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Lot 5012

Two Butler and Wilson floral garnet and crystal necklaces, together with a silver garnet ring, ring size PCondition Report: Silver gross weight 2.52g

Lot 5011A

Tiffany & Co sterling silver ball point pen, with engraved pattern, with original box and pouchCondition Report: Pen is in full working order. It has a natural silver patina which could be polished if desired, and also has some surface scratches.

Lot 5041

A beaded crocheted triangular ornate silver scarf, a black sequinned snood and a shocking pink fine silk organza scarfCondition Report: Excellent condition

Lot 866

MUST DE CARTIER , SILVER GILT QUARTZ WRIST WATCH, the round dial lacking hour markers, 30mm case, on a generic black leather strap, lacking box and papersMOVEMENT: Not ticking at present. WEAR: Well worn. Plating wearing off. DIAL: Fair condition. CRYSTAL/ACRYLIC: Fair condition. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Well worn.

Lot 209

Bosch KGN34NLEAG/10 Fridge freezer in silver finishDimensions: Height: 185cm  Length/Width: 60cm  Depth/Diameter: 65cm

Lot 107

A pair of Cartier silver flutes, the bowls with tri-colour banded decoration, on slender stems and flattened feet, 20.5cm high

Lot 109

Asprey, an Edward VII silver and turquoise shooting butt marker, London 1907, maker William Hornby, the rectangular case with oval turquoise set to one side, initials T.H to the opposing side, with flush fitting hinged lid, 28mm wide, 48mm high, 11.5mm deep, 1.2oz

Lot 113

A Sampson Mordan silver gilt propelling pencil, the bloodstone seal inset terminal carved with a stag in profile, the swirled gadrooned body above a propelling pencil body, engraved "D.M.S from C.C & M.M.B. 21st April 1898", 12.5cm long fully extended, collapsing to 7cm long

Lot 123

A Continental silver and turquoise enamel orb form pendant watch and chain, the white dial with Arabic numerals, manual wound, the chain with turquoise and black enamel sections, the watch 22.7mm diameter

Lot 124

Thomas Hallam, Nottingham, a Victorian silver open face pocket watch, the case London 1841, maker John William Hammon, the white enamel dial with Roman numerals, outer minutes track and subsidiary seconds dial, the movement signed and numbered 133-, the case 50mm wide, total weight 111g

Lot 126

Richard Hornby, Liverpool, a William IV silver open face pocket watch, the case Chester 1836, maker Timothy Ellison & Henry Fishwick, the white enamel dial with Roman numerals, outer minutes track and subsidiary seconds dial, the key wound movement signed and numbered 24240, the case 51mm wide, total weight 101g

Lot 128

Jonathan Bowen, London, A George III silver open face pocket watch, the case London 1813, maker WB, the white enamel dial with Roman numerals, outer minutes track and subsidiary seconds dial, the diamond set movement signed and numbered 3031, the case 55mm wide, total weight 168.4g

Lot 130

William Hardeman, Bridge, A George III silver pair cased pocket watch, the inner and outer cases London 1801, maker WL, the white enamel dial with Arabic numerals and outer minutes track, the signed gilt single fusee movement with four pillars pinned through the backplate, the steel balance beneath the pierced stylised foliate and scroll decorated cover, the watch case 45mm diameter, the outer case 54mm diameter, total weight 120.8g

Lot 139

A French 18 carat white gold and diamond cocktail watch, the silver dial with Arabic numerals, manual wound, the bezel set with thirty diamonds, the case 18.5mm wide, 18.6mm high

Lot 140

A Baume gentleman's 9 carat gold wristwatch, the signed silver dial with Arabic numerals and subsidiary seconds dial, manual wound, the case 25.6mm wide, on a black leather bracelet

Lot 147

An International Watch Company Schaffhausen gentleman's stainless steel wristwatch, ref no. 803, case no. 1712443, circa 1965, the signed silver dial with baton markers and outer minutes track, automatic movement, the case 35mm diameter

Lot 150

A Longines Conquest gentleman's stainless steel wristwatch, the signed silver dial with triangular markers and inner minutes track, automatic movement, the caseback with enamelled fish emblem, the case 35mm

Lot 151

A Marvin 18 carat gold gentleman's wristwatch, the signed silver dial with baton markers, automatic movement, the case 33mm diameter, on a brown leather bracelet, total weight 30.9g

