Ausländische Orden & Ehrenzeichen - Österreich : Österreich: Sankt Stephans Orden: Großkreuzsatz.Das Ordenskreuz Gold und Emaille, an schöner Originalschärpe mit genähter Bandrosette.Prachtexemplar in allerfeinster Juweliersqualität um 1830 ? 1850. Das grüne Emaille der Kreuzarme in der für Exemplare dieser Zeit typischen leuchtenden Farbe mit prächtiger Flinkierung. Die zweiteiligen Medaillons besonders fein ziseliert.Die Krone in besonders plastischer, beidseitiger Ausführung und von allerfeinster Juweliersqualität. Dazu gestickter Bruststern aus Silberlahn und Pailletten, das Medaillon in feiner Samt und Seidenstickerei mit vergoldeten Metallfäden. Rückseitig originales Deckpapier. Im prächtigen Originaletui mit feiner hellblauer Seide bezogen.Der Deckel mit handgemalter Darstellung der Ordensinsignien und der Bezeichnung: St.- Etienne Hongrie". Bedeutender Prachtsatz in außerordentlich schöner und ungewöhnlicher Ausführung. Ausländische, vermutlich französische Anfertigung von allerfeinster Juweliersqualität. Das Ordenskleinod wesentlich größer als die herkömmlichen Stücke. Kleinod: 95 x 57 mm. Bruststern: Durchmesser: 93 mm. In dieser außergewöhnlichen Qualität von großer Seltenheit Foreign Orders & Decorations - Austria : Österreich: Sankt Stephans Orden: Großkreuzsatz. The order cross gold and enamel, on beautiful original sash with sewn ribbon rosette. Splendid example in finest jeweler's quality around 1830 - 1850. The green enamel of the arms of the cross in the bright color typical for specimens of this time with magnificent flinking. The two-part medallions are especially finely chased. The crown in particularly plastic, double-sided execution and of the finest jeweler's quality. In addition, embroidered breast star of silver lantern and sequins, the medallion in fine velvet and silk embroidery with gilded metal threads. Original cover paper on the reverse. In the magnificent original case covered with fine light blue silk.The lid with hand-painted depiction of the order insignia and the inscription: St.- Etienne Hongrie". Significant splendor set in extraordinarily beautiful and unusual execution. Foreign, probably French production of the finest jeweler's quality. The medal small obverse is much larger than the usual pieces. Medallion: 95 x 57 mm. Breast star: diameter: 93 mm. In this exceptional quality of great rarity
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Militaria Ausland - Blankwaffen. : Hirschfänger eines Forstmeisters der königlichen sächsischen Forstverwaltung um 1905 mit Rufhorn - Bandelier.Sehr schön erhaltener deutscher Hirschfänger um 1900 ohne Hersteller mit Scheide, Beimesser, Tragegurt und Schärpe eines Forstmeisters der königlichen sächsischen Forstverwaltung um 1905. Der Hirschfänger weist eine Griffgarnitur aus Hirschhorn auf mit ovalem flachen überstehendem Messingabschluss und kleinem runden Knäufchen als überstehender Abschluss. Das Parier ist gegenseitig geschwungen ausgeführt und stellt stilistisch erhaben ausgeführte Hirschunterbeine mit Hufen dar. Die Mitte des Parier ziert ein erhabenes Bildnis eines gerahmten Eberkopfes, wobei rückseitig nur eine einfache gerahmte Zier gegeben ist. Im Weiteren ist zum Griff hin zur Aufnahme des Hirschhorngriffes kelchförmig ausgebildet. Das Stichblatt ziert ein erhabenes Bildnis welches einen ruhenden Hirsch in der Wildnis mit zwei oben angebrachten Blüten. Die Klinge ist ohne Hohlkehle und Zier in einfacher und schöner Ausführung. Die Lederscheide ist gesäumt von einem Mund und Ortblech aus Messing ohne weitere Zier, wobei das Ortblech umlaufende Einschnürungen aufweist. Im Mundblech befindet sich der Einschub des Beimessers welches ebenfalls Horngriffschalen aufweist. Der Tragehacken, ist als Eichel ausgebildet. Am Hirschfänger befindet sich ein schauseitig mit Silberfäden auf grünem Samt gewirkter Tragegurt mit einer Schließe bestehend aus zwei Rundblechen aus Messing mit