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Lot 13

BRONZE RITUAL WINE VESSEL AND COVER, HU HAN DYNASTY 漢 青銅提梁壺帶蓋 the pear-shaped vessel rising from a flaring foot to a waisted neck and slightly everting mouth, the shoulders encircled by a wide band with a ridge cast in relief, further flanked by a pair of taotie masks suspending loose rings carrying a chained loop handle, the cover with two suspended rings, a small knob finial Dimensions:30cm high Provenance:Provenance: Nicholas S Pitcher, 2002 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: M.29. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 133

CLOISONNÉ ENAMEL DRAGON-HANDLED BALUSTER VASE QING DYNASTY, 18TH-19TH CENTURY 清 銅胎掐絲琺瑯福壽同慶鎏金銅雙龍耳海棠型瓶 the elegantly proportioned baluster vase of four canted sides, exquisitely enamelled with four lotus sprays borne on scrolling tendrils around the shoulder, the wider sides of the body decorated with a pair of bats holding tassels and shou-longevity roundels in their mouths, whilst the narrower sides enamelled a qin-musical instrument on the lower part, as the upper section mounted with an elaborately cast gilt-bronze dragon handles with flaming pearl, the lower body further mounted with a band of gilt-bronze ruyi-head clouds Dimensions:40cm high; 4047g Provenance:Provenance: Private Scottish collection, Edinburgh; acquired from current owner's grandmother, thence by family descent.

Lot 14

BRONZE RITUAL VESSEL WITH COVER, FANGHU HAN DYNASTY 漢 青銅方壺帶蓋 of faceted pear form, flanked by a pair of mythical masks holding loose rings on either side, the faceted cover with four flat, s-shaped finials Dimensions:42cm high; 4891g Provenance:Provenance: Nicholas S Pitcher, 5 November 2013, with a printed receipt.Dr. Kenneth P. Lawley's inventory number: M.46. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 15

BRONZE ‘FIVE MOUNTAIN’ MIRROR WARRING STATES PERIOD 戰國 楚式五山銅鏡 crisply cast with a ribbed loop enclosed by a circular border which five leaves issued within five bold T shapes, all reserved on a ground of swirl pattern, with thin upward-curved rim Dimensions:14.8cm diameter; 242g Provenance:Provenance: Priestley & Ferraro Chinese Art, 24 April 2003, with an original receipt and an associated label on back inscribed '856'.Dr. Kenneth P. Lawley's inventory number: M.30. Note: Note: The T pattern, known as the shan, mountain, design in Chinese, with the striking contrast of large, smooth, tilted designs on a dense ground, was popular during the Warring States Period.A closely comparable example, is illustrated in Roger Kevern, 2009, Chinese Bronze Mirrors: Warring States period to Tang dynasty, pl. 2. Also compare to two large bronze 'mountain' mirrors, Late Warring States period, sold at Christie's Hong Kong, 30 May 2018, lot 2911, and 28 May 2021, lot 3013.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 16

BRONZE TRIPOD WINE VESSEL AND COVER, YOU HAN DYNASTY OR LATER 漢或以後 青銅提樑卣 the globular body on three zoomorphic-feet rising to waisted neck and straight mouth, raised ribs decorating the shoulders, with a chained loop handle, the cover moulded with archaic motifs enclosing a small loop finial Dimensions:18.3cm high; 1498g Provenance:Provenance: OAG (Oriental Art Gallery Ltd.), 1996 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: M.20. Note: Note: Two related bronze xianglou you (one without cover), Han dynasty, are in the National Palace Museum, Taipei, collection nos. Gu Tong 故銅1921 and 1922. Similar form of wares are also seen on the market, one sold at Christie's London, 7 Nov 2017, lot 171; the other at Bonham's Los Angeles, 21 June 2022, lot 89.Also compare to two more related examples, note the related treatment of covers, one in the abovementioned museum, collection no. Zhong Tong 中銅1046, and the other sold at Christie's New York, 15 Sep 2017, lot 910.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 17

BRONZE RITUAL WINE VESSEL AND COVER, BIANHU HAN DYNASTY 漢 青銅扁壺 of flattened globular form raised on a spreading oval foot, the curved sides accentuated by shallow, recessed panels, flanked by a pair of suspending loose rings, the slightly domed cover with deep inner rim and a small loop finial in the centre Dimensions:28.3cm high; 2934g Provenance:Provenance: Capital Gallery, Hong Kong, 10 June 1998, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.25. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 18

ARCHAISTIC BRONZE VASE, HU SONG DYNASTY 宋 銅仿古饕餮紋獸耳壺 of flattened oval form, the waisted neck decorated with taotie masks on both sides above a band of lozenge diaper, further set with twin mythical beast handles Dimensions:26.2cm high; 1327g Provenance:Provenance: Nicholas S Pitcher, 1 May 2015, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.50. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 181

GROUP OF EIGHT GLASS AND GILT BRONZE "OFFICIAL'S HAT" FINIALS QING DYNASTY, 19TH CENTURY 清 各式料器及金屬冠頂(共八件) comprising: one pink glass, two transparent blue glass, three clear glass and two metal hat finials with various decorative metal mounts, three metal mounts bearing inscriptions on the base Dimensions:the largest: 6.2cm high Provenance:Provenance: Private English collection, London; acquired by current owner’s great-aunt Etta May Gubbins (1871-1955) during her honeymoon trip in Asia around 1910. Etta May Gubbins married in 1909 at Kilmallock, Ireland to Captain Burston Beresford Gubbins (1876-1929), The 13th Hussars.May Gubbins, nee May Gibson, was the eldest of the three daughters of Edmund Gibson who was born at Quernmore Park, near Lancaster in 1824, went out to New Zealand with his brother Wilson and staked a claim to about 20,000 acres of land in South Island and died at Otago in 1886.

Lot 19

BRONZE HEXAGONAL HANDLED VASE YUAN-MING DYNASTY 元至明 銅雙龍耳活環六方瓶 of faceted baluster form cast on high foot rising to waisted neck and galleried mouth, flanked with twin dragon terminus handles supporting loops, decorated with upright plantain leaves, tortoise shell diaper, key fret, and wavy patterns in panels on each side of the body Dimensions:29.8cm high; 2245g Provenance:Provenance: Nicholas S Pitcher, 18 November 2015, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.51. Note: Note: A pair of comparable examples, of slightly simpler form, Yuan/ Ming dynasty, sold at Sotheby's New York, 21 March 2015, lot 763; Also compare to a related vase, lacks the rings, dated to the Yuan dynasty, 13th-14th century, in the Victoria and Albert Museum, accession no. 186-1876, also illustrated in Ross Kerr, 1990, Later Chinese Bronzes, London: Bamboo Publishing, pl. 38, pg. 49.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 20