Lot 153

An Omega 9 carat gold gentleman's wristwatch, movement no. 22076XXX, circa 1965, the signed silver dial with baton markers, manual wound, the case 33mm diameter, crown detached but present

Lot 155

An Omega 9 carat gold ladies wristwatch, the signed silver dial with baton markers, manual wound, the case 19mm, on a 9 carat gold bracelet, total weight 17.6g

Lot 156

An Omega Seamaster Cosmic 2000 gentleman's stainless steel wristwatch, the signed silver dial with baton markers, outer minutes track, day/date aperture at the three o'clock position, automatic movement, the case 38mm diameter, on original bracelet with Omega logo to the clasp

Lot 161

An Omega 9 carat gold ladies wristwatch, movement no. 11096XXX, circa 1947, the signed silver dial with alternating Arabic and roundel markers, outer minutes track, manual wound, the case 19mm diameter, on a Chaincraft 9 carat gold bracelet

Lot 162

An Omega gold plated Art Deco wristwatch, of oval cushion form, the signed silver dial with Arabic numerals and inner minutes track, crown wound, the case 31mm wide, 39.5mm high

Lot 171

A Rolex Oyster precision ladies stainless steel wristwatch, model no. 6410, case ref. 229XXX, circa 1957, the signed silver dial with baton markers and outer minutes track, manual wound, the case 25mm diameter, on a Rolex model 7204 riveted bracelet with crown logo to the clasp

Lot 173

A Rolex 9 carat gold ladies wristwatch, the signed silver dial with Arabic markers, manual wound, the case 17mm wide, on a 9 carat gold bracelet, housed in a Rolex rectangular watch box

Lot 177

A Rolex Oyster cushion shaped silver cased gentleman's wristwatch, the interior caseback with import mark for Glasgow 1928 and numbered 260554/1925, the signed white dial with Arabic numerals, outer minutes track and subsidiary seconds dial, manual wound, with screw-down crown, the case 31.7mm wide,

Lot 178

A Rolex 18 carat gold gentleman's wristwatch, the signed silver dial with Arabic numerals and outer minutes track, the caseback with Rolex crown logo, the interior caseback with import marks for Glasgow 1937, manual wound, the case 32mm diameter

Lot 181

An unusual Rolex Prince 9 carat gold fob watch retailed by J. Stein Johannesburg, movement no. 764XX, circa 1939, the signed silver dial with Arabic numerals and subsidiary seconds dial, manual wound, the case with import marks for Glasgow 1931, the exterior with engine turned decoration and vacant square cartouche, with hanging loop to the top right hand corner, the case 25mm wide, 40mm high

Lot 33

A yellow metal and cairngorm set plaid brooch, the central prismatic cut stone surrounded by a wrapped chain effect brooch mount, 49mm wide, 47mm high, a "Quendal Beast" silver brooch, the circular brooch with central pierced depiction of the beast, stamped SS STERLING SHETLAND verso, 31mm diameter, An Elizabeth II Scottish silver brooch, Edinburgh 1952, maker mark rubbed, the brooch with central depiction of a lion holding a dagger and the Latin motto of FIDE ET FORTITUDINE, the Farquharson clan motto, 39.5mm wide (3)

Lot 48

A Georg Jensen sterling silver brooch, designed by Arno Malinowski, design no. 239, of heart form with central depiction of a bird taking flight amongst foliage, 43mm wide, 39.5mm high

Lot 49

A Georg Jensen Danish sterling silver brooch, modelled as a leaf and four graduated berries, stamped "GEORG JENSEN INC. U.S.S. L.P. STERLING 132" verso, 55.5mm wide, 33mm high, 13.7g

Lot 51

A Georg Jensen sterling silver brooch, designed by Arno Malinowski, design no. 258, of circular form with central depiction of a bird taking flight between two leafy branches, 36mm wide, 43.5mm high

Lot 52

An Alexander Ritchie Iona silver brooch, Glasgow 1922, modelled as a stylised leaf, 30mm wide, 22mm high

