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Lot 368

Jean Paul Steinel, Stehender Frauenakt, Bronzeplastik um 1920Johann (Jean) Paul Steinel, 1878 Heidelberg - 1939 München, Bildhauer, hier: Locker stehender Frauenakt, die Beine überkreuzend, Bronze mit goldbrauner Patina, H 44 cm, auf der Plinthe signiert, montiert in einem flachen HolzsockelSteinel wurde an der KA München ausgebildet, wo er später auch lehrte. Werke von ihm in den Sammlungen der Neuen Pinakothek München und im Lenbachhaus. (Jean Paul Steinel, "Ergebung", Bronze auf Bodenplatte, 56 cm, Städtische Galerie im Lenbachhaus und Kunstbau München: https://www.lenbachhaus.de/entdecken/sammlung-online/detail/ergebung-30000750 )

Lot 386

Georg Viktor, Halbtorso eines auf dem Bauch liegenden Frauenaktes, BronzeplastikGeorg Viktor, *1953 Ludwigshafen, lebt und arbeitet in Pietrasanta/ Italien, deutscher Bildhauer, der sich auf hyperrealistische, erotische Skulpturen spezialisiert hat, hier: Ein auf dem Bauch liegender Halbtorso eines weiblichen Aktes im String Tanga, Bronze mit brauner Patina, 14 x 11 cm, num. 2/12, signiert In seinem skulpturalen Werk stellt Viktor den perfekt modellierten, bevorzugt weiblichen Körper, oft mit betonenden Accessoires in den Vordergrund. Er setzt dabei den Fokus auf die erotische Ausstrahlung des Körpers. Dazu der Künstler selbst „Erotik in der Kunst existiert schon so lange wie die Kunst selbst“ und ergänzt „Meine Skulpturen sind nicht nur zum Betrachten da, sondern auch zum Begreifen mit den Händen und den Sinnen.“

Lot 387

José Viladomat-Massanes, Sitzender Frauenakt, Bronzeplastik, 1920er JahreJosé Viladomat Massanes, 1899 Manlleu/Barcelona - 1989 Escaldes Engordany, spanischer Bildhauer, Auf einer 8-kantigen Plinthe sitzt ein jugendlicher, weiblicher Akt, sich die rechte Hand an die Stirn haltend, Bronze mit grüner Patina, 31 x 18 x 23 cm, am Plinthenrand sign., montiert auf eine schwarz-geäderte Marmorplatte,José Viladomat Massanes ließ sich in seiner kreativen Arbeit vor allem von den 1900er und 1910er Jahren inspirieren.

Lot 39

Hans Breker, großer Frauenakt, BronzeplastikHans Breker, 1906 Elberfeld - 1993 Düsseldorf; Pseudonym: Hans van Breek, deutscher Bildhauer und Maler, hier: Wohlproportionierter stehender Frauenakt, Bronze mit dunkler Patina, H 77 cm, verso am Sockel sign.Hans Breker begann seine Ausbildung 1925 an der Kunstakademie Dresden bei Karl Albiker und wechselte 1928 zu Richard Langer an die Kunstakademie Düsseldorf. Bis 1942 arbeitete er dort als freischaffender Künstler.1936 erhielt er den Cornelius-Preis der Stadt Düsseldorf und 1942/1943 die Auszeichnung mit dem Villa-Romana-Preis. Damit war ein Studienaufenthalt mit der Familie in der Villa Romana in Florenz verbunden. 1937 und 1940 bis 1942 war Breker auf der Großen Deutschen Kunstausstellung im Haus der Kunst in München vertreten. Albert Speer kaufte dort 1941 die Statuen Bergmann und Eisenhüttenmann zu je 25000 RM. 1944 stand Breker in der Gottbegnadeten-Liste des Reichsministeriums für Volksaufklärung und Propaganda. Nach der Zerstörung seines Düsseldorfer Ateliers und seiner Wohnung übersiedelte die Familie nach Weimar.1945 wurde dort die Hochschule für Baukunst und bildende Künste neu gegründet. Breker erhielt einen Ruf unter der Bedingung einer Namensänderung, um Verwechslungen mit seinem Bruder Arno Breker zu vermeiden. Er wählte den Namen Hans van Breek. 1948 verlieh man ihm den Titel „Professor auf Lebenszeit“ und den Lehrstuhl für Freie Plastik sowie Architektur- und Aktzeichnung. 1954 kehrte die Familie aus politischen und familiären Gründen nach Düsseldorf zurück. Hier lebte er bis zu seinem Lebensende als erfolgreicher, freischaffender Bildhauer, dem viele öffentliche Aufträge zur Gestaltung von Brunnen, Plätzen und Denkmälern übertragen wurden.

Lot 406

Kurt Zimmermann, "Traurige Braut", Bronzeplastik mit originaler Tusche-EntwurfszeichnungKurt Zimmermann, 1910 - Düsseldorf - 1961, deutscher Bildhauer, Stehende Frauenfigur, barfüßig in einem Kopf und Körper verhüllenden Gewand, Bronze mit brauner Patina, H 43,5 cm, Guss Schmäke/Düsseldorf, dazu die gerahmte Entwurfszeichnung in Tusche, 40 x 30 cm, r. u. monogr. KZVon 1919 bis 1932 studierte Zimmermann an der KA/Düsseldorf bei Hubert Netzer und wurde zuletzt Meisterschüler in der Bildhauerklasse von Alexander Zschokke. Zimmermann war Mitglied der Rheinischen Sezession. Von 1932 bis 1933 studierte er in Berlin. Dort wurden seine Arbeiten anfänglich bei Flechtheim und Cassirer ausgestellt. 1936 erhielt Zimmermann ein Staatsstipendium der Kasseler Kunstakademie für ein Meisteratelier. In den Jahren 1936 bis 1938 unternahm er mehrere Studienreisen nach Paris. Von 1940 bis 1943 Kriegsdienst in Frankreich und Russland. Nach dem Im Zweiten Weltkrieg, nachdem er 1945 eine Berufung an die Dresdner Kunstakademie abgelehnt hatte, wurde Zimmermann zu einem der gefragtesten Bildhauer im Rheinland. So erhielt er zahlreiche Aufträge für die Ausstattung von Kirchen und schuf Werke für öffentliche Anlagen und Bauplastiken an zahlreichen Bauten.

