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Lot 138
Full title: An exceptional massive Chinese blue, white and copper-red fish bowl with antiquities and 'Master of the rocks'-style panels, KangxiDescription:Dia.: 60,5 cm - H.: 48 cm The present fish bowl is unique. There appears to be no record of another surviving example combining the vivid 'Master of the Rocks'-style panels with magnificently painted arrangements of scholar's objects. The landscape panels are captured in leaf-shaped medallions, while the arrangements of scholar's objects are left unframed, yet remain in perfect balance with the leaves. The upper band is decorated with underglaze blue and copper-red peony scrolls. The lower band features five kui dragons surrounded by lotus scrolls, where the lotus flowers stand out as executed in a vibrant shade of copper-red. The copper-red is fired to perfection throughout, an impressive realisation on such a grand scale piece. Provenance:- An important Belgian private collection.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 356
ALEXANDER NASMYTH (SCOTTISH 1758 - 1840), ITALIAN LANDSCAPE AT DUSK oil on canvas, signedframedimage size 68cm x 96cm, overall size 92cm x 119cm Provenance: Private German Country House Collection. Christies, Glasgow stencil mark and label verso.Note: By the 1800s Alexander Nasmyth's skill as a landscape painter was such that he was confident working on an ambitious scale, yet due to the numerous demands on his time relatively few pictures survive from this period. Between 1790 and 1810 he was remarkably industrious: in addition to supporting his large young family, he was setting up an art school where he taught classes and was also working on an ever-expanding portfolio of theatrical, engineering and landscape design projects. Nasmyth came from a line of architect-builders, and as a youth had been trained to take over the family business by his father but opted to pursue painting instead. It was not until later in life that he began to take on architectural and landscape-design commissions, embodying the Italian ideal of the architetto-pittore. James Nasmyth wrote: ‘My father was much employed in assisting the noblemen and landed gentry in improving the landscape appearance of their estates, especially when seen from their mansion windows. His fine taste, and his love of natural scenery gave him great advantages in this respect… he designed alterations of the old buildings so as to preserve their romantic features, and at the same time to fit them for all the requirements of modern domestic life.’ (ed. S. Smiles James Nasmyth, Engineer: An Autobiography,London, 1883, pp.36-37)
Lot 346
GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), SPRING, RIVER AYR oil on canvas, signed, titled versoframedimage size 71cm x 91cm, overall size 85cm x 105cmProvenance: Gifted in 1963 by Edward Houston, son of the artist. The scene is The River Ayr.Note: George Houston was born in Dalry, Ayrshire. He was a prolific artist in both oils and watercolours. He specialized in the landscapes of Ayrshire and Argyll and his exceptional talent lay in creating the atmosphere, climatic conditions and season of each scene. He sometimes worked on a large scale but unlike many artists, the quality of his work remained constant. His style was not influenced by modernist trends and is best described as "late Impressionism". Houston achieved substantial commercial success, which funded a comfortable lifestyle for his ever growing family. He received widespread critical acclaim and was admired by his contemporaries for the apparent ease with which he painted. He only started painting professionally in his late thirties but "quality" came naturally to him as it usually does for truly "gifted" painters. Houston loved fishing and he loved country life. This love of the natural environment has always been (and remains) clear and obvious to the many who appreciate his paintings.
