A TRANSLUCENT AQUAMARINE GLASS 'COSMIC EGG', HAN DYNASTYChina, 202 BC to 220 AD. The ritual object of ovoid form, the deep-blue glass of high translucency.Provenance: Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition, commensurate with age. Extensive wear, small losses, nicks, scratches, cracks, extensive signs of weathering and erosion. Displaying remarkably well overall.Weight: 852.2 gDimensions: Height 9.5 cmIn Chinese history, glass played a peripheral role in arts and crafts when compared to ceramics and metal work. The limited archaeological distribution and use of glass objects are evidence of the rarity of the material. Literary sources date the first manufacture of glass to the 5th century AD. However, the earliest archaeological evidence for glass manufacture in China comes from the Warring States period. The Chinese learned to manufacture glass comparatively later than the Mesopotamians, Egyptians and Indians. Imported glass objects first reached China during the late Spring and Autumn and early Warring States periods, c. early 5th century BC, in the form of polychrome 'eye beads'. These imports created the impetus for the production of indigenous glass beads. During the Han dynasty, the use of glass diversified. The introduction of glass casting in this period encouraged the production of molded objects, such as bi disks and other ritual objects.The cosmic egg is a mythological motif found in the cosmogonies of the Proto-Indo-European culture and several other major civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg, sometimes lain on the primordial waters of the Earth. Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from which life or existence, in its most fundamental philosophical sense, emerges.In the myth of Pangu, developed by Taoist monks hundreds of years after Lao Zi, the universe began as an egg that symbolizes the primordial state of Taiji. A primeval hermaphroditic giant named Pangu, born inside the egg, broke it into two halves: the upper half became the sky, while the lower half became the earth. As the god grew taller, the sky and the earth grew thicker and were separated further. Finally Pangu died and his body parts became the sun, moon, different parts of the earth and living things. The first writer to record the myth of Pangu was Xu Zheng during the Three Kingdoms period. Recently his name was found in a tomb dated AD 156, during the later Han period.Literature comparison: Compare a related “glob” of glass, 3.5 cm high, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.698. Compare a related glass bi disk, 17.8 cm diameter, dated to the Western Han dynasty, in the Metropolitan Museum of Art, accession number 2006.404. Compare a glass bowl, 8.3 cm diameter, dated to the Western Han dynasty, excavated from Tomb 70 at Wenchangta, Hepu county, Guangxi, 1987, lent by the Guangxi Zhuang Autonomous Region Museum, exhibited in The Metropolitan Museum of Art, Age of Empires: Chinese Art of the Qin and Han Dynasties, 3 April to 16 July, 2017.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 48Price: EUR 7,584 or approx. EUR 8,600 adjusted for inflation at the time of writing Description: An aquamarine green glass bi disk, Han dynasty Expert remark: Note the size (14.3 cm)Auction result comparison: Type: Remotely related Auction: Christie's Hong Kong, 1 December 2010, lot 2902 Price: HKD 620,000 or approx. EUR 108,000 converted and adjusted for inflation at the time of writing Description: A very rare early translucent aqua glass cup, Han dynasty Expert remark: Note the diameter (7.7 cm)漢代海藍寶石色玻璃蛋中國，公元前202 年至公元 220 年。半透明海藍寶石色玻璃，橢圓形禮器。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，磨損、輕微的缺損、刻痕、劃痕、裂縫、風化和侵蝕跡象。 重量：852.2 克 尺寸：高9.5 厘米
