MIYAO: A PARCEL-GILT BRONZE FIGURE OF A WARRIORBy the Miyao company of Yokohama, signed Miyao with seal EiJapan, late 19th century, Meiji period (1868-1912)Finely modeled standing in a dynamic pose with one foot lunged forward, brandishing a spear (yari) above his head. The warrior is dressed in elaborately patterned robes with foliate designs, crashing waves, flying sparrows, and the musubi karigane mon (wild goose crest), and wearing typical armor. Two swords are attached to his belt. The man's face is well detailed with bushy brows and mustache as well as intense eyes. The back of his billowing robe with a rectangular reserve signed in raised characters MIYAO with the seal EI. HEIGHT 16.7 cm (excl. stand) and 20.8 cm (incl. stand)WEIGHT 1,020 gCondition: Very good condition with minor surface wear, the spear with a loss to the tip.The figure is mounted on the original wood stand with gold-lacquered foliate designs.Founded by Miyao Eisuke, the Miyao Company of Yokohama (later based in Nihonbashi-ku, Tokyo, after ca. 1890) specialized in the manufacture of bronze sculptures, embellished with gold and silver as well as patinated copper alloys, that represent generic samurai warriors as well as more precisely identifiable characters from Japanese myth and legend. In addition, the company also made a smaller number of pieces in other formats such as incense burners, vases, and chargers.
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YOSHIMITSU: A BRONZE FIGURE OF AN ARCHERBy Yoshimitsu, signed Yoshimitsu Japan, Meiji period (1868-1912)The figure shown in a wide back-leaning stance with his bow drawn and arrow notched, the archer preparing to shoot at his target, supporting himself on one knee as the other one is fully outstretched, a wakizashi tucked under his belt, the bow and arrow crafted separately. His robes are neatly incised and finely engraved with linked shippo-crests and wheel roundels as well as clouds, young bamboo, and bird crests. The back with a rectangular reserve incised with the signature YOSHIMITSU. HEIGHT 28 cm (excl. bow) and 33.1 cm (incl. bow)WEIGHT 3,720 gCondition: Very good condition with minor surface wear. Provenance: Ex-collection Dr. Heinrich Dirksen (1861-1935), thence by descent in the same family.Auction comparison: Compare a related patinated bronze figure of an archer signed Miyao, 28 cm high, at Christie's, 10 December 2020, Paris, lot 69 (sold for 8,750 EUR).
A SUPERB PAIR OF MIYAO-STYLE MIXED-METAL-INLAID AND PARCEL-GILT BRONZE VASES WITH SHOKI AND ONIJapan, late 19th century, Meiji period (1868-1912)Each vase with a baluster body supported on a spreading foot and rising to a gently waisted neck with flat everted rim, the shoulder with two long handles issued from baku heads, the exterior carved in high and sunken (shishiaibori) relief, inlaid in iro-e takazogan and hirazogan, and engraved in katakiri and kebori, with bamboo-framed panels surrounded by two snakes flanking a toad above and a snail below - an impressive example of the sansukumi motif. Each panel shows a different but complementary design, depicting on one vase a proudly standing Shoki holding his sword in one hand and extending the other, with a long-tailed pheasant amid chrysanthemums under a gnarled pine tree to the back; and on the other three oni depicted in different attitudes, one of them fighting back against the demon queller, the back with two long-tailed pheasants perched on a craggy rock. The body is further decorated with bamboo leaves, mushrooms, and leaves, the neck and foot with formalized bands.HEIGHT each 30.5 cmWEIGHT each 4.7 kgCondition: Very good condition with minor surface wear.Provenance: From the private collection of an intrepid and seasoned connoisseur who tirelessly travels the globe and acquires with passion, discernment and above all a sense of all-embracing eclecticism, bound by no rigid formula of what should constitute a worthy object save the admiration and wonder that it can produce in the viewer.The present pair of vases, impressively cast, finely carved in high and sunken relief, and masterfully inlaid in both hirazogan and takazogan, was clearly made by an extremely talented metalworker. The inspired use of inlays makes an attribution to the workshop of Miyao