Lot 237
S.E. SHERES (BRITISH 19TH CENTURY) THE OPENING OF WATERLOO BRIDGE FROM WHITEHALL STAIRS, JUNE 18TH 1817signed and inscribed JC.RA. 5 / S E Sheres on the reverseoil on panel11.5 x 25.5cm; 4 1/2 x 10in16.5 x 31cm; 6 1/2 x 12 1/4in (framed)Painted by Sheres after the large scale original by John Constable (Tate Britain). Constable's painting of the opening of Waterloo Bridge and the second anniversary of the Battle of Waterloo on 18 June 1817, depicts the Prince Regent about to board the Royal Barge at Whitehall stairs and shows the Lord Mayor's barge in the right foreground. Property of a European Collector*offered for sale without reserve
Lot 165
Peter Howson OBE (British, born 1958)Totem signed 'HOWSON' (lower left), titled and signed 'HOWSON' (on stretcher)oil on canvas153 x 123cm (60 1/4 x 48 7/16in).painted in 1992Footnotes:ProvenanceWith Flowers Gallery, London.Private collection, UK (acquired from the above in 1992).ExhibitedGlasgow, McLellan Galleries, Peter Howson: A Retrospective, July - September 1993.The present lot is an important example of Peter Howson's work from this period in the early 90s. Painted a year before he took up the role of official war artist for the Bosnian War in 1993, the subject highlights his recurring theme of working class men. The men, wearing what look to be military khakis and armed with a baton, appear menacing and poised for a conflict despite the contrast of the white flag being held in the upper right of the composition. The title of the work, Totem, perhaps simultaneously acknowledges the upright composition of the group, but also the symbolism, incorrect or otherwise, assumed by the public perception of working class men. Executed on a large scale, he has applied the paint with impressively bold and direct brushwork - this handling helps to charge the work with a sense of vigorous movement and energy. Howson's tutor at the Glasgow School of Art, Sandy Moffat, described the qualities of his student's work best:'Peter Howson also identifies with the 'radical imagination', although his work has little to do with ideological concepts. He is pre-occupied with themes and motifs which reflect his perception of urban life, the kinds of people who live, work and play in the City... his touch remains powerful and dramatic; as in his low-life scenes of prostitutes, thieves and dance hall fights...''It is exactly his ability to capture the menacing tone, to penetrate the darker heart of urban humanity, which raises Howson's painting from the ordinary passionless naturalism of academic realists to an entirely different level of creative achievement.'(S. Moffat, New Image Glasgow, exhibition catalogue, Third Eye Centre, Glasgow, 1985)Presently, in 2023, Howson is the subject of a major retrospective at the Edinburgh City Art Centre titled When the Apple Ripens: Peter Howson at 65. Howson's work can be found in collections including the Metropolitan Museum of Art, New York; the Tate Gallery, London; the British Museum, London; the Victoria & Albert Museum, London; the Gallery of Modern Art, Glasgow; and the Scottish National Gallery of Modern Art, Edinburgh.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 42
Mary 'May' Reid (British, 1897-1986)Night and Day (1920) oil on canvas163 x 102cm (64 3/16 x 40 3/16in).The reverse of the canvas is also painted with a scene of women bathing in a landscape.Footnotes:A label on the reverse reads:MAY REID 4 The Oriels, 31 Mt Stuart St, Shawlands, GlasgowIllustratedJ. Burkhauser, Glasgow Girls: Women in Art and Design, 1880-1920, Canongate Books, 2001, p. 216.The issue of granting women art students access to nude models was a controversial one when Fra Newbery assumed his post as director of the Glasgow School of Art in the late 19th Century. Considered morally degrading by the most conservative, and an absolute necessity by the then liberal, access to live nude models (although in separate classes with chaperones) appears to be firmly established at the School by at least 1903. By 1919, study from nude models was commonplace, but May was one step bolder, by photographically documenting the nudes from her studio to use in completing this graduation piece, Night and Day. Burkhauser refers to Reid's diploma piece as 'a competent large-scale oil study of two winged 'presences' which echoes Pre-Raphaelitism' (J. Burkhauser, Glasgow Girls: Women in Art and Design, 1880-1920, Canongate Books, 2001, p. 214).Copies of these studio photographs have kindly been provided by the artist's family and reproduced in this catalogue..A small collection of life sketches that relate to this work can be seen in her student portfolio, lot 39This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1
SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945) Sir William Rothenstein (lots 1-13) and Albert Rutherston (lots 14-23)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893) (lots 1-8), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. (lots 9 & 10). For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic (lot 20) and worked on a number of designs for the ballet and theatre (lots 14-16). He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 12), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker (lots 24-30).SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)PROFILE OF PAUL GERVAISinscribed P Gervais lower right charcoal with white chalk36.5 x 23cm; 14 1/4 x 9in41.5 x 34cm; 16 1/4 x 13 1/4in (framed)Executed in Paris circa 1890. The painter Paul Gervais (1859-1944) was a teacher at the Académie Julian where Rothenstein studied from 1889-1893. A pupil of Jean Léon Gérôme, Gervais was known, and occasionally rebuked, for his depictions of sensuous nudes. Prominent commissions included Les Graces Florentines for La Salle Blanche in the Casino de Monte-Carlo and the Salle Empire in the Hôtel de Paris, Monte-Carlo.
