We found 19747 price guide item(s) matching your search

Ca. 618-907 AD A mold-formed pottery tomb attendant figure in the form of a female musician playing cymbals. She is wearing a long robe with upper clothing in orange and her shoulders are covered by a shawl. She is displaying a harmonic expression; her smiling face with highlighted lips beneath a large hair bun. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:290mm / W:70mm ; 810g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A mold-formed pottery tomb attendant figure in the form of a female musician playing a string instrument. The lady is wearing a lengthy robe and a pink shawl on her shoulders. She displays a smiling face beneath a large hair bun. Excellent condition and original paintwork. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:295mm / W:80mm ; 820g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A mold-formed pottery tomb attendant figure in the form of a female musician playing flute. The lady is wearing a lengthy robe with her upper garment painted in red and ochre and a green shawl on her shoulders. She displays a smiling face beneath a large hair bun. Excellent condition and original paintwork. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:295mm / W:75mm ; 807g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 206 BC - 220 AD A terracotta court figure of a kneeling female presented wearing the traditional Eastern Han Dynasty court attire, or shenyi, which comprises a long vest, tied to the waist and long, flaring sleeves. The vest is a brilliant white while the waist-tie and trim are picked out in brilliant pink and red. This particular lady has a finely detailed face showing red painted lips, a small nose, bright eyes and delicately arched eyebrows. The figure's long black hair is tucked behind her ears. Court ladies, otherwise known as nüguan, were present in the imperial palaces of all dynasties. Some served as consorts and concubines, but filled roles related to management of the imperial palaceâ's private quarters. During the Han period there were 14 ranks of court lady. Service as a court lady raised the status of a lady in regards to marriage prospects. For a similar see The Minneapolis Institute of Art, Accession Number 2000.208. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:400mm/ W: 2300mm ; 4650g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 618-907 AD A delicate figure of a female dancer wearing a long brown gown with a white shrug. Her hands are covered in sleeves. Her upper body is slightly bent to the side, with her left arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, red pursed lips, delicate brows, and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:330mm / W:150mm ; 930g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A terracotta figure of a kneeling female musician wearing a long flowing gown with an orange skirt and green bodice. The lady is delicately made up with red lip paint, delicate arching brows, and elaborate coiffure. She plays the cymbals. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:220mm / W:100mm ; 453g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A terracotta female musician figure playing drums. The lady is depicted in a kneeling position, wearing a long reddish skirt covering her legs, a cream bodice, and a pink shawl thrown over the shoulder. Her hair is neatly combed into a coiffure consisting of a high topknot, and her face is covered with white pigment, on which thin, slightly arched eyebrows and narrow eyes have been outlined in black pigment, and the small mouth has been painted in red pigment. The highest-rated musicians at the Tang court performed seated, while the lower ranks played standing and were also treated less well in other respects. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:215mm / W:100mm ; 970g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A delicate figure of a female dancer wearing a long flowing gown with her hands covered in sleeves. Her dress is red, covered with a white shrug and a long green shawl hangs from her right shoulder. Her upper body is slightly bent to the side, with her right arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, red pursed lips, delicate brows, and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:350mm / W:130mm ; 985g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 2000 BC A round-bottomed pottery vessel of a bulbous body, with a broad sloped shoulder tapering to flared circular rim. The entire surface is covered with a beige slip, with a brown-painted decoration around the shoulder consisting of abstract motifs. Tepe Giyan is an archaeological site in the highlands of the central Z?gros Mountains in Hamadan Province, Iran. The hill lies within the village of Giyan about 10 km southeast of Nehawand. The hill is 350 m long in diameter and 19m high. The first excavations of Tepe Giyan occurred in 1931-1932 sponsored by Musees Nationaux and the Ecole du Louvre under the directorship of George Contenau and Roman Ghirshman. For a similar see The British Museum, Registration number 1929,0415.1. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:305mm / W:265mm ; 3.56Kg Provenance: Property of a London Ancient Art gallery; formerly acquired on the UK Art market; formerly from a dealer in Belgium in 2005; previously in an old French collection formed in the 1980s.

Ca. 3000 BC A terracotta painted vase with an out-turned rim, a cylindrical neck, broad, flaring shoulders, conical body, and flat base. One applied lug handle is attached below the shoulder. The neck and shoulder are painted with repeating wave and net designs. This superb example of Chinese Neolithic pottery would make a brilliant statement piece in a modern collection. For a similar see Freer Gallery of Art, Smithsonian Institution, Washington, D.C., Accession number F1930.96. Size: L:230mm / W:245mm ; 1.2Kg Provenance: Property of a London gallery; formely in High Wycombe Estate collection; formerly acquired on the UK Art market pre 2000.