Krone bekränzt mit Eichenlaub. Die Verbindung stellte ein S- förmiges Zwischenstück in Form von zwei Kranichhälse mit Köpfen dar. Die als zweiteiligen Gurt ausgeführte Schärpe weist schlichte ovale Schließen, Führungsstege und wellenartig ausgeführte Abschlüsse aus vergoldetem Messing auf. Im unteren Bereich der Schärpe ist eine Pfeife zum Anlocken des Wildes eingebunden an dem ein grünes mit goldenen Sprengeln versehenes Portepee angebracht ist. Die zum Ensemble gehörende Schärpe aus Leder ist schauseitig mit Silberfäden gewirkt, welche im Muster Eichenlaub mit Eicheln darstellt wobei der Rand mit arkadenförmiger Darstellung gesäumt ist. Ein sehr schönes Ensemble eines Hirschfängers in komplettem Umfang eines königglich, sächsischen Forstmeister mit Schärpe, in bester Erhaltung.Foreign Militaria - Blankwaffen. : Hirschfänger eines Forstmeisters der königlichen sächsischen Forstverwaltung um 1905 mit Rufhorn - Bandelier. Very beautifully preserved German stag hunter circa 1900 without maker with scabbard, knife, sling and sash of a forester of the Royal Saxon Forestry Administration circa 1905 The stag hunter has a stag horn grip with oval flat protruding brass finial and small round knob as protruding finial. The quillons are mutually curved and depict stylistically raised stag lower legs with hooves. The center of the quillons is adorned with a raised image of a framed boar's head, with only a simple framed decoration on the reverse. Further towards the hilt is goblet shaped to accommodate the stag horn grip. The thrusting blade is adorned with a raised portrait depicting a resting stag in the wilderness with two flowers attached to the top. The blade is without fullers and ornament ab in simple and beautiful design. The leather scabbard is lined with a brass mouth and breech plate with no other decoration, the breech plate having circumferential constrictions. In the mouth plate is the insertion of the knife, which also has horn handle scales. The carrying hook is formed as an acorn. On the side of the hunter there is a carrying strap knitted with silver threads on green velvet with a buckle consisting of two round brass plates with a crown crowned with oak leaves. The connection was an S-shaped intermediate piece in the form of two crane necks with heads. The sash, designed as a two-piece belt, features plain oval clasps, guide bars and wavy finishes made of gilded brass. In the lower part of the sash there is a whistle for attracting game, to which is attached a green portepee with golden sprinkles. The leather sash belonging to the ensemble is knitted on the front side with silver threads, which in the pattern represents oak leaves with acorns and the edge is lined with arcade-shaped representation. A very nice ensemble of a stag catcher in complete scope which of a royal, Saxon forester with sash, in best condition.
![Royal Arch Masonry Sash, [also called Capitular Masonry] with gold thread tassels, together with a silver-gilt medallion with](https://cdn.globalauctionplatform.com/a4419c01-e60c-4355-8044-ae6100e7c527/6d31ea16-4786-48bb-a765-ae610108a6cd/468x382.jpg)
Royal Arch Masonry Sash, [also called Capitular Masonry] with gold thread tassels, together with a silver-gilt medallion with laurel and maize border encircling crossed flags, one with crests of England, Scotland and Ireland, the other with three castles and a chevron, united by a shamrock-shaped bow; hallmarked London 1939 and by Toye & Co. Ltd., 7 cm dia. 83.4g
Two Chinese ivory figures of Guanyin, Qing, late 19th century, each carved with a downwards serene expression, holding a blossoming sprig, wearing long flowing robes and holding either her sash or a fan, 30.5cm & 31cm, on wood basesCondition report: Both figures are generally in good condition with only very minor chips and some fine age lines. There are no obvious losses or signs of restoration. The additional images highlight any flaws.