Lot 276

NO RESERVE Bradbury (Ray) Something Wicked This Way Comes, first edition, original boards, dust-jacket, spine ends and extremities creased and nicked, 1963; The Silver Locusts, second impression, original boards, dust-jacket, price-clipped, spine ends and extremities creased and nicked, 1961 § Williams (Nigel) The Wimbledon Poisoner, proof copy, original wrappers, 1990 § Rendell (Ruth) Kissing the Gunner's Daughter, proof copy, one of 600 copies, original wrappers, creased and soiled, 1992 § Davis (Lindsey) Shadows in Bronze, first American edition, signed by the author on title, original boards, dust-jacket, extremities creased, 1990; and c.40 others, mixed literature, v.s. (c.45)

Lot 289

NO RESERVE Scrap Albums.- Four Victorian Scrap Albums, including Christmas, New Years and various other greetings cards, printed in chromolithograph colours, some heightened with gold or silver, some original drawings and hand-colouring, some with "lacy" embossed borders, some with moveable parts, also containing cut outs of various themes (nature, animals, the royal family, advertisements), fashion clippings, and several whole-page original water colours of flowers, generally clean and bright, some pages loose, and a few with small chips, original cloth, mainly decorative or gilt, spines or hinges broken or breaking, worn, [c.1870] § A nineteenth century album of the English School, containing 10 studies in pencil of landscapes and animals, possible artist provenance inscription to front "J.G. Bartlett", a few spots of margins, original morocco backed wrappers, spine worn, [c.1880], v.s. (5)

Lot 63

Richardson (Charles J.) Studies from Old English Mansions: Their Furniture, Gold & Silver Plate &c...., 4 vol. in 2, tinted lithographed decorative or pictorial titles, lithographed dedications and 96 plates, many tinted, a few with partial hand-colouring, 2 double-page, vol.1 with 4pp. letterpress description of plates bound in, other volumes with text within lithographed decorative borders (12 to each vol.), tissue guards, some faint marginal foxing or water-staining to a few plates, contemporary half red morocco, g.e., rubbed, rebacked preserving old spines, corners repaired, folio, 1841-48.