Lot 40
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 40-65)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with fauve painter Emil Othon Friesz and cubist André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches and a range of civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another commercial gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lots 52-54), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting the Ascension above the altar at All Saints, Plumstead (lot 62); Angels with Children for the baptistry of Christ Church and St Stephen’s, Battersea (lot 60) and the Baptism of Christ for Old Saint George’s Baptist Church, Plymouth (lots 61). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, Feibusch evoked bomb-damaged London with a keen eye and in unnerving detail (lots 49 & 50); a natural colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 57 & 58); and he applied visual humour to his commercial designs (lot 55). But above all it is the manner in which he places the human form at the heart of his work with such innate fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The full details of the travelling exhibition abbreviated in lots 40-65 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF LUTZ FEIBUSCHsigned and dated H Feibusch / 1917 lower rightred chalk41 x 31cm; 16 x 12 1/4in46.5 x 36.5cm; 18 1/4 x 14 1/4in (framed) Lutz Feibusch, the artist's brother, was tragically killed in an avalanche while skiing in 1929. ARR may apply
Lot 693
Rare and Historically Important 2nd Battalion Ox & Bucks Light Infantry Fibre Rim Airborne Forces / Paratroopers Steel Combat Helmet, superb untouched as found early fibre rim steel helmet with original regimental colour insignia for the Ox & Bucks Light Infantry, who served as an Air Landing regiment during the D-Day landings, famous for taking Pegasus Bridge. The shell is heavily worn and pitted. The interior of the shell has the remains of the original liner system with rubber pads but no leather sweatband. Helmet is also accompanied by the remains of the leather harness chinstraps which have hardened and come detached. Attached to the liner is an inked label written in French with a date 1952. Overall a superb and rare original airborne helmet worn during one of the most famous actions of WW2. The 2nd Battalion, Oxford and Buckinghamshire (Ox and Bucks) Light Infantry were stationed in India on the North West Frontier (as 52nd Ox and Bucks Light Infantry) at the start of WW2, before being recalled to the UK. In the early years of the war, they formed part of the 31st Independent Infantry Brigade, undertaking Home and Coastal Defence roles in Wales, East Anglia, London and Kent. At this stage in the war, the British Airborne Forces consisted of just the 1st Parachute Brigade. In September 1941 however, the War Office decided that a Brigade of glider infantry should be raised to compliment them. The 31st Infantry Brigade was selected for this task and accordingly, on 10 October 1941, it was renamed the 1st Airlanding Brigade. In addition to the 2nd Oxford and Bucks Light Infantry, this experimental formation consisted of a further three battalions; the 1st Battalion Border Regiment, 1st Battalion Royal Ulster Rifles and 2nd Battalion, South Staffordshire Regiment. Gliders were seen as a necessary method of supporting airborne operations, as they were able to carry additional infantry to reinforce the parachute brigades, and also heavy equipment, such as jeeps and Anti-Tank Guns. It was this factor, and the subsequent formation of the 1st Airborne Division, that made it possible for the role of the British Airborne Forces to advance beyond the small-scale and infrequent commando raids that had been previously envisaged. The transformation to an Airborne Battalion saw the 2nd Ox and Bucks remain in England and start training for the planned invasion of North West Europe the following year as part of the redesignated 6th Airlanding Brigade of 6th Airborne Division. Elements of the Battalion (D Coy and parts of B Coy) formed a Coup de Main force, tasked with an attack on the bridges over the River Orne and adjacent Canal in Normandy, subsequently known as the attack on Pegasus Bridge. The Battalion's involvement in the successful Coup de Main action at Pegasus Bridge, under Major John Howard proved one of the most remarkable British Airborne actions during WW2. The 2nd Battalion itself would continue to see Airborne action however, serving as part of the 6th Airborne deployment to the Ardennes and the Rhine Crossing in early spring 1945.