Eisuke reasonable. Although most often associated with large-scale bronze figures of samurai, the Miyao Company also manufactured or dealt in a wide range of craft goods including Shibayama-work panels and ivory figures. Apparently based first in Yokohama and then, after about 1890, in Nihonbashi-ku, Tokyo, the company is first recorded at the second Naikoku Kangyo Hakurankai (National Industrial Exposition) where Miyao Eisuke collaborated with the bronze caster Momose Sozaemon in the production of a bronze figure of seven drunken shojo.The combination of snake, frog, and snail (or slug) constitutes the sansukumi motif. Sansukumi translates to 'the three who are afraid of one another'. The three animals are in a state of mutually assured destruction: the snake will consume the frog, however the frog has already eaten a poisonous snail, so the snake must perish as well. This motif is connected to sansukumi-ken, a category of Japanese hand games played by using three hand gestures. The oldest sansukumi-ken game is mushi-ken, a game originally from China. In mushi-ken, the 'frog' represented by the thumb wins against the 'slug' represented by the pinkie finger, which, in turn defeats the 'snake' represented by the index finger, which wins against the 'frog'. Although this game was imported from China, the Japanese version differs in the animals represented. In adopting the game, the original Chinese characters for centipede or millipede were apparently confused with the characters for the 'slug'. The centipede was chosen because of the Chinese belief that the centipede was capable of killing a snake by climbing and entering its head. One of the few surviving sansukumi-ken games is jan-ken, which was brought to the West in the 20th century as rock paper scissors.
INOUE: A SUPERB INLAID BRONZE DISH DEPICTING BOYS ON A DRAGON BOATBy Inoue company of Kyoto, signed Kyoto Inoue seiJapan, late 19th century, Meiji period (1868-1912)The shallow rounded sides rising from a short spreading foot to a gold-inlaid lobed rim with a masterful Komai-style lozenge design, encircling a central medallion finely decorated in iro-e takazogan with three boys dressed in Korean festive garments and standing in a dragon boat in a lotus pond with neatly incised blossoms and furled leaves, detailed in katakiri, all below a long-tailed ho-o bird in flight. One boy is standing in the back, holding a long staff with reishi terminal, beside a flag waving in the wind, above a second boy dancing and holding a drumstick and fan, wearing a peacock-feathered hat, the third boy standing behind the large dragon head holding a trumpet in his hand, all against a rich copper-brown patinated ground. The base with the gilt signature Kyoto INOUE sei [made by Inoue of Kyoto].DIAMETER 27.4 cmWEIGHT 1,234 gCondition: Very good condition with minor wear.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
HATTORI: A RARE SILVER AND MIXED METAL KOGO (INCENSE BOX)By the Hattori company, signed jungin Hattori seiJapan, c. 1933Of circular form, the cover of shibuichi engraved with white flowers and details in gold and katakiribori, surmounted by a silver knop in the form of a pine cone, the inside of the cover inscribed around the side Shibusawa Seien-o dozo kensetsu kinen [Commemoration of the erection of a bronze statue of Mr Seien Shibusawa] the body carved in low relief with a rattan design, stamped on the base jungin HATTORI sei [pure silver, made by Hattori).DIAMETER 8.2 cmWEIGHT 78 gCondition: Excellent condition, minor wear.Provenance: Belgian private collection, purchased at Bonhams, Fine Japanese Art, 11 May 2017, London, lot 398.Shibusawa Eiichi, 1st Viscount Shibusawa (1840 -1931) was a Japanese industrialist widely known today as the "father of Japanese capitalism", having introduced Western capitalism to Japan after the Meiji Restoration. In 1926 Shibusawa was nominated for the Nobel Peace Prize by the prime minister of Japan.Kintaro Hattori founded the Hattori Clock and Jewelry store in 1881. The company produced and retailed luxury goods such as silverware for export and sold them in their department store in the Ginza area of Tokyo. In 1924 Hattori founded a watchmaking factory called Seiko which became the world's largest watch manufacturer.