Lot 432

Jean Baptiste Baujault, "Jeune fille à sa toilette", Bronzeplastik um 1890Jean-Baptiste Baujault, 1828 La Crèche, Deux-Sèvres - 1899, französischer Bildhauer, lebte und arbeitete in Paris/ Montmartre, hier: Ein junger Frauenakt, züchtig - knapp bedeckt mit einem großen Tuch, richtet sich die Haare nach dem Baden, Bronze mit brauner Patina, H 34,5 cm, signiert, Gießereistempel: F. Barbedienne fondeur, Paris

Lot 437

Reiterstandbild des Bartolomeo Colleoni, Bronzeplastik nach Verrocchio um 1900Original von Andrea del Verrocchio,1435-1488, Reiterstandbild des Feldherrn Condottiere Bartolomeo Colleoni in Venedig neben der Kirche "SS. Giovanni e Paolo", Bronze mit schwarzbrauner Patina, auf Marmorplinthe, H

Lot 492

Victor Szczeblewski, Bronzeplastik "Mousse Siffleur" um 1900Victor Szczeblewski, tätig 1875-1900, Pfeifender Straßenjunge, Bronze mit goldener Patina, auf dem Sockel betitelt, signiert V. Szczeblewski und Nr. 3492, unterseitig Medaille: "Bronze Garanti au Titre, LV deposé", H 14 cm

Lot 507

Paar Ostensorien um 1800Gegenstücke zweier Reliquien-Monstranzen aus Bronze, beide mit verglasten Reliquienkapseln, H 51 cm

Lot 517

Eingericht mit Reliquien, div. Kreuze und Slg. Rosenkränze, 19./ frühes 20.Jh.Eingericht Klosterarbeit mit kleinen Reliquien diverser Heiliger, hinter Glas im Kasten, 15 x 13 x 5 cm; zwei Holzkreuze mit Perlmutt und Edelholz-Intarsien, einmal mit Christus aus Bronze im Relief, verso bez. Jerusalem, H 9,7/13,5 cm; orthodoxes Bronzekreuz mit reliefierter Darstellung, H 19,5 cm; kleines koptisches Kreuz, Bronze, H 7 cm; 7 Rosenkränze, dabei aus Bernstein, mit Glas- und Strassperlen, einmal Kreuz und Elemente aus filigranem Silber

Lot 530

Erweitertes Kreuz, Bronze, Russland, 19. Jh. /um 1900Bronze mit brauner Patina, der Gekreuzigte, flankiert von der Gottesmutter und der Heilige Martha, sowie dem Evangelisten Johannes und dem Feldhauptmann Longinus über dem Schädel Adams, darüber rechts- und linksseitig fünf Felder mit Festtagsbildern, Szenen aus dem Leben Mariens und Jesu u.a.,

Lot 595

Schatulle, Spiegel, Pinsel und zwei chinesische Stickereien, 19. & 20. Jh.Holzschatulle mit allseitiger Drachenschnitzerei, 16 x 39 x 19,5 cm, Handspiegel aus Bronze, gemarkt, L 25 cm, großer Kalligraphie-Pinsel mit Jadegriff, L 42 cm, eine Seidenstickerei mit dem Motiv des Prinzen auf dem Qilin, 47 x 31 cm sowie eine feine Kesi-Webarbeit mit Pavillons in Landschaft, umrahmt von den Tierkreiszeichen, 40 x 40 cm

Lot 598

Weihrauchbrenner aus Bronze, Ming/Qing-Zeit, China 17./18. Jh.Dreifußbecken mit Ohrenhenkeln, Bronze mit dunkler Alterspatina, Xuande-Marke auf Boden, schwere Ausführung, ca. 2100 Gramm, 8 x 21,5 x 17 cm

Lot 601

chinesischer Champlevé-Weihrauchbrenner, 20. Jh.Dreifuß-Räuchergefäß aus vergoldeter Bronze, Blüten und Rankenwerk in Grubenschmelz, der Deckel mit einem feinen Drachenkauf, H 23 cm

Lot 607

Sieben Gürtelhaken der chinesischen Han-Zeit und eine archaische Spaten-Münze , China ca. 5. Jh. v. Chr. - 2. Jh. n. Chr."Spitzfuß"-Spatenmünze des Typus der Staaten Jin und Zhao, wohl ca. 450-400 v. Chr. einzuordnen, Bronze mit grüner Patina, einseitig kurze Schriftmarkierung, Gew. ca. 44 Gramm (13,6 x 6,2 cm) sowie sieben Gürtelhaken aus Bronze, ca. 200 v. bis 200 n. Chr., einmal mit Gravur und Vergoldung (L 13,8 cm), zwei Haken mit ornamentalem Dekor (L 8,2 & 9,2 cm), ein Haken mit Raubkatze und Büffel (L 7,8 cm), drei kleine Haken (L 3,9 & 4,2 cm), einer davon als gehörnter Tierkopf geformt (Prov.: Sotheby, Tuesday, 11th July, 1972, lot 225)

Lot 614

Bronzeplastik des Amitayus, China 19. Jh.Der Buddha des "unbegrenzten Lebens", in Meditationshaltung auf Lotusthron sitzend, Bronze mit dunkler Patina und leichten Inkrustierungen, H 17,8 cm

Lot 619

Bronzeplastik des Buddha, Ming-Zeit, China 16. Jh.Feine Bronze des sitzenden Buddha in tiefer Meditation, die Hände in anjali-mudra gefaltet, Bronze mit Spuren der Vergoldung, H 12,2 cm

Lot 620

Neun Ritual- und Gebrauchsgegenstände aus Nepal 19. & 20. Jh.Fünf Ikonen des Elefantengottes Ganesha in Bronze, Steatit und Terracotta, H 8 - 17 cm, Gebetsmühle, H 24,5 cm, Öllampe mit dem Elefantengott im Relief, Gefäßboden fehlt, H 11,5 cm, Feuerstein-Tasche aus Eisen und Leder, B 13,5 cm sowie ein "ghurra", Butterquirl-Halter aus geschnitztem Holz, L 18,5 cm

Lot 624

Bronzegruppe dreier Bodhisattvas, China 20. Jh.Nach Vorbild der westtibetischen Kunst des 10./12. Jhs.: Trias der großen Bodhisattvas auf getrepptem Sockel, umrahmt von einem Zierbogen mit drei Himmelsbuddhas, Gelbguss-Bronze, rückseitig apokryphe Qianlong-Marke, H 28 cm

Lot 643

Die göttliche Teilung "Ardhanarishvara", Bronzeplastik im Tempelformat, Süd-Indien 20. Jh.Der Herr (ishvara), der halb (ardha) Frau (nari) ist, nach der Legende die Teilung des Gottes Shiva in die Geschlechter zum Erhalt der Menschheit, hier in aufwändigem sog. "ganga-yamuna"-Guss aus zur Hälfte goldfarbener bzw. kupferfarbener Bronze, H 47 cm

Lot 684

Porzellanvase mit Ziegen, signiert Jacquet & Nedonchelle, Brüssel, Mitte 19. Jh. & Amphorenvase mit mythologischer Szene u. Bronzemontur, wohl Thüringen um 1880 Vase mit viereckigem Querschnitt, abgeschrägten Ecken, ausladender Wandung und geschweiftem Goldrand auf ansteigendem Fuß, auf Schauseite Bildfeld mit Landschaft und Ziegen in feiner polychromer Malerei, verso Blumenbouquet, Gold staffiert, Reliefzier, am Boden sign., H 19,5 cm, aus der Werkstatt von Maximilien- Joseph Jacquet und Louis Nédonchelle um 1835-39 in Brüssel, nicht durchgehender Haarriss; gefußte Vase mit ovoidem Korpus mit Bronze-Attaschen und -Montur, in Kartusche mythologische Szene in polychromer Malerei, verso Blumen, Gold staffiert, in Wiener Art, am Boden Bindenschildmarke, H 35 cm