Lot 32
Victorian Volunteer Long Service Medal to a Quarter Master Sergeant in the Hampshire Regiment, Volunteer Long Service medal, VR, neatly engraved, “1st VOL BATTN. HANTS REGT. 25 – QR MR SERGT W. BARNARD 1860-” Medal accompanied by various items of cloth insignia, from undress and grey cloth uniform and a small white metal piece engraved with a linear scale and additionally engraved “SERGT BARNARD 2ND HANTS RIFLES”. Medal confirmed in Army Order January 1895. Late Rod Flood collection
Lot 200
A RARE AND IMPORTANT ALBUM LEAF FROM THE HUANGCHAO LIQI TUSHI WITH AN IMPERIALLY INSCRIBED SILK PAINTING OF THE EMPRESS DOWAGER AND EMPRESS CONSORT'S DRAGON VEST (CHAOGUA), QIANLONG PERIODExpert's note: The present pair of leaves may belong to the same manuscript as those in the British Library, the National Museums of Scotland, the National Museum of Ireland, the Victoria & Albert Museum, and those sold at Woolley & Wallis, 12 November 2019. Altogether, these may once have been part of the version kept in the Wenyuan Pavilion library in the Yuanming yuan Summer Palace, Beijing, as indicated by the main seal on two pages from the manuscript in the Victoria & Albert Museum.China, 1750-1759. Ink and watercolors on silk, laid down on paper. One side illustrating an Imperial dragon vest (chaogua) of the Empress Dowager and Empress consort, and the other side with eleven lines of inscription regarding the regulations for such vests. Exquisitely painted, the dragon vest is designed with six golden five-clawed dragons pursuing flaming pearls on a midnight-blue ground surrounded by polychrome lingzhi-form clouds above crashing waves. The black-ground hem and borders are shown in gold thread with scroll designs, and the interior is lined with red silk.Inscriptions: Right hand leaf, 'The painting of the official vest of the Empress Dowager and Empress consort.' Left hand leaf, 'The empress dowager and the empress consort's official vest shall be made in accordance with the regulations of our era: the empress dowager and the empress consort's vest should be an azurite blue and have gold hems and seams. The front and back shall have two standing dragons above four further levels with four dragons. Below are to be ten thousand bats and ten thousand shou and behind the color a yellow sash with jewelry. The imperial concubine and crown princess shall follow similar regulations.'Provenance: French trade.Condition: Very good condition with minor wear, little soiling, minor creasing, few tiny losses.Dimensions: 41.8 x 39 cm The present album leaf is part of the Huangchao Liqi Tushi (The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty), an illustrated manuscript commissioned by the Qianlong Emperor. The main body of the work began to be compiled in 1750 and was completed in 1759. After editing and further expansion of the manuscript during the ensuing years, it was duplicated by the Palace Publications Office in the Wuying Palace in 1766 and was eventually added to the Siku Quanshu (Complete Library of the Four Treasuries) in 1773. Only seven copies of the manuscript were produced, stored in libraries across the empire, including the Wenyuan Pavilion library in the Summer Palace (Yuanming yuan), Beijing.The Huangchai Liqi Tushi was part of the Qianlong Emperor's effort from the beginning of his reign to regulate the ritual codes and procedures, and it serves as a record of his passion for a rigid ritualized life. The book consists of six parts - ceremonial vessels, scientific equipment, dress, musical instruments, insignia, and weaponry, containing more than 1,300 leaves of illustrations and explanatory texts. As one of the major imperial commissions, the book is of monumental scale and collaborative in nature. As many