MASATADA: AN IMPERIAL PRESENTATION INLAID BRONZE VASE WITH KIKUMON (CHRYSANTHEMUM SEAL)By Masatada, signed Masatada (Seichu)Japan, Meiji period (1868-1912)Of slender baluster form, supported on a short foot and rising to a tapered neck with incurved rim, finely decorated in shakudo and copper hirazogan with a band of stylized sparrows above a band of formalized floral designs, all above a silver takazogan sixteen-petaled kikumon (Chrysanthemum Seal), the Imperial Seal of Japan. The base with the silver-inlaid signature MASATADA.HEIGHT 27.4 cmWEIGHT 1,486 gCondition: Excellent condition with minor wear and casting irregularities.The Chrysanthemum Seal (kikumon) found on the present vase indicates it was commissioned by the Emperor of Japan or a member of the Imperial Family. The Imperial Seal of Japan or National Seal of Japan, also called the Chrysanthemum Seal (kikumon), Chrysanthemum Flower Seal (kikukamon, kikukamonsho) or Imperial chrysanthemum emblem (kikunogomon) is the crest (mon) used by the Emperor of Japan and members of the Imperial Family. It is one of the national seals of Japan and is used in a manner similar to the national coat of arms of Japan. During the Meiji period, no one was permitted to use the Imperial Seal except the Emperor of Japan, who used a 16-petaled chrysanthemum with sixteen tips of another row of petals showing behind the first row. Therefore, each member of the Imperial family used a slightly modified version of the seal. Shinto shrines either displayed the imperial seal or incorporated elements of the seal into their own tag.
TETSUGENDO SHORAKU: A TETSUGENDO SCHOOL IRON FUCHI AND KASHIRA WITH GOSHISHOBy Tetsugendo Shoraku (Naoshige), signed Tetsugendo Shoraku with seal ToshiyukiJapan, Tetsugendo school, 18th century, Edo period (1615-1868)Of iron, each worked in fine iro-e takazogan with shakudo, silver, copper and gold, the fuchi decorated with the Chinese warrior Goshisho (Chinese: Wu Zixu, d. 484 BC) writing a text at the same time as holding a 600-kilo bronze vessel above his head, the kashira decorated with Chinese literati and pine trees. Signed underneath TETSUGENDO SHORAKU with gold square seal TOSHIYUKI.LENGTH 3.9 cmWEIGHT 40 gCondition: Excellent condition, minor wear.With a padded wood tomobako storage box.The artist is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on pp. 1339-1340 (H 06772.0).Auction comparison:Compare to a related iron tsuba by the same artist at Bonhams, Fine Japanese Art, 6 November 2007, London, lot 308 (sold for 4,800 GBP).
