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Click here to subscribeDated 1957(?) AD. Bronze. Obv: multiple impressions of both obverse and reverse dies. Rev: as obverse. 2.20 grams, 28.05mm. See S. 4146 for type. A spacer piece is a flan (this one is in the wrong metal and smaller/thinner than normal flan) placed between the die faces while the minting machinery is being set up, to prevent 'clashing' of the dies; they very rarely leave the mint. [No Reserve] As struck.
Third Intermediate Period, 1069-702 BC. A matched pair of bronze-framed alabaster mummy eye appliques, each with a black pupil. 72 grams total, main frames: 74-80mm (3 - 3 1/4"). Fair condition. Property of a London gentleman; acquired by his father in the 1970s; thence by descent. Cf. eye inserts in the wooden coffin of Djedkhonsefankh in Taylor, J.H. Death and the Afterlife in Ancient Egypt, London, 2001, item 172.
Early 5th-4th century BC. A gold armring formed as a hollow tapered tube, one end fitting into the other, with a circular perforation through both ends for insertion of a securing pin; the outer surface ornamented in relief, divided into two panels separated by a projecting collar and bands of ornament; each panel with a matching facing head, triangular in form, with striated hair, pointed arched brows convergent with the slender tapering nose, bulging cheeks and prominent cheekbones, almond-shaped eyes with a full-lipped mouth and a rounded protuberant chin; the heads and panels addorsed, each on a field of paired scrolling motifs, with palmettes below. 48 grams, 90mm (3 1/2"). Extremely fine condition. Excessively rare. Property of a professional collector; acquired on the UK art market before 2000; formerly in the private collection of Nicholas Wright, London, UK; accompanied by a copy of the hand-written invoice from Mr Wright, dated 16 April 1998; authenticated by one of the same experts who studied the Christies example sold in 2011. Supplied with two positive X-Ray Fluorescence metal analysis certificates, and a positive chemical analysis report by Dr A. Hartmann of Sensotec, Otzberg, Germany, number 06016/10/03/2016. Cf. similar ornament and layout on the gold arm ring from Bad Dürkheim, Germany, in Megaw, R.& V. Celtic Art. From its Beginnings to the Book of Kells, London, 1989, item 78; also see Christies Ancient Jewellery sale 2491, Christies Special Exhibition Gallery, New York, 7 December 2011, lot 384, for a similar example with less pronounced faces, which sold for $230,500. Accompanied by an Art Loss Register certificate. The ornament on this bracelet, with the faces showing the mouth as a straight line and with slanting eyes (see Megaw, R.& V. Celtic Art. From its Beginnings to the Book of Kells, London, 1989, item 74 for a sheet gold face from Schwarzenbach with similar facial features) and scrolls (see Stead, I. M. and Rigby, V., The Morel Collection, London, 1999, item 1746 for very similar scrolls on a bronze torc) is typically 'Celtic' while the palmette leaf design is directly copied from the Greek (see Stead, I. M. and Rigby, V., The Morel Collection, London, 1999, item 1723 for very similar palmettes, on another bronze torc and this example also has terminals of a similar form); in Greek art this palmette appears frequently, as here, as the termination feature at the foot of a design.
A good quality 19th century bronze watch holder, modelled as a cobra with inset red glass eyes, its coiled body resting upon a rocky base of circular form, hinged to reveal an interior compartment, stamped Published Feb 5th 1850 Ben W Hawkins, the snake's body also stamped B W Hawkins published Mar 6th 1850, the body accommodating a circular cased compass, the snake's hood supporting a cherub balancing on one foot, his left arm cradling three birds, set before a circular mercury filled thermometer (believed to be the work of Benjamin Waterhouse Hawkins 1807 - 1894: Hawkins was famed for work on the dinosaurs in the Crystal Palace Park), 24 cm tall approx
A good quality 19th century Grand Tour bronze study of Mercury after Giambologna, presented in characteristic stance wearing travellers hat with winged heels, elevated by air blowning cherub's mask to the composition base (staff partially missing), raised on a polished green serpentine column of tapering form with ribbed detail, 86 cm tall
A substantial antique wicker basket containing a miscellaneous collection to include a good quality antique Asian cast metal figure of a four legged beast, 25 cm tall approx, a cast bronze Buddha head, a vintage domestic mould, a lead hammer, antique brass candlestick, oriental ceramic tea bowl, a cricket ball, an antique iron rush/nip light, etc (displayed alongside Lot 625)
LARGE ARCHAISTIC BRONZE CENSERLarge antique Ming-style, archaistic Chinese bronze censer; squared form, the body with taotie-like masks and interlocking patterning beneath a band of chilong keyfret and flower band; two handles to rim; with Ming Dynasty mark L: 11 5/8"; with finely carved and fitted wood cover with decorative scrolling and large flower finial
WARRING STATES-STYLE BRONZE CHAIN-VASEAntique and finely detailed, Chinese Warring States-style bronze covered chain vase; the ovoid form with three bands of elaborate interlocking design in relief; with inscription to the lower section of one side; the matching cover with double-chilong, and attached to two chains pending from a hanger; H: 9" (body only)
