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Lot 805
A mid 20th century post WWII Japanese copper musical box/smokers companion, in the form of a pagoda cigarette box and an ashtray. The modular items to include a pagoda shaped musical box with opening to reveal a hollow dragon shaped sculpture, a spherical ashtray with Japanese dragon decorations as lid, completed within a mountain scene context. Raised on plinth. It measures approx. 28 x 14 x 15cm.
Lot 1209
A GEORGIAN OAK EIGHT DAY LONGCASE CLOCK, the hood with a swan neck pediment, reeded pillars flanking a circular door, that's enclosing a 14 inch painted enamel dial with roman numerals, seconds dial and signed James Northwood of Newport, the bell striking movement with a cast backplate stamped 'Finnemore & Son', on a trunk with canted reeded corners, with two weights, pendulum and winding key, height 225cm (condition:-later plinth, dial partially peeling to edge, door locked and repair to crack)
Lot 408
THREE JAPANESE STYLE TABLE LAMPS, comprising a crazed effect urn form lamp base decorated with blue iris on a cream ground with gold gilding and cream shade, height 53cm, together with two Cloisonné lamp bases each supported on a wooden plinth, one white ground with a cream shade, height 44cm, the other blue, height 44cm (3) (Condition report: lamps not tested, shades have a couple of pulls and lifted edging)
Lot 420
A PAIR OF LARGE ORIENTAL TABLE LAMPS, of sealed ginger jar form, painted with birds and foliage, each supported on a wooden plinth, total height to top of fitting 43cm, with a pair of cream shades (2 lamps + 2 shades) (Condition report: appear in good overall condition, electrics untested, dusty, would benefit from a clean)
Lot 866
A BANG AND OLUFSEN BEOMASTER 900 VINTAGE HI FI and a Beogram 100 turntable ( both PAT fail due to uninsulated plugs but working) Condition Beomaster left speaker no output, some losses t cabinet, beogram plinth evidence of historic woodworm, tracks record but needs adjustment to arm as lift doesn't clear record and down slows speed
Lot 338
Tang Dynasty, Ca. 618-907 AD.A well-carved and rare white marble Sui or Tang Dynasty figure depicting standing Bodhisattva on a plinth. The facial features are detailed, and both hairstyle and robe are elaborately jewelled and decorated. The robe is long, freely falling down the body and the stand of the statue. This figure spans the aesthetic of the Sui and Tang dynasty when a more naturalistic approach to depictions of Buddhist deities was gradually adopted. After a long period of cultural and military disunion, China was first unified under the Sui dynasty in 581, and in 618 the general Li Yuan founded the Tang dynasty. From the early years of the Tang dynasty, Buddhism was supported by the Imperial court, which actively sponsored major building projects and encouraged monks to travel abroad and bring back sacred scriptures. Empress Wu Zetian (624-705), in particular, sponsored the building of several important caves and the monumental sculptures of the Fengxian Temple at Longmen. Empress Wu sought to draw parallels between her Imperial court and the Buddhist hierarchy in an effort to impart a spiritual significance to her rule. Sculptures of the period embody the new Tang style, and it is in this stylistic context that this figure stands firmly. A keen observation of human anatomy and the natural world is evident in the depiction of these figures’ facial features, the subtle movement of their bodies and the natural sway of their garments. Figures appear imbued with physicality and sensitivity not present in their Sui counterparts. It was under the Tang dynasty that Buddhism reached its most flourishing phase. The years of cultural and political division that accompanied dynastic changes from the fall of the Han through the establishment of the Sui and Tang dynasties, gradually led to the rise of Pure Land Buddhism. The piece comes with a custom-made stand. Size: L:650mm / W:280mm; 21.30kgProvenance: Private London collection, formerly with Sir Roger Moss, acquired in the 1980s in Hong Kong.
Lot 339
Northern Qi Dynasty, Ca. 550-577 AD .The sculpture standing on a lotus plinth is depicted frontally, with legs slightly separated beneath the robe's hem, hands held in vitarkamudra, and the gesture of teaching the Dharma. The figure wears a long shawl draped over the shoulders. The face is depicted with heavy-lidded eyes flanked by pendulous earlobes. The hair in wavy locks pulled over the ushnisha, backed by a nimbus painted and decorated with floral vines in blue, yellow and red pigment.Size: L:555mm / W:195mm; 10.25kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 4
Ca. 1-100 AD.A terracotta statuette of a standing Bacchus (Greek Dionysus). He is depicted naked, standing atop an architectural plinth with a draped cloak hanging over his right arm. His head is adorned with a vine wreath. Bacchus is the god of the grape harvest, winemaking, and wine, fertility, ritual madness, religious ecstasy, and theatre in ancient religion and myth. Cf. The Museum of Fine Arts, Boston, Accession number 87.392.Size: L:190mm / W:58mm ; 195gProvenance: From the HDB Collection, Baden-Württemberg, acquired until 1979.