FUNABASHI SHUMIN: AN IMPERIAL PRESENTATION LACQUER SUZURIBAKOBy Funabashi Shumin (1859-after 1914), signed to the wood box Maki-e Funabashi Shumin Japan, Meiji period (1868-1912)Of rectangular form with rounded corners, an overhanging cover, and silver rims. The exterior bearing a kinji ground superbly decorated in shades of gold and silver hiramaki-e, takamaki-e, and togidashi-e with hirame and e-nashiji to depict a wagtail perched on a craggy rock by a meandering stream below cedars and pines in a misty mountain landscape.The interior bearing a rich nashiji ground, the cover with a large 16-petal chrysanthemum mon in gold takamaki-e, the box fitted with a nine-section ita (board) with gold fundame edges, the inkstone (suzuri) similarly lacquered, the silver waterdropper (suiteki) of circular form and finely chased and incised with scrolling foliage against a ring-punched ground, the pair of writing brushes, paper pricker, paper knife, and inkstick holder similarly lacquered and with matching silver fittings. SIZE 5.2 x 22.2 x 26 cmCondition: Excellent condition with minor wear.With a lacquered wood storage box (tomobako) decorated with a 16-petal chrysanthemum in gold hiramaki-e and inscribed on the interior Maki-e FUNABASHI SHUMIN ('lacquer by Funabashi Shumin').Funabashi Shumin (1859-after 1914) was a pupil of Uematsu Homin. He exhibited at domestic and foreign expositions and worked for the Imperial Family. He won many prizes including at the Fifth National Industrial Exhibition in 1903 and the St. Louis Exposition in 1904. He won a silver medal at the Louisiana Purchase Exhibition in 1904. The last recorded data about the artist is a bronze medal he won at an exhibition in Tokyo in 1914.The 16-petal kiku mon indicates the present piece was an Imperial commission.Literature comparison: For a related suzuribako with summer trees by Funabashi Shumin in the Baur Collection, see Dees, Jan (1983) L'art japonais du lacque de 1900 a 1940 dans les collections Baur, Collections Baur 59, MOA Museum of Art, Kindai Nihon no shikkogei (Japanese lacquer of recent times), p. 106, no. 58/1. For an Imperial presentation box (tebako) by Funabashi Shumin see Wrangham, Edward et. al. (1995) Meiji no Takara: Treasures of Imperial Japan - The Nasser D. Khalili Collection, The Kibo Foundation, vol. 2, no. 230, and Dees, Jan (1997) Japanese Imperial Presentation Boxes 1900-1930, Oriental Art, Vol. 43, No. 1, fig. 5, p. 4.Museum comparison: Compare a document box by Funabashi Shumin in the Rijksmuseum, Amsterdam, object number AK-MAK-391.Auction comparison: Compare a closely related lacquer suzuribako by Funabashi Shumin, also dated to the Meiji period, at Bonhams, 6 November 2012, London, lot 401 (sold for 32,450 GBP). This suzuribako is currently in the collection of the Rijksmuseum, Amsterdam, on loan from Jan Dees & René van der Star, object number AK-C-2016-1.
A RARE BRONZE NETSUKE OF A MONKEY WITH GOURDUnsignedJapan, 19th centuryA heavily cast miniature bronze netsuke, worked with fine incision work, depicting a monkey (saru) kneeling over a gourd and picking apart its flesh. Natural himotoshi.HEIGHT 3.3 cmWEIGHT 61 gCondition: Good condition, minor wear, casting irregularities, some green verdigris from oxidation.
A BRONZE FIGURE OF AMIDA NYORAI, HEIAN TO EARLY KAMAKURAJapan, Heian period (794-1185) to early Kamakura period (1185-1333)Finely cast standing on a waisted lotus base with incised overlapping petals above a large leaf with raised veins. Amida is wearing loose-fitting monastic robes opening at the chest and cascading in voluminous folds. His hands are held in raigo-in (vitarka mudra). His serene face with heavy-lidded eyes below gently arched brows centered by a raised circular byakugo (urna). The hair arranged in tight curls over the domed ushnisha. The back with a small, looped tang above a large aperture showing the hollow interior. The sides of the figure are incised with a lengthy votive inscription. The copper-brown bronze with a rich, naturally grown, dark patina.HEIGHT 25 cmWEIGHT 675 gCondition: Good condition with some wear, minor casting flaws including casting grit, minor losses, small dents, tiny nicks, light surface scratches.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan.Auction comparison:Compare a related bronze figure of Amida, measuring 36.5 cm, at Bonhams, Fine Japanese and Korean Art, 14 September 2016, New York, lot 149 (sold for 26,250 USD).