BRONZE ‘MYTHICAL BEAST’ TWO-HANDLED VASE YUAN-MING DYNASTY 元至明 銅萬字銅錢紋雙龍耳盤口瓶 of pear form cast on a high splayed foot rising to waisted neck and galleried mouth, decorated with swirly waves, the neck decorated with a band of interlocking coins with swastika-wan symbols, flanked by a pair of dragon-formed loop handles, the foot with a band of wave-pattern Dimensions:27.8cm high; 1495g Provenance:Provenance: Nicholas S Pitcher, 5 November 2014, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.49. Note: Note: Three comparable examples, dated to the Yuan to Ming dynasty, sold at Christie's Hong Kong, 29 May 2019, lot 2915; 11 Jun 2021, lot 3195, and 6 Dec 2022, lot 3152.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 21

RARE BRONZE TRIPOD 'EIGHT IMMORTALS' INCENSE BURNER MING DYNASTY 明 銅八仙三足筒爐 of cylindrical form set on three bracket feet, cast in high relief on the recessed body with four immortals each with their attributes separated by pine tree, bamboo, rockwork and flowering branches Dimensions:10.7cm high; 660g Provenance:Provenance: Nicholas S Pitcher, 7 November 2017, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.55. Note: Note: The immortals depicted around the body of the censer, Cao Guojiu, recognised by his twin tablets, or castanets; He Xiangu, holding a stem of lotus flower across her shoulders; Li Tieguai, holding an iron staff and a double-gourd; and Lan Caihe, sitting on rockwork with a basket of flowers, are four of the Eight Immortals. A highly similar bronze tripod 'nine sages' incense burner, dated to the late Ming dynasty, note the comparable form, treatment on the high relief upper body of the figures, design of the feet, and the pinhole decoration around the lipped rim, was previously in the collection of Roger Keverne, sold at Bonhams London, 7 June 2021, lot 549.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 22

BRONZE ‘MYTHICAL BEAST’ HANDLED VASE YUAN-MING DYNASTY 元至明 銅雷紋獸面雙耳盤口瓶 of bottle form set on a high splayed foot rising to waisted neck and dish-shaped mouth, foot and neck each with a band of leiwen field, the neck further flanked with a pair of loop handles Dimensions:30.4cm high; 1788g Provenance:Provenance: Nicholas S Pitcher, 22 December 2016, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.52. Note: Note: A comparable bronze altar-vase, dated to the Song/Yuan dynasty, is in the British Museum, registration no.1990,0528.1. Also compare to a bronze dragon-handled vase, hu, Yuan to early Ming dynasty, with slightly different treatment of the decoration, was previously in the Ulrich Hausmann's collection, then sold at Sotheby's Hong Kong, 7 Oct 2014, lot 3302.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 23

RARE BRONZE INCENSE-TOOL VASE MING DYNASTY 明 銅山中訪賢紋雙耳筒瓶 of slightly tapered cylindrical form, centre cast in high relief with officials on horses and entourage in a dramatic mountainous landscape heading towards towered pavilions with occasional figures looking out, all above a crashing wave band above foot, and underneath a band of interlocking coin patterns, set on both sides of the mouth with sinuous mythical beast handles Dimensions:17cm high; 1038g Provenance:Provenance: Nicholas S Pitcher, 10 May 2017, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.53. Note: Note: A comparable vase is illustrated in M. L. Eveleigh & B. Harkins, 1984, Later Chinese Bronzes, Andamans East International Ltd., pl. 24. Also compare to a related bronze 'Eight Daoist Immortals' incense-tool vase, cast in open-work, Ming dynasty, 16th century, previously Micheal Goedhuis's collection, sold at Bonham's London, 17 May 2023, lot 363; Another bronze cylindrical incense stick holder, Yuan/ Ming Dynasty, sold at Christie's London, 29 Mar 2007, lot 264.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 232

THREE BRONZE ORNAMENTS WARRING STATES PERIOD TO HAN DYNASTY 戰國至漢 銅虎銜羊紋、龍紋飾兩件 及 帶鉤(共三件) comprising: a plaque piece decorated with a stylised tiger devouring a lamb; a plaque with stylised dragon underneath swirling clouds; and a belt hook of slender form Dimensions:the largest: 9.3cm high, 40g Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. The plaques acquired from Capital Gallery, Hong Kong, 2 Feb 2001, with an original receipt.

Lot 234

RARE BLACK POTTERY WINE VESSEL, JUE SHANG DYNASTY 商 黑陶爵 elegantly potted, the oval body supported on three blade legs, the mouth extended to a cupped pouring tip at one end and a raised pointed tip at the opposite flanked by two vertical posts with conical finials in between, one side of the vessel applied with a loop handle Dimensions:19cm high Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired at Christie's London, 19 Jun 2001, lot 3, with an original receipt. The result of the Oxford Authentication Ltd. thermoluminescence analysis test, sample no. C101j70, is consistent with the dating of this lot, with a photocopied certificate dated 1 May 2001. Note: Note: Ritual wine vessels in the form of a jue are more commonly seen in bronze. They were designated for heating and pouring wine during Shang dynasty rituals. The capped posts rising from the rim would have allowed the hot metal vessel to be lifted from the heat and poured, whereas the ceramic form of this vessel would not have been suitable for this.Compared to zun and gu vessels dated to the Shang dynasty made in the form of ceramic instead of bronze, fewer jue and jia vessels are known. Compare to a greatly simplified and squatted jue, dated to the late Shang dynasty, in the Asian Art Museum, San Francisco, object no. B60P1834, and illustrated by He Li in Chinese Ceramics - The New Standard Guide, London: Thames and Hudson, 1996, p. 63, no. 20. Also see other similar simplified examples, Shang dynasty, one in Princeton University Art Museum, museum no. y1965-52; some in Institute of History and Philology, Academia Sinica Taipei, accession nos. R023599BBWA_2, R000175CCWA, R000174CCWK_1. These tripod vessels with slender legs, like this lot, would have been more difficult to fire successfully.