A REGENCY MAHOGANY DRESSING TABLEATTRIBUTED TO GILLOWS, CIRCA 1815With a sash-rising mirror to the top, the front parquetry banded, one door enclosing sliding trays, the other enclosing drawers85cm high, 137.5cm wide, 59cm deepA number of related hollow-fronted dressing tables by Gillows are known with minor variations in the firm's early 19th century sketch books. Several tables were supplied in 1813 to William Powlett. 2nd Baron Bolton (d.1850), for Hackwood Park, Hampshire, invoiced at £16 16s each. Five similar dressing tables, invoiced at the same price were commissioned from Gillow by T.W.Egerton for Tatton Park, Cheshire (see N. Goodison and J. Hardy. 'Gillows at Tatton Park', Furniture History, 1970 p.35, pls. 18a and 20a) while another in the Judge's Lodgings, Lancaster, is illustrated in Susan E. Stuart, Gillows of Lancaster and London 1730-1840, 2008, vol. I, p.332. pl.283. The current example is one of the most sophisticated models, having slides, ornate brass handles and a concealed rising mirror.For two closely related examples previously sold see:Christie's, The Executors of the 2nd Viscount Camrose, Hackwood Park, 20-22 April 1998, lot 364 (£47,700). Christie's, Coilsfield House ('The Castle of Montgomerie') 18th November 2012, Lot 174, (£28,750). The latter was supplied by Gillows in 1807 most likely to Lord Archibald Montgomerie (1773-1814).
Vintage Asian outfit comprising of trousers, jacket, cap and sash with purse. Metalic thread chain stitch crescent moon and star, stylised flowers with appliqued crochet flowers and edgings and script. Plus an Idian silk panet with metalic thread embroidery and sequinns, made into a tunic.Condition report: Areas of fading and staining to jacket and trousers. Hat is faded.
Circa 618-907 ADA delicate Tang Dynasty dancer wearing a long flowing gown with her hands uncovered. The dress is a deep orange, which continues to the waist sash which separates the skirt from the bodice is also the same orange colour. Her upper body is slightly bend to the side, with her left arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, pink cheeks, 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.For simiar style see:Cambridge University "Dancing Girl".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:290mm / W:135mm; 810g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
Circa 618-907 ADA delicate Tang Dynasty dancer wearing a long flowing gowns with her hands uncovered. The dress is a deep red, whilst the waist sash which separates the skirt from the bodice is of an orange colour. Her upper body is slightly bend to the side, with her left arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, pink cheeks, 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:260mm / W:115mm; 630g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
'VOTES FOR WOMEN' SASHOriginal 'Votes for Women' tri-coloured suffragette sash, woven in purple, green and white with 'Votes for Women' printed in blue in central stripe on front and reverse, hook for banner pouch and hook and eye fastening stamped 'Nicklin's', faded and marked, 104mm. wide, overall length 1180mm., folded, c.1908Footnotes:Provenance: Clevedon Salerooms, 12 September 2013, lot 456 (part).For further information on this lot please visit Bonhams.com
'VOTES FOR WOMEN' SASH - ROSE COWLINAn original 'Votes for Women' suffragette tri-coloured sash, woven in purple, green and white with 'Votes for Women' printed in purple in central stripe on front and reverse, hook for banner pouch and hook and eye fastening stamped 'Nicklin's', ownership inscription 'Rose Cowlin' in black ink on inside, some fading, 104 wide, overall length 1180mm., folded, c.1908; with her WSPU purple, white and green knitted silk tie with purple and green tassels at each end, c.45 x 1000mm.; a posy of purple velveteen violets and two glazed fabric leaves, attached to a piece of lace (possibly for a hat), c.110mm. long; a length of purple, white and green grosgrain ribbon, c.50 x 1960mm.; and a bow made of purple, white and green silk ribbon, c.15mm. wide; with two purple card tickets for the WSPU Women's Demonstration at the Royal Albert Hall, 10 April 1913 (7)Footnotes:Emmeline Pethick Lawrence introduced purple (for dignity), white (for purity) and green (for hope) as the colours for the WSPU at the Hyde Park rally of 21 June 1908, the sashes designed by Sylvia Pankhurst clearly visible against the suffragettes' white dresses. The