AN EXTREMELY RARE AND IMPRESSIVE WOOD FIGURE OF THE ASCETIC SHAKYAMUNI BUDDHA, KAMAKURA PERIODJapan, early 14th century, Kamakura period (1185-1333)Exceptionally well carved, seated in a relaxed pose imbued with movement, the Buddha one with his grotto-like environment, his movements echoed by his naturalistic throne, with which he almost appears to merge.The exquisitely serene face is finely carved with heavy-lidded eyes, gently arched brows, a glass-inlaid byakugo (urna), pronounced cheekbones, full lips, and long pendulous earlobes. His features subtly indicate his ascetic character, which is further suggested by the treatment of his slightly emaciated torso, partly obscured by the loose-fitting robe cascading in voluminous folds. His hair is arranged in tight curls over the high, domed ushnisha.HEIGHT 32.4 cm (excl. stand) and 39.2 cm (incl. stand)Condition: Superb condition, the wood with natural imperfections including signs of insect activity, at least some of which is inherent to the carving and only adding to the exceptional and breathtaking appearance of the figure. Wear, minor losses, light surface scratches, all as expected. Provenance: Ex Paris Ancienne Collection Vignier, acquired during the 1930s. Jacques Barrère, Paris, February 2005. Liliane and Michel Durand-Dessert, Paris, acquired from the above. A signed expertise from Jacques Barrère, dated 14 February 2005, confirming the dating and provenance above, accompanies this lot. Jacques Barrère took over his mother's flea market business, specializing in Far Eastern porcelain, cloisonné, and sculpture, in 1969. In the same year, he opened his gallery in Saint-Germain-des-Prés. The current Jacques Barrère gallery has been located on Rue Mazarine for over three decades and specializes in Chinese sculpture, archaeology, ceramics, and decorative arts, as well as Japanese sculpture and porcelain. In 2008, Jacques' son Antoine Barrère has been running the gallery, bringing a fresh vision in a globalized art market. Objects once owned by Jacques Barrère have been included in major museums around the world, including the Musée Guimet and the Musée Cernuschi, the Shanghai Museum, and the Miho Museum. Liliane and Michel Durand-Dessert were luminous gallery owners who worked in Paris from 1975 to 2004, and were both informed and avant-garde collectors. They are significant not only because of the analytical and original approach the couple applied in each acquisition, but also because of their visionary take on exhibiting the most radical 20th-century art in their gallery, which was the subject of a 2004 retrospective organized by the Museum of Grenoble. According to Michel Durand-Dessert, who was inspired to open the couple's first gallery by a visit to Documenta in 1968, “it is certain that a collection is a portrait, and that the objects we buy are those in which we sometimes recognize ourselves, sometimes we project ourselves. One way or another, acquiring them means adopting them, in every sense of the word.”Mounted on an old wood stand.The present sculpture vividly portrays Siddharta Gautama after renouncing his princely life, practicing extreme asceticism in the wilderness during his search for enlightenment. At the age of 29, Siddhartha left the comforts of his palace to seek answers and spiritual solace. He cut his hair and removed his jewelry. He tried fasting to test his dedication, but the hunger distracted him from meditation. During this time, he realized that such self-punishment was ultimately futile, and he eventually attained enlightenment through meditation and the Middle Path of balance and moderation. Images of the fasting Siddhartha promote this philosophy of moderation.Depictions of the Buddha as an emaciated ascetic appeared in the ancient kingdom of Gandhara, and later also in Chinese art. It was in the Yuan dynasty that the modelling of Buddha in this manner became popular and a convention in Chinese art. However, according to Sherman Lee and Wai-kam Ho in Chinese Art Under the Mongols: The Yuan Dynasty (1279-1368), 1968, p. 124, “the prototype could be traced back at least to Kuan-hsiu's Sixteen Arhats of the Five Dynasties period, or Buddhist paintings of the ninth and tenth centuries showing hermits and the familiar figure of Vasu in Tun-huang and Central Asia.”Museum comparison: Compare a related lacquered wood figure of the ascetic Shakyamuni, dated 17th-18th century, Edo period, 21.6 cm high, accession number 88.145a-b.Auction comparison: Compare a Chinese bronze figure of the ascetic Buddha, dated Yuan to Ming dynasty, 17.2 cm high, at Sotheby's, 20 September 2022, New York, lot 130 (sold for 50,400 USD). Compare also a related wood sculpture of a seated Buddha, dated 12th century, 31.6 cm high, at Bonhams, 16 September 2009, New York, lot 3073.