Ca. 618-907 AD A delicate figure of a female dancer wearing a long flowing gown with her hands covered in sleeves. The top of her dress is red, and a long pink shawl hangs from her right shoulder. Her upper body is slightly bent to the side, with her right arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, red pursed lips, delicate brows, and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:325mm / W:190mm ; 1.11kg Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A mold-formed pottery tomb attendant figure in the form of a female musician playing paixiao - the wind instrument, made of edge-blown bamboo pipes, which are mounted in one row in a flat, wooden handle. She is wearing a long robe with upper clothing in orange and her shoulders are covered by a green shawl. She is displaying a harmonic expression; her smiling face with highlighted lips beneath a large hair bun. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:300mm / W:85mm ; 852g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A mold-formed pottery tomb attendant figure in the form of a woman who is wearing a lengthy robe with a brown-painted skirt, upper clothing in red, her right arm by her side holding a vessel, and her right hand outstretched, she is displaying a harmonic expression; her smiling face beneath a large hair bun. Excellent condition and original paintwork. For similar style holding ewer see The Metropolitan Museum of Fine Art 1997.442.7.1. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:350mm / W:95mm ; 940g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A ceramic figure of a female attendant standing facing forward, with ewer in her right hand. She wears a long-sleeved, loose-hanging robe with a brown skirt and red bodice, which is covered by a green shawl around her neck. The dress is embellished with delicately detailed upturned shoes. The facial features, such as the eyes, lips, nose, and eyebrows are picked out by delicate painting. An elaborate coiffure crowns her face. For similar style holding ewer see The Metropolitan Museum of Fine Art 1997.442.7.1. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:350mm / W:95mm ; 1kg Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD A terracotta figure of a kneeling female musician playing flute. The lady wears a long flowing gown. Her face is delicately made up with red lip paint, delicate arching brows, highlighted cheeks, and elaborate coiffure. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:215mm / W:90mm ; 805g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Persia, Ca. 12th-13th century AD A nicely formed ceramic bowl rising from a ring foot. The interior is painted in black and navy under a transparent glaze, decorated with a radial design around the central register. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:60mm / W:235mm ; 400g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Persia, Nishapur, Ca. 10th century AD A nicely formed pottery bowl with its interior decorated with white tin glaze slip with black painted Kufic script around the inner edge. Nishapur was an ancient and medieval city in Iran, famous for its rich ceramic, glass and metalwork traditions, until it was destroyed by the Mongols in 1221. For a simialar see The Metropolitan Museum of Art, Accession Number: 65.106.2. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:100mm / W:260mm ; 850g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 8th-11th century ADA large finger ring having a heavy gold round tapered shank with a fine ringed border bezel and four large triangular prongs set with an oval cabochon ruby stone. Intact, excellent condition. Sturdy and suitable for wearing. A nice example. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Cf. Sotheby's, Golden Splendour – Gold Jewellery from the Collection of Tuyet Nguyet and Stephen Markbreiter, Lot 1085, 28 July 2021.Size: D: 20.76mm / US: 11 1/8 / UK: W; 16.83gProvenance: Property of a London Ancient Art gallery, acquired on the US Ancient Art market; formerly NYC collection, ex. US art gallery, NYC.

EDUARDO SANCHÉZ SOLÁ (Madrid, 1869 - Granada, 1949)."Valencianas".Oil on canvas.Signed in the lower right corner.With label on the back of the Multitudes Gallery.Measurements: 59 x 39 cm; 80 x 59 cm (frame).In this canvas Sánchez Solá offers us a scene of popular and feminine theme, very decorative and full of anecdotic details. However, what stands out most is the luminist heritage, not so much in the execution, which is tighter and more precise than the Impressionist one, but in the luminous sensibility, which is also reflected in the clear, bright colours.Sánchez Solá trained at the San Fernando School of Fine Arts, where his teachers were Alejandro Ferrant and Luis Taberner. He later taught at the School of Arts and Crafts in Granada, and was a contributor to the art magazine "La Ilustración Española y Americana". He participated assiduously in the National Exhibitions of Fine Arts, being awarded an honourable mention in 1895; a third class medal in 1897 for the canvas "Tristes noticias" and in 1899 for "El destete"; a decoration in 1901 and an honourable mention in Decorative Art in 1904. He also exhibited at the Regional Exhibition of Modern Art in Granada, at the one at the Centro Artístico in 1942 and at the one in Linares in 1943. Sánchez Solá specialised in oil paintings in which he depicted scenes of altar boys playing games in Andalusian churches of the time. In them, the artist was able to capture the expressiveness and movement of the children, who generally appear concentrated in a game. He is therefore known as "the painter of altar boys", and works such as "Short and Tight", "Do what you like", "Mischief", etc. are still preserved from this genre. He was also known as a painter of portraits and landscapes. Sánchez Solá is currently represented in the Museo del Prado and the Museo Provincial de Lugo, as well as in various private collections.

Josef Hoffmann - Wiener Werkstätte ( Werkstatte ) / Vienna Workshop. An early 20th Century Austro-Hungarian Austrian hallmarked silver open pattern twin section bon bon dish. Secessionist in design with two oval shaped glass dishes sitting within a pierced twin section stand with central square form handle. Makers stamps / monograms to underside 800/900 silver. Measures approx; 15cm x 19cm x 27cm. Weighs without glass approx 283.7 grams.The Wiener Werkstatte (Vienna Workshop) exerted an enormous influence on artists and designers throughout the first part of the 20th century. In 1897 a group of progressive artists and designers, led by architect Josef Hoffman and painter Koloman Moser, formed the Vienna Secession which became the Wiener Werkstätte Produktiv-Gemeinschaft von Kunsthandwerken, Wien (the Viennese Workshop and Production Cooperative of Art Works in Vienna) in 1903 when they received backing from a prominent businessman. This enabled them to equip workshops especially for working on modern design in a range of applied arts like glass, metalwork and jewellery. The aim of the Wiener Werkstatte artists and designers was to bring good design and art into every part of people's lives. They also wanted to break with the past and bring new style to everything they produced. Emphasis was placed on the beautiful and unique as well as faultless craftsmanship.

A MODERN ART DECO STYLE MULTI PANEL MIRROR 92 X 68 CM

Harry Powell for James Powell and Sons, Whitefriars, an Arts and Crafts glass beaker vase or large tumbler, circa 1880, wrythen optic ribbed with four dimpled sides and slightly everted rim, 15cm high Note: an example of a smaller tumbler from this service is in the Museum of Modern Art, New York

A modern Art Deco style patinated metal figure depicting a female gymnast, raised on a marble base, height 27cm, together with a pair of painted Art Deco style figures, titled 'La Musique' and 'La Danse', height 34cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A modern Art Deco style standard lamp, height overall 173cm

Ullmann, Anne, Whittick, Christopher and Lawrence, Simon; 'Eric Ravilious: Landscape, Letters and Design', 2 vols, one of 750, oblong 4to, The Fleece Press, Upper Denby, 2008, in slip case, together with Powers, A; 'Eric Ravilious, The Story of the High Street', limited edition of 750 copies, blue cloth in original slip case, The Mainstone Press 2008 and Mayne, Jonathan; 'Barnett Freedman', from the English Masters of Black and White series, Art and Technics London 1948.Qty: 3Modern books in good, clean condition. Some wear to 'Barnett Freedman'.