Lot 103

A GILT BRONZE 'BEAR' WEIGHT, HAN DYNASTY, EX ADOLPHE STOCLET COLLECTION 漢代銅鎏金熊鎮,前ADOLPHE STOCLET收藏Published: A. Koop, Early Chinese Bronzes, London, 1924, page 70, pl. 92.Georges A. Salles and Daisy Lion-Goldschmidt, Adolphe Stoclet Collection, Part I, Brussels, 1956, pages 372-373. China, 206 BC-220 AD. Powerfully cast as a coiled front-facing bear with a menacing expression, its mouth wide open baring its sharp teeth, the round ears pricked up, the fur neatly incised and claws well detailed. The round weight with a small loop to the interior.Provenance: From the collection of Adolphe Stoclet, and thence by descent in the Stoclet family. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Condition: Magnificent condition, commensurate with age. Old wear, minor nicks and scratches, rubbing to gilt. The lead or cement core to the interior has been removed. The bronze with a rich, naturally grown patina overall and scattered soil, malachite and cuprite encrustations.Weight: 70.5 gDimensions: Diameter 5.5 cm Expert's note: The present lot once had a lead or cement core, enabling its usage as a weight. A small loop to the interior, designed to secure this core, is still in place. The removal of the core may indicate usage as an ornament at some point in its very long history.Weights crafted from precious materials such as bronze and jade, often gilded or inlaid with gold, silver or gemstones, were produced in sets of four and served a practical function of anchoring down woven mats for seating. Mats and corner-weights were believed to have been used at banquets, even those laid out in tombs. Inlaid animal-form weights were discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels.The bear has been a popular totemic emblem in China since ancient times. China's foundation myths hold that the legendary Yellow Emperor, or Huang Di, early on lived with his tribe in the northwest, presumably in modern Shanxi Province, but then later migrated to Zhuolu, in present-day Hebei Province, where he became a farmer and tamed six different types of ferocious beasts, including the bear, or xiong, with which the Yellow Emperor ever since has been linked. According to legend, Gun — said to have been the great-grandson of the Yellow Emperor and the father of Yu the Great, or Da Yu — stole a special soil with which he planned to build dikes in an attempt to control the Yellow River's constantly recurring and very devastating floods. He failed in his mission, however, and, as punishment for his theft, was killed by Zhurong, the God of Fire. Gun's corpse turned into a yellow bear, or huangxiong, and jumped into a pool. A while later, a golden bear, alternatively said to be a golden dragon, emerged from the corpse's stomach and ascended into heaven, where the Yellow Emperor instructed it to complete his father's work in taming the Yellow River's waters. That bear turned out to be Da Yu, who — according to popular belief — heroically controlled the floods and became the mythological forefather of China's Xia dynasty. Therefore, the bear has been prominently associated with legendary rulers and Chinese national foundation myths since the earliest times.Bears are native to China, their presence there known since antiquity. They were kept in Han imperial zoos and parks, where the emperor and his entourage enjoyed watching them in performance or in combat with other animals. On the other hand, they were perceived as enlightened creatures and it was believed that they resided in spiritual mountains and possessed the ability to intermediate between heaven and earth. Bears have also been linked with military prowess, shamanism, and immortality. As a corollary, it might be noted that the words for 'bear' and 'virility' are exact homonyms, pronounced xiong. According to the 'Rites of Zhou', Zhou Li, edited during the Han dynasty, bears were employed in exorcism rituals, their skin worn over the head of the performer who, holding a lance and a shield, led the officials to perform the Seasonal Exorcism by searching through houses and driving away pestilences. See J. Lagerway, Early Chinese Religion. Part One. Shang through Han (1250 BC-220 AD), Boston, 2008, page 287. Auction result comparison: Type: Related Auction: Christie's New York, 24 September 2020, lot 888 Price: USD 32,500 or approx. EUR 35,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze circular mat weight, Han dynasty Expert remark: Compare the related circular form and manner of casting and gilding. Note the size (8.6 cm). 漢代銅鎏金熊鎮,前ADOLPHE STOCLET收藏中國,西元前 206 年至西元 220 年。 正面熊身盤成一圈,表情凶狠,齜牙咧嘴,圓耳豎起,細節生動。圓形鎮,內部有一個小環。出版:A. Koop,《Early Chinese Bronzes》,倫敦,1924年,第 70頁,圖 92。 Georges A. Salles和Daisy Lion-Goldschmidt,《Adolphe Stoclet Collection》,上冊,布魯塞爾,1956年,第372-373頁。 來源:Adolphe Stoclet 收藏,是 Stoclet 家族的後裔。Adolphe Stoclet (1871-1949 年)是一位比利時工程師、金融家和著名收藏家。他出生於比利時銀行家家庭,父親去世後成為比利時興業銀行董事。他與Suzanne Stevens (1874-1960)結婚,她是藝術評論家、歷史學家、收藏家,也是商人Arthur Stevens(1825-1909)的女兒以及畫家Alfred Stevens(1823-1906)的侄女。Stoclet夫婦與巴黎和維也納的前衛藝術圈有聯繫,在那裡他們遇到了Josef Hoffmann(1870-1956),後者設計了布魯塞爾著名的Stoclet宮。其餐廳的壁畫由Gustav Klimt(1862-1916)繪製。Palais Stoclet 如今已被聯合國教科文組織列為世界遺產,其奢華的環境是有史以來最重要的藝術收藏之一,其中包括埃及和中國雕塑、中世紀意大利繪畫和金屬製品、琺瑯和文物,拜占庭和羅馬時期的藝術品以及前哥倫佈時期的藝術。 品相:磨損,輕微刻痕和劃痕,鎏金有磨損。內部的鉛或水泥芯已被移除。表面自然包漿,並散佈著土壤、紅藍色結殼。 重量:70.5 克 尺寸:直徑 5.5 厘米 此類銅鎮用於壓住用於座椅或棋盤遊戲六博的編織墊的角部。在中山靖王劉勝(西元前 113 年)的王后窦绾的墓中,還發現了動物形鎮,以及食物和酒水器皿。它們通常被製成動物形狀,盤繞成圓形,或者製成人物形狀,甚至山形。 一般為銅鎮,鎏金,嵌寳或錯金銀,銅鎮體現了其所有者的崇高社會地位。 熊在漢代是祥瑞威武之獸。熊與漢代的思想觀念、熊圖騰信仰等密不可分。 從民俗文化意義上講,它們皆具有驅邪避惡、保護墓主人靈魂不受侵擾、肉體不受侵害的作用,最終目的是説明墓主人升入仙界。 拍賣比較: 形制:相近 拍賣:紐約佳士得,2020年9月24日,lot 888 價格:USD 32,500(相當今日EUR 35,000) 描述:漢鎏金銅虎形席鎮 專家註釋:比較相近的圓形的外形、鑄造風格和鎏金。請注意 尺寸 (8.6 厘米)。

