AN INDIAN BRONZE FIGURE OF GANESHA, 17TH-18TH CENTURYSouth India, Maharashtra. The four-armed deity seated in lalitasana on a circular lotus throne raised on a flat square base, holding in his hands an axe, trident, broken tusk, and a bowl of sweets which he samples with his trunk, wearing a short striated dhoti, sacred thread around his portly waist, adorned with ornaments, and wearing a conical tiered head dress.Provenance: Art of the Past, New York. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above in 2001. A copy of an original letter, stating the land of origin as South India and dating the piece to the 18th century, with a description containing the story about Ganesha’s broken tusk, accompanies this lot.Condition: Excellent condition with minor wear, minuscule nicks, occasional light scratches, the base with dents.Weight: 1,701 gDimensions: Height 16 cmIn Puranic literature, there is an amusing story about Ganesha’s broken tusk: After feasting on sweets one day, Ganesha was returning home on his mount, a mouse. The poor mouse, unable to bear Ganesha’s weight, dropped the deity and as a result, Ganesha’s stomach burst open spilling sweets. The moon witnessed this scene from the sky and burst into laughter. Ganesha reacted by breaking off one of his tusks and angrily thrusting it at the moon, which is why we see dark spots on the surface of the moon.Auction result comparison: Compare with a bronze of a standing Ganesha from the 16th century, 24 cm, at Christie’s New York, in Indian Southeast Asian Art on 30 March 2006, lot 72, sold for USD 84,000.
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A BLACK STONE STELE OF AVALOKITESHVARA PADMAPANI, PALA PERIODNortheastern India, Bihar, 9th-10th century. Superbly carved with six arms holding various attributes such as a lotus in bloom and a rosary, amplifying the bodhisattva's compassionate expression. His downward gaze instructs the eye across crisply defined jewelry and sashes towards his right hand extended in charity. In wonderful detail, the hems of his lower garment terminate in diagonal lines conveying a weight and texture to the cloth otherwise diaphanous and rarely distinguished on Pala sculpture.Provenance: From a private collection in Belgium, by repute acquired c. 1978.Condition: Good condition with some losses, structural cracks, dents and nicks, extensive weathering and wear, all commensurate with the high age of the present lot. Solid natural patina.Weight: 8.4 kgDimensions: Height 33 cmAvalokiteshvara is surrounded by worshippers. A minuscule figure of Amitabha is identifiable at the base of his elaborate head dress. Traces of inscriptions are found in the upper section of the bottom of the stele.Until the 10th century AD, many large Pala steles of Avalokiteshvara show the Bodhisattva in a standing position. In the 11th and 12th centuries, however, the form of representation with two arms and seated in a relaxed position (lalitasana) prevails. For this reason, the present statue is to be dated to the earlier Pala period e.g. 9th – 10th century. Buddhist steles from the early Pala period with such a wealth of decoration across the entire surface usually come from the Munger or Bhagalpur districts in Bihar, or from Bengal.Auction result comparison: Compare with a related but larger black stone stele of a four-armed Padmapani at Christie’s New York in Indian and Southeast Asian Art including 20th Century on 17 October 2001, lot 19, sold for USD 12,925.
Master Ferrand González (Activo en Toledo entre 1383 - 1410) "Madonna and Child" Polychromed and gilded alabaster sculpture. Incised and gilded signature in gothic letters on the front of the plinth “Maesttro Fernan: Entallador”. Marvellous sculpture in which the Madonna is represented in a standing position, holding the Christ Child in her left arm. She wears a gorgeous brocade tunic with red and gilded motifs, cinched beneath the breast with a band which we can only see as it hangs down at one side, showing elaborate work of sculpted square shapes with alternate red and gold decoration, the last of these is topped with a four-petalled flower. This decorated band is almost identical to that employed by the sculptor on the dress on Elvira Álvarez de Ceballos’ tomb, which is located at the Quejame Monastery in Álava. A cloak rests delicately on Mary’s shoulders, blue on the inside and decorated with large gilded stars on the exterior. The clothing rests on her feet forming gothic folds, beneath which the tips of her shoes stick out delicately. The Child wears a tunic and cloak that match those of the Madonna. Both have a sweet smile and exchange gestures of affection, the