sashes were originally woven by Toye & Co. of Birmingham, who had a large female workforce, and became an essential part of the suffragette uniform. Suffragette accoutrements were retailed through a network of independent shops and department stores such as Selfridges which opened its doors in the same year.Included in the lot are two tickets for the stalls at the WSPU Women's Demonstration held on 10th April 1913. The meeting was chaired by Flora Drummond, standing in for Mrs Pankhurst who was in Holloway. According to Christabel Pankhurst's report in the Suffragette of 18th April, the meeting declared that the 'Cat and Mouse' Act would be ineffective and called for £15,000 to be raised for the cause. Promises of donations were sent by telegram including one of £40 from sympathisers in Vienna.Provenance: Christie's, 29 June 1999, lot 162 (part).For further information on this lot please visit Bonhams.com
AMERICAN 'VOTES FOR WOMEN' SASHAn original 'Votes for Women' suffragette tri-coloured sash, woven in purple, gold and white with 'Votes for Women' printed in blue in central stripe on front, front half only, faded (especially gold part) and marked, one end frayed, 100mm. wide, length 680mm., c.1913Footnotes:Following the example of the WSPU who adopted green, white and purple as their colours, the only movement to adopt the tricolour in America were their militant counterparts, the Congressional Union (latterly the National Woman's Party) formed in 1913, who replaced the green with yellow. Women supporting suffrage in Kansas in the nineteenth-century had adopted the sunflower as their emblem and yellow and gold became commonly used throughout the American suffrage movement.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
POSTCARDS - AMERICANAlbum containing c.295 American suffrage and anti-suffrage postcards, the majority colour-printed humorous cards, some photographic, many written and posted, loosely inserted in pockets 4 per page in a postcard album, various dates, mostly early 20th centuryFootnotes:Extensive collection of American postcards, including: 22 in the 'Blot on the Escutcheon/The Ballot is Denied to Woman' series by Cargill Company (one slightly faded, others fine), and 5 in the 'United Equal Suffrage States' series; 24 art nouveau-style cards by Walter Wellman (15 in 'The Suffragette' series, 1909, 4 of 'The Weaker Sex', 1908, and 5 others); 14 by Dunston-Weiler, 1909; 11 by S. Bergman ('Votes for Women' series, 1912); 10 by Barton & Spoooner (featuring a girl wearing a sash); 12 by Cobb. X Shinn for Taylor, Platt & Co., 1912; 23 various Valentine cards; 6 posed photographic cards tiled 'Where Women Vote [etc]'; approximately 20 photographic or RPPCs including 2 original Leet Brothers cards, together and an envelope of reprints. The many posted cards include one written by Alice Stone Blackwell to her fellow suffragist Agnes Edna Ryan ('Shall try to send a good batch of stuff for the papers', postmarked 9 August, 1913), and another to Ryan from an anonymous friend ('One of the two Pankhurst tickets which Miss Reilly & I had bought was promised to a friend... I am sorry', 14 November 1913).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
Thailand, Kingdom, Order of the White Elephant, 3rd (1941) issue, First Class set of insignia, comprising sash badge, 107mm including crown and sun suspension x 62mm, silver-gilt and enamel, unmarked; Star, 82mm, silver, silver-gilt, and enamel, maker’s mark to retaining pin, with full sash riband, in case of issue, nearly extremely fine (2) £300-£400
Thailand, Kingdom, Order of the Crown, 3rd (1941) issue, First Class set of insignia, comprising sash badge, 93mm including crown and sun suspension x 58mm, silver, silver-gilt, and enamel, unmarked; Star, 93mm, silver, silver-gilt, and enamel, maker’s mark to retaining pin, with full sash riband, in somewhat scuffed case of issue, gilding somewhat rubbed, good very fine (2) £400-£500
After Jan van Haelbeck & Charles Turner - Henri IV, Roy de France & Navarre, watercolour, equestrian portrait of the king on horseback wearing wreath, sash and armour, with battle scene beyond, titled lower right, after an original 1609 engraving by Jan van Haelbeck and later reproduced by Charles Turner in 1814, with hand-written potted biography of Henri IV attached verso, 32x25cm, in gilded glazed frameCondition report: 32 x 25cm.Paper good.Light fading and browning all over.Some losses to frame.