Raffaello Sanzio, genannt Raffael (1483 Urbino - 1520 Rom)Kopie nach "Portrait des Bindo Altoviti". Seitenverkehrte Kopie nach dem Gemälde Raffaels von 1515. Öl auf Holz, wohl zweite Hälfte 19. Jh. Unsigniert. Rückseitig auf moderner Rahmung von unbekannter Hand bezeichnet "H.V. 1648". 22 x 16 cm, 27 x 23 cm (Ra). Zwei kleine Retuschen im Hintergrund. Das berühmte originale Renaissance-Bildnis des Florentiner Bankiers Altoviti wurde im Jahr 1808 von König Ludwig I. von Bayern für die Sammlung aus dem Familienbesitz der Altoviti angekauft und verblieb in München (Alte Pinakothek) bis 1936. Über doubiose Wege gelangte das Gemälde schließlich nach Washington, D.C., wo es sich noch heute als Eigentum der National Gallery of Art befindet. Copy after Raphael: The portrait of Bindo Altoviti. Mirrored copy. Oil on wooden panel, pres. second half 19th century. Unsigned. Modern frame. Two small retouches in the background. The Original: Formerly acquired by King Ludwig I of Bavaria and exhibited in Munich until 1936. Then under unclear circumstances purchased by S.H.Kress for the National Gallery of Art in Washington, D.C.

COMICS/GRAPHIC ART: collection of related modern hardback and paperback publications over one shelf, including Marvel Omnibus Vol.2 (dustjacket, VG): Jim Woodring: Modesty Blaise and others, generally VG. (One shelf)

A RARE PAIR OF CHINESE CLOISONNE ENAMEL AND GILTWOOD TABLES THE CLOISONNE 17TH / 18TH CENTURY, THE TABLES FRENCH, 19TH CENTURY each with a rectangular top with a floral design edge, inset with a Chinese rectangular panel, one depicting a luohan seated on a carpet supported by mythical creatures floating across the sea, the other with another luohan waving to a deity riding on a crane, above a base with scroll legs (2) 64cm high, 32.2cm wide, 36cm deep Provenance Alfred de Rothschild (1842-1918) the Ante-Room to the Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Seven plaques of Chinese cloisonne enamel, variously decorated and mounted as the tops of gilt tables, £35.0.0.' Charles Davis, A Description of the Works of Art Forming the Collection of Alfred de Rothschild, 1884, p.236, no.266, listed as 'A pair of small tables of carved and gilt wood, each with three legs, the tops are inlaid with a square turquoise plaque of Chinese cloisonne enamel.' Catalogue Note In Buddhism, the 'arhats', or 'luohan' in Chinese Buddhism, are seen as the original followers of Gautama Buddha, or arhat. They have reached the state of Nirvana, they are now free of all worldly cravings and their role is to protect Buddhism until the arrival of Maitreya, an enlightened Buddha predicted to appear on Earth many centuries in the future. In the earliest Indian depictions only four disciples were shown but over time this number rose to sixteen and by the Tang or Five Dynasty periods in China there were eighteen, a tradition that continues into modern Chinese Buddhism. The symbolism of the two plaques included in this lot show a luohan welcoming the Mother of the West and the other shows four demons carrying a luohan over the Bitter Sea.

A small quantity of modern decorative works of art to include portraits, topographical, Asian interior scenes, embroidered panels, etc, mostly framed and partially glazed.

A modern Art Deco style silver plated teapot, in the style of Christopher Dresser

A Wedge oil ship's lamp, a copper food warmer/pot, a modern brass Art Nouveau mirror, and a fire screen, fire screen height 66cm

A set of 30 modern Art Nouveau design tiles

A set of 30 modern Art Nouveau style tiles, with stylised decoration

Frances Bildner Corporate Abstract British Artist - A contemporary modern art acrylic on canvas painting entitled ' Opium Eaters '. The painting depicts two figures within multi coloured spirals with blue tones throughout. Measures approx; 610mm x 760mm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab . Frances Bildner is a professional painter who has exhibited widely in both Europe and the United States. She is also the founder of Creative Wiz Kids. It is a children's playgroup that she started in New York City in 1990 and is now based in London.

Kitty van der Mijll DekkerRug, 1940sWool.164 x 164 x 3.5 cmFootnotes:ProvenanceChristie's, Amsterdam, 'The Estate of Kitty Fischer', 22 October 1996Christie's, South Kensington, 'Modern Design', 12 November 1997, lot 17Following studying at the Hornsea School of Art, London and the Institute of Decorative and Applied Art, The Hague, the Dutch textile artist Kitty van der Mijll Dekker enrolled at the Bauhaus, Dessau. At the Bauhaus, Kitty van der Mijll Dekker (later known as Kitty Fischer) completed the preliminary course under Josef Albers before joining the weaving workshop, where she studied under Gunta Stölzl. Having received her Bauhaus certificate in 1932, Kitty returned to The Netherlands where she opened her own weaving workshop. She exhibited her work internationally throughout the 1930s, winning medals at the Milan Triennale, Brussels International Exposition and San Francisco World's Fair, in addition to teaching from 1934-1970 at the Kunstnijverheidsschool Quellinus in Amsterdam.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Gerald Abramovitz'Cantilever light, Mk II', model no. 914155, circa 1964Aluminium, anodised aluminium, painted steel.51 x 71 x 9.2 cmManufactured by Best and Lloyd Ltd., Birmingham, United Kingdom. Base with paper label printed Registered design no. 914155/cantilever light Mk II/best&lloyd.Footnotes:Literature'Duke of Edinburgh's Prize for Elegant Design and the Design Centre Awards 1966', Design Journal, no. 209, May 1966, p. 41Kathryn B. Hiesinger and George Marcus, Design Since 1945, exh. cat., Philadelphia Museum of Art, 1983, p. 143The present model won the Design Centre Award in 1966 and is held in the collections of the Victoria and Albert Museum, London and the Museum of Modern Art, New York.For further information on this lot please visit Bonhams.com

