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Lot 3053
Hoshi Kabuto, Japan, Taisho-/Showa-Periode Eiserne, geschwärzte Kalotte mit aufgelegten Rippen, die eine 10-Platten-Konstruktion vorgibt, fünffach gestuftes Tehen Kanamono, rs. Agemaki. Mabezaeshi und große Fukigaeshi mit bedrucktem Leder bezoogen, Kuwagata Dai mit Wakidate. Dreifach geschobener O Manju Shikoro mit polychromer Bindung. Einfaches textiles Innenfutter. Höhe (ohne Wakidate) 31 cm. Breite 48 cm. A Japanese hoshi kabuto, Taisho/Showa period Eiserne, geschwärzte Kalotte mit aufgelegten Rippen, die eine 10-Platten-Konstruktion vorgibt, fünffach gestuftes Tehen Kanamono, rs. Agemaki. Mabezaeshi und große Fukigaeshi mit bedrucktem Leder bezoogen, Kuwagata Dai mit Wakidate. Dreifach geschobener O Manju Shikoro mit polychromer Bindung. Einfaches textiles Innenfutter. Höhe (ohne Wakidate) 31 cm. Breite 48 cm.
Lot 604
Collection of assorted miniature whiskies in novelty glass bottles, including: a set of twenty four McLech Barrel o' Kindness with clan tartans, 70 proof;fourteen McLech table lamp miniatures; and other barrels; crowns; thistleheads; a harp with Shillelagh whiskey; Glenfarclas 'Best Shot of the Day' in novelty shotgun cartridge, 12ml, 40%; Whyte & Mackay 21 year old, 1980s bottling, 5cl., in carton; and Thistle Scotch whisky, 70 proof, in carton.Qty: 2 boxes
Lot 30
William Anderson (British, 1757-1837)A British frigate threading her way through busy coastal waters in a light breeze; A departing Dutch man-o-war receiving a salute from an armed ketch inshore one signed and dated 'W. Anderson/1820' (lower right)oil on paneleach 18.7 x 27cm (7 3/8 x 10 5/8in). (2)Footnotes:ProvenanceWith The Parker Gallery, London. Jonathan Janson, UK.For further information on this lot please visit Bonhams.com
Lot 91
Robert Salmon (British, 1775-1845)The Scottish Lighthouse Board's tendernumbered and indistinctly inscribed 'No454/Painted by' (verso) oil on panel 50.7 x 78.9cm (20 x 31 in).Footnotes:ProvenanceWith Schillay & Rehs, Inc., New York, no. A2702, 1985.Private collection, Oklahoma, US (purchased from the above in 1985).Private collection, US.Although the entry for picture number 454 is missing from Robert Salmon's personal catalogue of paintings, number 453 is accounted for, dated 1825, and confirms that Salmon was painting in Greenock, Scotland at the time. The Scottish subject of this work clearly aligns with Salmon working from here in 1825, 1826, and early 1827; this is following his move from Liverpool in 1824 and before his departure for London in 1827.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 70
A Qajar painted hide shield (dhal) Persia, dated AH 1336/ AD 1917-18of convex form with everted rim, six applied steel bosses and steel mount of foliate form with engraved inscription, leather cushion and straps to reverse, painted in polychrome with four cusped medallions depicting the Prophet and Ali, Hassan and Husayn riding to battle all on a ground of interlinked cartouches filled with floral sprays and perching birds, the central roundel with painted inscriptions 57.5 cm. diam. max.Footnotes:Inscriptions: to the centre of the roundel, hasb al-farmayesh-e janab-e mustatab aqa-ye haji mirza abu'l-hasan na..., 'By the order of His Excellency, the Gracious, Mr Haji Mirza Abu'l-Hasan Na... (?)' To one side, 'amal-e kamtarin bandeh-ye dargah naqqash-bashi sanah 1336, 'The work of the smallest servant of the court, the Chief Painter (naqqah-bashi), the year 1336 (1917-18).' To the other three sides, the basmalah; Qur'an, chapter LXI (al-saff), part of verse 13 and the names God, Muhammad, Fatimah, 'Ali, Hasan as Husayn. To the small cartouches, the names God and the Fourteen Innocents, ending with 'God's benedictions [be upon them].' To the metal piece, O Imam Ja'far al-Sadiq!. To the reverse, madad ya 'ali!, 'Help O 'Ali!'