A VERY LARGE AND RARE LACQUERED WOOD FIGURE OF HOKAN SHAKA NYORAI, MUROMACHI PERIODJapan, 14th-16th century, Muromachi period (1333-1573)Finely carved and assembled in yosegi-zukuri technique, painted in gofun, polychrome pigments, lacquer and gold leaf. The robe is decorated in relief with flowers and scrolls in a technique called domon 土紋, a decoration made from clay and fixed with lacquer. The hairstyle is topped with a high bun called hokei and girded with a thin tiara, the tenkandai. Two holes in the tenkaidai show that originally a golden copper crown, hokan, was attached to the head. Hokan Shaka Nyorai (the historical crowned Buddha) is shown seated in dhyanasana atop a tall lotus throne with individually carved petals, the hands lowered in zenjo-in (dhyana mudra). The serene face with heavy-lidded eyes below gently arched brows centered by a rock crystal byakugo (urna).The base consists of three tiers: - a round gilded base decorated with stylized upside-down lotus petals; - above it, a thin open lotus flower on which rests a carved and open-worked element decorated with lotus flowers and scrolls; - then, a large lotiform base whose petals are realistically carved. Each of the petals is covered with an ornament painted in polychrome and in relief according to the domon technique representing the three sacred jewels on a lotus (Sanbo no shinboru - 三宝のシンボル) symbolizing the Buddha: the enlightened one who has attained Nirvana, the Dharma: the Buddha's teaching, and the Shanga: the Buddhist monastic order.HEIGHT 74 cm (the figure) and 112 cm (total)Condition: Good condition, commensurate with age. Extensive wear, age cracks, chips, losses, flaking, repairs and touchups, nicks, scratches. The mandorla and crown are lost. Provenance: From a private collection in Paris, France. Museum comparison: Compare the related figure of Amida Nyorai with jeweled crown, dated 13th century, in the Zaika-ji Temple in Toyokawa, Aichi, exhibited in New Life for Timeless Art, Tokyo National Museum, 1 October - 1 December 2019. Compare the related figure of Hokan Shaka Nyorai dated 1352 in the Hoko-ji Temple in Shizuoka (an Important Cultural Property), exhibited in The Art of Zen. From Mind to Form, Tokyo National Museum, 18 October - 27 November 2016. Also compare a related bronze figure of Maitreya, dated 1713 by inscription, 110 cm high, in the National Palace Museum, Taipei, illustrated in Yu-min, Lee / Tyu-yin, Chung (2015) Imprints of Buddhas: Buddhist Art in the National Palace Museum Collection, p. 214, no. 86.
A SUPERBLY EMBROIDERED PANEL OF YOMEIMON GATEJapan, Meiji period (1868-1912)A very intricately embroidered silk panel with silk threads in various shades of salmon, ivory, cream, bronze and grey, depicting the Yomeimon Gate at the Tokugawa Tosho-gu shrine in Nikko. Mounted by a slender frame on a board with silk brocade backing.SIZE 73 x 69.5 cmCondition: Excellent condition and intricate detail. Few stray strands and a small hole on the verso backing.The Yomeimon Gate is often referred to as the "Gate of the Setting Sun" and is renowned for its intricate carvings, gold leaf decorations, and vibrant colors. It serves as a symbol of wealth, power, and prestige, reflecting the high status and influence of the Tokugawa shogunate during its reign. The gate is also considered a masterpiece of Japanese architectural and artistic craftsmanship, showcasing various styles, motifs, and techniques, including Buddhist, Shinto, and Chinese influences.