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A THANGKA OF RA LOTSAWA DORJE DRAG, MONGOLIA, 19TH TO EARLY 20TH CENTURYDistemper and gilt on cloth. Depicting Ra Lotsawa seated on a tiger skin, dressed in a red and blue robe decorated with a gilt floral design, his hands held in dharmachakra mudra, a severed head with a skull crown and flaming hair in his lap, his face with a wrathful expression, open mouth bearing sharp fangs, and bulging eyes, surmounted by a shanak with flaming peaks centered by a skull, a skull bowl and dagger before him on the altar table. The background with a mountainous landscape, fruiting branches, scrolling clouds, and with the sun and moon to the upper corners.Inscriptions: To Ra Lotsawa's chest, 'Hum'. The altar table inscribed 'Drapchen Sarpa Ralo Banza Pha Namo'. To the reverse, 'Om Ah Hum Sawa Ha'.Provenance: The Triay Collection of Himalayan Art. Ian Triay is a Spanish banking executive and the Honorary Consul in Spain for the Kingdom of Bhutan. He actively participated in the establishment of diplomatic relations between Spain and Bhutan and in projects of mutual interest to both countries. Assembled over a period of 40 years with an eye for the unusual and esoteric, the Triay Collection was a unique assemblage of Himalayan art. With many works featured in the landmark exhibitions in the Fundacion “La Caixa”, Madrid in 2000, Musee Guimet, Paris in 2002, Los Angeles County Museum of Art in 2003, and the Rubin Museum of Art in New York in 2010, this collection shines a fascinating light on Buddhist ritual art.Condition: Very good condition with some old wear, little creasing, few minuscule touchups, soiling. The frame with few scratches and nicks.Dimensions: Image size 30.8 x 24.2 cm, Size incl. frame 43.3 x 36.2 cmFramed behind glass. (2)Ra Lotsawa Dorje Drag (1016-1198), born in Nyenam, is one of the most controversial Buddhist teachers in Tibetan history. While today he is universally celebrated for being the great translator who brought the Yamantaka tantras to Tibet, he was thought of as a murderer and a proliferator of the dark arts during his lifetime. He allegedly murdered thirteen Lamas, among them the famous translators Gyu Monlam Dragpa and Go Lotsawa Kugpa Lhatse.Literature comparison:Compare a closely related thangka of Ra Lotsawa Dorje Drag from a private collection, illustrated on Himalayan Art Resources, item number 60628, and on the cover of Ra Yeshe Senge, The All-prevailing Melodious Drumbeat. The Life of Ra Lotsawa, Penguin Classics, 2015.十九至二十世紀初蒙古熱譯師多吉紮唐卡布面膠彩描金。熱譯師 - 多吉紮呈寂忿相，頭飾戴骷髏冠和氈帽，手施轉法輪印，成遊戲坐坐在虎皮上，身著紅藍相間的金色花卉紋長袍，膝蓋上有一個頭髮飛揚的頭顱；熱譯師張尖咧嘴，大眼圓睜；面前的祭桌上有一個一個頭骨碗和匕首。身後山地景觀、果樹、祥雲以及太陽和月亮。 款識：熱譯師胸前有 'Hum'字樣，祭桌上'Drapchen Sarpa Ralo Banza Pha Namo'。唐卡背面'Om Ah Hum Sawa Ha'。 來源：喜瑪拉雅藝術 Triay Collection收藏。Ian Triay是西班牙銀行業高管和不丹王國駐西班牙名譽領事。他積極參與了西班牙與不丹的建交以及兩國共同關心的項目。 歷時 40 年，Triay 系列著眼於不尋常和抽象的事物，是喜馬拉雅藝術的獨特組合。 許多藏品曾在 2000 年馬德里“La Caixa”基金會、2002 年巴黎吉美博物館、2003 年洛杉磯藝術博物館和 2010 年紐約魯賓藝術博物館的展覽中展出， 使佛教儀式藝術的迷人的光芒閃耀世界。該收藏的一個特別焦點是屍林主。 在藏傳佛教藝術傳統中，死亡和來世的象徵——收藏家特別著迷的一個領域——被用來提醒人們生命轉瞬即逝，我們必須行善。 品相：狀況極好，有一些磨損，輕微摺痕，小修補，汙漬。框架有劃痕和刻痕。 尺寸：畫面30.8 x 24.2 釐米, 總43.3 x 36.2 釐米 玻璃裝框 (2) 熱譯師，全名“熱羅·多吉紮”（1016-1198），又稱“熱羅雜瓦”，簡稱“熱羅”，是藏傳佛教偉大的佛學家、高僧、大成就者。文獻比較： 比較一件非常相近的私人收藏熱譯師多吉紮唐卡，見Himalayan Art Resources，編號60628；以及封面Ra Yeshe Senge，《The All-prevailing Melodious Drumbeat. The Life of Ra Lotsawa》，Penguin Classics，2015年。
Art Deco malachite glass liqueur set attributed to Carl Schlevogt, comprising decanter and six glasses, the decanter moulded with gulls in flight beneath faceted tapered neck and tapered hexagonal stopper and six cups, each with hexagonal bowl and conforming decoration to the stem, 32cm high and smaller (7)
