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Lot 569
A COLLECTION OF COLOURFUL INKS, in an unusual dot painted colourful box; together with a stoneware hand painted black swan form dish, signed; a small enamel tea pot; a silver plated lamp; a cane or parasol handle; a pepper castor; an old iron corkscrew; an old bronze Gaisce medal in case, and a brass child's shoe horn. (a lot)
Lot 388A
A PAIR OF UNUSUAL POLYCHROME DECORATED BRONZE AFRICAN FIGURES, each modelled as a female warrior holding a heart-shaped shield and a spear, semi-nude in ceremonial attire with earring, headdress, and multi-bead necklace, standing on one leg, on a circular cast base, 4ft (122cm) excluding spear, 5ft3 (160cm) including spear. (1)
Lot 406
A FINE FRENCH BRONZE AND ROUGE MARBLE MANTLE CLOCK, modelled with two classical women, supporting a rouge marble sphere aloft surmounted with a cherub holding an oval gilt brass portrait in his right hand, a drape in his left hand, the dial with Roman numerals, the two bronze women standing on a shaped rouge marble base, on four ormolu lion paw feet, 26" (66cm) high. (1)
Lot 177
Samuel Lipszyc, an Art Deco silvered and patinated bronze and carved ivory sculpture, circa 1925, the female dancer modelled wearing high-collared stylised dress and skirt, posed holding a squirrel sat on her left arm, the ivory heightened with staining, raised on a shaped marble plinth, signed 'S. Lipszyc', 43cm high.
Lot 268
modelled by J. Evans from his own researches, each complete with intricately detailed fittings and depicted in a brisk green sea set within a glazed wooden case with plaque, overall measurements – 4½ x 12¾ x 4¾in. (11.5 x 32.5 x 12cm.)In 1801 the Khedive of Egypt, Mehmet Ali, offered Great Britain, France and America each one of the three stone obelisks lying at Alexandria popularly (but incorrectly) known as "Cleopatra's Needles". Weighing about 240 tons, the French and the Americans moved theirs with comparative ease, however the British - whose Navy had refused to be involved - developed a complicated, somewhat eccentric, method. John Dixon (an engineer) designed a cylindrical hull comprising a straight stem, bilge keels, balancing sails, rudder and six man deck house to be taken out to Egypt in sections and assembled around the needle and which would then be towed back to England. All proceeded to plan and the curious craft now called Cleopatra departed on 21st September 1877 under tow from the 1300 ton passenger/cargo ship Olga. On October 14th they encountered a force 12 storm and six of Olga's crew were lost trying to rescue the crew of Cleopatra which they were finally forced to cast off. Cleopatra drifted in the Bay of Biscay for four days until salvaged by the S.S. Fitzmaurice whose master extracted a salvage of £2000 for his troubles. Finally recovered and repaired, the William Watkins Ltd paddle tug Anglia was chartered to bring the Cleopatra home which was happily accomplished without further incident. Arriving at Gravesend on 21st January, 1878, the needle has stood on Victoria embankment ever since, together with a bronze plaque commemorating the lives of those lost in her extraordinary passage.
Lot 376
An archaic style bronze Wine Vessel (You) and Cover, in the manner of the early Western Zhou dynasty, of pear form cast with raised stylized dragon flanges dividing the body, a swing handle terminating in Qilin masks, twisted formed finial on the lid, with inscription inside the vessel and the lid, Qing period, 18th/19th century, 37 cm high with handle, 27 cm high without handle, in good condition.
