to the rims.NAGASA 69.8 cm and 51.8 cm, TOTAL LENGTH 87.8 cm and 64.7 (the blades), and 99 cm and 70.5 cm (the koshirae)Condition: Very good condition with minor wear, the blades with traces of use and minor blisters.
A RARE VOTIVE BRONZE OF AN AMIDA TRIAD, MAEDACHI HONZON, ZENKOJI STYLEJapan, 18th century, Edo period (1615-1868)Finely cast as a zushi (travelling shrine) and patinated to a silverish tone, superbly carved in relief with an Amida Triad with Kannon and Seishi, each standing on lotus pedestals and framed by images of seated Buddhas amidst foliate designs and clouds, and with two worshippers below presenting offerings. The reverse with a superb, naturally grown patina.HEIGHT 9.9 cmWEIGHT 150.7 gCondition: Very good condition with minimal wear and few casting irregularities. Provenance: From an Irish private collection. The present bronze zushi is superbly cast in the style of the 18th century, being more or less an exact copy, save for the addition of the two worshippers below, of the Amida Triad, Maedachi Honzon, in the Zenkoji temple. The Maedachi Honzon is a duplicate of the 6th century central image of the Zenkoji temple, which are the first images of Buddha brought to Japan from the Korean Kingdom of Kudara.
A PAIR OF GILT BRONZE BUDDHIST RITUAL OBJECTS, KATSUMA AND RINPO, WITH MATCHING LOTUS TRAYS, KAMAKURAJapan, 13th century, Kamakura period (1185-1333)Each of typical form, with finely carved and engraved lotus decorations and skillfully gilded. Each supported on a similarly crafted tray in the form of a lotus blossom with a foliate rim and raised central section. DIAMETER 14.8 cm (the trays) and 15.1 cm (the rinpo), WIDTH 15 cm (the katsuma)WEIGHT (total) 2,800 gCondition: Each in very good condition with some wear, minor casting flaws, rubbing to gilt, light scratches, minuscule nicks. Provenance: From an old French private collection. The form of the katsuma, sometimes referred to as a cross-shaped vajra, is thought to have originated from a projectile weapon used in ancient India. This katsuma would have been placed at the four corners of a mandala during Buddhistic ceremony.The rinpo, a bronze ritual object connected with Esoteric Buddhism, symbolizes the Wheel of the Law (dharmachakra). In Buddhist texts and rituals, the phrase 'turning the wheel of the law' refers to the act of teaching by the Buddha Shakyamuni. Each of the eight spokes and eight corners represents one of the moral admonitions of the Noble Eightfold Path, and the central section depicts a lotus flower with eight petals.Museum comparison:Compare a closely related gilt bronze katsuma in the Tokyo National Museum. Compare a related gilt bronze rinpo in the Metropolitan Museum of Art, accession number 2015.300.296.Auction comparison:Compare a closely related katsuma, dated 14th-15th century, at Sotheby's, The Edith & Stuart Cray Welch Collection, 25 October 2023, London, lot 54 (estimate GBP 8,000-10,000).
A GILT BRONZE FIGURE OF AMIDA NYORAIJapan, late Edo period (1615-1868) to early Meiji period (1868-1912)Finely cast in multiple sections, Amida seated on a lotus dais supported by an elaborate, multi-tiered pedestal and flanked by an openwork vine kohai (nimbus) with gilt lotus blossoms. Amida is seated in dhyanasana, hands resting in mida no jouin (dhyana mudra), wearing monastic robes falling elegantly in voluminous folds and open at the chest. His face bearing a serene expression with heavy-lidded eyes, butterfly lips, a central byakugo (urna) flanked by long pendulous lobes, his hair arranged in tight curls over the domed ushnisha.HEIGHT 26.6 cmWEIGHT 2,604 gCondition: Very good condition with minor wear, minor casting irregularities, small nicks, and light scratches, and drilled to the base for mounting. The bronze is covered in a rich, naturally grown dark patina with some malachite encrustations.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.
A BRONZE MINIATURE NOH MASK OF A WARRIORJapan, 19th centuryExpressively cast and with minute incision work, the warrior with a frown on his face, his scowling eyes squinting under furrowed brows and a headband with a medallion holding the neatly parted hair away from the face.HEIGHT 4.1 cmCondition: Very good condition with minor wear and traces of use.