Lot 500
Ca. 600-800 AD.A fine amber oval-shaped ring stone bearing an incised depiction of a cross with an X at the centre, on a double plinth. The whole composition is enclosed within a dotted border. The cross, the principal symbol of Christianity, recalls the crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the Christian faith.Size: L:16.4mm / W:12.5mm ; 1.48gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 234
Vitrinenobjekte und Preziosen : Neptun - Geschenkskulptur der Stadt Bologna an den Duce Benito Mussolini. Goldene Skulptur des Gottes Neptun mit Dreizack, der rechte Fuß auf ein Fisch - Fabelwesen gestützt. Auf gestuftem goldmontiertem Lapislazuli - Sockel mit aufgesetzten fischhaltenden Putti, Masken als Personifikation der Winde, etc. Die Plinthe gestützt von in Masken auslaufenden Voluten. Auf den vier Schauseiten des Sockels Kartuschen mit aufgelegten goldenen Fasci, den Symbolen des italienischen Faschismus. Die Plinthe aus Lapislazuli mit vier aufgesetzten rechteckigen Dedikationstafeln aus Silber mit blau emaillierter Inschrift: "AL DUCE / BOLOGNA / XXV - X - 1936 / A XIV E F" Am Rand der Sockelmontierung Goldpunze "750" sowie Hersteller- und Beschaumarken. Bedeutendes überwiegend aus Gold gefertigtes Geschenk von fantastischer kunsthandwerklicher Qualität, das sich bewußt an die Werke Benvenuto Cellinis aus der italienischen Renaissance orientiert. Eines der prächtigsten und wertvollsten Objekte zur Geschichte des italienischen Faschismus und des Duce, das wir bisher auf einer Auktion anbieten konnten. 300 x 115 x 115 mm.Objects of Vertu - Precious Objects : Neptune - Presentation Sculpture from the City of Bologna to the Duce Benito Mussolini. Golden sculpture of Neptune with trident, the right foot supported on a fish - mythical creature. On stepped gold-mounted lapis lazuli plinth with attached fish-holding putti, masks as personification of the winds, etc.. The plinth supported by volutes ending in masks. On the four faces of the base cartouches with applied golden fasci, the symbols of Italian fascism. The plinth in lapis lazuli with four applied rectangular dedication panels in silver with blue enameled inscription: "AL DUCE / BOLOGNA / XXV - X - 1936 / A XIV E F". On the edge of the base mount gold hallmark "750" and maker's and assay marks. Magnificent and highly important presentation object made mainly of gold of fantastic jeweller's workmanship. Deliberately inspired by the works of Benvenuto Cellini from the Italian Renaissance. One of the most magnificent and valuable objects on the history of Italian fascism and the Duce that we have been able to offer at auction so far. 300 x 115 x 115 mm.
Lot 732
A George III longcase clock, the swan neck pediment over arched door, fluted pilasters Tunbridge ware inlay and mahogany cross bands, on a later plinth, the white painted dial with floral spray spandrels, Roman chapter ring, subsidiary seconds dial and date aperture, inscribed Deacon Barton the eight day movement striking the hours on a bell, with Walker and Hughes cast false plate, complete with weights and pendulum, movement untested, H234cm
Lot 793
A rosewood chiffonier, first half of the 19th century, the open shelf with pierced brass gallery on spindle supports over shaped panel back and white marble top, above a cushion fronted frieze drawer and twin fielded panel doors opening to a fixed shelf behind, raised on a plinth base, H115cm, W103cm, D35cm
Lot 9
† A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTY 唐代小漢白玉獅Published: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 360
A Victorian flame mahogany breakfront quadruple wardrobe-linen press. With moulded and stepped cornice above four arched rectangular panelled cupboard doors, enclosing five slides and six drawers, flanked by two wardrobes with drawers and hooks, on plinth base, approx. L252cm x D67cm x H214cm Condition Report: Central section measures L139cm x D67cm x H214cm
Lot 448
A large custom made oak glazed dresser. The three central open shelves flanked by two, double door glazed cupboards, each containing three shelves and an integral hidden compartment, positioned above eight short drawers. The base with four central short drawers flanked by four drawers and two cupboards, raised on a plinth base, L210cm x D50cm x H216cm
Lot 2074
A circa 1830 Derby porcelain pug dog, modelled by Edward Keys, shown in seated pose, red enamel mark to the underside, h.8cm, together with another 19th century Derby porcelain pug dog, shown recumbent, h.6cm (2) Green base – decoration slightly rubbed, cracks around both front ankles, crazed.White base – rubbed, one tiny chip to the reverse of the plinth.
Lot 2384
A Circa 1900 bronze cart group, the passengers being pulled by a single horse, signed H Meinbach to the base, mounted upon a polished hardstone plinth, h.11.5cmStick in the riders right hand is broken, otherwise appears complete.Very dusty and unpolished.Slate plinth with minor frits around edge.
Lot 2422
A large Burmese figure of Buddha, carved in standing pose with jewelled head dress and typical serene face with elongated ears, the flowing robes with further jewelled decoration, the right hand with pinched thumb and middle finger, raise on a lotus base and later plinth, early/mid-20th century, h.107cm.Purchased by the vendor in Hong Kong in the 1970's.
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173487 item(s)/page