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Click here to subscribeSale Item: PAIR BRONZE URNS (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Sale Item: 2 BRONZE CAVALIERS (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
GEORG KOLBE (1877-1947)Kniende (Kneeling Woman) inscribed with the initials 'GK' and stamped 'Made in Germany' (under left knee); stamped 'Made in Germany', numbered 'II' and with the foundry mark 'H. Noack Berlin Friedenau' (under right knee); stamped and numbered again 'Made in Germany II' (under left foot) bronze 20 1/4 in (51.4 cm) (height)Conceived in 1928 and cast in 1928-29
A JAPANESE BRONZE CROSS WITH AMIDA NYORAI (AMIDA BUDDHA) EDO PERIOD OR LATER, 18TH CENTURY OR LATER The central figure seated on a lotus throne, his hands clasped together in a gesture of prayer, a circular mandorla behind him with fleur de lys-shaped ornaments, the cross with four quatrelobed apertures to the ends, 25.3cm. See The Asian Civilisations Museum, Singapore, access. n. 2011-02283 for another example of Edo period cross with a central figure of Amida Nyorai. Also J Welsh, After the Barbarians II, Namban Works of Art for the Japanese, Portuguese and Dutch Markets, pp.278-281 n.34, where a comparable bronze cross is illustrated and discussed. Christianity first appeared in Japan in the 16th century with the arrival of Navarrese missionary Francis Xavier (1506-1552). It quickly reached the higher strata of society, with Daimyo families such as the Satsuma clan joining the faith, partly to have access to imported goods (such as guns) Portuguese Jesuits were trading in. Christianity was fully banned from Japan by Tokugawa after the Shimabara rebellion of 1637-38 during which Christian peasants rebelled against the Shogunate. Other factors led to the ban, including the possible involvement of Portuguese Jesuits and suspicions that converts were spies for foreign powers. The edict outlawed the promulgation of and adherence to the religion. It also marked the beginning of a long period of anti-Christian persecutions that lasted for two and a half centuries. Sign boards such as lot 266 where set up all over the country, encouraging people to report Christians to the authorities for various financial rewards (500 pieces of silver for a priest, or 100 for an ordinary convert). Symbols and objects used for Christian worship were destroyed or desecrated. Lot 268 is an example of this iconoclasm, with the inscriptions to the sides of the incense burner erased to hide its original use. Christian practitioners who refused to renege their faith had to go into hiding and worship in secret. Figures of Kannon, the Buddhist Goddess of Mercy, and of Amida Buddha (lot 267) were adapted to resemble Christian iconography and become the central point of focus of hidden altars. Crosses and figures of Christ (lot 269) were hidden in ordinary objects such as this fake smoking pipe. After the Meiji restoration and the re-establishment of religious freedom, more than 30,000 secret Christians came out of hiding in the 1870s.
A MASSIVE JAPANESE BRONZE JARDINIERE MEIJI PERIOD, 19TH CENTURY The flattened bulbous body raised on a short foot, with a bale of terrapins scattered around the rim and to the body, the animals varying in size and with some clambering upon others, the details of the carapaces naturalistically rendered, 34cm high, 60cm dia.
A JAPANESE INLAID BRONZE VASE BY THE KANAZAWA COMPANY MEIJI PERIOD, 19TH CENTURY The baluster-shaped body inlaid in gold, silver and copper, with two large panels enclosing a quail under sprays of millet to one side and flowering hydrangeas to the other, with bands of formal designs to the rims and the shoulder with two large lion-head handles with loose rings, the base signed Dai Nihon Kanazawa Doki Kaisha Sei (Made by the Kanazawa bronze Company), 42.5cm.
A JAPANESE BRONZE VASE BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH/20TH CENTURY The slender body decorated with a large hakurei turnip and a small rat beside it, the rodent contentedly gnawing at a leaf while holding it tightly with its front paws, the eyes inlaid, with a seal mark for Genryusai Seiya to the base, 28.8cm.
A JAPANESE MIYAO-STYLE GILT BRONZE FIGURE, OKIMONO MEIJI PERIOD, 19TH CENTURY Depicting a joyful-looking drummer seated cross-legged and resting against his instrument, his robes richly decorated with various mon and the hidari-mitsudomoe Shinto symbol, the three comma-like swirls symbol repeated on the drum, raised on a four-legged wood stand painted with a hibiscus flowerhead and scrolling tendrils, the base with remnants of a paper collection label, 13cm.
A SMALL PARCEL-GILT BRONZE SAWASA BOX AND COVER 18TH CENTURY Possibly an incense or seal paste container, the flattened body raised on a short circular foot, the sides engraved with bands of chevrons and sprays of peaches, chrysanthemum and pine, the lid with shaped cartouche depicting a blossoming prunus tree and two birds, the inside gilded, 6cm. (2) Cf. The Rijksmuseum Amsterdam, Sawasa, Japanese export art in black and gold, 1650-1800, pp.107-110 nos.E.5.1 to E.5.7 for related examples of Sawasa boxes.
