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Lot 366
A substantial cast bronze Malaysian Lantaka swivel canon barrel, complete with associated spike stand, simply decorated with concentric pointed triangular embossed panels with foliate detail, with shaped and flared barrel rim, with further simple rimmed detail, 111cm tall approximately, to take a 3cm wide shot approximately (CAUTION: heavy, please use care when viewing)
Lot 11
A Mongolian gilded bronze figure of Buddha , seated in dhyanasana on a double-lotus base, his hands in dhyana mundra mudra, wearing a sanghati draped over the left shoulder, the borders of which are richly incised with a foliate pattern, the neck gently cast with fleshy lines, the face holding a steady gaze, 28cm high 蒙古 鎏金铜佛陀坐像
Lot 12
A bronze incense burner , of rectangular shape, the sides cast with animals amongst foaming waves, the pierced cover cast with dragons amongst cloud scrolls, 20.5cm wide, fitted wood stand Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset, who made a large bequest to the Ashmolean museum in 1947, and by family descent. 青铜炉
Lot 138
Miyao Eisuke: A parcel gilt bronze figure of a Boatman , he stands dressed in a short coat decorated in large flower heads, his shins wrapped in straw and wearing straw sandals, he wears a woven rain hat and he dangles fish from one hand whilst holding an oar in the other, details enriched in gilding, signed on a gilt tablet Miyao dzo; fixed on a rectangular wood stand with carved and pierced frieze, height including oar 39cms, Meiji Period
Lot 139
Miyao Eisuke: A parcel gilt bronze figure of a Fisherman walking , he wears a rush apron over his floral coat, a bandana tied around his head and he carries a crab pot in his left hand whilst carrying an oar over his right, signed on a tablet Miyao dzo; mounted on a rectangular wood stand, height of figure only 25.5cms, Meiji Period.
Lot 14
A bronze ritual wine vessel, of archaistic gu form , the hexagonal body cast with flanges widely flaring to a trumpet neck with lappet foliates, all supported on a splayed foot, 29.5cm high Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset and by family descent 青铜觚
Lot 152
A Japanese Bronze Vase of panelled bulbous form decorated with archaistic motifs on a key-fret diaper ground, the sides mounted with dragon handles, the base with a spurious six character seal of Xuande, height 26cms, 19th Century; with wood stand Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset and by family descent
Lot 153
A Japanese Bronze Vase modelled in the form of Hotei's sack of Treasures, the bulbous vessel tied at the shoulder in imitation of a woven cord with everted mouth, the sides and base with Ho-o birds, maple leaves, kiku sprays and clouds, height 13cms, width 19.8cms, 19th Century Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset and by family descent
Lot 154
A Large Japanese Bronze Mirror, Case and Stand, the circular mirror cast to one side with cranes, a minogame and "The Three Friends" pine, prunus and bamboo, [polished to the reverse, contained within a lacquered box and cover decorated on the roiro ground with gold lacquer cranes, kiku and kiri mon on a scrolling karakusa ground, the folding stand with typically chased metal mounts similarly lacquered, mirror diameter 37cms, height of stand 71cms, early 20th Century
Lot 17
A bronze archaic style two- handled censer, Gui , the upper band with long-tailed birds reserved on a leiwen ground, interrupted by two animal masks which surmount the handles cast in with masks on the sides with scrolls and terminating below, 20cm diam, five footed wood stand Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset and by family descent 青铜簋
Lot 18
A Chinese bronze tripod censer, 18th/19th century , of compressed form with outswept pierced handles, Xuande six- character mark to the base, 91⁄2in. (24.3cm) wide, wood stand Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset and by family descent 青铜炉
Lot 20
A bronze censer, Ming Dynasty or later , supported on four feet, with applied long-tailed mythical beasts to the rim, apocryphal Xuande six-character mark in a square to the base, 24cm diam Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset by family descent 青铜炉~
Lot 22
A Chinese bronze Western Zhou style ritual food vessel, gui , the body moulded with stylised dragons, either side of a central flange, with two mask handles, 17cm diam Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset and by family descent 青铜炉
Lot 25
A bronze two handled vase , 24cm high, A bronze two-handled elephant vase (damaged), 27.5cm high; a bronze spittoon , 20cm diam and a small Chinese elephant tripod censer , 8.5cm high (cover and handles lacking) Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset, who made a large bequest to the Ashmolean museum in 1947, and by family descent. 青铜瓶 二件痰盂一件 炉一件