Lot 24

BRONZE ENGRAVED 'FLORAL' STEM BOWL LATE MING TO EARLY QING DYNASTY, 17TH CENTURY 明末清初 銅刻花卉紋高足花口碗 the deep bowl on a high foliated foot rising to foliated everted mouth, the body decorated with sprays of flowering plants on an etched ground Dimensions:21.2cm diameter; 1284g Provenance:Provenance: Sydney L. Moss Ltd., 1 August 1984, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.3. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 26

BRONZE 'ABUNDANCE' BOTTLE VASE MING TO QING DYNASTY 明至清 銅三多紋雙獅耳海棠口瓶 of flattened form, cast standing on a flared foot rising to bulbous body, waisted neck and everting out to quatrelobed mouth, set with a pair of lion-mask handles to each side, the body decorated with scattered grapes, melons, pomegranates, peaches, and other fruits borne on leafy branches, all against a dense beaded ground Dimensions:24.3cm high; 1717g Provenance:Provenance: Roger Keverne Ltd., 2003 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: M.31. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 27

BRONZE 'EIGHT TRIGRAMS' INCENSE BURNER MING DYNASTY 明 銅雷紋冲耳三足爐 帶八卦紋銅蓋 of wide and shallow bowl form with gently inverted mouth set on three pronounced short cabriole feet, around the body with a leiwen band, a pair of flattened s-shaped pierced panels flanked each side as handles, the bronze cover cast in openwork with eight trigrams and yinyang enclosing a button finial Dimensions:28.8cm wide across handles; 3628g Provenance:Provenance: Jan van Beers, 2010 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: M.37. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 277

FLAMBÉ-GLAZED 'RAM-HANDLED' VASE, HU QIANLONG MARK, 19TH-20TH CENTURY 十九至二十世紀 乾隆款 窯變釉三羊開泰壺 of archaic bronze hu form with raised bands, set with three ram heads in relief on the shoulders, applied overall with a thick red glaze infused with lavender streaks, the mouth rim and widest parts of ram handles with mushroom tone, the base engraved with a six-character Qianlong mark covered with milky and brown glaze Dimensions:34.5cm high

Lot 284

BLUE AND WHITE 'LOTUS' BEAKER VASE, ZUN 青花蓮紋出戟尊 after the archaic bronze zun form, the flaring foot decorated with scrolling lotus rising to the globular central bulb set with four vertical undulating flanges, painted with lotus flowers and leaves bouquets, rising to a trumpet foliated mouth decorated with plantain leaves on the neck Dimensions:31.7cm high

Lot 30

RARE POTTERY BEAKER WESTERN HAN DYNASTY 西漢 弦紋陶杯 of tapering cylindrical form supported on a pedestal foot, two incised bands decorating the upper part of the body Dimensions:18.7cm high Provenance:Provenance: Blitz Chinese Ceramics & Works of Art, 25 Nov 2013, with a photocopied receipt.Dr. Kenneth P. Lawley's inventory number: Cer.155. Note: Note: Pottery beakers of this form are after examples made of precious materials, such as jade, lacquer or precious metals. Two smaller polychrome pottery goblets, Western Han dynasty, of comparable form and with decoration mimicking vessels made of more precious materials such as lacquer or bronze, are in the Metropolitan Museum of Art, accession no. 1994.605.34.Stem cups of this form made of precious materials, such as jade, during the Western Han dynasty, were items of the highest prestige produced for the imperial house, local royalty and a privileged elite connected to these courts. Several jade beakers of this type during this period, have been discovered at some of the period’s most important residential and burial sites, and were in tombs placed in prominent positions. Observes Regina Krahl, in 'Vermillion Birds for Immortality', catalogue note for an extremely rare and important jade 'twin bird' stem cup, Western Han dynasty, sold at Sotheby's Hong Kong, 9 October 2020, lot 16. Despite the elaborate decoration, another related important and very rare early carved greyish-green jade beaker with gold and silver-decorated bronze mount, Western Han dynasty, note the similarity in shape, is illustrated in Giuseppe Eskenazi, 2012, A Dealer's Hand: The Chinese Art World Through the Eyes of Giuseppe, London: Scala Publishers Ltd, pl. 155, and sold at Christie's New York, 19 Sep 2006, lot 175. Excavated lacquered stem cups or beakers are rare. [1] Compare to a related pair of gold foil-embellished and painted-lacquer goblets with gold-inlaid bronze mounts, previously in Sir Joseph Hotong's collection, sold at Sotheby's Hong Kong, 9 Oct 2022, lot 168; For bronze examples, one Eastern Han dynasty, see the Metropolitan Museum of Art, accession no. SL.1.2017.17.8, one Warring States period, sold at Sotheby's New York, 17 September 2013, lot 9, and one Western Han dynasty, sold at Sotheby's Hong Kong, 28 July 2022, lot 3037. There are three grey gritty pottery cups, dated to the Warring States period, with comparable texture, colour and seemingly the quality of this lot, in the Heyuan Museum. [1] Hong Shi, 2020, 'Xihan yinjiuju yanjiu: yi qiqi wei zhongxin (shang)', Palace Museum Journal, 224(12), pg. 68-69. Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 349

ORMOLU MOUNTED FAMILLE ROSE CRANE-HANDLED VASE QING DYNASTY, 19TH CENTURY 清 粉彩開光人物雙鶴耳瓶 嵌鎏金銅飾底座 the bulbous body supported on a short splayed foot, the body finely painted with figures in pavilions within two square cartouches, all below two pairs of chi-dragons on the shoulder against a floral ground, the neck flanked by a pair of crane handles underneath the foliate rim, the base with ormolu gilt bronze mount in openwork Dimensions:the vase: 41cm high; 48.5cm high including the metal base

Lot 36

PAIR OF PAINTED GREY POTTERY TRIPOD VESSELS AND COVERS, DING HAN DYNASTY 漢 彩繪灰陶雲氣紋鼎帶蓋(一對) each of the compressed globular body following the archaistic bronze form, raised on cabriole legs, pierced out-turn handles flanked the mouth, the domed cover with a short ring as finial, painted with geometric and curvilinear designs in white, purple, yellow, red pigments against a greyish black ground Dimensions:25cm wide each Provenance:Provenance: Sotheby's London, 9 June 1992, lot 86, with a copy of the catalogue.Dr. Kenneth P. Lawley's inventory number: Cer.122. Note: Note: Some tomb pottery was decorated with pigments applied after firing to mimic the form and decoration of vessels made of more precious materials such as lacquer or bronze. The shape and decoration on the lid are comparable with one in the Popper Collection, illustrated in The Hans Popper Collection of Oriental Art, by René-Yvon Lefebvre d'Argencé, Kodansha International, 1973, pl.6. Also see a painted pottery hu, Han dynasty, with similar decoration, is illustrated in Asiatic Art In the Seattle Art Museum, by H. Trubner, W. J. Rathbun, & C. A. Kaputa, Washington: Seattle Art Museum, 1973, pl. 84.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 375

LARGE BRONZE VASE XUANDE MARK BUT QING DYNASTY, 18TH-19TH CENTURY 清 宣德款 銅鑄撇口大瓶 heavily and sturdily cast, the bulbous body elegantly extending to a wide shoulder surmounted with waisted neck, terminating to an everted rim, the base cast with a six-character Xuande mark in a recessed rectangle Dimensions:29.8cm high; 7.82kg Provenance:Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 1906-1912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.Paxton House is situated on the banks of the River Tweed, near Berwick-upon-Tweed. Designed by John and James Adam in 1758, it is perhaps the finest example of an eighteenth-century Palladian country house in Britain and contains a pre-eminent collection of Chippendale furniture. In 1811, the Edinburgh architect Robert Reid added the largest purpose-built picture gallery in a Scottish country house.