Robin DayTwo rare cocktail units, model no. 652, designed for the 'Furniture Trades Exhibition', Earl's Court, London, 1951 Sycamore, sycamore-veneered plywood, glass. Each: 183 x 71 x 44 cm Manufactured by Hille & Co., London, United Kingdom. One drawer impressed HILLE OF LONDON.Footnotes:LiteratureArchitects' Journal, 22 Feb 1951, p. 234The Cabinet Maker, 28 April 1951, p. 365Architects' Journal, 2 August 1951, p. 136Mavis Watney, 'Three Robin Day Cabinets', Antique Collecting, The Journal of the Antique Collectors Club, vol. 36, no. 7, December 2001-January 2002, illustrated p. 44Lesley Jackson, Robin & Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 174Tradition versus Modernity – The Ambiguity of British DesignLesley JacksonWriter, Curator and Design HistorianIt is impossible to understand the evolution of modern British design without addressing the thorny issue of tradition. It keeps bubbling up during the post-war period long after British designers had embraced the concept of 'Contemporary' design. Even in the 1960s, a decade we think of as unashamedly progressive, there was still a vestigial hankering for tradition, manifested through Art Nouveau and Art Deco revivalism. Since the 1980s, historical allusions have resurfaced again in a new guise, often ironic, emboldened by Post Modernism. Without recognising and reconciling these two apparently conflicting impulses – tradition versus modernity – it is difficult to appreciate the distinctive character of British design.It was the Finnish architect Alvar Aalto who helped to sow the seeds of Modernism in the UK. His appealingly tactile bent laminated wood furniture for Finmar [lot 14] found a receptive audience in the otherwise rather stick-in-the-mud market in Britain during the 1930s. Interestingly, as well as being sold through modern design emporia such as Bowman Brothers in Camden Town, Aalto's furniture was exhibited at Fortnum and Mason, a bastion of tradition. Gerald Summers' short-lived company, Makers of Simple Furniture, was clearly inspired by Aalto during its all-too-brief but glorious existence. The few surviving pieces from this remarkable workshop, such as the laminated birch plywood Mirror [lot 4], reflect the British propensity for organic modernism.Like many manufacturers, Makers of Simple Furniture was forced to close in 1940 following the outbreak of the Second World War. The ensuing period of make-do-and-mend austerity meant that ambitious young furniture designers, such as Robin Day, had to put their careers on hold for over a decade. The Festival of Britain in 1951 was a seminal event in British post-war design. As well as kick-starting the country's economic and cultural recovery, it provided a launch pad for a host of up-and-coming designers, including less well known figures such as the architect Ray Leigh, who went on to become Design Director at Gordon Russell, as well as acknowledged names such as Ernest Race and Robin Day. Day had already achieved international renown in 1948 when he and Clive Latimer won first prize in the storage section of the International Low-Cost Furniture Competition organised by the Museum of Modern Art in New York. It was this competition that brought Day to the attention of Hille, the firm with whom he would collaborate so productively for the next three decades. Day was determined to make the most of the unique opportunities provided by the Festival of Britain to showcase his ideas and get his furniture into production. As well as winning the contract to design the seating for the Royal Festival Hall, he created several room settings for the Homes and Gardens Pavilion. His stylish steel-framed room divider featuring an etching by the sculptor Geoffrey Clarke took pride of place in an open-plan living room / dining room, along with the aerodynamic moulded plywood chairs he had created for the Royal Festival Hall. While these designs are justifiably famous, some of Day's other contributions to the Festival are less well documented. Amongst these was a Cocktail Cabinet [lot 1] originally created for Hille's stand at the Furniture Trades Exhibition at Earl's Court in January 1951, which was later incorporated into a Country Parlour at the Festival designed by Eden Minns on behalf of the Council of Industrial Design. These cabinets, with their attractive sycamore and cherry veneers and their beaded tambour-effect bottom cupboards, are a curious hybrid, harnessing the traditional cabinetmaking skills of Hille's workforce, but embodying new ideas about functionalism and the clean-lined aesthetics of modern design. Although Robin Day's success at the Festival convinced Hille to pin their flag to the mast of modern design, other firms, such as Gordon Russell, who were based in Broadway in the heart of the Cotswolds, took a more measured path. Their post-war output continued to reflect the dichotomy between tradition and modernity, as evidenced by the finely crafted executive Desk [lot 22] designed by Ray Leigh and Trevor Chinn.The artist craftsman John Makepeace, who rose to prominence in the 1970s, is another designer whose work fuses tradition and modernity. On a purely technical level, his Fireside Desk [lot 10] represents the pinnacle of centuries-old hand craftsmanship, reflecting his conscious decision to pursue craft as an alternative to functionalist mass-production. Unexpectedly perhaps, the design incorporates some unmistakably modern materials, such as melamine and stainless steel. Makepeace's mastery of lamination and his fascination with organic forms also hark back to Alvar Aalto. The technical ingenuity displayed by John Makepeace, along with his entrepreneurialism, are both recurrent features of British design. Not surprisingly, these two characteristics frequently go hand-in-hand, with designers such as Ernest Race establishing their own companies specifically to produce their own technically unconventional designs [lot 8]. Artists Eduardo Paolozzi and Nigel Henderson, who teamed up in 1954 to found Hammer Prints to produce their own textiles, lamps and furniture, also demonstrate these qualities [lot 7]. They, too, were mavericks who chose to operate independently outside the establishment framework. Significantly, their radical pick-and-mix eclecticism drew on 'borrowed' imagery from historical sources, including 17th century woodcuts and 18th and 19th engravings, another typically quirky example of the fruitful alliance between tradition and modernity in British design.Paolozzi and Henderson's mischievous iconoclasm and do-it-yourself mentality have parallels with the ethos of New Wave designers Tom Dixon and Mark Brazier Jones, who pioneered the concept of Creative Salvage during the 1980s. In their case, however, it was the collapse of manufacturing that prompted them to become designer-makers. Dixon's iconic S Chair [lot 27] with its steel base and armature has an overtly contemporary aesthetic, although its rush upholstery derives from traditional crafts. The shock tactics of this deliberate mismatch enhance its visual impact. The incongruous marriage between tradition and modernity also lies at the heart of many of Mark Brazier Jones's pieces, such as his Dressing Table and Mantle Clock [lots 23 and 37] with their playful allusions to extravagant 18th-century rococo idioms. Such objects were already an anachronism by the 1990s but J... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

MODERN ART

▴ Mary Potter (1900-1981)View across a harbour signed 'Mary Potter' and inscribed torn label verso, oil on panel27 x 36cmProvenance: Christie's, London, 'Modern British Art', 21 March 1996, lot 132.The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition ReportFramed size: 43 x 35cm.A little cracking to paint along grain of panel or places where imperfections in panel, please refer to condition report images that depict this, under uv light, one longer crack to paint fluoresces and appears to have spots of retouching. However, these are only visible under close observation and in our opinion are not distracting when looking at the picture on a wall. Impasto is intact and paint is stable. Please refer to images.