YONGLE-STYLE GILT BRONZE BUDDHASmall and finely detailed, Sino-Tibetan gilt bronze figure; depicting Buddha in pleated robes, with hands in abhaya ('fearlessness') mudra, and standing on circular lotus base encircled with a scrolling foliate band; rendered in Yongle-style, with incised mark; H: 7 3/4"
LARGE GILT BRONZE MEDICINE BUDDHALarge and brightly gilt, Sino-Tibetan bronze figure; of the "Medicine Buddha" (Bhasiajyaguru); with finely snail curl hair and typical elongated earlobes, seated in lotus position, and holding his jar of healing nectar in his lap; all upon a separate double lotus base; H: 18 3/4"
LARGE SINO-TIBETAN GILT BRONZE: GaneshaLarge and finely gilt bronze, Sino-Tibetan figure; of Ganesha, seated in a position of ease, wearing an ornate crown and adorned in beaded garlands, holding a loose pearl, prayer beads, and two implements; with a seaparet rat to the front; all atop lotus base and with openwork flaming mandorla; H: 24 1/2"
TALL CHINESE BRONZE GUANYINTall and ornately detailed, Chinese bronze figure of Guanyin; standing atop rockery in long flowing robes, wearing a veil and adorned with an elaborate necklace, holding a scroll in one hand and lotus flower in the other; H: 37" (approx.); Provenance: Martin Kellner Collection, Hollywood, CA
JAPANESE MIXED-METAL BRONZE VASEMagnificent Japanese Meiji Period, mixed-metal shakudo bronze vase; of tall ovoid form with wide neck, two dragon handles, the front with a finely detailed eagle in relief, perched in a tree with pinecones; the verso with pair of sparrows amid large blossoms; the neck with stylized foliate decoration; all set upon five separately cast sinuous legs; H: 16 3/4"
ANTIQUE BRONZE CENSER & CLOISONNÉ COVERAntique Japanese bronze censer; of raised chalice form with two upright handles, with Chinese -style of chilong bands in relief; married with a domed Chinese cloisonné enamel cover, with hardstone finial; H: 5 1/2"; Provenance: From the Hashimoto Estate
EARLY REPUBLIC BRONZE VASESmall and intricately cast, Chinese bronze vase; in the form of a double-gourd, with continuous figural scenes in relief, the upper section of a small procession at an entryway, the lower half of women in scholarly activities, painting and reading scrolls in a landscape setting; Early Republic Period; H: 6 1/8"
CHINESE BRONZE MANTLE CLOCKChinese electrified bronze mantle clock; in the shape of an oval drum, with gilt calligraphy numbers and metal dragon-motif hour hands, surmounted with a small male child with a fox mask hanging on his back; opening to back; upon a squared pedestal base with hooked feet; H: 17"; Provenance: Private Collection of Harry Lawrence (Warren Imports)
TWO SMALL MING BRONZE FIGURES OF BUDDHATwo small, Chinese Ming Dynasty, lacquered bronze figures of Buddha: one standing and offering a lotus blossom in both hands; the other seated in lotus position with hands in bhumisparsha ('earth-touching') mudra; each with tall crowns and upon lotus bases; H: 9 1/4" (standing); Provenance: From the Hashimoto Estate
ANTIQUE FRENCH BRONZE TAZZA: Levillain & BarbedienneAntique French Neo-Grec, parcel-gilt bronze tazza; with classical scene of a harvest and animals, signed F. Levillain 1879 to the front; and also signed F. Barbedienne to underside; the wide dish set on a waisted and splayed pedestal foot; D: 10 3/8" (approx.)
ANTIQUE ORMOLU MOUNTED PORCELAIN JARAntique Chinese Kangxi-style Famille Verte enameled porcelain jar; of tapered form, with four panels, alternating scholarly emblems and flowering plants, all reserved on a diaper-patterned ground; mounted in antique French bronze ormolu neck of roses and swagged ribbons, set on four paw feet; H: 14"
TIBETAN CARVED & JEWELED LAPIS JARElaborately jeweled, Tibetan lapis lazuli covered jar; of heavy wide shouldered fluted form, overlaid with gilt bronze foliate mounts, inset with seed pearls, rubies weighing approx. 20 Cts., and approx. 15 Cts. of emeralds; the cover surmounted with rock crystal lotus bud finial; H: 6 3/4"
SMALL MING DYNASTY BRONZE CENSERSmall Chinese Ming Dynasty, bronze tripod censer; of low squat form on nub feet and with two handles; Xuande mark to base, possibly of the Period; L: 5 1/4" (handle to handle); reticulated wood cover with amethyst glass drop finial; Provenance: From the Hashimoto Estate
MING IMARI-STYLE PORCELAIN CENSERChinese Ming Dynasty, Imari-style, blue and white porcelain censer; of cylindrical form, with design of two coral red and gilt enameled lion medallions on a bee-motif panel, flanked by scrollling foliage; with four character hallmark to base ['Riches, Honor and Eternal Youthfulness']; D: 4 7/8" (approx.); with reticulated, domed bronze cover of matching motif, and gilt underside; fitted box
PIETRO FRAGIACOMO (1856-1922)On the Lagoon, VeniceOil on canvas, 47 x 86cmSignedPietro Fragiacomo was born in the Italian town of Pirano d'Istria near Trieste, but lived most of his life in Venice. He studied for a year in 1877 at the Academy of Fine Arts, Venice.In 1887, he exhibited at the Esposizione di Venezia. In 1889, he won a bronze medal at the Universal Exhibition of 1889 in Paris and took part in the Munich International Exhibition of the same year, as well as later editions. In 1895, his canvas Tristezza (Sadness) won awards in Venice, and again the next year, in Berlin.He painted mainly seascapes and cityscapes of Venice, often at night. He won the Prinze Umberto prize at the Milan Triennale of 1891 and was a regular participant from 1895-1922 at the Venice Biennale, which displayed a solo show of his work in 1910 and a posthumous retrospective in 1924. He died in Venice.
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