A VERY RARE AND LARGE GILT BRONZE FIGURE OF AMIDA NYORAI, EDOJapan, 18th to 19th century, Edo period (1615-1868)Finely cast in multiple sections, Amida standing on a lotus dais supported by a round pedestal with hands raised in raigo-in (vitarka mudra). He is wearing heavy monastic robes falling in elegant, voluminous folds and opening at the chest. His face bearing a serene expression with heavy-lidded eyes, sinuous brows and a raised byakugo (urna), his hair arranged in tight curls over the domed ushnisha, flanked by beautiful kohai (nimbus) exuding rays.HEIGHT 35.4 cm (figure), 65.6 cm (incl. stand)WEIGHT 7,848 gCondition: Good condition with minor wear, light nicks, small scratches, some rubbing, and repairs to the neck and hands. The bronze is covered in a rich, dark patina. Provenance: Ex-collection of Anton Exner, Vienna, Austria. Each section painted in red 'EX5.' Anton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art, from all epochs, and particularly Chinese and Japanese works. During a long sojourn through Canada and the USA from 1908 to 1910, he made first contacts with Chinese dealers and subsequently acquired numerous antiques at various Asian ports, which formed the basis for his future business activities. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for c. 25 years. From the early 1920s onwards, he lent objects to most major exhibitions of Asian art held in Austria, and eventually gifted a large part of his personal collection, numbering several thousand objects, to the Museum of Applied Arts in Vienna, where it is on permanent exhibition to this day.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.Japanese gilt bronzes depicting Amida are to be considered extremely rare. Museum comparison:Compare a related earlier gilt bronze figure of Amida, dated 14th-15th century, in The Metropolitan Museum of Art (The MET), accession no. 1975.268.168a, b.
AN IRON SUJIBACHI KABUTO WITH A PARCEL-GILT BRONZE ONI MAEDATEJapan, Edo period (1615-1868)The components laced predominantly blue and fitted with copper hardware. The 62-plate hachi topped by a six-tiered chrysanthemum-form tehen kanamono, the lowest tier decorated with foliate designs against a nanako ground, the mabizashi neatly incised with foliate designs around the rim and fitted with a late parcel-gilt bronze maedate in the form of a fierce long-horned demon, flanked by the pair of black-lacquered fukigaeshi partly applied with printed leather inscribed with a mark for Shohei leather, all above the five-lame shikoro with a white horsehair trim.HEIGHT 33 cm (incl. horn), WIDTH 37 cmWEIGHT 3,235 gCondition: Good condition with wear, traces of use, the leather with small losses and few minor tears, the lacquer with expected age cracks and minor flaking.Auction comparison: Compare a related iron sujibachi kabuto at Christie's, Arts of the Samurai: the Dolphyn Collection, 13 December 2017, London, lot 7 (sold for GBP 9,375).
A FINE AND RARE BLACK LACQUER KATANA-KAKE (SWORD STAND)Japan, 19th century Comprising a lower storage section with three drawers and a removable door, each mounted with a movable gilt-copper pull, supporting a rack for three swords. Entirely covered in black roiro lacquer and finely decorated in iro-e takamaki-e, subtle textures, and fine inlay of glass, ceramic, shell, horn, and hardstone with treasures including a Tang-style foliate-rimmed bronze mirror with ho-o (phoenix) decoration tied with a red-lacquered tasseled rope as well as rings, jewels, and shells. SIZE 43 x 44 x 22 cmCondition: Very good condition, minor wear, few minuscule nicks, occasional light scratches, few tiny flakes.
A FINE TSUISHU (CARVED RED LACQUER) TACHI KAKE (STAND FOR A TACHI SWORD)Japan, 19th century, Edo period (1615-1868)Finely formed and carved in vibrant red tsuishu with a gently curving standing rising from the base to a nyoi-scepter head finial, with a rinzu (key fret) band encompassing the central kiku (chrysanthemum) carved to the top. The stand's stem carved with various flowers and fruits, lotus, pomegranate, and peony, with a flange support, the base carved in the shape of a Tang-style bronze mirror, carved with ho-o (phoenix) birds and twisting vines. The stand is supported on four stylized cabriole legs.HEIGHT 69.1 cmCondition: Excellent condition with minor wear and minimal traces of use.Auction comparison:Compare a closely related tsuishu tachi kake with dragon design, also dated 19th century, at Bonhams, Fine Japanese Works of Art, 22 March 2011, New York, lot 3225 (sold for USD 3,904).