as twenty-seven court painters and calligraphers were working on the commission under five editors-in-chief, Yilu (1695-1767), Jiang Pu (1708-1761), Wang Youdun (1692-1758), Guanbao (d. 1776), and He Guozong (d. 1766).The Qing dynasty Chaogua was adapted from the dragon-patterned sleeveless coats worn unofficially at the Ming dynasty court. The mid-eighteenth century court dress edicts assigned three styles of this garment to the upper ranking court women. All were made of dark navy blue silk and featured a center front opening held with five toggle and loop fastenings, angled shoulder seams and deeply cut armholes. The first and second styles were tailored as multi-sectioned constructions with horizontal bands of dragons, clouds, and waves. The third style was full length without sections. A fourth style, which could be worn by all ranks of women including the wives of nobles not related to the imperial clan and the wives of other high officials featured mang, or four-clawed dragons. The chaogua painted on the present lot is of the first style, a full-length vest made of three sections - an upper part, a section from waist to knee, and a section from knee to hem with five horizontal bands embroidered with five-clawed dragons and auspicious symbols.Literature comparison:Compare an illustrated manuscript with 38 folios preserved, two leaves showing the front and back of a similar dragon vest, the leaves of closely related size (42 x 40 cm), dated to the Qianlong period, once in the Summer Palace and now in the British Library, number OR 9430. Compare a closely related page from the Huangchao Liqi Tushi illustrating the front and back of a dragon vest worn by imperial concubines of the first rank, 42.3 x 41.3 cm, dated to the Qianlong period, in the Victoria & Albert Museum, accession number 856-1896.Auction result comparison: Type: Closely related Auction: Christie's Paris, 13 December 2017, lot 108 Price: EUR 47,500 or approx. EUR 55,500 adjusted for inflation at the time of writing Description: Six rare and important album leaves, Huangchao liqi Tushi, Qianlong period Expert remark: Compare the closely related manner of painting, calligraphy, and size (42 x 41 cm), as well as the related dragon vest illustrated on the final page. Note this lot comprises six album leaves.Auction result comparison: Type: Related Auction: Woolley & Walis, 12 November 2019, lot 6 Price: GBP 225,000 or approx. EUR 345,000 converted and adjusted for inflation at the time of writing Description: Album leaves from the imperial household regulations (Huang Chao Li Qi Tu Shi) Expert remark: Compare the closely related manner of painting and calligraphy. Note this lot comprises twelve paintings. Note the closely related size (41 x 42.5 cm).乾隆時期彩繪《皇太后皇后朝褂圖》，《皇朝禮器圖式》彩繪散頁中國，1750-1759 年，絹本設色。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 214
A MONUMENTAL BRONZE HEAD OF BUDDHA, LAN NA, NORTHERN THAILAND, 14TH-15th CENTURYExpert's note: Thai bronzes of this size and preservation are exceptionally rare, particularly those that are over 500 years old. It's challenging to imagine the immense scale of the complete sculpture to which this head belonged, standing at well over 2 meters tall. Only a few works of similar magnitude have endured the test of time, and this magnificent head is among the largest privately owned examples. Despite centuries passing, it has retained all its spirit, a near-magical presence, a sense of tranquility, and, above all, its ability to inspire.Buddha's slightly elongated oval face with outlined smiling lips, aquiline nose, neatly incised heavy-lid downcast eyes below finely arched eyebrows in relief, his ears with extended pierced earlobes, the hair arranged in rows of snail shell curls, surmounted by