Lot 383

BRONZE FIGURE OF A MALE SHINTO DEITY MEIJI PERIOD OR LATER 明治或以後 銅鑄神道天神座像 the tenjin cast seated with legs folded, holding a table in right hand, represented as a court nobleman with tall cap and high-necked jacket, with an oval wooden stand Dimensions:32cm high; 3883g Provenance:Provenance: Private Scottish collection, Edinburgh

Lot 384

BRONZE FIGURE OF KANNON BOSATSU MEIJI PERIOD 明治 銅鑄持卷觀音立像 heavily cast with the Avalokiteshvara standing upright holding a scroll in the left hand, wearing a long heavy robe draping naturally, adorned with festoon necklaces draping across the body, face with downcast eyes and serene expression, high chignon covered by head scarf Dimensions:44cm high; 6500g Provenance:Provenance: Private Scottish collection, Edinburgh

Lot 385

INLAID-IRON TESTUBIN (TEA KETTLE) WITH SWALLOW AND REEDS MEIJI PERIOD 明治 龍文堂造刻款 錯金銀秋雁蘆荻圖鑄鐵壺 cast in iron and of slightly tapered cylindrical form with a short spout, the body decorated in silver and gold nunomezogan with flying swallows and reeds, the upper edge and lower waistline presented with an erosion design and rocky lines, the handle adorned with a pair of swallows in silver, the bronze cover finished with a flower-bud finial and signed on the underside Ryubundo zo Dimensions:16.5cm wide; 1350g Provenance:Provenance: Private English collection, Perthshire Note: Note: Ryubundo is one of the leading studios in the Japanese Metalware industry. With many classic and significant masterpieces passing down through generations, Ryubundo kettles are produced with the highest standard of craftsmanship, and with precious materials. From the founder of the studio, Shiho Ryubun (1735-1798), every successive director of the studio Ryubundo were talented not only in metalworking, but also in painting, calligraphy, and poetry. Therefore, the aristocratic, literatic tastes are the main features of Ryubundo tetsubin. From the middle of the Edo Period (1603-1868) when tea culture was popular everywhere in Japan, the development of Ryubundo reached a boom, and this boom continued to the latter Meiji Period (1868~1912). The studio was mentioned in the ironic novel by the famous Japanese writer Natsume Soseki, I Am a Cat. The sentence writes “those people living a luxurious life would lose their sleep if they could not hear the sound made by the lid of Ryubundo iron kettles when water is boiling.”A closely comparable Ryubundo iron testubin of similar form and technique, but with butterfly decoration, was sold at Bonhams New York, 15 March 2017, lot 6300.

Lot 414

PAIR OF TIMURID CARVED WOOD DOORS PROBABLY BUKHARA, LATE 14TH/ EARLY 15TH CENTURY each door panel of rectangular form carved with five niches divided by narrow metal panels, the decoration within each niche carved in relief with what appears to be scrolling leafy vines, each mounted with a bronze loop handle and vertical bands of bronze studsDimensions:140cm x 50.5cmProvenance:Provenance: Private Scottish collection; Acquired at Christie’s London, Indian and Islamic Works of Art, 17 October 2003, lot 244. Published in Exhibition Catalogue, Arts from the Land of Timur, 8th-13th January 2013, Bonham's Edinburgh, no. 430 (full page illustration).

Lot 53

WORKS OF ART REFERENCE BOOK COLLECTION 中國藝術參考書籍(共三十六本)含雜項、漆器、掐絲琺瑯、青銅器、家具、文房珍玩、佛教藝術等著作 Including: Chinese works of art, cloisonne enamel, archaic bronze, furniture, Buddhist art, Scholar's pieces etc, in total 36 publications.Including but not limited to:Berliner, Nancy Zeng. Beyond the Screen: Chinese Furniture of the 16th and 17th Centuries. Boston: Museum of Fine Arts, 1996.Brinker, Helmut, and Lutz, Albert. Chinese Cloisonné: The Pierre Uldry Collection. London: Bamboo Publishing, 1989.Chou, Ju-His. Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors. Cleveland: Cleveland Museum of Art Bookstore, 2000.Clifford, Derek. Chinese Carved Lacquer. London: Bamboo Publishing, 1992.Deydier, Christian. Ancient Chinese Bronze Vessels, Gilt Bronzes and Early Ceramics. 1986.Dye, Daniel Sheets. Chinese Lattice Designs. New York: Dover Publications, 1974.Eskenazi. Chinese Lacquer From The Jean-Pierre Dubosc Collection And Others. London: Eskenazi, 1992.Fang, Jing Pei. Treasures Of The Chinese Scholar. New York: Weatherhill Inc., 1997.FitzGerald, C. P. Barbarian Beds: the origin of the chair in China. London: The Cresset Press, 1965.Gyllensvärd, Bo. Chinese Gold, Silver and Porcelain: The Kempe Collection. New York: The Asia Society, 1971.Hu, Shih-Chang. Chinese Lacquer. Edinburgh: National Museums of Scotland Publishing, 2001.Jenyns, Soame, and Watson, William. Chinese Art: Gold, Silver, Later Bronzes, Cloisonne, Cantonese Enamel, Lacquer, Furniture, Wood (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Jenyns, Soame. Chinese Art: Textiles, Glass and Painting on Glass, Carvings in Ivory and Rhinoceros Horn, Carving in Hardstones, Snuff Bottles, Inkcakes and Ink Stones (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Kates, George N. Chinese Household Furniture. New York: Dover Publications, 1962.Kerr, Rose. Later Chinese Bronzes. London: Bamboo Publishing, 1990.Krahl, Regina and Morgan, Brian. From Innovation to Conformity: Chinese Lacquer from the 13th to 16th Centuries. London: Bluett & Sons, 1989.Moss, Paul. Educated Palates: an exhibition at 63 East 82nd Street New York. London: Sydney L. Moss Ltd., 1987.Moss, Paul. The Literati Mode: Chinese Scholar Paintings, Calligraphy and Desk Objects. Hong Kong: Andamans East International Ltd., 1986.Moss, Paul. The Second Bronze Age: Later Chinese Metalwork. London: Sydney L. Moss Ltd., 1991.Mowry, Robert D., and Brown, Claudia. Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks. Cambridge: Harvard University Art Museums, 1997.Page, J. and Page, S. The Woven Mystery: Old Tibetan Rugs. Bangkok: Craftsman Press, 1990.Pratapaditya, Pal et al. Art of the Himalayas: Treasures from Nepal and Tibet. New York: Hudson Hills, 1992.Rawson, Jessica (Ed.). Treasures from Shanghai: ancient Chinese bronzes and jades. London: British Museum Press, 2009.Rawson, Jessica. Chinese Bronzes: Art and Ritual. London: British Museum Press, 1987.Rawson, Jessica. The Ornament on Chinese Silver of the T'ang Dynasty, A.D.618-906. London: British Museum Press, 1982.Sir Garner, Harry. Chinese and Japanese Cloisonné Enamels. London: Faber & Faber, 1970.Spink. Lacquer From The Collection of Derek Clifford. London: Spink, 1999.The British Museum. Chinese and Associated Lacquer from the Garner Collection. London: British Museum, 1973.The furniture of the Ch'ing dynasty: the art pieces with utility purposes. Taipei: Chun Kuei-miao, 1989.Thurman, Robert A. F., and Weldon, David. Sacred Symbols: The Ritual Art of Tibet. New York: Sotheby's, 1999.Vainker, Shelagh. Chinese Silk: A Cultural History. London: British Museum Press, 2004.Watt, James C. Y. and Barbara Brennan Ford. East Asian Lacquer: The Florence and Herbert Irving Collection. New York: Metropolitan Museum of Art, 1991.Watt, James C. Y. and Knight, Michael. Chinese Jades from the Collection of the Seattle Art Museum. Seattle: Seattle Art Museum, 1989.Watt, James C. Y.. The Sumptuous Basket: Chinese Lacquer with Basketry Panels. New York: China House Gallery, 1985.河北省文物硏究所,《歷代銅鏡紋飾》,河北:河北美術出版社,1996.Li, Jiufang. Metal-bodied Enamel Ware (金屬胎琺瑯器). Hong Kong: The Commercial Press, 2001. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 60