Lot 107

A SILVER FUNERARY MASK OF A NOBLEMAN, LIAO DYNASTY 遼代貴族銀面具China, inner Mongolia, 907-1125. Formed from a sheet of thinly beaten silver and faithfully modeled to the contours of the deceased's face, the brows executed by fine striations, the eyes open, the nose long and straight above arched lips, the large ears neatly embossed. The outer rim is pierced to bind the mask to the deceased's head.Provenance: From an old private collection in Budapest, Hungary, acquired during the first half of the 20th century.Condition: Excellent condition, commensurate with age. Wear and traces of use, with light surface corrosion typical of ancient silver, signs of weathering and erosion, minor dents.Weight: 88.9 gDimensions: Height 18 cm, Width 20.5 cm Funerary masks are associated with the burial culture of the Qidan Liao and many examples made of bronze, silver sheet, or gilt bronze such as the present example have been found in tombs of the Liao elite in Inner Mongolia. Two impressive gold funerary masks were discovered in the royal tomb of the Prince and Princess of Chen, dated 1018. Similarly made of thin hammered gold sheet, they are supposed to realistically portray some of their owners' facial features.Literature comparison: Compare with a closely related silver alloy mase in the Philadelphia Museum of Art, accession number 2012-53-1. Compare with Zhu Qixinin, 'The Liao Dynasty tomb of a Prince and Princess of the Chen Kingdom', Orientations, October 1991, fig. 11. Compare another example made in gilt bronze sheet and excavated from a Liao tomb at Chifeng, Inner Mongolia, see 'The Silk Road in Inner Mongolia', Hong Kong, 2007, cat. no. 18. See also similar examples in the Musee Guimet, Paris, reference number MA2352. Compare with a similarly crafted mask in the Philadelphia Museum of Art, reference number 2012-53-1.Auction result comparison: Type: RelatedAuction: Sotheby's London, 14 May 2008, lot 92Price: GPB 26,900 or approx. EUR 54,500 converted and adjusted for inflation at the time of writingDescription: A silver funerary mask, Liao dynastyExpert remark: Compare the material, style and closely related embossing technique.Auction result comparison: Type: RelatedAuction: Galerie Zacke Vienna, 25 April 2020, lot 42Price: EUR 6,000 or approx. EUR 7,300 converted and adjusted for inflation at the time of writingDescription: A gilt-copper death mask, Liao dynastyExpert remark: Note the different material (copper) and larger size (23.4 cm). 遼代貴族銀面具中國,內蒙古,907-1125年。是用整張薄銀片製成,採用錘鍱工藝,形成浮雕效果。長圓臉,臉部寬平,神情肅穆威嚴。左右邊緣和上下端,都有小孔,用來穿細銀絲束縛面具。 來源:匈牙利布達佩斯私人舊藏,購於上世紀前半葉。 品相:狀態極佳,有磨損和使用痕跡,表面腐蝕,風化和侵蝕的跡象,輕微的凹痕。 重量:88.9 克 尺寸:高 18 厘米, 寬 20.5 厘米 遼代契丹族建國後,生活方式受到中原地區影響,沿襲唐代制度,貴族普遍重厚葬,使用特別豐厚而考究的裝飾。其中,以金屬面具最具特色, 如果約為1018年陳國公主的面具。這件面具樣貌生動,製作工藝精湛,真實的再現契丹貴族颯爽英姿。文獻比較: 比較一件非常相近的銀合金面具,收藏於賓州藝術博物館,館藏編號2012-53-1。比較Zhu Qixinin,《The Liao Dynasty tomb of a Prince and Princess of the Chen Kingdom》,Orientations,10月 1991年,圖11。比較另一件鎏金銅面具,出土於內蒙古赤峰市遼代墓葬,見《The Silk Road in Inner Mongolia》,香港,2007年,圖錄編號18。見另一件收藏於巴黎吉美國立亞洲藝術博物館,館藏編號MA2352。比較一件相似的雕刻面具,收藏於賓州藝術博物館,館藏編號2012-53-1。 拍賣結果比較: 形制:相近 拍賣:倫敦蘇富比,2008年5月14日,lot 92 價格:GPB 26,900(相當於今日EUR 54,500) 描述:遼代墓葬銀面具 專家評論:比較材料、風格和非常相近的壓花技術。 拍賣結果比較: 形制:相近 拍賣:Galerie Zacke 維也納,2020年4月25日,lot 42 價格:EUR 6,000(相當於今日EUR 7,300) 描述:罕見銅鎏金面具,遼代 專家評論:請注意不同的材料 (銅) 和尺寸較大 (23.4 釐米)。