A MASSIVE JAPANESE BRONZE FIGURE, OKIMONO MEIJI PERIOD OR LATER, 19TH/20TH CENTURY Depicting a small ox herder, bokudo, seated on the back of an ox and playing the flute, the large bovine with a tether attached to its nose ring and with its head turned to sinister, 51cm. Provenance: an English private collection, Dorset.
A JAPANESE ARTICULATED BRONZE MODEL OF A SPINY LOBSTER, JIZAI OKIMONO MEIJI PERIOD, 19TH/20TH CENTURY With a fully articulated body, the surface of the exoskeleton realistically modelled, 48cm. Provenance: from a private collection of jizai okimono. See Woolley & Wallis Salerooms, 14th November 2018, lot 1007, for a Myochin School articulated snake signed Muneyoshi from the same collection.
A MASSIVE CHINESE BLACK AND CELADON JADE 'YINGXIONG' GROUP QING DYNASTY The stone skilfully worked with a single-horned mythical beast carved from the black section of the stone whilst an eagle is predominantly picked out in celadon, both creatures stand side by side gazing backwards with well-defined bulging eyes, the eagle with its left leg raised and talons tightly clasped, with an old paper label to the shoulder of the lion-like beast, all raised on a rocky platform, the black and celadon areas of the stone both with white and russet markings, 34cm, 10kg. The imagery depicted is an interpretation of the motif of an eagle, ying, and a bear, xiong, which together form the word yingxiong, homophone for 'hero'. The theme of an eagle and bear first appeared on Western Han dynasty bronze 'champion' vases. This developed throughout later periods into more stylised representations where the bear is often rendered as a mythical beast resembling a lion and the eagle is sometimes portrayed as a phoenix. Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent. Whilst Farmer sold several Chinese ceramics at Sotheby's in 1961, he was primarily a collector of Chinese hardstones and other works of art. Much of his collection was also sold at Phillips on 15th February 1978. Cf. A Forsyth and B McElney, Jades from China, p.292, no.292 for a Ming dynasty jade carving of an eagle perched on a lion-like mythical animal in the collection of The Museum of East Asian Art, Bath; see also Sotheby's Hong Kong, 1st December 2016, lot 172 for another Ming piece with a comparable subject matter and lot 203 for a related small 17th/18th century yellow jade 'yingxiong' carving depicting a bird of prey with a similarly rendered mythical beast.清 糖色玉雕英雄擺件來源：Reverend Victor Farmer （1898-1977）收藏，1961年Farmer曾經在蘇富比出售過他的瓷器收藏，1078年2月15日在Phillips上拍過他的玉石收藏。
A MASSIVE TIBETAN GILT-BRONZE FIGURE OF NINETEEN-FACED AVALOKITESHVARA 19TH/20TH CENTURY The thousand-eyed and thousand-armed bodhisattva stands with one knee bent upon a lotus base, with one hand in abhaya mudra and the other held forwards, each of the tiered heads adorned with an elaborate crown, wearing beaded body jewellery and a dhoti decorated with roundels and scrolling floral borders, with small figures kneeling in prayer and many animals and beasts upon the pedestal, 194cm, estimated weight 300-400kg. (7) Provenance: formerly the collection of P S McKay, who was believed to have been a diplomat; and then sold at Fidler Taylor, Derbyshire on 13th September 2003.十九/二十世紀 銅鎏金十九面千手千眼觀音立像來源：P S Mckay舊藏，Fidler Taylor2003年9月13日
A CHINESE GILT-LACQUERED BRONZE FIGURE OF AMITABHA BUDDHA LATE MING DYNASTY Cast seated in dhyanasana upon a beaded double lotus base, with his hands resting upon his lap in dhyana mudra, wearing a dhoti, body jewellery and an elaborate crown centred by a small seated Buddha, his shoulders flanked by a perching bird and vessel set upon tall blossoming lotus stems, 23.1cm, 1.5kg.晚明 銅加彩無量壽佛坐像
A TIBETO-CHINESE GILT-BRONZE SCULPTURE OF KURUKULLA 18TH CENTURY Depicting the goddess with one face and four arms, adorned with five skulls to her crown and a garland of heads, she wears a tiger skin around her waist and tramples a prostrate figure that symbolises false perceptions, which prevent people from reaching a state of enlightenment, all raised on a finely cast lotus throne, 16.5cm, 887g. (2) Kurukulla is the patron of magic and healing. She is believed to be able to charm and bewitch people in order to gain power over them. She is venerated in Tibet as the goddess of love and is depicted as a beautiful sixteen year old girl. Tibetans consider her to be the Red Tara, Doma Marpo, and in their prayers ask the goddess to conquer evil spirits, demons and adverse forces.十八世紀 銅鎏金作明佛母立象
A TIBETAN BRONZE SCULPTURE OF PADMAPANI 17TH/18TH CENTURY Standing on a semi-circular lotus throne in tribhanga asana, the bodhisattva of compassion wearing a diaphanous dhoti and adorned with jewellery, his left hand exhibits vitarka mudra and holds the stem of a lotus flower which blossoms at his shoulder, his right hand lowered in varada mudra, 12.4cm, 296g.十七/十八世紀 銅蓮花手觀音