BRONZE BEAKER VASE EDO PERIOD 江戶 銅獸面紋花觚 cast in the form of two trumpets with a bulging middle section, decorated with four stylised lion masks linked by a thin double string course Dimensions:34.5cm high; 2637g Provenance:Provenance: Gregg Baker Asian Art, 9 November 2010, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.39. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 61

BRONZE VASE BY SEKIGUCHI SHINYA (1877- ca.1932), TAISHO-EARLY SHOWA PERIOD 関口真也(1899-約1932) 「真也刻」款 銅龍蝦紋罐 共箱 of compressed ovoid form with high shoulders, decorated with two confronting lobsters with clams and vegetation, the decoration highlighted with coloured patination and with gold inlay, chiselled on one side ' Shinya koku' (carved by Shinya), with original inscribed and sealed tomobako Dimensions:30cm diameter; 3764g Provenance:Provenance: Simon Pilling East Asian Art & Interiors, 2 November 2022, with a printed receipt.Dr. Kenneth P. Lawley's inventory number: M.73. Note: Note: Sekiguchi Shinya was born in Tokyo as the son of the celebrated metalworker Sekiguchi Ichiya (1850-1933), who himself was under the tutelage of Goto Ichijo (1791-1876). Shinya studied painting with Hashimoto Gaho (1835-1908) and exhibited at the fourth Naikoku Kangyo Hakurankai (National Industrial Exposition) in 1895.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 62

BRONZE HEXAGONAL VASE MEIJI PERIOD 明治 銅六角瓶 attractively cast rising from a stepped everted high foot to a compressed globular body and larger trumpet mouth, covered in warm brown patina Dimensions:31.7cm high; 4.98kg Provenance:Provenance: Joos van den Bergh, TEFAF 2022, with an associated label on base inscribed '249'. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 73

BRONZE BOWL AND COVER GORYEO DYNASTY, 12TH-13TH CENTURY 高麗王朝 銅蓋盒 the bulbous body set on a high everted foot, with a domed cover gently flattened on top Dimensions:15cm high; 408g Provenance:Provenance: Han Collection, 28 July 2020, with a transaction receipt.Dr. Kenneth P. Lawley's inventory number: M.64. Note: Note: Compare to a bronze covered bowl, Goryeo period, in the British Museum, registration no. 1926,0407.3.a-b; Also see a related bowl with a saucer-shaped lid, in the British Museum, registration no. 1926,0407.2.a-b; two bronze bowls with covers, of which one has a high stem foot, dated to the Joseon dynasty, illustrated in Beth McKillop, Korean Art and Design, London: Victoria and Albert Museum, pl. 50.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 74

BRONZE STEM DISH GORYEO DYNASTY, 12TH-13TH CENTURY 高麗王朝 銅高足碟 the gently flaring top set on a thinner high ring foot Dimensions:15.7cm diameter; 194g Provenance:Provenance: Robert McPherson Antiques, 2 July 2021, with a printed receipt and an associated label on base inscribed '703'. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 76

SILVER-INLAID BRONZE DOUBLE-GOURD VASE GORYEO DYNASTY 高麗王朝 銅嵌銀絲蓮紋葫蘆瓶 of elegant double gourd form with extended cylindrical mouth, the larger and smaller bulbs similarly inlaid with silver wire with lotus borne on scrolling foliage, separated by a ring band below swirling pattern on the lower shoulders Dimensions:23.6cm high; 608g Provenance:Provenance: Han Collection, 1 August 2019, with a printed receipt.Dr. Kenneth P. Lawley's inventory number: M.59. Note: Note: Bronze bottles with silver wire inlay are more commonly found in kundika form, compare to several in the National Museum of Korea, all dated to the Goryeo dynasty, to name a few, see accession nos. Bongwan 2426, Deoksu 3772, and Bongwan 12484; also one in the Victoria and Albert Museum, note the similar dark tone of the patina on the bronze body, accession no. M.1189-1926. A further comparable circular covered box, dated to the 12th century, with inlaid phoenix and lotus scroll design in silver, is in the Ho-Am Art Museum, national treasure no. 171, illustrated in Goryeo Dynasty: Korea's Age of Enlightenment 918-1392, no.70, p. 216-7. A gourd-shaped gilt silver bottle of closely comparable form, dated to 12th century, is in the collection of the National Museum of Korea, no. S15081.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 77

BRONZE BOTTLE VASE GORYEO DYNASTY 高麗王朝 銅弦紋玉壺春瓶 of pear form, with a gently lipped rim and raised string band to the waisted neck, the raised and incised string bands repeating down the sloping shoulders and globular body Dimensions:32cm high; 1462g Provenance:Provenance: Han Collection, 10 May 2018, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.56. Note: Note: Two comparable examples in similar form, size, raised ribs as decoration, heavy in malachite patination, dated to the Goryeo dynasty, can be found in the Brooklyn Museum, accession nos. 74.159.2 and 2004.28.134; Several are also seen in the open market, including one sold at Bonham's San Francisco, 11 December 2015, lot 2475; and one at Christie's London, 11 December 2015, lot 2100.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 78