Lot 115

A SILVERED AND GILT BRONZE 'SHOULAO AND DEER' INCENSE BURNER, QING DYNASTY 清代鎏金鎏銀壽老仙鹿香爐China, 17th-18th century. Well modeled, with the god of longevity shown holding a scroll while seated atop a separately cast recumbent stag with removable gilt antlers. Shoulao's wide sleeve is pierced to let out the smoke rising from within the deer's hollowed back. The interior of the figure is set with a short peg to fit into a pierced aperture on the deer.Provenance: From a private collection on 700 Park Avenue, Manhattan, New York, USA. Condition: Good condition with some old wear and expected casting irregularities, tarnishing to silver, light scratches, tiny nicks, small dents, minute touchups to the gilding of the antlers.Weight: 3,269 gDimensions: Height 25 cm, Length 27 cm During the Qing Dynasty in China, incense burners served not only functional purposes but were also commissioned as decorative objects with deep symbolic significance. These burners often took the form of auspicious animals or figures, reflecting the cultural beliefs and aspirations of the time.Shoulao held great importance in Chinese culture as he represented the desire for longevity and good health. His portrayal with a large head symbolized wisdom, while his long beard signified old age. It was believed that by venerating Shoulao and leading a virtuous and balanced life, individuals could attain longevity and even immortality.Deer are associated with the Daoist concept of immortality due to their believed exceptional lifespan. This led to deer becoming symbolic representations of the wish for a long and prosperous life. In Chinese mythology, they were often depicted as messengers of immortals, possessing magical abilities.Together, Shoulao and the deer exemplify the aspirations for longevity and good fortune.Literature comparison:See the collection of the Victoria & Albert Museum for a closely related group of figural censers that show immortals astride various creatures, particularly accession nos. M.264BODY-1929, M.265-1929, and M.2-1922.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2001, lot 64Price: USD 10,575 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A bronze incense burner and cover formed as Shoulao riding a deer, 17th/18th centuryExpert remark: Compare the related subject, modeling, and manner of casting. Note the size (41.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2008, lot 334 Price: USD 23,750 or approx. EUR 31,500 converted and adjusted for inflation at the time of writing Description: An unusual small lacquered bronze 'Shoulao and deer' incense burner, 17th/18th century Expert remark: Compare the related subject, modeling, manner of casting, and size (24.7 cm). Note the lacquer. 清代鎏金鎏銀壽老仙鹿香爐中國,十七至十八世紀。造型精良,長壽鎏銀,一手握捲軸,一手扶著鹿,笑容可親。鹿成臥姿,鹿角鎏金,可拆卸。 壽老的寬袖被刺穿,香可從鹿凹陷的背部散發。壽老內部裝有一個短釘,可插入鹿身上的穿孔中。 來源:美國紐約曼哈頓公園大道 700 號私人收藏。 品相:狀況良好,有一些磨損和鑄造不規則,銀色失去光澤、輕微劃痕、微小刻痕、小凹痕、鹿角鍍金的微小修飾。 重量:3,269 克 尺寸:高 25 厘米, 長 27 厘米文獻比較: 一件非常相近的壽老神獸香爐,收藏於維多利亞和亞伯特博物館,館藏編號M.264BODY-1929,M.265-1929和M.2-1922。 拍賣結果比較: 形制:非常相近 拍賣:紐約佳士得,2001年3月20日,lot 64 價格:USD 10,575(相當於今日EUR 17,000) 描述:十七至十八世紀壽老仙鹿香爐 專家評論:比較相近的主題,模型和鑄造風格。請注意尺寸(41.2厘米)。 拍賣結果比較: 形制:相近 拍賣:紐約佳士得,2008年3月19日,lot 334 價格:USD 23,750(相當於今日EUR 31,500) 描述:十七至十八世紀壽老仙鹿香爐 專家評論:比較相近的主題,模型,鑄造風格和尺寸(24.7厘米)。請注意漆。