an ushnisha.The bronze heavily cast and with a rich naturally grown patina, showing distinct malachite encrustations. The surface with natural wear overall, resulting from centuries of worshipping.Provenance: From an old private collection in Palm Beach, Florida, USA. Sotheby's New York, 23 March 1995, lot 101. A private collection in New Jersey, USA, acquired from the above, and thence by descent within the family.Condition: Superb condition, commensurate with age, showing extensive wear, weathering, and expected casting flaws. Some losses, nicks, and scratches. The interior of the head with a filling used to mount the head to the stand. The wood base with age cracks and flaking to lacquer.Weight: 24.7 kg (excl. stand)Dimensions: Height 40.5 cm (the head) and 60 cm (incl. stand) Mounted on a wood base, dating from the 20th century. (2)The present bronze bears distinctive features of the Sukhothai style, evident in its oval shape, hairline, and aquiline nose. A closely related example from the Sukhothai tradition is a bronze head now housed in the Sawanvoranayok National Museum (see literature comparison). However, there are slight variations in the facial treatment, such as less upswept eyes and fuller lips. The face also shows arched eyebrows, an upward turn at the sides of the mouth, and an oval marking on the chin. The flowing curves of these features come together harmoniously, making this sculpture an excellent representation of the neighboring Lan Na Kingdom's artistic style. Lan Na was a powerful state in Northern Thailand and actively promoted Buddhism, shaping their Buddhist sculptures with influences from the Sukhothai kingdom.During the late 13th century, Sukhothai reached its peak under King Ram Khamhaeng's reign. However, after his death, the kingdom declined, and various tributary states began to break away rapidly. Lan Na annexed Tak, an ancient town in Sukhothai, and other regions to the north and west asserted their independence. By the 14th century, Sukhothai had diminished to a local power and eventually became a tributary state of the Ayutthaya Kingdom, a neighboring Thai polity. In 1438, after the death of Borommapan, Ayutthaya annexed Sukhothai, bringing an end to its independent existence.Literature comparison:Compare a closely related Buddha bronze head, dated to the 14th-15th century, from Wat Mai, Sukhothai, now in the Sawanvoranayok National Museum, illustrated in Ancient Sukhothai: Thailand's Cultural Heritage, Dawn F. Rooney, 2008, pp. 198-99. Compare closely related Buddhas, held in Thai temples, illustrated in Stratton, Buddhist Sculpture of Northern Thailand, Chiang Mai, 2004, pp. 163-179, & figs. 7.50-7.58. Compare the fragmentary example held in the National Museum, Lamphun, published in Bowie (ed.), The Sculpture of Thailand, New York, 1972, p. 94-5, no. 55. Compare a closely related Buddha head at the National Museum of Bangkok and published in J. Boisselier, La sculpture en Thailande, Fribourg, 1987, pl. 111.Auction result comparison: Type: Closely relatedAuction: Bonhams, Paris, 25-26 October 2022, lot 83Price: EUR 176,775 or approx. EUR 182,000 adjusted for inflation at the time of writing Description: A copper alloy head of Buddha, Thailand, Sukhothai School, Kampheng Phet, 14th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the similar size (43 cm).Auction result comparison: Type: Closely relatedAuction: Christie's, London, 11 May 2016, lot 82Price: GBP 60,000 or approx. EUR 101,000 adjusted for inflation at the time of writing Description: A monumental bronze head of Buddha, Thailand, Lan Na period, 15th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the slightly larger size (45 cm).
Lot 219
A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.