TSU JINPO: A SUPERB SHAKUDO TSUBA WITH HAKURYO FROM THE NOH PLAY HAGOROMO By Tsu Jinpo, signed Tsu JinpoJapan, Goto School, 18th century, Edo period (1615-1868) Published: Ponting, Herbert (1922) In Lotus-Land Japan.The shakudo tsuba of marugata shape, bearing a masterfully executed nanako ground applied with takazogan nanako lattice and with a gilt rim. The kozuka and kogai hitsu-ana with shakudo nanako ategane, the nakago-ana with some suaka sekigane. Finely worked in iro-e takazogan of gold, silver, suaka, and shibuichi, depicting Hakuryo, the protagonist of the Noh drama Hagoromo, draped in the magical feather-cloak of the tennin as he watches her perform the celestial dance, suggested by the mesmerized look on his face, two Chidori flying high above. The reverse with a few birds flying as the haze moves in, signed TSU JINPO.HEIGHT 7.2 cm, LENGTH 7 cmWEIGHT 154.1 gCondition: Very good condition with minor wear and rubbing to the gilt.Provenance: Ex-collection Herbert Ponting (1870-1935). Herbert George Ponting was a professional photographer. He is best known as the expedition photographer and cinematographer for Robert Falcon Scott's Terra Nova Expedition to the Ross Sea and South Pole (1910–1913). In this role, he captured some of the most enduring images of the Heroic Age of Antarctic Exploration. Less well known, he also left behind thousands of evocative images of Japan, and three Japan-themed books. Tsu Jinpo (1720-1761) is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on pp. 432 (H 02047.0) and was the student of Nomura Masamichi (H. 04166) and Goto Tsujo (H. 10775).Note the description provide by Herbert Ponting in the publication quoted above: "An exceedingly fine tsuba in rich black shakudo by Tsu Jinpo, illustrates the beautiful legend of Mio-no-matsu-bara. A fisherman finds a robe of feathers hanging on a tree and is about to carry it off, when a beautiful fairy appears and claims it. The fisherman declines to give it up until she dances before him one of the dances known only to the gods. This she does to an accompaniment of celestial music, and then flies away to the moon, her home. These simple touches, so characteristically Japanese — the net, the feather coat, and the fisherman looking upwards at the unseen fairy dancing in the air — are quite sufficient to convey the whole story, for everyone knows it by heart. The tsuba has a gilt band round it, the birds are gold, the fisherman's face is silver-bronze, and the feather-coat is of gold and copper."
Max Blondat (French, 1872-1925): 'Cupid at Rest', bronze twin-handled bowl and cover, signed Max Blondat 'Siot Paris' for the foundry; impressed 071 beneath, H23cm x W17cmCondition Report:Loss of gilding to exterior, surface scratches, verdigris and staining. The interior retains most of the original gilding, but there are surface scratches and some staining. The foot has some small dents around the rim and scratches to underside.
French - late 19th century green onyx 8-day clock garniture, rectangular stepped case with gilt mounts raised on scroll feet, pediment surmounted by a painted faux bronze figure of an angel, Parisian drum movement with an enamel dial, Arabic numerals, steel hands and minute track, twin train countwheel striking movement, striking the hours and half hours on a bell. With conforming garni entitled Le travail and Le commerce. Garni Height 40cmDimensions: Height: 50cm Length/Width: 30cm Depth/Diameter: 15cm
A CHINESE RED ENAMEL GROUND PORCELAIN BOWL ON ORMOLU STAND, 18/19TH CENTURY. Rounded bowl with underglaze blue and green with iron red enamel decoration or key fret band and flower balls reserved on an applied red ground. Mounted on a rococo style gilt bronze stand. Bowl 18cm diam. The bowl is restored with visible lines and overpaint in areas.
A LARGE AND IMPRESSIVE VIETNAMESE SILVER AND COPPER INLAID BRONZE CENSER ON STAND, 19/20TH CENTURY. The censer heavily cast of rectangular form set on four scroll legs with separately cast, elaborate cloud scroll handles, to each side are four auspicious characters above figural scenes inlaid in silver and copper. The pierced cover surmounted by a large 'Nghe' lion dog finial. The stand with central rectangular pierced section further decorated with inlaid decoration of various flowers, supported on four scroll feet. Total height 56cm tall. Weight 17.8KG In good overall condition with no signs of damage. loss or repairs. Minor surface wear throughout.