Lot 506
A Chinese jade leaf-shape saucer, with petal rim, 11.5cm long, a white Peking glass wine cup, 6.7cm diameter, a brown hardstone wine cup, 6.8cm diameter, two bronze Buddhist lions, 7.5cm high, two blanc de Chine seated Guanyins, 19 and 13.3cm high, and a Canton enamel small rectangular tray, with painted lady in a garden, six-character Qianlong mark, 9.4cm long (7)
Lot 139
A Chinese bronze hufu,Qing dynasty (1644-1911), the two-piece 'tally' in the shape of a crouching tiger, seal characters to back and sides, 7cm (2)Hufu was used by an emperor to command and dispatch the army by him retaining the right-hand piece and issuing the left-hand piece to the local officials or commanders. Both pieces of the tally had to match each other in order to dispatch the troops by showing the right-hand piece as authorisation. 清 铜铸虎符
Lot 60
A Chinese famille rose 'jue' cup,18th century, made in imitation of an early archaic bronze form, the body raised on three tall spread legs with masks, the body decorated with butterflies and scrolling flowers beneath a yellow border, a pair of posts rising from the shaped rim, the interior turquoise, 13.5cm highProvenance: The Collection of Erik Nordström (1884-1971). Erik Nordström took up the role of Postmaster General of the Royal Chinese General Post Office, Shanghai, in 1910. It was here that his love of collecting Chinese ceramics began and, during a career in China of over thirty-five years, Nordström went on to gather a vast collection, with particular emphasis on objects acquired for the purpose of everyday use.清十八世纪 洋彩胭脂紫地缠枝莲纹爵杯
Lot 141
A Chinese bronze bodhisattva of Ksitigarbha,late Ming dynasty, his eyes looking down and with a calm facial expression, wearing an elaborate beaded headdress with a seated Buddha and lotus, in a kasaya tied to his left shoulder over an ankle-length robe, a pearl to represent wisdom in his left hand, standing on a double lotus platform with a dog by his feet,80.5cmKsitigarbha, the Essence of the Earth, is one of the eight principal Mahayana students, or 'heart sons', of the Buddha Shakyamuni. Ksitigarbha is known for his vow to take responsibility for the instruction of all beings in the six worlds between the death of Gautama Buddha and the rise of Maitreya, as well as his vow not to achieve Buddhahood until all hells are emptied. He is therefore often regarded as the bodhisattva who brings help and comfort to those in the underworld realm of hell beings. 明晚期 铜铸地藏王菩萨立像
Lot 558
A Nepalese bronze Buddhist phurba, early 20th century, of tri-form, with two sections of tri-headed terminals above a vajra, a mythical beast coming out of its mouth extends the blade, 43.8cmA phurba, sometimes called a 'magic dagger', is a tantric ritual object used to conquer evil spirits and to destroy obstacles.
Lot 140
An archaic bronze bianzhong,Qing dynasty (1644-1911), of lens-shaped section, the mouth with a distinctive cutaway profile, the exterior with thirty-six studs or bosses, symmetrically placed around the body in four groups of nine against taotie masks, surrounding an inscription in bronze script on both sides, 37cmBianzhong, an ancient Chinese musical instrument, consists of a set of bronze bells, played melodically. Along with the stone chimes called bianqing, they were an important instrument in China's ritual and court music going back to ancient times.Translations of inscription: Guoshu Lü said: 'My great mighty glorious deceased father Huishu, served his master with a magnificent bright virtue and received countless benefit. I looked up to my deceased father’s virtue as a role model and served the king, so the king has given me even more benefit. In order to repay and publicize the numerous benefits given by the king, I commissioned this set of bells in memorial of my deceased father, Huishu. When the bells ring, my glorious father in heaven would protect and bless the later generations on the earth and send much luck from the heaven to me. My later generations will treasure these bells as sacrifice to their ancestors for ten thousand years'. 清 铜铸编钟虢叔旅曰：“丕显皇考惠叔穆穆秉元明德，御于厥辟，得纯亡愍。旅敢肇师型皇考威仪，口御于天子。乃天子多赐旅休。”旅对天子鲁休扬，用作朕皇考惠叔大林和钟。皇考严在上，翼在下。口口，降旅多福。旅其万年子子孙孙永宝用享。
Lot 384
Two Chinese gouache hanging scrolls, 20th century, one attributed to Li Zhuang, painted with scholars visiting Hanshan Temple in the evening, four artist's seals, inscribed, ink and colour on paper, 88 x 46.5cm, the other dated year of wuchen (1988), attributed to Meng Qing, painted with a Boshan Lu (hill censer) and peony in another bronze, one artist's seal, inscribed, ink and colour on paper, 66.5 x 45cm (2)
Lot 143
A gilt-bronze bodhisattva group, Chakrasamvara and Vajravarahi,19th/early 20th century, locked in a passionate embrace, lovingly gazing at each other, the sixteen-headed Chakrasamvara has three eyes and four bared fangs on each face, and a crown of five human skulls on each head, his hair in blue, tied in a topknot on the crown with a vishvavajra, a wish-fulfilling jewel ornament and crescent moon, his arms outstretched, surrounding the couple like a golden aura. The first two hands hold a vajra and a ghanta embracing the mother, the rest holding other attributes including a damaru, a kapala, a kartika and a katvanga. Wearing a lower garment of tiger skin, his right leg straight and left bent, both pressing on the back of a figure, possibly Kalaratri and Yama kneeling on a double lotus platform. In the lap is the Mother Vajravarahi, with her left leg wrapped around his waist, holding a kapala and a kartika in her hands,57.5cmChakrasamvara, one of the most popular deities in Tantric Buddhism in the Himalayan regions and Tibet after the 11th century, can appear in several dozen different forms, from simple to complex and peaceful to wrathful. These forms emphasise different types of meditation practice and are suited for the specific emotional and psychological characteristics of the tantric practitioners who take on these intricate practices.十九世纪-二十世纪初 铜鎏金胜乐金刚像
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349674 item(s)/page