Group of Scandinavian silver comprising; a pair of Marius Hammer salts, each in the form of a two-handled kasa or ale bowl, with mythical beast handles, stamped MH 830 S, 7.8cm across handles; two silver and enamel-lidded glass pepperets, stamped Sterling 925S Norway;David Andersen pickle fork and knife with knotwork handles, stamped D-A 830S; pair of sugar tongs stamped 830S NM [Norskt Monster], and a match case embossed with a tavern scene, stamped 'Denmark', 9cm x 5.7cm
Dagobert Peche (attributed), a Secessionist enamelled glass footed jar and cover, probably made by Johann Oertel, Haida circa 1918, for the Wiener Werkstatte, the rounded bowl with knopped and splayed foot, the domed lid with ball finial, banded with concentric rings in graduated orange, black and yellow enamel, 16.5cm high Note: Austrian artist and designer Dagobert Peche designed textiles, enamelled glass and ceramics for the Wiener Werkstatte, many with similar concentric rings of fading colours.
A Dutch Saxon engraved glass Shipping goblet, second quarter of the 18th century, circa 1740, probably Dutch East India Company, the round funnel bowl decorated with a coastal marine scene of ships in full sail, firing canon against a fortress and other Oriental domed building, on an inverse baluster facet cut hollow stem, basally knopped, on conical foot, incised numeral I to the foot, 21.5cm high
Gordon Russell for Stevens and Williams, a Lygon style wine glass, circa 1920, the optic conical bowl on wrythen twist stem and conical foot, acid mark Brierley, 13.5cm high Note: Gordon Russell designed a series of drinking glasses based on traditional 18th and 19th century designs, for the Stourbridge glass factory Stevens and Williams (known as Royal Brierley), retailed through his Broadway showrooms under the Lygon range (named after the Lygon Arms hotel)
A large Chinese carved hardwood stand, 19th century,. height 9cm, inner diameter 22.9cm, outer diameter 30cm and seven other wooden stands.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.The large stand has been re-glued between the top 'ring' and the base and with a few minor breaks. It is heavily water stained on the top. One bowl stand has a crack. The larger three lobed stand is missing a foot. Circular stands good. Please see images.
* Glass. A collection of 18th-century and later drinking glasses including an 18th-century wine glass with etched funnel bowl on conical foot, 12 cm high, a pair of Georgian ale glasses with barley and hops engraving, 13.5 cm high, a George III period facet cut toast glass, 11cm high, a facet cut wine glass with bladed knob stem and conical foot, 11.5cm high, absinth glass, 9.5cm high, plus 25 other pieces of glassware various sizes, largest 18cm high smallest 7cm high QTY: (31)
A mixed group of ceramics and glass comprising Meissen dark blue and gilt vase, 20th century, decorated with opposing gilt-scrolled cartouche of flowers and an Antoine Watteau-esque scene of lovers in garden setting, painted blue crossed swords and incised shape number, 16.2cm high; together with an early 20th century Meissen coffee cup and saucer, painted in iron red with two fighting cockerels and stylised dragons, painted blue crossed swords, impressed '13', coffee cup 6.5cm high, saucer 14cm diameter; a Meissen teacup and saucer, decorated with floral cartouches against cobalt ground, a small German cream jug, a Royal Worcester cream jug, Coalport cream jug transfer-printed with a Caughley-style print, 10cm high; a pair of Flight Worcester spiral fluted tea bowls, and a pair of engraved 19th-century glass vases and a small optic cut liqueur glass, 10cm high (qty)One Flight Worcester tea bowl and the Coalport cream jug restored.Meissen blue cup and saucer - chip to underside of saucer.Meissen red cup and saucer- short scratch through the enamels to one cockerel on the saucer. Firing crack through base terminus of handle.Meissen vase - no damages.
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