A CHINESE LACQUERED BRONZE MODEL OF A BUDDHISTIC LION, LATE MING DYNASTY 17TH CENTURY. The figure seated with traces of black and red lacquer traces on a carved wood stand. 15cm tall on stand. No major damages. Loss to lacquer throughout in places. One foot missing to middle side of wooden stand but still sturdy.
TWO JAPANESE MEIJI PERIOD (1868-1912) SMALL BRONZE SNUFF-BOXES. Each of square form, the first decorated with flower sprays and dog-of fo, the other in brown and gilt patination with the moon, flowers, a bird and a tree stump, approx. 3.5cm square (2) The example with the gilt finish has a replacement 'jewelled' flowerhead to one side, each with some surface wear and rubbing, the example with brown patination with some more noticeable wear to the side panels.
AN EARLY 20TH CENTURY JAPANESE CLOISONNE OVIFORM VASE AND A LATE 20TH CENTURY OVIFORM BRONZE VASE. The first decorated with a pheasant amongst bamboo on a sea green-blue flower pattern ground, 25.5cm high, the bronze vase decorated with gilt and silvered flowers on a marbled gilt and iridescent green/black ground, 20.5cm high (2) Cloisonne vase - with several cracks and small surface dents, neck with small losses below upper rim, neck and body slightly misshapen. The bronze vase is in good order overall with some minor wear.
TWO 20TH CENTURY JAPANESE BRONZE PAPERWEIGHTS. The first cast with a silvered toad, spider, scorpion and other insects and a web on a brown patinated section of simulated bamboo, 21cm long, the second with a cicada on a section of simulated bamboo, the underside with a scorpion and snail, in bronze patination, seal stamp to base, 6.5cm long (2) Both in good order, some slight wear to surface patination.
A 20TH CENTURY JAPANESE BRONZE OF A FIGURE OF A SCHOLAR HOLDING ALOFT A BIRD. Cast standing in a long robe, holding a bird aloft in his left hand, with three character signature to reverse, 33cm high Lacking staff in right hand and the bird in the other hand is a later replacement, slight wear to fingers and edges.
A 20TH CENTURY JAPANESE MEIJI-STYLE BRONZE CENSER AND COVER. Decorated in high relief with lobed cartouches of pavilions on bridges and islands in river landscape and birds perched on branches, with Lion Dog finial and pierced dragon handles, raised on three elephant feet, on circular vase, 31cm high Overall in good order, minute surface wear, otherwise ok.
A JAPANESE MEIJI PERIOD (1868-1912) BRONZE TWO-HANDLED GLOBULAR VASE. Decorated in high relief with a dragon reserved against a deep red-brown patinated ground, with dragon cast geometric handles, the interior of the foot signed, 21.5cm high Both handles are partially detached at lower terminal, with evidence of repair to the interior to one handle, this vase is lacking three feet, with old repairs to holes where feet are lacking above foot rim, small indentation and hole to lower body of vase beside a cloud, small rectangular section repair at shoulder, some slight indentations to the foot rims and extremities.
A JAPANESE BRONZE BUST OF LADY K ON A WHITE MARBLE PLINTH BASE AFTER YASUTAKE FUNAKOSHI (1912-2002). She cast with bobbed hair and parted fringe, signed to reverse, on a square white marble plinth base. 21 cm high inc. marble base, 2.06kg gross weight Overall in good order. Some minor surface scratching to bronze, some minute chipping to the edges and corners of base. There is a later applied label to the front with the sculptor's name which is slightly loose.
A CHINESE SILVER INLAID BRONZE TRIPOD CENSER, SHISOU MARK, QING DYNASTY. Depicting figures of Qilin with twin handles, Shishou mark to base. On a carved wood stand with wooden cover. 14cm x 14cm.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. 5cm split to edge of wooden cover, visible to the underside. Stand in good condition. Censer in good condition with wear near handles. No signs of repair.
A CHINESE BRONZE GU SHAPED VASE, QING DYNASTY. Archaic decoration with Taotie masks and flanges to the mid and lower section. 21.7cm tall. Weight 1498 grams.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. Good overall condition with small nicks to rim.
A PAIR OF CHINESE POLISHED BRONZE GU SHAPED VASES, 19/20TH CENTURY. Archaic style decoration with flanges to mid and lower sections. Apocryphal six character marks of Xuande to bases. 21cm tall. Combined weight 1330 grams. (2)Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. Both in good overall condition.