Lot 220
A LARGE BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEExhibited: Los Angeles County Museum of Art, USA, according to the expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001.Khmer Empire, late 12th to early 13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity is clad in a short sampot with fishtail pleat and jeweled sash, to the back a flared tang. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, an aquiline nose, an urna, and full lips.Provenance: Former Pan Asian Collection. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001, confirming the dating and provenance above, accompanies this lot. The expertise also states a 'replacement value' of 170,000 FF or EUR 37,500, converted and adjusted for inflation. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Excellent condition, commensurate with age. There is extensive wear, some casting flaws, minor losses, signs of weathering and erosion, small nicks and shallow surface scratches, all as expected from a Khmer bronze of nearly 1,000 years of age. Faint remnants of gilt.Weight: 3,557 gDimensions: Height 38.8 cm Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. Also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 42,500 adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Note the smaller size (32 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 10 December 2002, lot 114Price: EUR 33,460 or approx. EUR 52,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, bronze figure of PrajnaparamitaExpert remark: Note the larger size (46 cm).
Lot 315
AN ARCHAIC GREEN JADE AXE BLADE, DAO, NEOLITHIC PERIODChina, c. 3000-1700 BC. Of trapezoidal form with a thin blade and beveled lower edge, pierced with three apertures along the upper edge. The translucent stone of a dark green hue with russet clouding and veins, and black shadings around the edges.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition with ancient wear, some losses, chips and nibbles which have smoothened over the centuries of handling. Natural fissures in the stone, some of which have developed into small hairlines.Weight: 269.3 gDimensions: Length 24 cm Expert's note: Jessica Rawson in Chinese Jade from the Neolithic to the Qing, British Museum, 1995, pages 184, discusses jade ceremonial blades of the neolithic period and how they evolved from stone reaping implements.Literature comparison: Compare a related jade harvesting knife, hu, 62.7 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F1916.417. Compare a related jade harvesting knife, hu, 32.4 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F 1916.375.Auction result comparison: Type: RelatedAuction: Bonhams London, 18 March 2023, lot 4Price: GBP 17,850 or approx. EUR 21,000 converted at the time of writingDescription: A very large archaic jade axe blade, dao, Neolithic periodExpert remark: Note the larger size (38.5 cm). 新石器時代青玉刀中國，西元前約 3000-1700年。青玉質，局部褐色沁。刀呈扁平片狀，長條形，淺圓弧刃。上端有三個單面鑽螺旋式孔，一側局部漸增灰白色土沁，一面有黃褐色紋理，通體光素，圓潤渾厚。來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有磨損，一些缺損、磕損。玉料上有天然裂縫。 重量：269.3 克 尺寸：長 24 厘米 專家注釋：Jessica Rawson 在 《Chinese Jade from the Neolithic to the Qing》（大英博物館，1995年，第184頁）討論新石器時代的玉祭刀以及它們如何從石製收割工具演變而來的專題。 文獻比較： 比較一件相近的新石器時代青玉刀笏，長62.7 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F1916.417。比較一件相近的新石器時代青玉留皮刀笏，長32.4 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F 1916.375。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2023年3月18日，lot 4 價格：GBP 17,850（相當於今日EUR 21,000） 描述：新石器時代玉刀 專家評論：請注意尺寸較大 (38.5 厘米)。
Lot 441
A WHITE-GLAZED JAR, TANG DYNASTYChina, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie's 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm). 唐代白釉罐中國，618-907年。侈口，短頸，豐胸，弧腹，平底。 通體覆蓋著半透明的白色釉。足部無釉，露淺黃色胎。來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。 品相：品相良好，有一些磨損和輕微的製造缺陷，包括釉面凹陷和黑點，輕微缺損與劃痕。 重量：1018.1 克 尺寸：高 16.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年3月29日，lot 394 價格：USD 3,600（相當於今日EUR 5,100） 描述：唐代白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(20.9厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2023年3月20日，lot 4 價格：USD 7,013（相當於今日EUR 6,500） 描述：唐白陶萬年罐及白陶壁足碗各一 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.5厘米)，以及此有一件淺碗。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2023年3月24日，lot 1002 價格：USD 6,300（相當於今日EUR 5,900） 描述：唐白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.4厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
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