Lot 26
A Chinese silver-inlaid bronze tripod two- handled censer, ding , decorated to the body with a band of scrolling foliage and geometric design, the base inlaid with the characters shi sou .,12.5 cm wide Provenance: From the private collection of John Francis Mallett of Longwood, Claverton Down, Bath, Somerset, who made a large bequest to the Ashmolean museum in 1947, and by family descent. 青铜鼎
Lot 8
A bronze model of a tiger, Warring States-Western Han style, powerfully cast, prowling forward with raised head, quasi-triangular ears, eyes alert and pug- nosed snout that enhances the visual effect of its wide open mouth, ferociously baring its teeth, in an aggressive attitude, inlaid with gold and silver designs of clouds, spirals, geometrical and fur-like patterns, all on a rich background of maroon-patinated bronze, the neck incised with two character inscription, 13.2cm long, with 19th century hardwood collector s fitted box 仿战国西汉 错金银青铜石虎形 TIGERS IN CHINESE ART The tiger is one of the oldest and most revered animals in Chinese history. According to Han mythology, the tiger was one of the Four symbols for the cardinal points, representing the seven constellations of the west and the autumn season. In conjunction with the Green Dragon of the West, the Vermillion Bird of the South and the Black Tortoise of the North, the tiger positioned the burial within the spatial-temporal features of the universe. In literature, the Queen Mother of the Western paradise, one of the most important deities of the Han Daoist pantheon, is described as having tiger s teeth and tail. In burials, the deity sat on a throne decorated with a tiger and a dragon, the opposing yin-yang forces moving the universe, which the Queen Mother transcended. Also underscoring auspicious symbolism for peace, tigers were associated with a successful reign, and were highly regarded as protectors and guardians for their power, strength and courage. The character hu , 虎 , for tiger, is in fact homophone with hu , 护 , meaning protection, which must have clearly been sought to protect the tomb occupants against the malign influences they may encounter in their afterlife. In conjunction with other real and imaginary creatures, tigers also decorated the base of Han miniaturised mountainous landscape, a visual metaphor for the barriers of human morality that must be crossed whilst transitioning to immortality. (..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor, mentioned the Masters of Huainan , Huainanzi , 淮南子 , a philosophical classic compiled in the second century BC, referring to the tortuous journey through a winding obstacle-laden landscape, which one must embark on, in search of the elixir of eternal life. During the Han dynasty, the soul was expected to encounter many dangers on its journey to paradise, including malignant ghosts, spirits, and ferocious beasts. Mountains were highly praised in China for their high peaks, close connections with heaven, the ability to produce water, life-giving element, and their many cavities, where immortals were thought to inhabit. The Huainanzi , for instance , refers to the mountain as a Chilly Wind Peak climbed by people who achieved deathlessness and became gods. Mountains were also conceptualised as treacherous realms for their inhabitants had unpredictable, supernatural, powers and were thus considered as potentially malignant. If someone entered the mountain possessed of no magical arts, he will certainly suffer harm. Some will fall victim to acute diseases or be wounded by weapons (…) Sometimes the man will encounter tigers, wolves, and poisonous insects. One cannot enter the mountain lightly ! mentions the Master embracing simplicity, Baopuzi , 抱樸子 , compiled between the third and fourth century AD. Clearly, in addition to serving as the gateways to the land of immortality, mountains were also considered as the borderlands through which the soul must pass after death. A comparable tiger was included in Eskenazi's 1998 exhibition, published in Giuseppe Eskenazi, 1998, Animals and Animal Designs in Chinese Art , New York: catalogue no. 5, foldout cover of catalogue ; another example will be offered by Bonhams for sale in New York on 16th March 2015, estimated $200,00-300,000. A pair of mat or "sleeve weights" cast in form of gold and silver inlaid tigers, were included in Christian Deydier's exhibition at the XXVIII Biennale Des Antiquaries, Paris, September 2014, published in Christian Deydier, 2014, Ancient Chinese Bronzes , Paris, catalogue n. 9, p. 49. For additional references see Shawn Eichman, 2000, Taoism and the arts of China , Chicago, p. 129; Lukas Nickel, 2000, Some Han dynasty paintings in the British Museum , vol. 60, n. 1, p. 59-78; Wu Hung, 2010, The Art of the Yellow Springs, Understanding Chinese tombs, Honolulu .