.A painter referring to himself as 'Chief painter' of this date could be 'Ali Akbar Muzayyin al-Dawlah, who was one of the first students to be sent to France together with other painters and studied at the School of Fine arts in 1275 (1858-9). On his return, he taught various subjects at the College of Arts and different schools in Tehran as well as writing books on the art of painting. He was honoured with the title naqqash-bashi (Chief-painter) by Nasir al-Din Shah in 1288 (1871-2). He was awarded the medal of Saint Stanislas by the Emperor of Russia in 1914, as well as medals from Napoleon III of France, Wilhelm I of Germany and Queen Victoria. He taught many Qajar painters, including Kamal al-Mulk Ghaffari and died in AH 1341 (AD 1922-3). For further information see Karimzadeh Tabrizi, The Lives & Art of Old Painters of Iran, vol.1, 1985, pp. 377-8 and M. Bamdad, Dictionary of National Biography of Iran, 1700–1960, 2, 1966, p. 426.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 1205
PAAR WMF JUGENDSTILLEUCHTER / TISCHLEUCHTER, Britanniametall, versilbert, Württembergische Metallwarenfabrik Geislingen, um 1906. Karreeförmiger, konischer und durchbrochen gearbeiteter Stand, sich zum Schaft verjüngend und bekrönt von symmetrischem, ebenfalls durchbrochenem Abschluss mit stilisierten floralen Formen in Anlehnung an Mistel- oder Ginkgo-Blätter; große Tropfschale und tulpenförmige Tülle. Die Tropfschale und die innere Wandung der Tülle messingfarben. Der Stand jeweils gepunzt "WMF", "I/O" (für die Stärke des Materials und partielle Versilberung oder Vergoldung des Materials) und EP (für Electro-plated); unter dem Stand mit Modell-Nr. 92 bezeichnet. (Literatur, vgl.: Art Nouveau Domestic Metalwork from Württembergische Metallwarenfabrik, S. 114, Nr. 92. Wolf Uecker, Lampen und Leuchter, S. 203 Abbildung 0303 mit identischem Leuchterpaar. Judith Miller, Art Nouveau - Die Welt des Jugendstils, S. 172 (ebenfalls mit Abbildung des identischen Leuchterpaars). H. 27 cm (altersbedingte Gebrauchsspuren; partiell gering bestoßen).
Lot 620
SCHLIEF, HEINRICH (auch Heinz, Soest 1894-1971 ebd.), Gemälde: "o. T." - Pointilistische Landschaft mit Haus, Öl auf Hartfaserplatte, revers in Ligtur monogrammiert "HS", datiert 1915 und signiert "Schlief". Charakteristische Arbeit in leuchtender, Farbigkeit. Schlief zählt zum Kreis der westfälischen Expressionisten; Arbeiten des Künstlers waren u. a. in der Ausstellung "Der Westfälische Expressionismus" in der Kunsthalle Bielefeld 2010 zu sehen. Hartfaserplatte 50 x 70 cm. Aus dem Nachlass einer westfälischen Sammlung.
Lot 2618
TABLETT / FLACHE SCHALE / SALVER, England / Sheffield, Anfang 20. Jh., 925er Sterlingsilber, 359 Gramm. Gemarkt mit Sheffielder Stadtpunze, Schreitendem Löwen, Jahrespunze "O" (1906) und Meistermarke "W&H" Walker & Hall. Rückseitig bezeichnet "53625 / Walker & Hall / Sheffield / England". Passig geschweifte Form auf drei Füßen. Mehrfach profilierter Rand mit plastischem Blatt- und Blütendekor. H. 2,5 cm, D. 21,5 cm. (Gebrauchsspuren).
Lot 2707
ALT, OTMAR (geb. 1940 in Wernigerode), Skulptur: "Königin" (Katze), 1992, Bronze - Gelbguss, unter dem Stand gravierte Signatur "O. Alt". Büste einer Katze in der charakteristischen, heiter stilisierten Manier des Künstlers, der u. a. ein Studium an der Berliner Meisterschule für Kunsthandwerk absolvierte. H. 10 x B. 5 x T. 4,5 cm.