A collection of works of art, including two modern wooden decoy ducks, an African walking stick, dominoes, bellows, playing cards, a stoneware 'Neptune' mug (7)

A quantity of vintage and modern books. Regarding poetry, novels, history, art, etc.

A MACHINE WOVEN CARPET OF AUBUSSON STYLEDESIGNED BY OLIVER MESSEL, MADE BY V'SOSKEthe green ground with foliate spandrels around a central ivory medallion woven with further flower-sprays and entwined flowerheads, the crimson floral borders with yellow and pink trellisworkapproximately 656cm long x 505cm wide Provenance: Commissioned by Oliver Messel for the Morning Room V'Soske carpets are held in the collections and exhibits at the Museum of Modern Art, Cooper Hewitt, Smithsonian Design Museum, and formerly the White House. The founder, Stanislav V'Soske, was known as 'the dean of American rug design' and worked with Messel on a number of projects. Condition Report: The carpet is stained, marked and worn consistent with age and use.Observations include: small circular dark marks, possibly burns from fire sparks?; stained, discoloured and marks, that are more visible to the pale field areas; some brown patches, possibly a dog ( there is a smell permeating from it) ?!; some variable fading including to some of the outer lilac border; some possible rust or wood stains where chairs or table legs have stood; the underside with cotton tape around the edge looking quite clean in some sections, extensively stained to others; visible wear with worn threads in particular to areas to the two narrower ends; variable wear to the pile; some undulations and creasing to the central area.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer

FIVE DECORATIVE PRINTS, COMPRISING A SIGNED ALAN M. HUNT LIMITED EDITION, 'On the Edge' depicting a Tiger at rest, 160/550 with certificate, approximate size 85cm x 47cm including margins, a Ben Maile print on canvas depicting London across the Thames, together with two modern box canvas prints depicting rabbits and a hare produced for retailer Next and a Hannah Cole box canvas print depicting seaside cottages produced for The Art Group

A GROUP OF MISCELLANEOUS ITEMS, comprising a metal candle stand, height 90cm, a modern green glass metal framed hanging candle holder, an oak Holy Communion cup organiser with chrome fittings, length 20cm x width 14cm, a silver coloured Fabergé style egg on a yellow metal stand decorated with faux jewels and cream satin lined, a small oil lamp top with a clear glass chimney, height 13cm, an oak Art Deco picture frame height 26cm x width 20cm (no glass), an Abbey Ceramics pitcher from the 'Brueghel Collection' series of four No 1 Jan Brueghel 1568-1625, height 22cm (hairline crack on the base), together with a large two handled EPNS trophy on a black Bakelite base, height 30cm (7) (Condition report: obvious damage is mentioned in description)

° ° A collection of forty-one 20th Century titles relating to Erotica;Kearton, N., ‘Abstract Erotiscm, Touch Me’, 1996, paperback; Ernst, M., ‘Une Semaine de Bonté’, 1976, paperback; Thomas, P., ‘Kama Kalpa, the Hindu Ritual of Love’, hardback; Rawson, P., ‘Erotic Art of the East’, 1968, hardback; Gerhard, P., ‘The Pillow Book’, 1972, hardback; Schiff, G., ‘The Amorous Illustrations of Thomas Rowlandson’, 1969, hardback; Slocombe, R., ‘City of Broken Dolls’, 1997, paperback; Benedict, B., ‘The Blue Book’, 2007, paperback; Tulchin, L., ‘The Nude in Photography’, 1950, hardback; ‘Doris Kloster Photographs’, hardback, Leslie, C., ‘Wilheim Von Gloeder’, 1977, paperback; Edison, L.T. & Notkin, D., ‘Women En Large; Images of Fat Nudes’, 1994, paperback; Marnix, D.P., ‘Freaks: We Who Are Not As Others’, 1990, paperback x2; Arwas, V., ‘Felicien Rope’, 1974, paperback; Gomez-Vaëx, W., ‘City Indians’, 1983, paperback; Hill, C., Wallace, W., ‘Erotica’, 1996, hardback; Phyllis, D. & Kronhausen, E., ‘Erotic Art’, 1971, hardback; Celant, G., ‘Joel-Peter Witkin’, 1995, hardback, Aratow, P., ‘100 Years of Erotica’, 1973, paperback; Campbell, J., ‘The Power of Myth’, 1988, paperback; Mapplethorpe, R., ‘Lady Lisa Lyon’, 1983, paperback; Daniélou, A., ‘The Phallus’, 1995, paperback; Buckley, J. & Goldstein A., ‘The Screw Reader’, 1971, hardback; De La Bretonne, R., ‘Pleasures and Follies’, paperback; ‘Der Liebe Lust’, 1980, paperback, Fendi, P., ‘Genießet die Liebe’, paperback; de Sade, D.A.F., ‘Obliques’, 1977, paperback; Cole, W., ‘Erotic Poetry’, 1963, hardback; Bettelheim, B., ‘Symbolic Wounds’, 1995, hardback; Pierre, J., ‘Investigating Sex: Surrealist Discussions 1928-1932’, 1992, hardback; translated by Kurata, R., ‘The Harvest of Leisure’, 1948, hardback; Comfort, A., ‘Nature and Human Nature’, 1966, hardback; Davenport-Hines, R., ‘Vice’, 1993, hardback; Masters, R.E.L. & Lea, E., ‘Sex Crimes in History’, 1966, hardback; Farrar, J. & Farrar, S., ‘The Life & Times of a Modern Witch’, 1987, hardback; Saudek, J., ‘Jubilations and Obsessions’, 1995, hardback; van der Spek, D., ‘Joy: photography by Erwin Olaf’, 1993, hardback; Mapplethorpe, C., ‘Robert Mapplethorpe’, 1983, paperback; Rubin, A., ‘Marks of Civilization’, 1988, paperback; Ploss, H.H., Bartels, M. & Bartels P., ‘Femina Libido Sexualis’, 1965, hardback; Gerhard, P., ‘Pornography or Art?’, 1971, paperback; Woodroffe, P., ‘Mythopœikon’, 1976, paperback; Camphausen, R.C., ‘Return of the Tribal’, 1997, paperback; Ashford, R., ‘Erotique’, 1998, paperback; together with three magazines editions of Zoom.