Circle of John Riley (1646-1691)Portrait of a lady, half-length before a landscape, wearing a white silk dress and chemise with a red sash and a necklace of pearlsOil on canvas, 70cm by 58cmCondition report: Odd reline (see images). With potential slight extension to edges which is more extensive towards the upper edge and right-hand side at approximately 2-2.5cm at widest point, see images for change of surface and texture. Covered in a thick layer of dirt and discoloured varnish with some general rubbing and abrasions to outer edges and odd minor surface imperfection/scuff. Isolated areas of essentially fine stable cracquelure. Surface is somewhat flattened from the restoration process and the paint is thin in places such as her hair and drapery. All four edges showing general later paint most likely as a result of extension / odd losses and damage. There is little to discern in terms of later paint accepting aforementioned outer edges however it is likely that the outline between the face and hairline, her right-hand eyebrow and parts of the hair have received some general strengthening of some age. Otherwise in a broadly stable state of preservation.
Collection of Reproduction Lea Stein Acrylic Brooches, comprising a fox face brooch, a silver and gold Christmas tree and two green Christmas trees with stars on top, a parrot, a lady in a hat with red sash, and a lady carrying a handbag and wearing sunglasses. Seven in total, in excellent condition.
A 1930's/1940's Japanese silk kimono in pale lilac with Batik images of honeysuckles and leaves, having a cream silk lining and sash belt, up to 40" chest x 51" long.Condition: Holes in several places on sash belt, later alterations to rear collar, back middle vertical join from neck to hem off-centre due to reduction in size.
Mekia Machine Red Lips Yellow Sash w/ Polkdots Acrylic, Gouache and Flashe on Paper Signed 15 x 10cm (5¾ x 3¾ in.) About Mekia Machine is a multidisciplinary artist and music composer. She was born in Jamaica, migrated to the US as a child with her family, and grew up in Queens, NY. Her art investigates the aesthetic and societal norms through conceptions of time, identity, the senses, memory, and place, specifically in cultures where loss is a substantial part of daily life, and addresses the lived experience of conflict and trauma. Mekia's prolific creative practice, which spans music, painting, drawing and sculpture, is all part of a search for what she calls the 'real real' - the innate essence of a person. But she is also searching for herself, creating the affirmational artworks that she as a Black woman longed for as a young girl; a recognition and celebration of the abundant and heterogenous beauty that is Blackness. "I paint Black bodies and the essence of the Black figure, bold, abstracted, vulnerable, soft, positioned in spaces that are colourful, vibrant and lively." Education Mekia graduated from Columbia University with a BA in Visual Arts (2019) Select Exhibitions/Awards Mekia was one of the winners of This Art is Your Art, 2016 with Artsy, The Robert Rauschenberg Foundation and the White House Historical Association, for her short film on painting artist Alma Thomas's portrait which was part of a 4-month installation and she was invited to join First Lady Michelle Obama at the Celebration of 20th Century Art in the White House. Additionally, she was awarded the fully funded Liquitex | Just Imagine Residency in 2021. Gallery Representation Smithson Gallery Statement about AOAP Submitted Artwork "Inspired by photos I've taken of friends, these paintings are postcard versions of larger paintings. Portraiture of dualism, how the body serves to communicate the self, the feminine and masculine. I'm thinking of the Dogan people's creation mythology of male/female, of psychoanalyst's Carl Jung notion of femininity the "anima/animus" and the structure of our biological existence, XY chromosomes. How the body is presented defines the self, but as we tend to hide as much as we express, and being far more interested in painting the self, these portraits attempt to present femininity-masculine, playful and vibrant, what's presented to the world as well as alluding to something hidden."