ASSORTED DECORATIVE ITEMS, including Staffordshire blue and white bordaloue, pair Japanese cloisonné vases, a German/Austrian terracotta figural tobacco jar and cover, bronze sculpture of a racehorse, Art Deco style hand mirror, Scottish pewter quaick, boxed set 1970 coinage of GB and NI, resin Pony Club plaque
ASSORTED COLLECTABLE CASED COINS & MEDALLIONS, including Royal Mint commemorative bronze medallion, 1981 Charles & Diana marriage silver proof coin, 2 x 1977 Jubilee silver proof crowns, 1985 silver proof Maundy set, 1978 silver proof Maundy set, 1969 investiture bronze medallion, and 1987 Royal Mint bronze medallion Queens Award for Export (9)
Ancient Roman coins x2. HADRIAN (98 -117AD) bronze coin. Weight 26g Diameter 29mm & Weight 9.5g Diameter 24mmAll coins are from a well collated older collection and are offered in good faith but have not been professionally graded. Dimensions and weights are given as accurately as possible to assist with identification but should be deemed approximate.Condition reports are offered as a guide only and we highly recommend inspecting any lot to satisfy yourself as to its condition
Ancient Roman Coins x2 VESPASIAN (69-79AD). Bronze coins Weight 7.23g Diameter 25g & Weight 10.03g Diameter 25mmApprox 2 piecesAll coins are from a well collated older collection and are offered in good faith but have not been professionally graded. Dimensions and weights are given as accurately as possible to assist with identification but should be deemed approximate.Condition reports are offered as a guide only and we highly recommend inspecting any lot to satisfy yourself as to its condition
Ancient Roman Coin. MAXMIANUS I (284-305AD) bronze coin. Weight 2.95g Diameter 24mm. Very nice detail.All coins are from a well collated older collection and are offered in good faith but have not been professionally graded. Dimensions and weights are given as accurately as possible to assist with identification but should be deemed approximate.Condition reports are offered as a guide only and we highly recommend inspecting any lot to satisfy yourself as to its condition
Ancient Roman Coin. NERO bronze coin. Wear overall but some nice detail. Weight 12.51g Diameter 28mmAll coins are from a well collated older collection and are offered in good faith but have not been professionally graded. Dimensions and weights are given as accurately as possible to assist with identification but should be deemed approximate.Condition reports are offered as a guide only and we highly recommend inspecting any lot to satisfy yourself as to its condition
Ancient Roman Coin. GORDIANUS III bronze coin. Wear overall but some nice detail. Weight 21.8g Diameter 29mmAll coins are from a well collated older collection and are offered in good faith but have not been professionally graded. Dimensions and weights are given as accurately as possible to assist with identification but should be deemed approximate.Condition reports are offered as a guide only and we highly recommend inspecting any lot to satisfy yourself as to its condition
Ancient Roman Coin. PHILIPPUS / PHILIP I (244-249AD) bronze coin. Weight 20.37g Diameter 29mmAll coins are from a well collated older collection and are offered in good faith but have not been professionally graded. Dimensions and weights are given as accurately as possible to assist with identification but should be deemed approximate.Condition reports are offered as a guide only and we highly recommend inspecting any lot to satisfy yourself as to its condition
Bodhisattva in Meditation auf einem doppelten Lotos thronend, die rechte Hand in vitarka mudra erhoben, die Linke liegt in dhyana mudra über dem Schoß, geschmückt mit feinem Brustschmuck und Diadem, Bronze mit Resten von Lackvergoldung, Sinotibetisch, späte Ming Dynastie, verso alte Inventarkleber, H. 20cm, 1 Finger verloren, Boden offen, Altersspuren, Provenienz: süddeutsche Slg.
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