A CHINESE GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI 18TH CENTURY Seated in dhyanasana wearing flowing robes incised with foliate and geometric designs at the borders, holding the alms bowl in his left hand and with his right hand in bhumisparsha mudra, with cold painting to his lips and the irises of his downcast eyes, all raised on a double lotus base incised to the reverse with swirls, the baseplate with a visvavajra mark and two paper labels for Artemisia, 34cm, 3.6kg. Provenance: purchased from Artemisia, Alresford on 24th January 2006. A copy of the invoice is available. The iconography depicted presents the historical Buddha in the earth-witness gesture. This refers to when Shakyamuni triumphed over the demon Mara, who was attempting to divert him from his objective of becoming enlightened through meditation. When Mara challenged Shakyamuni's right to enlightenment, Shakyamuni moved his hand from his lap to touch the ground with his middle finger, calling the earth to witness his entitlement to spiritual enlightenment. Shakyamuni's unshakable resolve forced Mara and his army of demons to flee; moments later, Shakyamuni attained enlightenment.十八世紀 銅鎏金釋迦摩尼佛坐像來源：2006年1月24日購於Artemisia，Alreford（附發票複印件）
A TIBETAN GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI 14TH CENTURY Seated in dhyanasana upon a beaded double lotus base, he holds his left hand in dhyana mudra whilst extending his right hand towards the ground in bhumisparsha mudra, with a loose robe draped around his shoulders and torso, the borders incised with floral decoration, his serene face framed by his pierced elongated earlobes, with traces of cold painting to his hair, the base engraved with a visvavajra mark, 14cm, 589g. The iconography depicted presents the historical Buddha in the earth-witness gesture. This refers to when Shakyamuni triumphed over the demon Mara, who was attempting to divert him from his objective of becoming enlightened through meditation. When Mara challenged Shakyamuni's right to enlightenment, Shakyamuni moved his hand from his lap to touch the ground with his middle finger, calling the earth to witness his entitlement to spiritual enlightenment. Shakyamuni's unshakable resolve forced Mara and his army of demons to flee; moments later, Shakyamuni attained enlightenment.十四世紀 銅鎏金釋迦摩尼坐像
Gyokko: A Pair of Japanese Parcel Gilt Bronze Figures, each man stands dressed in typical garb, one has his daisho tucked into his obi as he raises a lantern high, the other carries a fiery brand in one hand and raises his daito aloft, each with a gilt signature plaque Gyokko, each standing on a wood stand, heights 53.4cms and 41.5cms, Meiji Period
Miya-O Eisuke: A Parcel Gilt Figure of a Carpenter, the artisan stands holding a spar of wood with one foot bracing its bottom as he planes the top portion, with gilt panel bearing signature Miya-O with seal Ei; on a gold lacquered wood stand; height overall 21cms; Meiji Period; A Parcel Gilt Bronze Figure of a Farmer, he stands wearing waraji sandals, a short robe and leggings and leans on a bamboo staff whilst carrying three bamboo shoots in his right hand, signed on a gilt panel Miya-O, with gold lacquered wood stand, height overall 19.5cms, Meiji Period
MIyao Eisuke: A Japanese Bronze Figure, the man stands with his left foot forward and holding an Oni mask in one hand whilst gesturing with his khakkhara, his robes decorated in parcel gilt with Shinto symbols, signed Miya-O, on the original lacquered wood stand, height overall 21.7cms, Meiji Period
A Large Tokyo School Style Bronze figure of a Street Peddler, he stands dressed in a short robe and tousers on a rounded base as he holds a large basket of persimmons under his left arm whilst proffering a fruit with his right, incised signature to the back of the base Yoshido saku, height 65cms, Meiji Period
A Japanese Parcel Gilt Bronze Figure of an Archer kneeling on his right knee and leaning back as he bend his bow to project the notched arrow, he wears an eboshi on his head and a haori over his armour, his eyes in silvering and shakudo, signed on a gilt plaque, ()..mori, height 32.8cms, Meiji period
Atsuyoshi: A Japanese Bronze Figure of an Angler, the man wears a short coat with his trousers rolled up and stands on a rocky outcrop, he cries out in surprise as the eel that he has just hooked entwines itself around his leg, details in gilding, gilt signature panel Atsuyoshi saku and mark of the Maruki Company (), height 31cms, Meiji Period
A Pair of Japanese Bronze Vases, each of cylindrical form on a stepped column resting on a circular base supported on five elephant-head feet, the sides applied with handles in the form of waves, the body decorated in relief, silver, gold and copper with the Eight Horses of Mu Wang, height 58.5cms, Meiji-Taisho era (2)
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