18TH & 19TH CENTURY PORTRAIT MINIATURES (4) - all having gilt metal frames to include a circular portrait of a Tudor style woman with neck ruff, unsigned, the frame has a pendant/brooch with openwork scrolls, 4cms diameter, 5.25cms diameter overall, oval format portrait of a gentleman, unsigned, 6 x 4.5cms overall, oval format portrait miniature of a lady with red sash and ribbon, indistinct signature to the right, W???, the twist fashion frame with hanging loop, 5.5 x 4.25cms overall, the three all painted on ivory slips, the final item in oval format, printed portrait study of a Georgian period lady with tiara, mounted to metal in a rope twist brooch, 6 x 5cms overall
William IV rosewood centre table, the circular tilt top above a turned and tulip carved column support, the triform base with carved scroll feet, 54ins diameterHas original sash screws and latch, it is on a true horizontal plane, does have original casters and the mouldings are present. It has had a split to the top and it has been repaired. Table top is straight. Table is not a marriage
English School, c. 1800, a portrait miniature of a young girl, watercolour on ivory, oval, in a yellow metal and blue glass frame; together with a yellow metal and blue glass miniature frame of similar date, now enclosing a naive landscape watercolour on ivory; and a late 19th century over-painted photographic portrait miniature of a child in a pink sash, in a rose-coloured metal frame. (3) First overall 8.5 by 6.75cm
A SILVERED AND PARCEL-GILT BRONZE BUST OF AVALOKITESHVARAWestern Tibet, 14th-15th century. Finely cast with a sash around his torso and adorned with beaded jewelry, the necklace and an earring inlaid with turquoise glass paste. The serene face with heavy-lidded almond-shaped eyes below gently arched eyebrows centered by a gilt urna, flanked by elongated earlobes, the hair in fine rows surmounted by a crown centered by a small image of Buddha Amitabha.Provenance: Property of the Museum fuer Asiatische Kunst, Radevormwald, Germany. The private museum was founded by Peter Hardt, a notable German expert, collector and dealer for Asian art. During his long career, which spanned more than 35 years, Hardt built a substantial collection that is now housed in the museum.Condition: Good condition, commensurate with age. Extensive wear and losses. Small nicks, light scratches, some dents and cracks. Parts of the crown are bent. The figure was once parcel-gilt, with only minute traces of the gilding remaining in some recesses. Fine, naturally grown, dark patina. Remnants of ancient pigment.Weight: 507.7 g (excl. stand)Dimensions: Height 16.5 cm (excl. stand) and 19.5 cm (incl. stand)Mounted on a modern metal stand. (2)Auction result comparison: Compare a closely related but considerably larger (34 cm high) Western Tibetan bronze bust of a bodhisattva, also dated 14th-15th century, at Christie's New York in Indian and Southeast Asian Art on 21 September 2007, lot 119, sold for USD 8,750.鍍銀鎏金銅觀音半身像 西藏，十四至十五世紀。半身像飾有瓔珞首飾、項鍊和鑲嵌有綠松石色玻璃的耳環。面容平靜，杏仁狀的大眼，微微拱起的眉毛，以鍍金白毫為中心，兩側是細長的耳垂。頭髮高束，頭戴上方是王冠，中間有一尊阿彌陀佛的小像。 來源：德國Radevormwald 亞洲藝術博物館藏品。這個私人博物館由Peter Hardt建立。Peter Hardt是一位德國知名亞洲藝術專家、收藏家及經銷商。在他長達三十五年多的漫長職業生涯中，Hardt建立了大型收藏，現在都在博物館中。 品相：品相良好，與年代相符。廣泛的磨損和缺損。小劃痕、一些凹痕和裂縫。王冠部分彎曲。銅像曾經鍍金，在一些凹處只剩下鍍金的微小痕跡。自然生長的深色包漿。古代顏料的殘餘。 重量：507.7 g (不含底座) 尺寸：高16.5 厘米 (不含底座) 與19.5 厘米 (含底座) 現代金屬底座。 (2) 拍賣結果比較：比較一件相近但更大 (高34 厘米)的西藏菩薩半身像，同樣為十四至十五世紀，見紐約佳士得Indian and Southeast Asian Art 2007年9月21日 lot 119, 售價USD 8,750。