Lot 238
RARE STATUETTE DE BODHISTTAVA EN PIERRE SCULPTÉEDynastie des Zhou du Nord/dynastie Sui (557-581/589-618)AN EXCEPTIONALLY RARE STONE FIGURE OF A BODHISATTVANorthern Zhou/Sui Dynasty (557-581 AD/589-618 AD)The deity, probably representing Avalokiteshvara, standing with its body naturalistically slightly swayed to the front and right, holding a vase in its left hand containing the nectar of Immortality, wearing flowing robes naturalistically draped in folds around its shoulders and arms, folded over its waist and reaching its bare feet, adorned with beaded bejewelled and tasselled necklaces with a central lotus pendant, the right arm raised, the serene face gazing forward with well detailed features flanked by pendulous ears with adorned with earrings, below the high beaded and bejewelled tiara with ribbons set around the coiffure, the back displaying the robe with its folds and overlapping pleats, tied below the neck and folded over the waist, with a bracket section on the back of the head, with red, green and black pigments and gilding, supported on an inverted circular base, stand. 54.3cm (21 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), according to a family note, acquired from Tchou Teh Hoo, Beijing, 10 January 1925Jean-Pierre Rousset, Paris (1936-2021) Characterised by regal countenance and adornment, the present figure bridges the aesthetic style of the Northern Zhou and Sui dynasties. The Sui dynasty utilised the patronism of Buddhism to unify China in 589, with craftsmen merging the artistic achievements of the preceding quarter century of the Northern Qi and Northern Zhou styles.See a stone figure of Guanyin, Northern Zhou dynasty (550-581), with similar proportions of large head atop narrow shoulders, illustrated by O.Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol.I, Bangkok, 1998, pl.266A (reprinted from the Ernest Benn 1925 edition). Sculptures from this period are rare and the closest example to the present lot may be a pair of standing bodhisattvas, Northern Zhou dynasty, discovered in 1992 in Xi'an, Shaanxi Province, illustrated in China: Dawn of a Golden Age, 200-750 AD, New York, 2004, no.170. The present exceptional figure with its opulent decoration and rich jewels was thus clearly influenced by the Northern Zhou style.The bodhisattva most likely represents Avalokiteshvara, known as Guanyin in China. Characteristically, the deity carries in her left hand a vase, a 'pure water bottle', one of the eight symbols of good fortune. The vase was believed to contain pure water capable of relieving suffering. The right hand probably once held a willow branch used to sprinkle the divine water. Compare with a related stone figure of Guanyin similarly holding a bottle vase and draped with long necklace, Sui dynasty, and another related stone figure of Guanyin, Sui dynasty, illustrated by O.Siren, ibid., pls.311 and 316. See also two limestone figures of a bodhisattva, Sui dynasty, from the Avery Brundage collection, in the Asian Art Museum San Francisco (acc.nos.B60S37 and B60S423). Compare also two stone figures of Bodhisattva Avalokiteshvara (Guanyin), in the Freer Gallery of Art, Washington DC, the first dated by inscription to 592 AD, (acc.no.FSC-S-52), and the second to the Sui dynasty (acc.no.S2012.9.4531).Caractérisé par une attitude majestueuse et sa parure, cette statue fait le lien entre le style esthétique des Zhou du Nord et celui des Sui. La dynastie des Sui fit de son patronage du bouddhisme un outil de l'unification de la Chine en 589, ses artisans mêlant les styles développés durant le quart de siècle précédent par les Qi du Nord et des Zhou du Nord.Voir une statue de Guanyin en pierre, dynastie des Zhou du Nord (550-581), aux proportions similaires, une large tête et des épaules étroites, illustrée dans O. Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol. I, Bangkok, 1998, ill. .266A (réédition de l'original 1925 chez Ernest Benn). Les sculptures de cette époque sont rares et l'exemple le plus proche de ce lot pourrait être une paire de bodhisattvas debouts, dynastie des Zhou du Nord, découvert en 1992 à Xi'an, au Shaanxi, illustrée dans China : Dawn of a Golden Age, 200-750 AD, New-York, 2004, n°170. L'exceptionnelle statue présentée ici, avec ses riches ornements et joyaux, est ainsi clairement influencée par le style des Zhou du Nord.Le bodhisattva représente probablement Avalokiteshvara, appelé Guanyin en Chine. Il porte de façon caractéristique dans sa main gauche un vase, « bouteille à eau lustrale », un des huit symboles auspicieux. Ce vase était censé contenir une eau pure pouvant soulager les souffrances. La main droite tenait probablement une branche de saule, utilisée pour asperger cette eau sacrée.A comparer avec une sculpture de Guanyin tenant de la même manière un vase et portant de longs colliers, dynastie Sui, et une sculpture comparable de Guanyin, dynastie Sui, illustré dans O. Siren, Ibid., ill. 311 et 316. Voir aussi deux statues en calcaire de bodhisattva, dynastie Sui, dans l'Avery Brundage Collection, à l'Asian Art Museum de San Francisco (inv. n° B60S37 et B60S423). Comparer encore avec deux statues de bodhisattva Avalokiteshvara (Guanyin) à la Freer Gallery of Art, Washington DC, la première datée par une inscription de l'an 592 (inv. n° FSC-S-52), la seconde de la dynastie Sui (inv. n° S2012.9.4531).北周/隋 石雕菩薩立像來源：巴黎Robert Rousset（1901-1981）舊藏據家族記錄，於1925年1月10日購自北京Tchou Teh Hoo巴黎Jean-Pierre Rousset（1936-2021）舊藏該立像寶相莊嚴，衣飾華麗，集北周與隋之韻致於一身。隋代在589年重新統一中國，其帝王皆護持佛法，並以佛教作為鞏固統治手段之一。因此隋代二帝時全國建立經像，盛極一時。此時佛教造像發展及技藝亦臻於完善，上承北齊、北周之大成，下啟盛唐風氣。與本像頭闊肩窄之比例相似者，可參見一例北周石雕觀音像 ，收錄於喜仁龍（O. Siren），Chinese Sculpture from the Fifth to the Fourteenth Century（五至十四世紀之中國雕塑），卷一，曼谷，1998年，圖版266A（重印自1925年Ernest Benn版）。本拍品應為觀音造像。其左手所持'淨瓶'為八吉祥之一。右手或曾持楊柳枝，&#... For further information on this lot please visit Bonhams.com
Lot 28
TRÈS RARE TÊTE DE BODHISATTVA EN PIERRELongmen, Dynastie des Wei du Nord (386-535 ap. J.-C)A VERY RARE STONE HEAD OF A BODHISATTVA Longmen, Northern Wei Dynasty (386-535 AD)Exquisitely carved with eyes downcast in a serene expression, with high arched brown and well defined facial features flanked by a pair of pendulous ears, below the incised hair, plaited and parted in the centre above the high forehead, adorned with a tall tiara set with a floral medallion flanked by palmettes and circular floriform motif, secured to the head by a twist rope tied with a ribbon, stand. 24.4cm (9 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired on 22 November 1940Jean-Pierre Rousset, Paris (1936-2021) The distinctive features characterising the present sculpture, such as the long and narrow head, the arching brows, the broad nose and hair neatly arranged over the ushnisha, closely resemble examples of the Buddha Maitreya executed at Longmen, Henan Province, dating to the Northern Wei period. According to both Mahayana and Theravada Buddhism, Maitreya is regarded as the Buddha of the Future and believed to reside in Tushita Heaven, where devotees seek to be reborn after death. Longmen is a large Buddhist site consisting of hundreds of cave temples whose magnificence is largely attributed to the patronage of the site by the foreign Tuoba rulers of North China between 386 and 535 AD.During the Northern Wei dynasty, state-sponsorship of Buddhism enabled the rapid spread of the religion throughout Northern China. The Northern Wei rulers were not originally Buddhist but were a nomadic people from the northwest (known as the Tuoba). They adopted Buddhism as a political unifying force. As one non-Han ruler in 335 said: 'we were born out of the marches and though We are unworthy, We have complied with our appointed destiny to govern the Chinese as their Prince...Buddha being a barbarian god is the very one We should worship...', by 477, there were an estimated 6478 Buddhist temples in Northern China and over 70,000 monks and nuns; see A.Paluduan, Chinese Sculpture: A Great Tradition, Chicago, 1996, p.187. The Northern Wei rulers began to identify themselves as Buddha incarnate and dedicated caves and cliff shrines to Buddhism, commissioning stone sculptures, such as the present lot, to adorn them. The Longmen grottoes which were first established by emperor Xiaowen of the Northern Wei dynasty, contain some of the finest examples of Chinese Buddhist art. At