Child raising His little hand towards Mary’s face, who rests her right hand on the Child’s chest with a maternal gesture. Elegant and delicate to the smallest detail, as we can see in the minute buttons which are on the sleeve of the tunic. María Teresa Pérez Higuera, in “Ferrand González y los sepulcros del taller toledano (1385 -1410)” (Ferrand González and the tombs of the Toledo workshop) indicates that at the end of the 14th century they were doing a great deal of work at Toledo Cathedral, which is decorated in such a way that it required the employment of sculptors or “entalladores” (carvers), who, of course, also worked outside the Cathedral. The existence of a workshop that made tombs in the city of Toledo in the late 14th century has been established without doubt. It was run by Ferrand González, who by that time was a well-known name in Castilian gothic sculpture. Pérez Higuera also mentions in her publication that: “There is a reference to a Ferrand Gonçales in the book of Works and Manufacturing of Toledo Cathedral, 1383, with delivery notes by the sculptor on different capitels, which were used in the choir screen that was made around that time. This Ferrand Gozález can be identified with the sculptor who made the tomb for Archbishop Don Pedro Tenorio at the Saint Blaise Chapel in Toledo Cathedral in 1399, and so it can be argued that his activity between these two dates can be proven completely, also by another series of tombs which are attributed to him as well as other work that he sculpted in the Cathedral.” González is also the sculptor of the tomb of the Bishop of Plasencia, D. Vicente Arias de Balboa, which is located in the same Saint Blaise chapel. The account book of the same chapel shows payments to the sculptor for the sculptures of the Annunciation on the façade and the polychroming of the same sculpture. Another series of sculptures was made by him and his team and these are: The tomb of Juan Serrano in Guadalupe as can be seen in the note by P. Germán Rubio: “…The famous Toledan stoneworkers, Pedro Sánchez and Ferrant Gonzalez, who worked on D. Juan Serrano’s tomb from 1403-1407, the last secular prior of Guadalupe..”. Also, Diego de las Roelas’ tomb at the Cathedral of Ávila, the Ayalas’ tombs in their funerary chapel at the Quejana Monastery, Álava, that of Juan Alfonso de Ajofrin in the Monastery of Saint Dominic of Silos in Toledo, that of the Figueroa family in the Church of Saint Mary in Écija (Seville), and that of the Pérez Guzmán family in Saint Andrew’s Chapel in the Cathedral of Seville, among others. Height: 53 cm.
Colonial School. Mexico. 18th century. "Egyptian Sybil" Oil on canvas. 64 x 49 cm. Depictions of sybils spread widely throughout New Spain between the 17th and 18th centuries. There is a complete series at the Museo Nacional del Virreinato de Mexico as well as at the church of Saint Peter González Telmo in Buenos Aires. The aesthetic of the indigenous world in Latin America was applied to the European prints of sybils and the result was far more colourist paintings, with the sybils wearing traditional Mexican dress and wearing local jewels, as in this case in which the sybil wears a coral necklace.
Velvet horse blanket with hood, embroidered with gold and silver thread and with a cast iron bit. Florence. Italy. 15th - 19th century. The embroidery applications in gold and silver threads are from the medieval period, end of the 15th century, but the structure of the velvet in red and yellow checkerboard is, in our opinion, from the 19th century. A similar model is kept at the Stibbert Museum in Florence, in the "della Cavalcata" hall. The horse blanket or dress was a large cover for decorating the horse, mostly for participating in tournaments, showing the emblems of their knights. Important noble families had their own coats of arms and colours, and dressed their horses in the same colours and coat of arms.
Savage (Henry) Balliofergus, or A commentary upon the foundation, founders and affaires, of Balliol Colledge..., presentation inscription from Martin Routh, president of Magdalen College, folding plate, near contemporary calf, a little rubbed, upper cover detached, [Wing S759], Oxford, by A. & L. Lichfield, 1668 § Breval (John Durant) The Art of Dress. A Poem., first edition, lacking half-title, dedication ff. and plate, for R. Burleigh, 1717 ; and 35 others, mostly 18th and 19th century, v.s. (37)⁂ The first mentioned with presentation inscription reading: "This copy of the Balliofergus was given to Charles A. Ogilvie, Fellow of Balliol College, by the Revd. Dr Routh, President of Magdalene College on the 21st Day of March 1827".