BRONZE KUNDIKA, CHONGBYONG GORYEO DYNASTY OR LATER 高麗王朝或以後 銅淨瓶 of ovoid form rising from a counter-sunk foot to a slender neck collared by a slightly domed small disk, the long neck continuing to a lipped rim, one side of the shoulder set with a tubular spout with an everted mouth and a hinged cover Dimensions:35.6cm high; 929g Provenance:Provenance: Han Collection, 17 August 2018, with a printed receipt.Dr. Kenneth P. Lawley's inventory number: M.57. Note: Note: Distinctively shaped containers like this were traditionally used in Asia as water sprinklers for Buddhist purification rituals. They were used to offer clean water to the altar or carried by Buddhist monks travelling for cultivation. This kundika type was popular during the Tang Dynasty and continued to be used in the northern regions of China during the Northern Song and Liao dynasties. It travelled with Buddhism through China to reach Korea. In Goryeo, bronze kundika were especially popular. Similar examples were also made in ceramics and glazed in celadon. Several comparable examples cast in bronze and dated to the Goryeo dynasty are in museum collections, including two in the National Museum of Korea, accession nos. Sinsu 1973 and Sinsu 1364; one in the Brooklyn Museum, possession no. 74.27; one in the Metropolitan Museum of Art, accession no. 23.115; and the other is in the British Museum, registration no. 1974,1031.1.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 91

THAI BRONZE TAZZA OR BETEL TRAY TENASSERIM REGION, THAILAND OR BURMA, 14TH-15TH CENTURY 十四至十五世紀 泰國或緬甸 丹那沙林山山脈 銅高足碟 the flattened dish with pierced everted mouth resting on trumpet-form tiered foot Dimensions:10cm high; 380g Provenance:Provenance: Michael Backman Ltd., September 2021, with a document issued by Michael Backman Limited. Previously in Maurice Collis' (1889-1973) collection, acquired in Burma. Note: Note: According to the catalogue by Michael Backman, there was a label dated 1933 attached to another item from the same group, it was found, presumably excavated in Tenasserim, an area which runs along the southern border between Burma and Thailand. The label states that the pieces are ‘Siamese’ and are from the Ayutthaya dynasty.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 120

Zwei sich räkelnde Frauenakte, Bronzeplastiken um 1920Jugendliche Frauenakte am Boden liegend und sie Arme hinter den Köpfen verschränkend, einmal Bronze mit brauner Patina, L 17,5 cm, montiert auf einen Holzsockel, einmal Bronze mit goldbrauner Patina, L 18 cm

Lot 14

Siegfried J. Assmann, Akt eines Knaben auf einem Pfeiler sitzend & Akt eines Knaben mit einer Taube, zwei BronzeplastikenSiegfried J. Assmann, 1925 Kirchplatz, Posen - 2021 Großhansdorf/ Hamburg, Maler und Bildhauer, hier: Ein unbekleideter Jüngling sitzt auf einem Pfeiler und spielt mit seinen Händen, Bronze mit grünbrauner Patina, H 34 cm, signiert und dat. 1978 & Ein nur mit einem Schal bekleideter nackter Knabe betrachtet einen auf seiner linken Hand sitzenden Vogel; Bronze mit goldbrauner Patina, 19 x 18 cmSiegfried Assmann studierte ab 1947 Malerei, Wandgestaltung und Grafik auf der Landeskunstschule in Hamburg, gemeinsam mit Horst Janssen & Paul Wunderlich. Plastische Gestaltung erlernte er im Atelier von Carolus. Anfang der 1960er Jahre verlagerte sich seine Tätigkeit zunehmend auf den Bereich der Plastik. So schuf er im Rahmen von „Kunst im öffentlichen Raum“ in Hamburg-Volksdorf die Skulptur des Blumenmädchens Eliza und den Dachreiter Zwei kämpfende Hähne.

Lot 171

Richard Heß, Junge Frau im Hüfttuch, BronzeplastikRichard Heß,1937 - Berlin - 2017, deutscher Bildhauer, hier: Auf einem doppelstöckigen Podest steht eine Frau im durchscheinenden Oberteil und einem Hüfttuch, sich die Haare richtend, Bronze mit goldbrauner Patina, H 27 cm, verso signiertIn den Jahren 1952 bis 1955 absolvierte Richard Heß zunächst eine Holzbildhauerlehre. Von 1956 bis 1961 studierte er Bildhauerei an der Hochschule der Künste Berlin, bevor er 1961/62 Meisterschüler bei Bernhard Heiliger wurde. Nach dieser Zeit war er zunächst von 1963 bis 1965 freischaffend in Berlin tätig, in den Jahren 1965 bis 1968 an der Universität Braunschweig. Anschließend war er Assistent von Waldemar Grzimek an Hochschule Darmstadt (1968-1971), später an gleicher Stelle Dozent (1971-1980). Im Jahre 1980 folgte er einem Ruf nach Bielefeld, wo er bis zum Jahre 2001 als Professor tätig war.

Lot 172

Richard Heß, Hockender Akt, BronzeRichard Heß, 1937 - Berlin - 2017, Hockende weibliche Figur, Bronze, H 24,5 cm, mit Künstlerstempel und Gießereistempel, nummeriert 5/5Zum Künstler: 1956-61 Studium der Bildhauerei an der Hochschule der Bildende Künste Berlin; Meisterschüler bei Bernhard Heiliger; nach einigen Jahren als freischaffender Künstler wurde er Assistent von Jürgen Weber und Waldemar Grzimek an den Architekturfakultäten Braunschweig und Darmstadt; 1980-2001 war er Professor an der Fachhochschule in Bielefeld.

Lot 180

Alfred Hrdlicka, Selbstbildnis, monogrammierte Bronze von 1986Alfred Hrdlicka, 1928 - Wien - 2009, Kopf, Selbstbildnis des Künstlers, 1986, Bronze, H 10 cm, am Hals monogrammiert, bezeichnet E.A., am Boden Gießereistempel Guss A. Zöttl, Wien

Lot 181

Maximilian Hutlett, "Kleine Landschaft II" und kleine Stele, Bronzeplastiken von 1981 und 1984Maximilian Hutlett, 1933 Zweibrücken - 2018 Weckenheim, "Kleine Landschaft II", Bronze mit brauner Patina, sign., num. 12/20, dat. 1981, H 9 x 21 x 11 cm; Stele, Bronze mit brauner Patina, sign., dat. 1984, E.A., H 14,5 cm.

Lot 208

Dietrich Klinge, Figur mit Kopf, signierte Bronze "157"Dietrich Klinge, *1954 Heilbad Heiligenstadt, Figur mit ausgeformten Kopf, Bronze, H 24 cm, am Boden signiert, nummeriert 5/9, bezeichnet "157", mit GießereistempelZum Künstler: 1973-80 Studium der freien Grafik an der Staatlichen Akademie der Bildenden Künste in Stuttgart; anschließend Studium der Bildhauerei bis 1984 bei den Professoren Herbert Baumann und Alfred Hrdlicka; lebt und arbeitet in Weidelbach; in seinen Werken versucht er die Vielfalt des menschlichen Wesens und Körpers sichtbar zu machen.