Lot 752

Paar figürliche Leuchter, Frankreich, 19. Jh. & Leuchter, Silber, 19. Jh.Paar Leuchter, Schaft in Form von Vasen tragenden Putten, Bronze, feuervergoldet, Kerzenhaltern Blütenförmig in Vase, Fuß aus schwarz-grauem Marmor mit Bronzemontur auf Kegelfüßen, H 28,5 cm, dazu Einzelleuchter, 12er Lot Silber, punziert, balusterförmiger Schaft, auf Rocaillefüßen mit Masken, eingraviertes Monogramm, abnehmbarer Kerzenhalter, an Mündung Delle (mit Einsatz unsichtbar), H 36,5 cm, 367 g

Lot 843

Figurenuhr mit Amor, Frankreich um 1830Klassizistische Pendule aus vergoldeter Bronze, auf dem Sockel tanzen Bacchanten um einen Dionysos-Altar, darüber das Uhrwerk in Bogengehäuse, bekrönt von einer Fackel und einem Ehrenkranz, daneben der geflügelte Amor mit Rosenblüte, Emailzifferblatt in gutem Zustand, Pendelwerk mit Fadenaufhängung und Hakenhemmung sowie Schlossscheiben-Schlagwerk für volle und halbe Stunden, beide Werke laufen, gerissener Pendelfaden zu ersetzen, H 41 cm

Lot 852

Öllampe, Bronze, byzantinisch, 5.-7. Jh., 2 Bronzeringe, Zwiebelkopffibel, kl. Relief mit Heiligen und kleine Fortuna, alle aus Bronze, römisch, kaiserzeitlich bis byzantinischÖllampe, Bronze mit grünlicher Patina, längliche Tülle mit Deckel, ringförmiger Griff mit großem Kreuz, H 10,5 cm, L 19 cm; Zwiebelkopffibel, Bronze mit grünlicher Patina, L 6,5 cm, 4. Jh.; Zwei Ringe, einmal hoch, durchbrochen, einmal Siegelring mit Negativ-Darstellung einer Trauernden, Bronze, dazu kleine Figur der Göttin Fortuna mit Füllhorn, H 5,2 cm; kl. Tür einer Reiseikone, drei Bildfelder mit je 2 Heiligen im Relief, Bronze, 5,5 x 3 cm

Lot 859

Paar Wandkerzenleuchter aus Bronze, Frankreich 19. Jh.Gegenstücke zweier Wandleuchter aus schwerem Bronzeguss mit ausdrucksstarken Fratzenmaskarons, H 20 cm

Lot 861

Sammlung Kleinbronzen und Silberfiguren aus aller WeltZumeist Tierfiguren aus Bronze und Silber, dazu indische, japanische und minoische Gottheiten, insgesamt 14 Teile, H 1,5 - 8 cm

Lot 862

6 Kleinplastiken aus BronzeGrotesker Kopf (André Derain ?), Flötenspielender Knabe auf einer Bank, 4 Tierplastiken: Ringhalter- Katze, wohl Walter Bosse // Junger Löwe // Eisvogel // Stilisierter Art-Deko Hirsch um 1920

Lot 869

3 moderne Bronze-PlastikenLiegekreuz um 1950, Bronze mit goldbrauner Patina, 15 x 15 cm // Expressiver Gekreuzigter, Bronze mit hellbrauner Patina, 31 x 31 cm // Doppel- Aulos Bläser, Bronze mit goldener Patina, H 32 cm

Lot 870

Eulen-Kunstwerke, 28 Stücke aus Bronze, Glas u.a.Schöner Sammlungsnachlass mit 28 Eulen-Kunstwerken aus Bronze (sign.), Glas (Swarowski, Wegdwood, div. Künstler mit Signet), Porzellan & sign. Graphik-Blätter

Lot 871

Zwei Wiener Bronzen Sperling (Spatz) und junger Spatz von Fritz BermannStehender Sperling mit leicht angehobenen Flügeln, Bronze, farbige Kaltbemalung. H 4,5 cm, Stempelsignatur (unleserlich) und Modell-Nr.6732?, dazu junger Spatz, Modell-Nr. A1404 von Fritz Bermann, H 2 cm, farbige Kaltbemalung

Lot 873

2 Jugendstil BronzenHalbakt eines Mädchens mit einer Schlangenschale, Wandrelief mit goldbrauner Patina, 18 x 14 cm, im Originalrahmen - Frivoles Mädchen mit Dutt das Gewand lüftend und eine Katze auf der Schulter tragend, Galvano-Bronze mit brauner Patina, montiert auf rundem Marmorsockel, H 29 cm

Lot 875

Vegetabile Bronzevase des Jugendstils um 1910Schlanke, leicht gebauchte Vase, der Dekor mit blattartiger Rippenstruktur und stängelförmigen Ziergriffen, Bronze mit graugrüner Patina, ungemarkt, H 35 cm

Lot 195

Decorative bronze effect circular panel, within marble mount reasonable used condition

Lot 313

A RARE GILT-BRONZE FIGURE OF A LUOHANYuan DynastyThe adept finely cast seated with his right leg raised to his left knee, clad in long flowing robes revealing his chest and bare right shoulder, his right arm raised holding a sphere, the shaved head with arched brows and serene expression, the reverse with two tabs, wood stand. 10.3cm (4in) high. (2).Footnotes:元 銅鎏金羅漢坐像Provenance: Spink and Son Ltd., London (label)A French private collection來源:倫敦古董商Spink and Son Ltd.(標籤)法國私人收藏Luohan, also known as Arhats or 'Destroyers of the Passions', vary in numbers between 16 and 108 and were depicted in Chinese art from the Tang dynasty onwards. The group of sixteen Arhats was first mentioned in the Indian 'Mahayanavataraka' scriptures, which were translated into Chinese in 437, whilst the full transcript of the sixteen names was given by the pilgrim monk Xuan Zang in in 653, with the additional two that were probably adopted towards the end of the 10th century.There are very few surviving examples of gilt-bronze figures of luohan dating to early times, thus making the present figure rare. Compare with a related albeit much larger gilt-bronze figure of a luohan, Yuan dynasty, illustrated in Chinesische Kunst in Tschechoslowakischen Museen, Prague, 1954, no.115. See also another gilt-bronze figure of a monk, 11th/12th century AD., illustrated in D.Patry Leidy and D.Strahan, Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, New Haven, 2010, no.25.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

Lot 387

A RARE LARGE PAINTING OF THE SUMMER PALACELate Qing DynastyGouache on silk, depicting a bird's eye view of the Yihe Yuan or Summer Palace, the perspective taken looking to the West showing Kunming Lake with the Island of the Dragon King and the Seventeen-Arch Bridge on the left, the right hand side depicting the Longevity Hill with the Palace complex dominated by the octagonal Tower of Buddhist Incense, the foreground with the well-known massive bronze sculpture of an ox, the middle background with the Jade Spring Hill with the seven-tiered pagoda and further buildings, before the Western Hills, mounted and framed. 163cm (64in) wide x 82cm (32 1/4in) high. Footnotes:清晚期 頤和園風景 設色絹本This historical landscape painting depicts the Garden of Nurtured Harmony, better known as the Summer Palace (Yihe yuan 頤和園), located on the north-west outskirts of Beijing. In 1749, the Qianlong Emperor commissioned the construction of these Imperial gardens on the hill and in 1752 he gave it the name 'Longevity Hill' in celebration of his mother's 60th birthday. The Summer Palace was completed in 1750 when it was known as the Garden of Clear Ripples (Qingyi yuan). Kunming Lake was created by extending an existing body of water that mimicked the famous West Lake of Hangzhou.In 1860, the Summer Palace was extensively damaged by British and French. The Palace was later restored in 1888 by the Dowager Empress Cixi, and it could be that paintings such as the present lot were made to commemorate the restoration. A similar large painting depicting the Summer Palace, dated circa 1890, is in the Vancouver Museum and was illustrated by B.Twill, The Manchu Era (1644-1912): Arts of China's Last Imperial Dynasty, Victoria, 2004, pp.24-25.Compare with a similar painting of the Summer Palace, circa 1890, which was sold at Bonhams London, 11 November 2010, lot 207.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Lot 381