A CHINESE BRONZE BELL WITH XUANDE MARK, 19/20th CENTURY. The bell decorated in relief with dragons and animal form handle, suspended in hardwood faux bamboo frame featuring a bat. With mallet. Frame size 41cm x 29cm.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. In good order with no obvious signs of damage or repair. Minor signs of wear in places to wood frame.
A CHINESE BRONZE CENSER. Heavily cast of rounded form with figure of chilong and two character mark to base. A fitted carved and pierced wood cover with ruyi heads and leafy stems featuring a carved jade boy finial. 14cm wide including chilong. Bronze weight only 1102 grams. Good overall condition with no damages.
A CHINESE LACQUERED WOOD FIGURE WITH BRONZE TRIPOD CENSER. The figure seated dressed in robes with glass inserts; Together with a bronze tripod censer with six character mark of Xuande to base. Figure 22cm tall. (2) Small areas of loss to lacquer in places with no major damages. The censer misshapen with a hole to the side.
Gerhard Schliepstein (Braunschweig 1886 – 1963 Berlin). Stehender weiblicher Akt. Bronze mit dunkelbrauner Patina. 74 × 25 × 20 cm (29 ⅛ × 9 ⅞ × 7 ⅞ in.). Auf der Plinthe signiert: G. Schliepstein. Auf der Plinthe hinten der Gießerstempel: Guss v. Pirner u. Franz, Dresden.[3149] Provenienz: Privatsammlung, BayernWir berechnen auf den Hammerpreis 32% Aufgeld.
Fritz Behn (Klein Grabow 1878 – 1970 München). Leopard. 1909Bronze mit dunkelbrauner Patina. 18 × 40 × 9,5 cm (7 ⅛ × 15 ¾ × 3 ¾ in.). Auf der Plinthe links monogrammiert: FB ebenda der Gießerstempel: C. LEYRER MÜNCHEN.[3107] Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
William Wauer (Oberwiesenthal 1866 – 1962 Berlin). „Der Schlittschuhläufer“. 1916Bronze mit brauner Patina. 25,1 × 27 × 15 cm (9 ⅞ × 10 ⅝ × 5 ⅞ in.). Auf der hinteren Schmalseite der Plinthe signiert: W WAUER. Auf der Unterseite mit dem Gießerstempel: W. FÜSSEL BERLIN 19.Laszlo S. 7.–Eines von 7 posthumen römisch nummerierten Exemplaren. [3125] Wir berechnen auf den Hammerpreis 32% Aufgeld.
William Wauer (Oberwiesenthal 1866 – 1962 Berlin). „Im Gleichschritt“. 1928Bronze mit brauner Patina. 33,5 × 27,8 × 13,6 cm (13 ¼ × 11 × 5 ⅜ in.). Auf der Plinthe hinten signiert: WAUER. Auf der hinteren Schmalseite der Plinthe mit dem Gießerstempel: W. FÜSSEL BERLIN.Laszlo S. 65.–Einer von 7 posthumen römisch nummerierten Güssen aus einer Gesamtauflage von 8 Exemplaren. [3039] Wir berechnen auf den Hammerpreis 32% Aufgeld.
Oswald Herzog (Haynau 1881 – um 1941 im Zweiten Weltkrieg verschollen). Furioso. Um 1918/19Bronze, vergoldet. 20,5 × 17 × 5 cm (8 ⅛ × 6 ¾ × 2 in.). Auf der Plinthe signiert: OHerzog.[3340] Provenienz: Privatsammlung, Berlin (in den 1960er-Jahren erworben, seitdem in Familienbesitz)Wir berechnen auf den Hammerpreis 32% Aufgeld.
Ewald Mataré (Aachen 1887 – 1965 Düsseldorf). „Liegendes Kälbchen“. Um 1955Bronze mit schwarzbrauner Patina, die Oberseite poliert. 4,5 × 13,3 × 8 cm (1 ¾ × 5 ¼ × 3 ⅛ in.). Auf der Unterseite mit dem Künstlermonogramm.Schilling 257a.–Schilling kennt zwei Güsse, einen in Privatbesitz und einen in der Hamburger Kunsthalle (Inv.-Nr. 1955/14). [3050] Wir berechnen auf den Hammerpreis 32% Aufgeld.