A FINE INDIAN MINIATURE PAINTING OF HANUMANIndia, Pahari, 17th to early 18th century. Watercolors, ink and gold on paper. The monkey god in animated profile facing left, wearing a red veshti and gold-red sash, adorned with beaded jewelry, armlets, bangles, earrings, and a golden crown, all framed by a red border.Provenance: Heeramaneck Galleries, New York, 1940. Albright-Knox Art Gallery, Buffalo, acquired from the above, accession no. 1940:17. The mat is inscribed in pencil, 'Indian. Portrait of Hanuman, The Monkey God, 17th C. Watercolor on Paper. 1940:17. PV Dr 28B'. Nasli Heeramaneck (1902-1971) was a Parsi-American art dealer, specializing in Asian and Pre-Columbian art. Born in Bombay, he moved to New York in the 1920s, and lived and worked there until his death. Works collected by him and his wife, Alice, are now held by, among others, the Los Angeles County Museum of Art, the National Museum of New Delhi, and Yale University. The Albright-Knox Art Gallery is an art museum in Buffalo, New York. The parent organization of the Albright–Knox Art Gallery is the Buffalo Fine Arts Academy, founded in 1862, one of the oldest public arts institutions in the United States.Condition: The subject is in good condition. The background shows some losses and respective ancient touchups. Matted.Dimensions: Image size 16.2 x 11.1 cm, Folio size 20.9 x 15.2 cm, Mat size 46 x 35.5 cmAuction result comparison: Compare a related Indian miniature painting of Hanuman, dated 1700-1720, at Christie's London in Garden of Epics – A Private Collection of Indian Paintings on 10 June 2013, lot 4, sold for GBP 10,000.
A VERY LARGE GILT BRONZE OF GUANGMU TIANWANG, THE GUARDIAN-KING VIRUPAKSHA, MING DYNASTYChina, 16th-17th century. Massively cast standing, clad in full armor decorated with beast heads and pendent sash, adorned with billowing scarves. His right hand is lowered in shuni mudra and the raised left is holding a stupa. The face with a wrathful expression marked by intense almond-shaped eyes below furrowed brows, a broad nose, and full lips. The hair arranged in a high chignon behind the tall crown with a small image of Buddha Amitabha. Provenance: From a private collection in Garnet Valley, Pennsylvania, USA.Condition: Good condition with old wear, dents, minor cracks and small nicks, some losses as seen on the images, light scratches, and a fine naturally grown patina overall. The lacquer gilding with scattered old touchups. Remnants of ancient polychromy.Weight: 8.8 kgDimensions: Height 49.4 cm (incl. stand), 44 cm (excl. stand)With a fitted hardwood stand dating to the Qing dynasty. (2)This figure represents Virupaksha, known in China as Guangmu Tianwang, one of the four Celestial Kings of the Directions, sworn to protect Buddhism eternally. They were traditionally placed at the cardinal points of the compass in Buddhist temples, to protect Buddhist deities. They are reputed to be accompanied by large forces of supernatural warriors and placed at four corners of the Buddhist altar. Guardian figures continued to be of importance in Buddhism, and are found as sculptures or paintings in most Buddhist temples in China today.Virupaksha is the guardian of the West. He lives on the western part of Sumeru. He is the leader of the nagas and putanas, and possesses the divine eye, which allows him to see great distances as well as the karma of sentient beings.Auction result comparison: Compare a closely related lacquered bronze of Virupaksha, also dated to the Ming dynasty, at Christie's Paris in Art d'Asie on 14 December 2011, lot 62, sold for EUR 43,000. 