AN EXCEPTIONALLY RARE WHITE AND RUSSET JADE TIGER SCROLL-WEIGHTTang Dynasty or earlierThe large pebble finely carved as a tightly coiled tiger with large bulbous eyes above jaws agape revealing fangs, the body with finely incised stripes and terminating with two curled tails, the paws tucked neatly beneath the body, the stone of pale white tone with russet-brown speckles. 6.5cm (2 1/2in) wide. Footnotes:唐或更早 玉虎紙鎮Provenance: a Japanese private collection, by reputeR.H.Ellsworth (1929-2014), New York (noted in a Spink and Son Ltd. Valuation, dated 12 January 1968)Bluett and Sons Ltd., LondonA British private collection, and thence by descentPublished and Illustrated: Bluett and Sons Ltd., Oriental Art II, London, 1991, no.9 (dated as Western Han dynasty)J.Rawson, 'Strange Creatures' in Oriental Art, vol.XLIV, 1998, pp.44-47, fig.5 (dated as Western Han dynasty)J.Rawson, 'The Eternal Palaces of the Western Han: A New View of the Universe' in Artibus Asiae, vol.LIX, 1999, Zurich, pp.5-55, fig.32 (dated as Western Han dynasty)On Loan: The British Museum, London, from c.1998來源:日本私人收藏(據傳)R.H.Ellsworth (1929-2014),紐約(由Spink and Son Ltd.提供的一份日期為1968年1月12日的評估報告中提及)倫敦古董商Bluett and Sons Ltd.蘇格蘭私人收藏,並由後人保存迄今著錄:Bluett and Sons,《Oriental Art II》,倫敦,1991年,編號9(斷代為西漢)J.Rawson, 《Strange Creatures》,《Oriental Art》,第44期,1998年,第44-47頁,插圖5(斷代為西漢)J.Rawson,《The Eternal Palaces of the Western Han: A New View of the Universe》,《亞洲藝術》,第59期,1999年,蘇黎世,第5-55頁,圖版32(斷代為西漢)借展:大英博物館,倫敦,約1998年J.Rawson notes regarding the present jade tiger, that jade carvings such as the present lot, 'were probably made in small sets, like the very fine group from near the tomb of Yuan Di (reigned 48-33 BC) in Shaanxi.'; see J.Rawson, 'The Eternal Palaces of the Western Han: A New View of the Universe' in Artibus Asiae, vol.LIX, 1999, Zurich, p.52. In the Bluett's 1991 catalogue, also showing the present lot, it was noted that this carving shared the characteristics of other Han dynasty carvings in being carved in the round from a pebble of whitish tone with a surface that in places is pitted with brown specks of iron rust tone. It was also noted that cup shaped ears and finely carved claws are also found on these jades. A further comparison was made between the incised tiger stripes on the jade carving and those found on bronze animals inlaid with silver or gold of the Warring States period/Han dynasty; see Oriental Art II, 1991, no.9. For related jade carvings of tiger, Han dynasty, see J.C.Y.Watt, Chinese Jades from Han to Ch'ing, New York, 1980, p.40, no.9; and another illustrated in Chinese Jade Animals, Hong Kong, 1996, pp.80-81, no.46.The present carving of the tiger is exquisitely lively and dynamic, through the jaws open to reveal the menacing teeth, the long thick coiled striped tail emerging from the powerful back haunches, the naturalistic finely curved spine, and the exquisite detail on the underside of the clawed back foot touching on one of the front paws. This dynamism is indicative of an early dating. However, whilst a Western Han dating is possible, it is also possible that this piece is an early revival harking back to the Han style. The tiger has long been one of the oldest symbols for protection in China and is considered as one of the most powerful beasts for warding off evil. The tiger motif inspires both awe and admiration and also embodies the spirit and drive for success. According to Handai jiuyi (The Old Rites of the Han Dynasty), jade seals with a tiger-shaped knob were made for the use of the emperor and empress, indicating the importance of the tiger.For further information on this lot please visit Bonhams.com

Lot 410

A VERY RARE CARVED AND INSCRIBED AMBER SNUFF BOTTLEWang Baishi (1830-1850)Of flattened baluster shape rising from a flat base, the orange-honey tone bottle finely carved on both sides with a calligraphic inscription by Wang Baishi, seals of Yinfeng (To sing in the breeze), Baishi (used twice), Shanren (hermit, used twice), and Nongyue (To admire the moon), stopper inlaid with a pearl and ivory spoon. 5.5cm (2 1/4in) high. (2).Footnotes:十九世紀 王白石(1830-1850) 琥珀刻詩文鼻煙壺The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref.5DFNKQRH該批次中含有象牙的物品已根據《象牙法案》(章節10)註冊,Ref.5DFNKQRHProvenance: Tristan Knight collectionHugh M. Moss Ltd., Hong Kong, February 1971An English private collection, and thence by descentExhibited: The Oriental Ceramic Society, The Chinese Scholar's Desk, 17th to 18th Century: An Exhibition Held in the Ashmolean Museum, Oxford, 1979Published: H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol.7 (part 1), Hong Kong, 2009, no.1569, p.259, A2.來源:Tristan爵士舊藏香港古董商Hugh Moss,1971年2月英國私人收藏,並由後人保存迄今展覽:東方陶瓷學會,《The Chinese Scholar's Desk, 17th to 18th Century: An Exhibition Held in the Ashmolean Museum》,牛津,1979年著錄:H.Moss, V.Graham and K.B.Tsang,《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》,第7冊(第1部分),香港,2009年,編號1569,第259頁,A2The inscription on one side reads: 空憐北闕歸東野偶作草堂Which can be translated: 'It is unnecessary to pity a gentleman who leaves the Imperial palace and goes back to the countryside. The occasionally built thatched cottage.The other side with:卻怪西瀼客拾遺偶草并芝蘭It is only needed to blame the west of the Xiang River to treat the Shiyi as a guest.Messy grass and fragrant grass.Shiyi was a the title of an advisory official in the Tang dynasty. This probably refers to the Tang dynasty poet Du Fu (712-770), who used to undertake this position and lived in the west of the Xiang river for years. Du Fu was sometimes called Du Shiyi by later generations.Baishi is best known as the carver of a small series of hornbill snuff bottles of masterly quality, but he also made at least three amber snuff bottles, all with inscriptions and seals only, without the pictorial content we have come to expect of his hornbill carvings. H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol.7 (part 1), Hong Kong, 2009, p.259, list three known amber snuff bottles by Wang Baishi: the first, noted as A1, no.1570 in the Bloch collection, which was sold at Bonhams Hong Kong, 23 November 2010, lot 12; the second, noted as A2, is the present snuff bottle; and the third, noted as A3, with an inscription from an archaic bronze.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