Renée Sintenis (Glatz/Schlesien 1888 – 1965 Berlin). „Portrait Joachim Ringelnatz“. 1923Bronze mit braungoldener Patina, auf Steinsockel montiert. 32 × 19 × 23 cm (12 ⅝ × 7 ½ × 9 in.). Am Hals unten monogrammiert: RS. Darunter mit dem Gießerstempel: H.NOACK BERLIN.Berger/Ladwig/Wenzel-Lent 56.–[3012] Provenienz: Privatsammlung, NiedersachsenWir berechnen auf den Hammerpreis 32% Aufgeld.
Fritz Klimsch (Frankfurt a.M. 1870 – 1960 Freiburg). „In Wind und Sonne“. 1936Bronze mit grünbrauner Patina, auf Steinfindling montiert. 147 × 43 × 43 cm (57 ⅞ × 16 ⅞ × 16 ⅞ in.). Auf der Plinthe hinten monogrammiert: FK. Dort auch der Gießerstempel: H.NOACK BERLIN.Braun 176.–[3063] Provenienz: Privatsammlung, EuropaWir berechnen auf den Hammerpreis 32% Aufgeld.
Fritz Klimsch (Frankfurt a.M. 1870 – 1960 Freiburg). Siesta. 1924/1955Bronze mit dunkelbrauner Patina. 24,5 × 17 × 21,4 cm (9 ⅝ × 6 ¾ × 8 ⅜ in.). Auf der linken Handfläche monogrammiert: FK. An der linken Gesäßhälfte mit dem Gießerstempel: STRASSACKER.Vgl. Braun 121.–[3338] Wir berechnen auf den Hammerpreis 32% Aufgeld.
Emy Roeder (Würzburg 1890 – 1971 Mainz). „In der Sonne“. 1956Bronze mit goldbrauner Patina. 43 × 12 × 12 cm (16 ⅞ × 4 ¾ × 4 ¾ in.). Rückseitig am Sockel oben links monogrammiert und datiert: E R 56.Gerke 24.–Einer von drei Güssen. [3131] Provenienz: Privatsammlung, Oldenburg/Bremen (2007 bei Karl & Faber, München, erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.
Renée Sintenis (Glatz/Schlesien 1888 – 1965 Berlin). „Ausblickender Knabe“. 1952Bronze mit goldbrauner Patina, auf Steinsockel montiert. 29,1 × 10 × 8,5 cm (11 ½ × 3 ⅞ × 3 ⅜ in.). Hinter dem rechten Fuß auf der Plinthe monogrammiert: RS. Auf der hinteren Schmalseite der Plinthe mit dem Gießerstempel: NOACK BERLIN.Berger/Ladwig/Wenzel-Lent 211.–[3012] Provenienz: Privatsammlung, NiedersachsenWir berechnen auf den Hammerpreis 32% Aufgeld.
Renée Sintenis (Glatz/Schlesien 1888 – 1965 Berlin). „Der Läufer Nurmi“. 1926Bronze mit schwarzbrauner Patina. 41,7 × 34 × 15 cm (16 ⅜ × 13 ⅜ × 5 ⅞ in.). Auf der Plinthe signiert und betitelt: R Sintenis Nurmi. Auf der hinteren Schmalseite der Plinthe mit dem Gießerstempel: H.NOACK BERLIN.Berger/Ladwig/Wenzel-Lent 84.–Guss nach 1945. [3012] Provenienz: Privatsammlung, NiedersachsenWir berechnen auf den Hammerpreis 32% Aufgeld.
Renée Sintenis (Glatz/Schlesien 1888 – 1965 Berlin). „Selbstbildnis“. 1926Bronze mit brauner Patina, auf Steinsockel montiert. 32,5 × 15,5 × 20 cm (12 ¾ × 6 ⅛ × 7 ⅞ in.). Hinten unten monogrammiert: RS. Darunter mit dem Gießerstempel: HNOACK BERLIN.Berger/Ladwig/Wenzel-Lent 79.–Guss nach 1945. [3012] Provenienz: Privatsammlung, NiedersachsenWir berechnen auf den Hammerpreis 32% Aufgeld.
Georg Kolbe (Waldheim/Sachsen 1877 – 1947 Berlin). „Pietà“. 1928/29Bronze mit dunkelbrauner Patina. 38 × 29 × 24 cm (15 × 11 ⅜ × 9 ½ in.). Unter dem linken Fuß monogrammiert: GK. Dort auch der Gießerstempel: H.NOACK BERLIN.Berger 121.–Einer von ca. 15 Güssen. [3017] Provenienz: Privatsammlung, BerlinWir berechnen auf den Hammerpreis 32% Aufgeld.
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