明代大型銅鎏金廣目天王中國，十六至十七世紀。天王開臉方正，面部肌肉緊實，眉如彎月，杏眼圓睜，左手托寶塔。他身著甲胄，足蹬雲頭戰靴，甲胄的形製形式繁複，層次分明。頭髮高束于寳冠后，寳冠上有阿彌陀佛像。整體造型大方，形像生動，通體鎏金。來源：美國賓夕法尼亞Garnet Valley私人收藏 品相：品相良好，舊時磨損，凹痕、小裂縫和小刻痕與缺損，輕微劃痕和細膩包漿。漆金局部有舊時修補。彩繪殘餘。 重量：8.8 公斤 尺寸：高49.4 厘米 (含底座), 44 厘米 (不含底座) 相配清代硬木底座。(2) 拍賣結果比較：比較一件相近漆彩廣目天王銅像，明代，見巴黎佳士得Art d'Asie 2011年12月14日 lot 62, 售價EUR 43,000。
Chalice Veil. An embroidered and metalwork chalice veil, late 17th/early 18th century, with central initials 'IHS' and Latin cross worked in gold metal thread within a circular border of flowers worked in coloured silks and gold metal thread, large cornerpieces similarly worked each featuring a large flower with emanating tendrils and leaves, the silks predominantly in shades of pink, blue, green, and yellow, using mainly couching, long and short stitch, and bullion stitch, some small holes and tears, threads loose or missing in places, on a pieced gold moiré silk ground, with hand-stitched diagonal seam, some light soiling, backed with pieced pink glazed linen (faded and with some marks and small holes), 48 x 50cm (19 x 19.75ins), together with 4 other items comprising a 19th century hand-stitched pale gold silk brocade waistcoat, fabric beginning to perish in places and some soiling to one corner of lining, a 19th century Chinese cream silk sash, hand-embroidered with butterflies and flowers, silk a little marked and frayed in places, but embroidery bright and mostly intact, an Ancient Order of Foresters ceremonial sash, and a set of 6 ecclesiastical woven bookmarks joined at one end Qty: (5)
A GILT-BRONZE FIGURE OF A LADY, MING DYNASTYChina, 1368 to 1644. Cast in the form of a standing court lady, holding a gui tablet, wearing a long flowing robe neatly incised with floral decor along the hems, tied up by a sash with geometric designs. The face with a serene expression and full lips. The hair arranged in a high chignon behind the tiara.Provenance: From a private collection, Northern California, USA.Condition: Good condition, commensurate with age. Old wear and minor casting flaws. Minuscule nicks, losses, dents, light scratches, and wear to the gilt. The gui tablet may be a later addition. Remnants of ancient pigment.Weight: 350 gDimensions: Height 13.3 cmAuction result comparison: Compare a related gilt bronze figure of a lady, dated to Song to Ming dynasty, of slightly smaller size (12.8 cm) at Sotheby's Hong Kong in Later Chinese Bronzes from the Collection of Ullrich Hausmann on 7 October 2014, lot 3353, sold for HKD 43,750. 明代銅鎏金仕女立像中國，1368 至1644年。仕女立像，手持掛牌，身著飄逸長袍，衣擺上飾花卉紋，繫著幾何圖案的綬帶。 臉上表情平靜，嘴唇豐滿，頭髮成高髻。 來源：美國北加利福尼亞私人收藏。品相：狀況良好，與年齡相稱，磨損和輕微鑄造瑕疵，微小的刻痕、損失、凹痕、輕微劃痕和鎏金磨損。掛板可能是後來添加的。 古代顏料殘餘。 重量：350 克 尺寸：高13.3 厘米 拍賣結果比較: 比較一件相近的宋明時期銅鎏金仕女像，12.8厘米，見香港蘇富比Later Chinese Bronzes from the Collection of Ullrich Hausmann 2014年10月7日 lot 3353, 售價HKD 43,750。
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