Lot 302

A FINE AND RARE ARCHAIC BRONZE DAGGER, GEShang/early Western Zhou DynastyThe wide tapering blade entirely plain, the handle crisply and heavily cast with an elaborate grooved decoration on both sides probably for turquoise inlay, depicting a coiled mythical animal in profile facing the blade, the surface with light mottled incrustation principally on the plain blade, fitted box. 35.3cm (13 7/8in) long. (2).Footnotes:商/西周早期 獸紋青銅戈Daggers such the present lot served a ceremonial purpose during the Shang dynasty. Compare with a similar archaic bronze dagger, ge, Shang dynasty, in the collection of the Metropolitan Museum of Art, New York, acc.no.24.216.2.A related bronze dagger ge, late Shang dynasty, was sold at Sotheby's New York, 29 March 2022, lot 535.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 345

A RARE CLOISONNÉ-ENAMEL AND GILT-BRONZE VASE, FANGGUQianlong four-character mark and of the periodCrisply cast of square section, the bulbous central section with archaistic taotie masks, the square flaring neck with stylised chilong beneath upright lappets, the interior with a band of scrolling lotus, the spreading foot with further chilong and lappets, with scrolling flanges on the edges and centre, gilt base with the incised four-character mark within double square, drilled, wood stand. 24cm (10in) high. (2).Footnotes:清乾隆 銅胎掐絲琺瑯獸面紋出戟方觚「乾隆年製」楷書款Provenance: an English private collection來源:英國私人收藏The present lot is based on an archaic prototype, fanggu, or ritual wine vessel of the Shang dynasty. The Qianlong Emperor was known for his admiration of 'the ancient ways'. During his reign, not only a large number of antiquities were collected at Court, and many works of art, such as the present fanggu, were made with archaic references. Compare with a related square cloisonné gu with animal-mask decoration, Qianlong mark and of the period, in the Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasties, 1999, Taipei, p.127. See also a related square cloisonné gu with flanges and design of animal masks, in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum: Enamels, Cloisonné in the Qing Dynasty, Beijing, 2011, p.183.A related gilt-bronze and cloisonné enamel gu, Qianlong mark and of the period, was sold at Christie's Paris, 7 June 2011, lot 208. See also a similar cloisonné enamel gu, 17th century, which was sold at Bonhams Hong Kong, 29 May 2023, lot 849.For further information on this lot please visit Bonhams.com

Lot 346

A FINE LARGE GOLD-SPLASHED BRONZE BALUSTER VASEXuande Intaglio cast four-character mark, 17/18th centuryThe heavily cast body decorated irregularly all over the exterior and on the short flaring thick neck with rich splashes and dots of patinated gilding, the rectangular mark crisply cast on the flat base. 28cm (11 1/4in) high.Footnotes:十七/十八世紀 銅灑金瓶 「宣德年製」篆書鑄款The shape of the present lot may have been inspired by wannian guan, or 'myriad jars' that were popular during the Tang dynasty. Even the gold-splashes may be inspired by sancai-glazed splashes. Compare with a very similar gold-splashed bronze vase, Kangxi six-character mark and of the period, illustrated by R.Mowry, China's Renaissance in Bronze: the Robert H.Clague Collection of Later Chinese Bronzes 1100-1900, Phoenix, 1993, no.34. The author notes that 'because so many bronzes with gold-splashed decoration bears spurious Xuande marks, this Kangxi-marked vase is important in establishing the characteristics of the Kangxi style', see Ibid., p.168. See also a gold-splashed archaistic vase decorated with dragons, illustrated by Spink and Son Ltd., The Minor Arts of China, London, 1983, p.40, no.51, which was later sold at Sotheby's Hong Kong, 8 April 2013, lot 137; see also a related gilt-splashed bronze jar, Xuande mark, 17th/18th century, which was sold at Christie's Hong Kong, 27 November 2019, lot 2866.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 321

A CLOISONNÉ-ENAMEL AND GILT-BRONZE VASE, GUMing/early Qing DynastyOf archaistic gu form, rising from a splayed foot the central section enamelled with chrysanthemum, lotus, peony, and pomegranate blossoms in rich tones of red, yellow and green, divided by gilt-bronze vertical flanges in the shape of coiling sinuous chilong, the long neck curving up to a trumpet decorated with various flower heads on leafy tendrils, all reserved on a turquoise ground. 22.5cm (8 3/4in) high.Footnotes:明/清早期 掐絲琺瑯花卉紋出戟花觚Provenance: a Swiss private collection, and thence by descent來源:瑞士私人收藏,並由後人保存迄今The present lot is notable for its extremely rare coiling sinuous chilong shaped flanges. See a related cloisonné enamel gu vase, late Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Enamels 1, Beijing, 2011, p.247, no.124. See also a related cloisonné-enamel gu vase with flanges, early Qing dynasty, illustrated in Ibid., vol.2, p.61, no.34.Compare also with a related cloisonné-enamel and gilt-bronze flaring vase, gu, 17th century, which was sold at Bonhams London, on 17 May 2012, lot 129.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 312

THREE BRONZE ANIMAL SCROLL WEIGHTSLate Ming DynastyOne in the form of a recumbent deer with long antlers issuing from the head with almond-shaped eyes, the body with finely incised hair, the legs tucked beside the body, 8cm (3 1/8in) long; the second in the form of a recumbent ram with curling horns issuing from the head turned sharply towards the rear with long tail sweeping its right haunch, 7cm (2 3/4in) long; the third crisply cast in a coiling chilong clasping a lingzhi in its mouth, 7.5cm (3in) wide. (3).Footnotes:明晚期 銅動物形紙鎮 一組三件Provenance: a French private collection來源:法國私人收藏Paper weights in the form of humans or animals were useful desktop treasures fro the scholarly elites. Compare with a related group of three bronze scroll weights shaped as animals, Ming dynasty, which were sold at Christie's London, 7 November 2014, lot 573.For further information on this lot please visit Bonhams.com

Lot 347

A GILT-BRONZE GLASS AND MOTHER OF PEARL INLAID INCENSE BURNER AND COVER AND A VASEQianlongThe incense burner of rectangular form with upright lug handles, each side of the body and cover decorated with mother of pearl carved with bats and stylised chilong, the cover surmounted by a Buddhist lion, all supported on four flat blade-shaped legs issuing from dragon heads, 16.3cm (6 3/4in) high; the vase of flattened hu-form raised on a short foot, the sides decorated with mother of pearl carved with bats, chilong and geometric patterns, the waisted neck flanked by two s-shape handles, 12.5cm (4 7/8in) high; the outlines of both vessels inlaid with red and green glass stones. (3).Footnotes:清乾隆 銅鎏金嵌料石螺鈿扁瓶及香爐帶蓋 一組兩件The present incense garniture is inspired by the forms of archaic bronzes, which were extremely popular at the Qianlong Emperor's Court. See for example, a gilt bronze and semi-precious stone-inlaid incense burning set, Qing dynasty, in the Qing Court Collection, illustrated in Life in the Forbidden City of Qing Dynasty, Beijing, 2007, p.116. See also a small clock, similarly decorated, Qing dynasty, and part of a treasure box, illustrated A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, Taipei, 2014, p.172.A small related pastiche-glass embellished incense burner and cover, Qing dynasty, was sold at Sotheby's Paris, 16 June 2022, lot 140.Saleroom notices:Please note VAT will be charged at the prevailing rate on Hammer Price and Buyer's Premium †.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 342