Longmen, the Northern Wei style reached its peak. This was due to the excellent quality of the stone, that nearby Luoyang was a centre of classical Chinese sculpture, and influences from the Southern dynasties developments in painting. Carved figures at Longmen are typically characterised by slender bodies with sloping shoulders and delicate features such as the curved 'butterfly' eyebrows. Compare with a similar stone head from the Longmen site, Northern Wei dynasty, illustrated by R.Y.Lefebvre d'Argencé, Chinese, Korean, and Japanese Sculpture: The Avery Brundage Collection, San Francisco, 1974, pl.30; another similar example is illustrated by S.Di, Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections, vol.1, Beijing, 2005, p.167. See also two related stone heads of bodhisattvas, Northern Wei dynasty, illustrated by O.Siren, Chinese Sculpture, vol.I, Bangkok, 1998, pls.113A and 113B (reprinted from the 1925 edition).Les traits caractéristiques de cette sculpture, comme la tête longue et étroite, les sourcils arqués, le large né et les cheveux soigneusement coiffés autour de l'ushnisha, ressemblent étroitement aux représentations du Bouddha Maitreya réalisées à Longmen, dans la province du Henan, et datant de la dynastie des Wei du Nord. Dans le bouddhisme Mahayana comme dans le bouddhisme Theravada, Maitreya est considéré comme le Bouddha du futur et résiderait dans le paradis Tushita, où les fidèles cherchent à renaître après leur mort. Longmen est un vaste site bouddhique formé de centaines de caves dont la magnificence est largement due au patronage des Tuoba, ces étrangers qui gouvernèrent le Nord de la Chine entre 386 et 535 de notre ère.Durant la dynastie des Wei du Nord, le soutien officiel du bouddhisme permit la rapide diffusion de la religion à travers le Nord de la Chine. A l'origine, les empereurs des Wei du Nord, issus d'un peuple nomade du Nord-Ouest appelé Tuoba, ne pratiquaient pas le bouddhisme. Ils adoptèrent le bouddhisme, qui devait servir de force politique unificatrice. Comme évoqué par un de ces chefs non Han en 335 : « Nous sommes nés dans les marécages et, bien que nous en soyons indignes, nous avons accompli notre destin de gouverner les chinois comme leurs princes... Bouddha étant un dieu barbare, il est celui que nous devrions vénérer. » En 477, on estime qu'il y avait 6.478 temple bouddhistes dans le Nord de la Chine, et plus de 70.000 moines et nonnes - cf. A. Paludan, Chine Sculpture : A Great Tradition, Chicago, 1996, p.187.Les empereurs des Wei du Nord commencèrent à se considérer comme des Bouddha incarnés et dédièrent au bouddhisme des sanctuaires à flanc de falaise et dans des grottes, commandant des sculptures en pierre, comme notre lot, pour les décorer. Les grottes de Longmen, fondées par l'empereur Xiaowen de la dynastie des Wei du Nord, contiennent parmi les plus beaux exemples de l'art bouddhique chinois.Le style des Wei du Nord atteignit son apogée à Longmen. On peut l'expliquer par l'excellente qualité de la pierre, la proximité de Luoyang, un centre de la sculpture chinoise classique, et l'influence des développements de la peinture des Dynasties du Sud. Les personnages sculptés à Longmen se caractérisent typiquement par des corps sveltes aux épaules tombantes et des traits délicats, tels les sourcils incurvés « en papillon ».Comparer avec une tête en pierre similaire du site de Longmen, dynastie des Wei du Nord, illustré dans R.Y. Lefebvre d'Argencé, Chinese, Korean and Japanese Sculpture : The Avery Brundage Collection, San Francisco, 1974, pl. 30 ; un autre exemple semblable est illustré dans S. Di, Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections, vol.1, Beijing, 2005, p.167. Voir aussi deux autres têtes de boddhisattva en pierre comparables, dynastie des Wei du Nord, illustrées dans O. Siren, Chinese Sculpture, vol.I, Bangkok, 1998, pls.113A et 113B (réimpression de l'édition de 1925). 北魏 石雕菩薩首來源：巴黎Robert Rousset（1901-1981）舊藏，於1940年11月22日入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏本像具數處顯著特徵，像首瘦長，眉彎如月，鼻稍寛，髮髻整齊，與北魏時期河南龍門地區的彌勒佛尤爲相近。 大乘佛教和小乘佛教均奉彌勒佛為未來佛，居兜率天，即佛教徒追求死後得以重生所往之極... 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