![Philip Blacker (British, born 1949) [ARR], a bronze group of a boy with a working pony and dog, signed and dated P.B. '84, br](https://cdn.globalauctionplatform.com/df607019-17a2-4901-818d-a4790104bcb0/456334a8-d7fd-4958-ca0c-d7bda8836bb2/468x382.jpg)
Lot 322
An early 19th Century French mantel clock, with silk suspension eight-day movement striking on a bell, within a Siena marble case surmounted by a bronze Classical figure/see illustration Condition Report: The clock is 51cm high x 37cm wide, it has both key and pendulum and at present is in working order. The unusual feature of this clock is the twist bezel wreath door to the face with bayonet attachment.
Lot 193
A large bronze Bodhisattva, Ming dynasty, late 16th/early 17th century, seated in dhyanasana, the left hand raised before her chest and the right arm lowered in abhayamudra, wearing an elaborate headdress, a beaded necklace and a shawl, the incised borders with foliate scrolls, the face with a benevolent expression, traces of gilding and lacquer, 58cm 明十六世纪末/十七世纪初 漆金铜菩萨坐像
Lot 198
An unusual bronze Incense Burner and Cover, possibly 18th century, the onion body with double cloud border, the domed cover with pierced chilong below lotus gadroons and surmounted by a dragon knop, depatinated, four character seal mark of Qianlong, 26cm, wood stand (3) There are minute traces of gilding remaining in places on the piercing and on the body. A reign mark enclosed by two dragons and seems to be associated with the late 18th century. 清十八世纪（可能） 铜铸龙钮盖香炉 连底座 《乾隆年制》篆书模款
Lot 203
A bronze Incense Burner and Stand, late 19th century, the shallow body resting on three stub feet and with twin flying handles, the lotus petal stand with central cash piercing, resting on three axe heads, cast Bu Wei Chang Qing Suo De six character seal mark, dents, 34cm (2) 清十九世纪末 铜铸桥耳三足香炉 《不为倘情所得》篆书双方框模款 连底座
Lot 205
An Arab taste bronze Incense Burner, mid 17th century, cast with three panels of Arabic script reading: La-ilah-ila-Allah/Muhammad rasul Allah (There is no God but Allah/Muhammad is the Prophet of Allah (one panel unread)) on the rounded disc body, resting on three stub feet, everted rim, possibly once with a cover, cast kai-shu mark Da Ming Xuande Wu Nian Jiandu Gongbu Guanchen Wu Bangzuo Zao (5th year of Ming Xuande, Ming Dynasty, Ministry of Works, made by Supervisor Wu Bangzuo), 21.5cm 5kg Literature: For a censer with similar inscription and mark, see 'The Second Bronze Age', Sydney Moss, 1991, no. 46 , which is dated 16th-17th century. For reasons that are not known, the Xuande reign mark became the standard for Chinese bronzes and when a year was included on mark of this form, it was always the fifth. 清十七世纪中期 铜铸开光阿拉伯文三足炉 《大明宣德五年监督工部官臣吴邦佐造》模款
Lot 207
A good Sino-Tibetan bronze, possibly of Vajrasatva, cast Qianlong mark and of the period, the four-armed god parcel gilt and with traces of blue and red cold paint, seated on a lotus and beaded throne, wreathed in scarves and wearing elaborate crown, later engraved name, the reverse with inscription, 16.3cm 清乾隆 铜鎏金四臂观音坐像 《大清乾隆年敬造》楷书模款
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360903 item(s)/page