A PAIR OF CLOISONNÉ-ENAMEL AND GILT-BRONZE STIRRUPSKangxiEach of the flat circular bases finely enamelled with a pair of archaistic chilong amidst cloud scrolls, cast with a vertical high arch surmounted by a pair of bronze dragon-heads pierced to the centre for suspension. Each 14.5cm (5 3/4in) high. (2).Footnotes:清康熙 銅胎掐絲琺瑯鎏金龍紋蹬一對Compare with a stirrup cast with similar gilt-bronze dragon-heads depicted on a painting illustrated in Life in the Forbidden City of Qing Dynasty, Beijing, 2007, pp.70-71. The painting, attributed to the Jesuit painter Giuseppe Castiglione, portrays the young Qianlong Emperor seated on horseback dressed in formal military regalia. A related stirrup and saddle, Shunzhi, is illustrated in Ibid., no.115.A related pair of cloisonné-enamelled stirrups was exhibited in the Museum fur Kunsthandwerk, Frankfurt am Main, illustrated by G.Gabbert Avitabile, Die Ware aus dem Teufelsland, Hannover, 1981, no.64. See also a further example of a pair of cloisonné-enamel stirrups, in the Victoria and Albert Museum, London, acc.no.1327-1871.For further information on this lot please visit Bonhams.com

Lot 317

A RARE 'CRANE-CRY AUTUMN MOON' STYLE LACQUERED 'HUNDRED-PATCH' GUQINMing DynastySuperbly constructed with the top section made of patches of wutong wood cut hexagonally imitating Buddhist patchwork vestments, the lower section of zimu, the flat elongated body with waisted bulbous central section, the top with thirteen inlaid mother-of-pearl studs (hui), seven strings threaded through tasseled wood pegs (qinzhen) running over the top and tied to either of the two button-like 'goose-feet' (yanzu) on the back, with two rectangular openings, the large one termed 'dragon pool' (longchi), with a seal, and the smaller 'phoenix pond' (fengzhao), all covered in mottled red and black lacquer, metal case and packets of strings. 122.5cm (48 1/4in) long. (3).Footnotes:明 鶴鳴秋月式百衲琴Provenance: Cecilia Lindqvist (1932-2021), Stockholm, acquired in Beijing in 1962Published and Illustrated: C.Lindqvist, Qin, Beijing, 2017, p.33來源:林西莉(1932-2021),斯德哥爾摩,在1962年獲得於北京著錄:林西莉,《古琴》,北京,2017年,第33頁Cecilia Lindqvist was a famous Swedish sinologist and musician of the guqin. She was born in Lund, Sweden, in 1932, and had long held a fascination with China and its ancient history. She first visited China when she was 28 with letters of recommendation including one from the King of Sweden. It was there that she learnt to play the guqin in 'Beijing Guqin Research Association' (北京古琴研究會) under the tutelage of Wang Di. She wrote in the preface to her book Qin:In the early spring of 1961 I saw a Chinese qin at close quarters for the first time. It was lying in front of me on a wooden table in a bare classroom at the University of Peking. Seven strings of tightly twisted silk stretched over a sound box made of black lacquered wood. After a certain amount of difficulty I had managed to get hold of a Chinese student who had promised to try to teach me the basics of playing the qin, and we were due to have our first lesson. He had brought his instrument with him. It dated from the Ming dynasty (1368-1644), and had been passed down through his family since that time.When I touched one of the strings, the tone that was released made the whole room vibrate. It was as clear as silver, but remarkably it also had a kind of metallic dullness, as if the instrument were made not of wood, but of bronze. During the years which followed it was precisely the tone of the instrument that captivated me the most, from the finest bell-like tones or fanyin, 'the floating sounds' as they are called in Chinese – delicate as the sound of the tiny temple bells right on the edge of the roof timbers when the wind gently stirs them – to the vibrating depths of the thick bass strings.The present lot was given to her by the 'Beijing Guqin Research Association' as a gift, which was of great significance to her career as a musician and sinologist. In her own words, 'this qin, and the people that I met in the Beijing Guqin Research Association are the important reasons why I write this book (Qin)'. She included the present lot in her monograph on qin as an example of the 'hundred-patch' qin (百衲琴) that is made of many hexagonal wutong wood sections and requires a high level of adhesive technique to enable an impeccable sound. See Cecilia Lindqvist, Qin, Beijing, 2017, pp.30-33. Apart from the rare 'hundred-patch' construction, its rare shape is known as 'Crane-cry Autumn Moon' (鶴鳴秋月), as it was said to resemble a crane with its wings tucked and standing upright. Compare with a related 'crane-cry Autumn Moon' style guqin, Ming dynasty, in the Hunan Provincial Museum, cited in 'Hunan sheng bowuguan guancang guqin zhi kaobian yu yanjiu (zai xu), Hunan sheng bowuguan guankan, 4, 2007, pp.424-428. See a 'Confucius-style' huanghuali and zitan 'hundred-patch' guqin, Ming dynasty, which was sold at Bonhams Hong Kong, 1 December 2020, lot 13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 322

A VERY RARE CLOISONNÉ-ENAMEL AND GILT-BRONZE WINE EWER AND COVERJiajing incised six-character mark and of the periodThe oviform tall slender body enamelled on one side with a blue-bodied flying crested mythical phoenix with yellow-tipped wing feathers, the other side with a similar yellow phoenix with blue wing tips, all on a dark turquoise ground enriched with densely scrolling simple flower heads on a gilt meander, the dome cover with eight brick-red lappets radiating from the bud finial. 17cm (6 3/4in) wide. (2).Footnotes:明嘉靖 掐絲琺瑯鳳紋執壺帶蓋「大明嘉靖年製」刻款Provenance: a Swiss private collection, and thence by descent來源:瑞士私人收藏,並由後人保存迄今Jiajing mark and period cloisonné ewers and covers are extremely rare. See a cloisonné-enamel bowl, however, decorated with a similar pair of phoenix and scrolling lotus, with similar Jiajing incised six-character mark and period, illustrated by H.Brinker and A.Lutz, Chinesisches Cloisonné: Die Sammlung Pierre Uldry, Zurich, 1984, no.70. See also a cloisonné-enamel ewer and cover, 16th century, but decorated with lions, illustrated in Ibid., no.98.Compare with a related cloisonné-enamel and gilt-bronze 'Buddhist lions' ewer, 16th century, which was sold at Bonhams London, 12 May 2022, lot 100.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 325