A shelf of modern mixed scale diecasts including Maisto 1:24, Pauls Model Art 1:18 Aston Martin V12 Vanquish, etc, all boxed

Two modern art glass bowls in deep Bristol blues

A selection of modern art glass paper weights in various designs including dump style, Millefiori and flower patterns

Le Pho (France, United States, Vietnam, 1907 - 2001) Still life painting. Wally Findlay tag verso. Inventory number inscribed on upper stretcher. Le Pho was a French-Vietnamese painter best known for his stylized depictions of nudes, gardens, and floral still-lives. His work succeeded in merging Impressionism, Surrealism, and traditional Chinese painting into a sensual yet disconcerting vision of Eden, reminiscent of both Odilon Redon and Pierre Bonnard. Le Pho has garnered himself a place in Vietnam's art canon, for his oeuvre is a collection of works that are poetical depictions of domestic scenes that were memories from the artist's own childhood of growing up in Hanoi. Le Pho's favored subject matter revolved around what he deemed to be beautiful and pleasing to the eye, thereby much of his paintings are visual homages to flora and fauna, and elegant women either alone or shown with their children in private interludes as vignettes from family life. Throughout his life, he had several exhibitions in Paris, New York, Chicago, San Francisco and Buenos-Aires. He participated in shows annually at the Salon d'Automne and the Salon des Independants in Paris. The Museum of Modern Art in Paris is one of the museums holding his work. Provenance: Important Private Collection, New York City. Sight Size: 13.75 x 9.5 in. Overall Framed Size: 19.5 x 15.25 in.

Erik Nitsche (Swiss, 1908 - 1998) "Amoreiras Towers in Portugal" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Portugal Europa 1987 Modern Art - Architecture stamp issued May 5, 1987. From mountain rivers rushing toward the Atlantic coast in northern Portugal ... to lush vineyards and cork groves flourishing among the mountain valleys, there is a balance between the various elements of Portugal's landscape and its architectural legacy. Just as the traditional architecture is in harmony with the natural landscape of Portugal, the modern architecture is in keeping with the busy cities of contemporary times. This artwork features the Amoreiras Towers (Torres das Amoreiras). Located in the capitol city of Lisbon, the building is made up of housing, offices and a shopping mall. The architect of the "Torres das Amoreiras" is Tom?s Taveria. Born in Lisbon, Taveira taught architecture at the University of Lisbon and practiced architecture in Portugal, South Arabia, Arab Emirates, Macao, Angola, and Cabo Verde. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10983)

ARR Laurence Stephen Lowry (1887-1976) - Lithograph in colours - "Three Men and a Cat", signed in pencil, and with Fine Art Trade Guild stamp and "EFA", 7ins x 11ins, in modern frame and glazed

[MASCALL (Leonard) & SCOT (Reginald)] The Country-mans Recreation, or the Art of Planting, Grassing, and Gardening..., first 2 parts only of 3, in 1, woodcut illustrations, lacks part 3 ("The expert gardener..."), title soiled and laid down, A2-B1 margins stained, some other marginal staining, M4 corner torn away and repaired, foxed and browned, some 18th c. annotations, later endpapers, modern half calf, L., Printed by B. Allsop and T. Fawcet, 1640 [STC 5874]; - another copy, leaf I3 defective with loss, finishes at p. 54 of part 3, (which has a different imprint: Richard Herne, 1640), followed by: ST. JOHN (Paulet) Every man his own farrier; being a collection of valuable and efficacious receipts, 8vo, lacking 4 ff., Winton, 1780 (2 vol. collection, w.a.f.)

KNOWLSON (John C.) The Complete Farrier, or Horse Doctor; Being the Art of Farriery . . . To which is added a Catalogue of Drugs, 8vo, frontispiece cut and laid down, title-page soiled and backed, Otley, 1820, bound in recent half calf with: The Complete Cow-Leech or Cattle-Doctor, Otley, 1820, with some loose ms. material within; together with: TAPLIN (W.) The Gentleman’s Stable Directory; or, Modern System of Farriery, 8vo, portrait frontis., calf (worn), 12th Edn., 1793 (2)With regard to the Knowlson, Dingley, Historic Books on Veterinary Science, 365, records the London edition, but not the Otley edition.

*MAT CHIVERS (B. 1973) 'Erosive Rhythm' naturalistic marble sculpture, approximately 65cm x 45cm x 40cm; together with a maquette study for the finished piece (2)Provenance: The Collection of Bournemouth & Poole College.Mat Chivers is a British artist born in 1973 in Bristol. As an object-former and sculptor he has collaborated with other artists, architects, designers and communities to realise projects that result in the evolution of sculpture in the context of both natural and built environments. Solo exhibitions include the Study Gallery of Modern Art in Poole (2007). Projects include Arts Council England awards in 2003 and 2005. Works in public collections include Source at the Healthy Living Centre, Bristol (2004) Meander (1 & 2) at Avon and Wiltshire Mental Health Partnership NHS Trust (2006), and Wave Migration collection of The Met Office headquarters, Exeter (2004).