Lot 211

Nina Koch, Buddhistischer Mönch in der Meditation, moderne "spirituelle" Bronzeplastik um 2000Nina Koch, *1961 Dahl, deutsche Bildhauerin, hier: Ein buddhistischer Mönch mit umgehängtem Schal beim Meditieren, Bronze mit brauner Patina, H 14,5 cm, num. 9/50, sign. Guss Schmäke/DüsseldorfNina Koch studierte in Bielefeld bei dem Berliner Bildhauer Richard Heß, viele ihrer Skulpturen sind auf öffentlichen Plätzen in Bielefeld zu sehen. Seit den 1990er Jahren schuf sie eine Reihe spiritueller Figuren und ist somit eine der wenigen zeitgenössischen Künstlerinnen, die sich dem Thema "Religiöse Kunst" widmet und diese in moderner Form interpretiert.

Lot 212

Luise Kött-Gärtner, "Stufen zum Erfolg", Bronzeplastik aus der Serie "Business and Motivation"Luise Kött-Gärtner, *1953 Zülpich, Bildhauerin, Ihre Figuren erzählen von Erfolg, Teamwork und Gemeinsamkeit, "Stufen zum Erfolg", Bronze montiert auf einem Steingusssockel, H 33 cm.Zur Künstlerin: Kött-Gärtner studierte Plastik bei Benno Werth und Elmar Hillebrand in Aachen. Sie begann in den 1980er Jahren plastische Arbeiten in Bronze zu fertigen. Zahlr. Ausst. zwischen 1989-2007.

Lot 213

Luise Kött-Gärtner, "Zu Zweit Geht's", Bronzeplastik aus der Serie "Business and Motivation"Luise Kött-Gärtner, *1953 Zülpich, Bildhauerin, Ihre Figuren erzählen von Erfolg, Teamwork und Gemeinsamkeit, "Zu Zweit Geht's", Bronze montiert auf einem Steingusssockel, H 27,5 cm.Zur Künstlerin: Kött-Gärtner studierte Plastik bei Benno Werth und Elmar Hillebrand in Aachen. Sie begann in den 1980er Jahren plastische Arbeiten in Bronze zu fertigen. Zahlr. Ausst. zwischen 1989-2007.

Lot 225

Karl Heinz Krause, Träumender Adonis, Bronzeplastik versilbertKarl-Heinz Krause, 1924 Angermünde - 2019 Mainz, deutscher Bildhauer, hier: Der am Boden sitzende, nackte Adonis hat seinen Kopf träumend auf die Arme gelegt, Bronze versilbert, 13 x 10 x 11,5 cm, Signatur auf der Fußsohle Zum Künstler: Karl Heinz Krause begann 1947 sein Studium an der Hochschule für Bildende Künste. 1948 begann er mit der Bildhauerei und wurde Schüler von Maximilian Debus, Wilhelm Tank und Oskar Bangemann. In der Meisterklasse beschäftigte er sich intensiv mit den Arbeiten und Anregungen seiner Lehrer Renée Sintenis und Richard Scheibe, bei dem er seit 1952 Meisterschüler war. Nach dem Ende des Studiums im Jahre 1954 ließ er sich in Berlin als freischaffender Bildhauer im ehemaligen Atelier von Paul Wynand nieder und erhielt bereits fünf Jahre später den Georg-Kolbe-Preis der Stadt Berlin durch Richard Scheibe überreicht.

Lot 242

Bernhard G. Lehmann, "Stille Öffnung", Bronzeplastik von 1989, mit monogr. Kat. u. Abb. des WerkesBernhard G. Lehmann, 1944 Bad Suderode - 2021 Berlin, Maler und Bildhauer, hier: Eine blockartige Struktur mit glatten und feinnarbigen Oberflächenfeldern ist in der Mitte v-förmig geöffnet, Bronze mit brauner Patina, 9, 5 x 14 x 4,5 cm, num. 3/10, von 1989, beiliegend ein monographischer Katalog mit Abb. des WerkesBernhard G. Lehmann erhielt von 1972 bis 1978 seine künstlerische Ausbildung bei Rolf Richter in Berlin. Seit 1978 arbeitete er als freischaffender Maler, Bildhauer, Fotograf und Autor, seit 1980 mit Atelier in Jevenstedt, später mit weiteren Ateliers in Berlin und Spanien. 1997 begegnete er Hans Werner Henze, dessen Musik ihn inspirierte und für dessen Garten in der Nähe von Rom er eine bedeutsame Skulptur schuf. 2001 erhielt er den Skulpturenpreis der Stadt Mörfelden-Walldorf, im Jahre 2007 die Ehrendoktorwürde der Azerbaijan State Academy of Fine Art.

Lot 251

Luise Kött-Gärtner, "An einem Strang ziehen", Bronzeplastik aus der Serie "Business and Motivation"Luise Kött-Gärtner, *1953 Zülpich, Bildhauerin, Ihre Figuren erzählen von Erfolg, Teamwork und Gemeinsamkeit, "An einem Strang ziehen", Bronze montiert auf einem Steingusssockel, H 27 cm.Zur Künstlerin: Kött-Gärtner studierte Plastik bei Benno Werth und Elmar Hillebrand in Aachen. Sie begann in den 1980er Jahren plastische Arbeiten in Bronze zu fertigen. Zahlr. Ausst. zwischen 1989-2007.

Lot 260

Dieter W. Meding, "Cogito", Bronzeplastik ( s. "Rhein Denker", SER-Europazentrale in Bonn )Dieter W. Meding, *1942, Maler u. Bildhauer, Studium Ruhrakademie in Dortmund, lebt u. arbeitet in Neuenrade, hier: Hände, die einen Kopf halten, Bronze mit matt-braun-grauer Patina, H 14,5 cm, Monogramm-StempelZum Werk: Diese Plastik steht in unmittelbarer Nähe zu Medings bekannter Monumentalplastik "Rhein Denker" vor dem SER- Gebäude (Europazentrale) in Bonn."Neustadt/Wied/Bonn, 17.07.2013. Der Software-Hersteller SER schickte am Wochenende seine Bronzeskulptur, den „Denker“, per nächtlichem Schwertransport auf die Reise nach Bonn und leitet damit den Umzug seiner Europazentrale von Neustadt/Wied nach Bonn ein. Am Samstagvormittag wurde das Kunstwerk an seinem neuen Bestimmungsort am Haupteingang der SER-Zentrale im Rheinwerk 3 am Bonner Bogen aufgestellt. In der Nacht von Freitag auf Samstag trat die 7,8 Tonnen schwere und fünf Meter hohe Bronzeskulptur per Schwertransport ihre Fahrt nach Bonn an. Begleitet von einer Polizeieskorte bahnte sich der Transporter seinen Weg über schmale Landstraßen und Autobahnen bis nach Bonn. Der Künstler Dieter W. Meding selbst hatte ihn für diese beschwerliche Reise vorbereitet. Damit der Tieflader mit seiner 5,50 Meter breiten Fracht überhaupt sein Ziel erreichen konnte, musste die Zubringerstraße von der A562 zum Bonner Bogen von der Polizei gesperrt werden. Am Samstag wurde die Skulptur dann mithilfe eines Krans vor dem Haupteingang der SER-Zentrale in der Joseph-Schumpeter-Allee 19 aufgestellt."