A RARE YELLOW-GLAZED RITUAL VESSEL, XINGFirst half 19th centuryThe bulbous body raised on three ruyi shaped feet, elaborately decorated with three bands of geometric and tendril diaper patterns beneath the rim, flanked by two handles issuing from dragon heads, covered overall with a egg-yolk glaze except the unglazed tips of the feet and a circle at the base. 24cm (9 1/2in) wide.Footnotes:十九世紀前半期 黃釉铏Provenance: a Swiss private collection, and thence by descent來源:瑞士私人收藏,並由後人保存迄今The shape and decoration on the present vessel derive from archaic bronze vessels made during the Shang and Zhou dynasties. The Qing Imperial kilns often drew inspirations from various bronze wares, which is seen in the renowned Superintendent of the Imperial kilns Tang Ying's (1682-1756) words: 'Imitate the ancient style and inherit the elegance of it, innovate new style and examine its source'. See Xu Huping, The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.33. Vessels of the type containing offerings of a thick meat soup, were displayed close to the spirit tablet on offering tables at the Altars to Earth, Land, Agriculture and Sericulture in the Qing dynasty. See two very similar yellow glazed Xing vessels, Tongzhi mark and of the period, which are illustrated by L.Clark, For Blessings and Guidance: the Qianlong Emperor's Design for State Sacrificial Vessels, Hong Kong, 2019, p.171.Compare with a related yellow-glazed tripod censer, ding, which was sold at Bonhams London, on 14 May 2009, lot 50.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 134

A RARE PAIR OF CELADON-GLAZED LOBED GARLIC-NECKED VASES18th century The pear-shaped flattened bodies each vertically grooved to create shallow lobes, the waisted necks each set with two stylised animal handles beneath crisply carved garlic-bulb rims, the very pale glaze firing to a darker tone in the vertical grooves. 20cm (8in) high. (2).Footnotes:十八世紀 青釉瓜棱式蒜頭獸耳瓶一對Provenance: Ralph M. Chait Galleries, New York, 2 November 2006A European private collection來源:Ralph M. Chait Galleries,紐約,2006年11月2日歐洲私人收藏The shape of the present vases recalls a Han dynasty bronze flask, but with the innovative feature of vertical ribs simulating textile pleats. The luminous bluish-green glaze reflects the Qing dynasty's admiration for the celebrated Song dynasty green-glazed wares and the technical developments achieved at the kilns to meet the specific taste of the time.Several varieties of celadon glazes were experimented with at the time, ranging from delicate, almost watery celadon colours to slightly bluish-green colours, which were employed to contemporary wares inspired by earlier shapes. Compare with a related green-glazed lazurite vase, Yongzheng mark and of the period, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl.130. See also a related but much larger celadon-glazed vase decorated with vertical pleats, Yongzheng mark and of the period, illustrated by J.Ayers, Chinese Ceramics in the Baur Collection, vol.2, Geneva, 1999, pl.279.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 221

A JAPANESE PARCEL-GILT BRONZE MODEL OF A SEATED MONKEYJapan, Meiji periodThe inquisitive animal crouching with a peach and scattered leaves jacket over its back, holding a very small gilt monkey in its left hand, its hair markings carefully delineated, unsigned. 19cm (7 1/2in) high.Footnotes:明治時期 日本銅部分鎏金猴坐像Provenance: Hyde Park Antiques, Ltd., New York (according to collector's documents)A European private collection來源:紐約古董商Hyde Park Antiques, Ltd.(據藏家文件)歐洲私人收藏Compare with a related inlaid gilt-bronze model of a seated monkey, late 19th/early 20th century, which was sold at Bonhams London, 17 May 2018, lot 482.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 105

TWO BRONZE 'MOUNTAIN PEAKS' BRUSHRESTSMing DynastyEach crisply cast and darkly patinated, one cast unusually elaborately with three mountain peaks and deeply pierced with holes to simulate natural crevices in the landscape, a dignitary standing on a rocky outcrop in front of the highest peak, 20cm (8in) wide; and the other cast with five peaks, the largest dividing a mythical phoenix perched in front and a qilin at the back, 18cm (7in) wide. (2).Footnotes:明 銅筆山 一組兩件Provenance: a European private collection來源:歐洲私人收藏The present brushrests are fashioned in the form of five peaks, symbolising China's Five Sacred Mountains of Daoism: Taishan in Shangdong Province in the east, Hengshan in Hunan Province in the south, Huashan in Shaanxi Province in the west, Hengshan in Shanxi and Hebei Provinces in the north, and the Songshan in Henan Province, which represents the 'peak of the centre'. Compare with a related bronze brushrest, Ming dynasty, in the Robert H. Clague Collection at the Phoenix Art Museum, illustrated by R.D.Mowry, China's Renaissance in Bronze, the Robert H. Clague Collection of Later Chinese Bronzes, Phoenix, AZ, 1993, pp.203-205, no.48. See also a related bronze brushrest shaped as mountain peaks, inlaid with silver wire, Ming dynasty, in the collection of the Victoria and Albert Museum, London, illustrated by R.Kerr, Later Chinese Bronzes, London, 1990, pp.64-65, no.50.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 154

A JAPANESE ARITA BRONZE-MOUNTED COFFEE POT AND COVERThe porcelain Japan, circa 1700, the European mounts later.The conical body and cover brightly enamelled with scrolling foliage, all standing on three metal feet and fitted with a tap at the front, the domed cover en suite. 40.5cm (16in) high.Footnotes:約1700年 日本有田燒青花五彩花鳥紋執壺帶蓋 (鑲後期歐洲鎏金銅飾)Provenance: a European private collection來源:歐洲私人收藏The present lot was used as a coffee pot, made for the European market. Its prototype was probably a Dutch metal ware. Adding silver or gold mounts to porcelains was common in export wares, which indicates the high value placed on porcelain by the elite European consumers. Compare with a coffee pot of similar shape, 1680-1700, in the collection of the Ashmolean Museum, Oxford, acc.no.EA1978.1090. See also a related mounted Imari coffee pot and cover, late 17th/early 18th century, which was sold at Christie's London, 7 July 2016, lot 57.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 103

A BRONZE FIGURE OF A SEATED IMMORTALLate Ming DynastyThe ascetic figure perched on top of a plinth, apparently in a rocky sea, his head shaved except for a pigtail, holding a ruyi along his left arm, a rolled scroll beside his right hand resting on his knee, the surface darkly patinated. 27cm (10 1/2in) high.Footnotes:明晚期 銅仙人坐像Provenance: Ralph M. Chait Galleries, New York, 18 November 2005A European private collection來源:Ralph M. Chait Galleries,紐約,2005年11月18日歐洲私人收藏The present lot could be a representation of the Daoist Immortal Lü Dongbin, patron of all scholars. Compare with a related bronze figure of an Immortal, illustrated in China's Renaissance in Bronze: The Robert H.Clague Collection of Later Chinese Bronzes 1100-1900, Phoenix, 1993, p.211, no.52. Compare also with related bronze figures of the Daoist Immortal Lü Dongbin, Ming dynasty, illustrated by R.Kerr, Later Chinese Bronzes, London, 1990, pp.82-83, nos.64 and 65. See also a related bronze figure of Lü Dongbin, 16th/17th century, illustrated by M.Maucuer, Bronzes de la Chine Imperiale des Song aux Qing, Paris, 2013, p.156, no.108.Compare with a related but larger bronze figure of a Daoist Immortal, late Ming dynasty, which was sold at Christie's Hong Kong, 6 April 2015, lot 157.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 101