An Art Deco platinum ruby and diamond dress ring, set with square-cut rubies and modern round brilliant-cut diamonds, total diamond content approx 0.3ct, setting height 9.2mm, size S, 7.2gAll stones present, 4 rubies have surface chips and all have abraded facet edges, diamonds relatively bright and white, settings slightly worn mainly on back of shank where there is an added section, marks very rubbed, stamped Plat

An Art Deco style 18ct gold sapphire and diamond square cluster ring, set with oval mixed-cut sapphire and modern round brilliant-cut diamonds, setting height 10mm, size K, 3.6gNo damage or repairs, sapphire is a medium blue with colour zoning visible from reverse, diamonds bright and white, mark clear, engraved 750

A SANDSTONE DOOR CASING PANEL OF A DEVATA, BAYON STYLEKhmer Empire, late 12th to 13th century. Carved as a standing devata, wearing a sampot, the right hand held to the chest, the faces with almond shaped eyes, the pendulous ears with round earrings, flanked by two pillars and a flaming arch. The right side with an ornamental band.Provenance: Santi's Art & Antiques, Bangkok, Thailand, 1987. A noted English private collection, by repute acquired from the above and thence by descent in the same family. Santi's Antiques was established in 1958 by Santi Sivakua in Bangkok, Thailand. Santi Sivakua became one of Thailand's most reputable dealers and an acclaimed expert in Chinese porcelain and Southeast Asian artifacts, serving as a consultant for several reference publications. In 1990, Santi's son Suk took over the business. Condition: Good condition, commensurate with age and as expected for a statue with an age of 800 years or more. Extensive wear, signs of centuries-old weathering and associated erosion, fills to backside, losses, few nicks, cracks and surface scratches. Displaying remarkably well overall. Dimensions: Height 76 cm (excl. base) and 82.8 cm (incl. base)Mounted to a modern wood base. (2)Devata are smaller and more focused Devas (Deities) in Indian religions, such as Hinduism and Buddhism. The term 'devata' itself can also mean deva and they can be either male or female. Every human activity has its devata, its spiritual counterpart or aspect.Literature comparison:Compare a related sandstone panel, dated to the 12th century, in the collection of the British Museum, accession number 2002,0330.1.Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 31 October 2006, lot 561Price: EUR 11,400 or approx. EUR 15,500 adjusted for inflation at the time of writingDescription: A Khmer, Bayon style, sandstone panel, 13th centuryExpert remark: Compare the figural element, the arch-shaped frame, and the ornamental decorations. Note the size (105 cm).

A CELADON GLAZED 'SURPRISE' EWER WITH A 'LION' SPOUT, QING DYNASTYChina, 1644-1912 or earlier. The globular body supported on a short spreading foot, decorated with neatly incised lotus flowers borne on scrolling vines, the shoulder carved with diapered borders to delineate the simulated cover in the form of a stylized lotus flower. The top and shoulder set with a long curved handle with a phoenix head and wings, the shoulder with a Buddhist lion forming the spout of the ewer, a small cub nestling to its side.Provenance: Jung's, Inc., Wilmington, Delaware, USA, 1990s. Lawrence H. Dunbar, Jr. (d. 2008), Chadds Ford, Pennsylvania, USA, acquired from the above and thence by descent within the family. Jung's, Inc. was an art and antiques dealership founded by Shee Lup Jung (1922-2015). Mr. Jung received his PhD in Chemistry from the University of Pennsylvania in 1951, when he was employed as a research chemist for DuPont. Inspired by his wife Mary's passion for the arts, Mr. Jung slowly and methodically studied ancient glazes and ceramics, including their chemical and mineral aspects, acquiring a multitude of study pieces for the family's collection. In 1975, he started Jung's, Inc. in a historic location in central Wilmington, Delaware, as a museum-like gallery with an impressive selection of ceramics, open by appointment only and selling mostly to knowledgeable and scholarly collectors much like Jung himself.Condition: Very good condition commensurate with age. Some old wear, traces of use, and shallow surface scratches. Manufacturing flaws such as firing cracks and brown spots, four distinct spur marks to base, kiln grit, some firing splits associated with the insertion of the filling tube, the foot rim with some chips most of which have been worn down over time, the unglazed areas of the ware partially burnt to orange in the firing. Few minuscule nicks here and there, minor glaze losses. The ewer may be filled through the tube, but the spout is clogged.Weight: 1,589 gDimensions: Height 24.3 cmCovered overall in a pale olive glaze thinning at the edges and darkening in the recesses, now worn down a remarkably unctuous feeling overall. The base with a circular aperture, leading into a sturdy, raised tube located inside the ewer, thus enabling to fill the vessel from the bottom.The 'surprise' consists in the fact that at first sight the vessel looks like a regular teapot with a cover, but after trying to fill the vessel the normal way, it quickly turns out that the 'mock' lid cannot be removed. Only after turning the pot upside down, an aperture is revealed. This leads to an elongated tube hidden inside the vessel, which prevents the water from flowing out through the aperture once the pot has been filled.Expert's note: 'Surprise' ewers of this type, which are filled from the base through a tube located inside the vessel, are an ingenious and clever invention that dates back to the Northern Song dynasty. See literature comparison below for an example that sold for $668,000 in September 2007. During the later Ming era and through most of the Qing dynasty, a number of reproductions of these famed ewers were made both at the Longquan kilns and in Jingdezhen. The present lot clearly belongs to this group of earlier revival pieces, as the 20th-century copies always lack the interior tube, because its insertion into the pot after the initial firing procedure creates a complexity that modern potters simply don't know how to handle. The elegant Longquan glaze, the distinct spur marks, the broad foot with its worn-down chipping, the unctuous feel of the glaze and the orange-burnt ware all suggest a date range of 1500-1600 for the present lot. But given the lack of any meaningful documentation, a rather cautious dating to the Qing dynasty seems more reasonable. Literature comparison:For the Paragon of the present lot, see a 'Rare and Magnificent Early Yaozhou Relief-Carved Surprise Ewer from the Northern Song Dynasty' at Sotheby's New York, 18 September 2007, lot 242.清代青釉提梁倒灌壺中國，1644-1912年或更早。伏鳳式提梁，以花蒂象徵壺蓋。蓋、壺銜接處堆塑哺乳母子獅，母獅張口為流。球形壺腹部滿刻華麗的纏枝牡丹花，下飾一周蓮瓣紋。底部中心有梅花形注水孔，造型奇巧。圈足。 來源：美國特拉華州威爾明頓Jung藝廊，上世紀九十年代；美國賓夕法尼亞查兹福特Lawrence H. Dunbar (逝世於 2008年)，購於上述藝廊，在同一家族保存至今。隨附一份1995年5月6日出具的藝廊發票複印件。 品相：品相極好，與年齡相符。 一些磨損、使用痕跡和表面劃痕。製造缺陷，例如燒製裂紋和褐色斑點，底部有四個明顯的刺痕與窯砂，圈足部位有一些磕損，其中大部分區域隨著時間的推移而磨損，露胎。在燒製過程中，陶器的某些區域部分被燒成橙色。局部有微小的刻痕，輕微的釉料損失。壺可以通過管子注水，但壺口被堵塞。重量：1,589 克 尺寸：高24.3 厘米由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