Lot 263

Guido Messer, "Beine", Bronzeplastik von 1992/97Guido Messer, *1941, Buenos Aires, Weibliche Beine in Pumps unter Kubus mit Mopskopf, Bronze/ Stahl/ Lackfarbe, H 24,5 cm, am Boden Etikett.Guido Messer besuchte 1961-66 die Kunst -und Werkschule Pforzheim (bei J. Weber, Mitarbeit bei Gestaltungsaufträgen) u. studierte 1966-71 Bildhauerei an der Akademie der Bildenden Künste, Stuttgart (bei H. Baumann und K.R.H. Sonderborg) und Lehre als Kunstgießer (bei H. Heinzel), war 1970-82 Werklehrer und seit 1982 freiberuflicher Bildhauer, zahlr. Ausst.

Lot 264

Guido Messer, "Vater einer Tochter", Bronzeplastik von 2009/10Guido Messer, *1941, Buenos Aires, Stele mit quadratischem Querschnitt mit weiblichen Akten und oben einem Hut, geschliffene Bronze/Lackfarbe, H 34,5 cm, sign., num. 1/18,am Boden Etikett.Guido Messer besuchte 1961-66 die Kunst -und Werkschule Pforzheim (bei J. Weber, Mitarbeit bei Gestaltungsaufträgen) u. studierte 1966-71 Bildhauerei an der Akademie der Bildenden Künste, Stuttgart (bei H. Baumann und K.R.H. Sonderborg) und Lehre als Kunstgießer (bei H. Heinzel), war 1970-82 Werklehrer und seit 1982 freiberuflicher Bildhauer, zahlr. Ausst.

Lot 268

Willem Verbon zugeschrieben, Kopf einer markanten Persönlichkeit, BronzeplastikWillem Verbon, 1921 - Rotterdam - 2003, niederländischer Bildhauer, zugeschr., hier: Kopf eines älteren Herrn mit markanten Gesichtszügen, Bronze mit brauner Patina, H 20 x B 15 cm, nummeriert 1/5, montiert auf Holzsockel, Gesamthöhe: 31 cmZum Künstler: Willem Verbon fertigte mehrere Bronzeskulpturen für den öffentlichen Raum, insbesondere in Rotterdam. Seine Arbeit besteht hauptsächlich aus figurativen Skulpturen, die oft bedeutende oder historische Personen darstellen., wie z.B. den expressionistischen Maler Kees van Dongen.

Lot 269

Bildhauer der Moderne, Sitzender Akt, BronzeMonogrammist L im Kreis (?), Sitzender weiblicher Akt die Arme seitlich nach hinten gestreckt, runder fülliger Körper, Bronze, am Rücken gestempelt, H 30 cm

Lot 328

Auguste Rodin, "Torso der Adele", limitierte Bronzeplastik, Edition Ars MundiAuguste Rodin, 1840 - 1917, Adèle Abbruzzesi war eine der Lieblingsmodelle des Künstlers, hier Re-Edition in Bronze, montiert auf Steinsockel, sign. & numm. 195/499, H mit Sockel 48 cm, beiliegend Kaufrechnung und Zertifikat

Lot 340

Hans Schröder, Stehender Frauenakt, Bronzeplastik von 1969, dazu große, sign. Foto-Litho Collage von 1974 & sign. übermalte Litho-Collage von 1976 mit 2 monographischen KatalogenHans Schröder, 1930 - Saarbrücken - 2010, Bildhauer und Maler, hier: Junger Frauenakt verschränkt die Arme vor der Brust und schaut züchtig zum Boden, Bronzeplastik mit brauner Patina, H 29 cm, auf der Plinthe sign. H.S. u. dat. 1969 // Foto-Litho Collage "Ein Sommer", 82 x 52 cm, sign. u. dat. 1974 // Übermalte Litho-Collage "World Heavyweight Championship - Sonny Liston vs. Hans Schröder", 64 x 48 cm, sign. u. dat. 1976 dazu 2 Kataloge: "Hans Schröder, Plastiken, Zeichnungen, Fotocollagen und Gemälde aus den Jahren 1950-1988" sowie "Hans Schröder", Katalog zur Ausstellung in der Moderne Galerie des Saarland-Museums 1981.Zum Künstler: Hans Schröders wichtigstes Motiv in seiner Arbeit war die Frau. Sie bildete er in den unterschiedlichsten Körperhaltungen und in ebenso unterschiedlichen Situationen ab, wobei er vordergründig mit erotischen Motiven und voyeuristischen Elementen spielte. Dem Künstler war dabei jedoch nicht das reine Abbild wichtig, er brachte vielmehr „Kennzeichen des Lebens und Formen der Energie“, also seine eigenen Emotionen, in die Bronze-Arbeiten ein. Die Westdeutsche Allgemeine Zeitung (20. Mai 1976) schreibt: „Die Skulpturen Schröders überzeugen durch ihre Natürlichkeit und ungekünstelte Frische“.

Lot 346

Theodor Sellner, Weiblicher Kopf, Bronzeplastik mit GlasTheodor G. Sellner, *1947 Zwiesel, Weiblicher Kopf, Bronze/ Gals mit farbigen Pulvereinschmelzungen, H 21 cm, sign., Guss M. Boer, num. 1/30.Sellner ist einer der Mitbegründer der Studioglasbewegung. Im Jahr 1974 entstanden erste künstlerisch gestaltete Glasobjekte, die er „vor der Lampe“, also über der offenen Flamme, fertigte. In den 1980er Jahren begann er diese Technik mit der Arbeit am Hüttenofen zu kombinieren und erhielt dafür 1988 ein Patent. Ausbildung 1961-64 an der Fachschule für Glas in Zwiesel, Studienaufenthalte in Murano bei Aldo Nason, in Mount Vernon (Ohio) bei Robert Coleman, in Corning (New York) am dortigen Corning Glass Center und in Sandefjord bei Jan Erikson. Mehrere Lehraufträge.

Lot 360

Kerstin Stark, "Living - Sich gegenseitig helfen", Skulptur Bronze/SteinKerstin Stark, 1971-2017, Goldschmiedin und Bildhauerin, "Living - Sich gegenseitig helfen", 4 Miniaturfiguren unterstützen sich beim Emporklettern, Bronze/Stein, 20 x 12,5 x 6,5 cm.Zur Künstlerin: Stark besuchte 1988 - 1991 die Goldschmiede und Uhrmacherschule in Pforzheim, sie ist für ihre Miniatur-Bronzen bekannt geworden. Sie widmet sich in ihren Werken kritisch gesellschaftliche Themen, wandelte diese aber stets in optimistische Botschaften um.

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