A RARE SMALL GILT-BRONZE STANDING ELEPHANTSong/Yuan DynastyStanding four-square, heavily cast in high relief on its upper body with a saddle cloth and caparisons, its curling trunk lowered, fixed stone stand. 5cm (2in) long.Footnotes:宋/元 鎏金铜象Provenance: a European private collection來源:歐洲私人收藏In Chinese culture, the elephant is the symbol of strength, sagacity and prudence. It is also sacred to Buddhism, often depicted as offering flowers to Buddha. Compare with a related gilt-bronze elephant, Tang dynasty, which was sold at Sotheby's New York, 22 March 2022, lot 665.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 102

A BRONZE FIGURE OF ASCETIC SHAKYAMUNI BUDDHA16th centuryHeavily cast and darkly patinated as the ascetic figure crouched on a flat base cast with the lower part of his robe, his hair in tightly knotted loops, his eyes downcast between large long ears emblematic of his formal wealth as a prince, his long fingers clasping his raised left knee, his rib cage heavily defined, wood stand. 14.5cm (5 3/4in) high. (2).Footnotes:十六世紀 銅達摩坐像Provenance: Ralph M. Chait Galleries, New York, 5 August 2003A European private collection來源:Ralph M. Chait Galleries,紐約,2003年8月5日歐洲私人收藏The present figure depicts Shakyamuni Buddha practicing extreme asceticism in the wilderness during his search for enlightenment. During this time, he realised the futility of such self-punishment and eventually attained enlightenment through meditation, balance and moderation. This representation of the Buddha became especially popular in China during the Yuan dynasty and continued into the Ming and Qing periods. These representations were associated with the Chan school of Buddhism, which encouraged more individualistic paths to enlightenment. Compare with a related bronze figure of Shakyamuni Buddha, Ming dynasty, illustrated by H.Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pl.122. Another related bronze figure of Buddha Shakyamuni, Ming dynasty, is illustrated in Gilt-bronze Buddhist Sculptures, Beijing, 1998, pl.17. A related bronze figure of Shakyamuni Buddha, Yuan/Ming dynasty, was sold at Sotheby's New York, 20 September 2022, lot 130.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 31

Boxed 1977 Silver Jubilee Medallion's set x 2 silver x1 gilt bronze 88.2g & 52g. .925g. Silver weight 138g. In good condition.

Lot 122

YUASA KAGYO (MORIKAZU, 1875-1952) AND SUZUKI HYOSAKU (1874-1943) A Gold-Lacquer Suzuribako (Box for Writing Utensils) and Cover Showa era (1926-1989), early/mid-20th century Embellished in contrasting tones of gold takamaki-e, hiramaki-e with details executed in kirikane and e-nashiji, the decoration on the inrobuta (flush-fitting) lid with waves crashing against craggy rocks, the spume from the waves speckled here and there with inlaid silver studs, the design extending down the sides, the inside of the lid decorated with stylised seagulls flying in an upward diagonal formation on a sparsely sprinkled hirame and mura-nashiji ground, the inside of the box similarly lacquered with three seagulls, fitted with a removable ita (baseboard) tray containing the suzuri (ink-grinding stone), the gilt-bronze suiteki (water-dropper) in the form of a squat ewer, and two fude (writing brushes) sparsely-sprinkled with hirame , signed inside on the lower left of the ita in gold hiramaki-e Kagyo saku, with an inner wood tomobako storage box and an outer lacquered storage box, inscribed outside the lid of the inner box Ganpa maki-e on suzuribako (Box for writing utensils with maki-e rocks and waves design), signed inside the lid Shissho Hyosaku tsukuru (Made by lacquerer Hyosaku) with a seal Hyosaku for the lacquer and Kagyo with two seals, one reading Yuasa no in for the maki-e. 3.5cm x 17cm x 19cm (1 3/8in x 6 11/16in x 7½in). (11).Footnotes:For another collaboration work between the two artists, in the Asian Art Museum, San Francisco, where Suzuki Hyosaku applied base lacquer on a set of 12 incense boxes for 12 different lacquer decorators including Yuasa Kagyo, see searchcollection.asianart.org/objects/10017/march-willow?ctx=fa010f578d2dec83212d96c95877c522503893ca&idx=3This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 223

MIYAO EISUKE COMPANY OF YOKOHAMAA Gilt-Bronze Figure of a Warrior Meiji era (1868-1912), late 19th/early 20th centuryPossibly representing one of the 47 Ronin, the warrior standing, holding the pommel of his detachable tachi (slung sword) in one hand, the other hand grasping a flag (partially detachable) decorated with clouds and a sasarindo mon (Japanese gentian crest), a tanto tucked in his sash, bedecked in armour and brocade robes and wearing a jingasa with a hanabishi mon (diamond-shaped floral crest), fixed to a typical Miyao-style wood stand decorated in gold takamaki-e with a ho-o bird and karakusa ('Chinese grasses'); signed in a gilt rectangular reserve Miyao with seal Ei. 47cm (18½in) high including stand. (3).For further information on this lot please visit Bonhams.com

Lot 224

MARUKI COMPANY OF TOKYOA Bronze Okimono (Table Ornament) of a Horse Meiji era (1868-1912), late 19th/early 20th centuryFinely cast with its mane falling short of a well-detailed saddle, ornamented harness and stirrups, carved with the aoi-mon (hollycock crest) of the Tokugawa Family, signed on the belly with a seal-form square cartouche Maruki shachu sei; with the door of the tomobako storage box (the box missing) inscribed Rogata chudosei Shogun no shunba (Shogun's steed in lost-wax cast bronze) and signed Zuisho tskuru with a seal Zuishodo sei and an unrelated wood stand. 27.5cm X 36cm (10¾in x 14 1/8in). (3).For further information on this lot please visit Bonhams.com

Lot 226

SOSAIA Bronze Okimono (Table Ornament) Troupe of Seven Monkeys Meiji era (1868-1912), late 19th/early 20th centuryCast with the adult seated in the middle and surrounded by six offspring, attempting to restrain them as they clamber and reach for the only peach held in the hand of one monkey seated at the front; signed on the base of the adult Shosai iru (cast by Shosai) within a rectangular reserve.14cm x 18.5cm (5½in x 7¼in).For further information on this lot please visit Bonhams.com

Lot 229

MARUKI COMPANY OF TOKYOA Pair of Bronze Okimono (Table Ornaments) of Doves Meiji era (1868-1912), late 19th/early 20th centuryBoth naturalistically modelled, each with its head lowered to the ground foraging for food, the eyes gilt with black pupils, both birds signed in a square reserve Nihonkoku Maruki sei; each on an unrelated European detachable malachite and gilt stand. Both quails: 8.4cm x 18.2cm (3 3/8in x 7 1/8in); both stands: 2.5cm x 13.2cm (1in x 5 3/16in). (4).For further information on this lot please visit Bonhams.com

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