A TERRACOTTA HEAD OF MAITREYA, GANDHARAAncient region of Gandhara, 4th-5th century. The head modeled with finely curled hair and wearing an elaborately adorned tiara centered by a stylized flower, the face with elegant features, such as the finely incised arched eyebrows, almond-shaped eyes, aquiline nose, gentle smile, and long earlobes with circular earrings.Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Oxford Authentication, reference no. N116n12, dated 18 October 2016, and is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. French Export License: Certificat d'exportation pour un bien culturel Nr. 185456 dated 30 June 2017 has been granted and a copy is accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture. Some firing flaws and material loss to exposed areas. Old wear, weathering, minor cracks and nicks.Weight: 5.9 kg (incl. stand) Dimensions: Height 28.5 cm (excl. stand) and 40.2 cm (incl. stand)With a modern metal stand. (2)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering.According to Buddhist tradition, Maitreya is a bodhisattva who will appear on Earth in the future, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor to the present Buddha. The prophecy of the arrival of Maitreya refers to a time in the future when the dharma will have been forgotten by most on the terrestrial world. In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya was the most popular figure to be represented along with Gautama Buddha.Auction result comparison:Type: RelatedAuction: Christie's New York, 17 October 2001, lot 3Price: USD 18,800 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A Terracotta Head of a Bodhisattva, Gandhara, 4th/5th centuryExpert remark: Note the size (24 cm)Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2000, lot 7Price: USD 28,200 or approx. EUR 47,500 converted and adjusted for inflation at the time of writingDescription: A Terracotta Head of a Bodhisattva, Gandhara, 4th centuryExpert remark: Note the size (30.4 cm)犍陀羅紅陶彌勒頭像犍陀羅，四至五世紀。頭飾捲曲，佩戴著五葉冠，細長眉，杏仁形眼睛，鼻梁高挺，面帶微笑，長耳垂佩戴圓形耳環，面容慈祥溫和。 科學檢測報告：牛津鑒定研究所熱釋光報告編號N116n12，2016年10月18日，得出相關製作時間。隨附報告複印件。 來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。GANDHARA”（二十二個陶土頭像系列，犍陀羅）。隨附清單和封面副本。 法國出口證書：隨附2017年6月30日出具的Certificat d'exportation pour un bien culturel 證書的複本，編號 185465。 品相：狀況極好，與雕塑的年代相符。一些燒製缺陷和暴露區域的材料缺損。磨損、風化、輕微裂縫和刻痕。 重量：5.9 公斤 (含底座) 尺寸：高28.5 厘米 (不含底座) ，總40.2 厘米 (含底座) 現代金屬支架。由於字數限制，完整拍品中文敘述請至www.zacke.at查看。

A GRAY SCHIST RELIEF OF THE JAIN GODDESS AMBIKA WITH HER COMPANION, THE LIONWestern India, 16th-17th century. Carved in openwork with Ambika seated in lalitasana on her vehicle the lion, supporting her child on her lap with the primary left embracing it, her other child standing beside her, the other hands holding an hourglass drum, a shield, and a sword. She is wearing a tight-fitting dhoti and is richly adorned with elaborate jewelry. Her serene face with almond-shaped eyes is surmounted by an elaborate headdress.Provenance: British trade. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, structural cracks, losses, old repairs. Remnants of ancient pigments. Displaying remarkably well.Weight: 14.2 kg Dimensions: Height 54.5 cmWith a modern metal stand. (2)In Jainism, Ambika is the yakshi (attendant deity) or sasana devi (protector goddess) of the 22nd Tirthankara, Neminatha. She is often shown with one or more children and sometimes under a tree. The name Ambika literally means mother, hence she is the Mother Goddess.According to Jain text, Ambika is said to have been an ordinary woman named Agnila who became a goddess. She lived with her husband Somasarman and her two children Shubhanakar and Prabhankara in Girinagar. One day, Somasarman invited Brahmins to perform Sraddha (funeral ceremony) and left Agnila at home. Varadatta, the chief disciple of Neminatha, was passing by and asked for food from Agnila to end his month-long fast. Somasarman and Brahmins were furious at her as they considered the food to be impure now. Somasarman drove her out of the house along with her children; she went up to a hill. She was blessed with power for her virtue, and the tree she sat down under became a Kalpavriksha (wish-granting tree). The gods were angry at the treatment of Angila and decided to drown everything in her village but her house. After seeing this, Somasarman and Brahmins felt this was because of Angila's saintliness and went to beg for her forgiveness. Upon looking at her husband, afraid of his punishment, Angila committed suicide by jumping off a cliff, but was instantly reborn as the goddess Ambika. Her husband was reborn as a lion and he came to her, licked her feet, and eventually became her vehicle. Neminatha initiated her two sons and Ambika became Neminatha's yakshi.Literature comparison: Compare a related black stone figure of a kneeling Garuda, attributed to Rajasthan and dated ca. 16th century, in the collection of the Metropolitan Museum of Art, accession number 57.51.4.