Royal Artillery.- Macdonald (Captain R. J.) The History of the Dress of the Royal Regiment of Artillery 1625-1897, number 99 of 300 Guarantor's [first proof] copies signed by author, colour frontispiece, 24 colour plates, tissue-guards, list of subscribers and guarantors at end, occasional faint spotting, cracked hinges, original cloth-backed boards, rubbed and worn, 1899 § The Royal Artillery War Commemoration Book, frontispiece, plates and illustrations, scattered faint spotting, original cloth, gilt, rubbed, slight bumping to corners and extremities, 1920 § The Royal Artillery Commemoration Book 1939-1945, portrait frontispiece, plates and illustrations, scattered faint spotting, newspaper clippings taped to front free endpaper, original cloth, gilt, staining to edges, dust-jacket, areas of loss to edges and extremities, tape repairs to verso, rubbed and worn, 1950; and 32 others, either Royal Artillery or Artillery, v.s. (35)
Federico Armando Beltrán Massés (Spanish, 1885-1949)Portrait of an elegant lady in a landscape wearing a blue dress and a ruby ring signed 'F.Beltran Masses' (lower left)oil on canvas 130.8 x 97.2cm (51 1/2 x 38 1/4in).unframedFootnotes:ProvenanceAnon. sale, Drouot-Richelieu, Paris, 19 December 2005, lot 114.For further information on this lot please visit Bonhams.com
Two 19th century English miniature portraits on ivory, to include one depicting a young Victorian lady with blond ringlets, in a blue dress with lace trim, the reverse with inscription 'C. Whittby (?), 1864', within a velvet and brass glazed frame, 10.5 cm x 8 cm, the other portrait depicting a late Georgian seated gentleman wearing a cravat, in a glazed oval frame, 9.3 cm x 7.5 cm
Collection of four newspaper type printing blocks (three copper, one steel), depicting Winchester city gate, dairy farm scene, umbrellas, and game; one steel printing block depicting 1920s lady holding fabric, 'Beautiful Dress Fabrics'; two carved printing rollers; two metal printing blocks with scroll pattern and Nouveau motif, and two rubber printing blocks, the largest measuring 8.5cm by 4.5cm (11)
An Angela Gore mid/late 1960s dress, skirts and sleeves in printed cotton, skirt is pleated. Bodice is patchworked in velvet/grossgrain/woolwork. Size 10. Together with a tie die effect skirt and top with covered button in teal and beige by Catherine Buckley. Size 12. A Burgundy chiffon and brown velvet blouse with velvet leaf detail. Size 12. An olive green long top in velvet by Adini, with black leaf pattern. A brown long dress, top section is crotched in brown cotton and copper metallic thread with crepe skirt. (5)
A blue and black velvet dress with long sleeves, in floral design, size 12. A dark copper brown Hobbs velvet and chiffon full length skirt, size 12. A mushroom coloured cashmere and silk mix jumper with a Peter Pan collar and buttons down neck. A deep aubergine coloured skirt with vertical stripes in corduroy, size 12. A Fenn Wright and Manson grey velvet long top and skirt, size 14. A green velvet evening dress with leaf detail. (6)
A late 1960s Laura Ashley size 14 in mauve/brown floral pattern with cream lace detail on sleeves and neckline (some fading). An Ikat silk evening dress, in sea blue with some green full length by Amanda Yeoward size 14, square neckline back and front, 3/4 length sleeves, high waist belt attached. A teal chiffon fur length dress with metallic gold thread square detail all over together with matching jacket and neck scarf, size 14. A pale grey evening frock with embroidered flowing floral design pattern, with over dress with long sleeves, size 14. A crushed velvet iridescent dark green/brown size 12. (5)
British School (20th Century) Portrait of a Young Girl with Blue Bow, inscribed Molly Bishop 1937 bottom right, charcoal and watercolour, measurements 62 x 49 cm, frame 77 x 64 cm, together with 20th Century pastel portrait of a Young Girl Carrying a Bouquet, measurements 70 x 56 cm, frame 59 x 44 cm, and Dorothy Bakinglan (20th Century), Sada in a Bridesmaid Dress 1975, oil on board, measurements 75 x 59 cm, frame 87 x 72 cm (3)
Collection of Miniatures to include oval watercolour miniature of a young woman in a white wedding dress carrying a bunch of lillies, an oval watercolour of woman wearing a blue jacket and white cap, a monochrome watercolour miniature of a gentleman wearing a curled wig, an oval miniature of a lady wearing a wig and brown dress with blue edging, a watercolour miniature of a gentleman, an oval watercolour miniature portrait of a young boy with white lace collar. Together with a pair of stamped metal frames (8)
A collection of post-WWI 'lead' soldiers, including 11 from the Guards regiment, wearing red tunics and bearskins, tallest 6.5cm high, 5 from a Scottish unit, tallest 6.5cm high,10 bandsmen, playing various instruments, 5.5cm high and many in WWI battle-dress, some of each indistinctly stamped on the base 'Made in England, Copyright Britains Proprietors?', along with two mounted cavalrymen with swords and wearing busbys, civilians, etc., many badly damaged and lacking limbs etc, most with chipped paint, chips etc, as found (qty)Part of a Herefordshire Country House EstateCondition report: Most with chipped paint. Many lacking elements, including limbs, heads etc. and/or chipped and badly damaged, including one bandsmen lacking 1cm corner of stand, guardsmen two kneeling lacking most of rifles, one lacking right leg etc. As found.
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228188 item(s)/page