Lot 140

A WHITE-GLAZED XING ZHADOU, LATE TANG DYNASTY TO FIVE DYNASTIES PERIOD 唐末至五代邢窯白釉渣斗China, 9th-10th century. The compressed globular body rising from a short foot to a waisted trumpet neck with a small cylindrical mouth. Covered overall in a smooth, creamy white glaze of eggshell tone, spare the foot and the base, revealing the pale ivory colored ware.Provenance: American trade.Condition: Good condition with old wear and expected manufacturing flaws including minor pitting, scattered dark spots and glaze crackling. Shallow surface scratches. Some flaking to glaze around the neck and rim.Weight: 363.9 gDimensions: Diameter 13 cm, Height 10.6 cm The unusual shape of this zhadou, with its broad sloping mouth rim, was inspired by early metalwork prototypes dating back to the Han dynasty. For an example see Zacke, 16th October, 2021, lot 333. It has been suggested that vessels of this specific shape may have functioned as waste recepticle for wine dregs or tea leaves.Xing wares from Hebei province were the best quality white-glazed ceramic of the Tang dynasty. The kilns are best known for their tea bowls, dishes and bowl stands, and vessels like the present zhadou are very rare.Literature comparison:Compare a closely related zhadou with a slightly smaller flared mouth, more compressed body and covered with a white-crackle glaze, dated to the Tang dynasty in the Palace Museum, Beijing, illustrated in Porcelain of the Jin and Tang Dynasties, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, no. 144, and another zhadou in the same monograph, no. 143. Also compare a zhadou of similar shape but covered with a celadon glaze that was included in the Nezu Institute of Fine Arts exhibition, Toji hakuji, seiji, sancai (Tang pottery and porcelain), Tokyo, 1988, no. 49. Compare two related Tang dynasty silver zhadou illustrated in Tangdai Jinyin Qi, Beijing, 1985, nos. 255 and 278, the first excavated at Xi'an, and the second with a slightly concave mouth rim found in a tomb in Linan Xian Shiu Qiushi, Zhejiang province. Also compare with a prototype from the Han Dynasty at Zacke, 16th October, 2021, lot 333.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 13 September 2019, lot 1017Price: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A rare Xing Zhadou, Late Tang Dynasty-Five dynasties period, 10th centuryExpert remark: Note the diameter (15.6 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2007, lot 386Estimate: USD 15,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A rare small 'Xing' spittoon (zhadou) Tang Dynasty 唐末至五代邢窯白釉渣斗中國,九至十世紀。渣斗口外撇,口沿呈漏斗形碗狀,膽形狀腹,平底。器里外施白釉,底無釉。此件渣斗胎質潔白細膩,造型規整大方。 來源:美國古玩交易。 品相:狀況良好,有磨損和製造缺陷,包括輕微凹坑、黑點和釉面裂紋。表面淺劃痕。頸部和邊緣有一些剝落的釉面。 重量:363.9 克 尺寸:直徑 13 厘米, 高 10.6 厘米 唐代渣斗的頸口則非常細,配合大敞的撇口,利於茶水與茶渣的分離。例如參見 Zacke,2021 年 10 月 16 日,拍品 333。河北邢窯白釉是唐代白釉陶瓷中品質最好的,以茶碗、茶盤、碗架而聞名。文獻比較: 比較一件非常相近的唐代渣斗有較小的開口,胎體更加壓縮,並覆蓋有白色裂紋釉,北京故宮博物院,見《故宮博物院藏文物精品集‧晉至唐瓷器》,香港,1996年,編號144。另一件渣斗,編號143。比較一件青釉蓋渣斗,展覽於Nezu Institute of Fine Arts,《Toji hakuji,seiji,sancai (Tang pottery and porcelain)》,東京,1988年,編號49。比較兩件相近的唐代銀製渣斗,《唐代金銀器》,北京,1985年,編號255和278,一件出土於西安,另一件出土於浙江臨安。比較一件漢代鎏金銅飛鳥走獸紋小瓶,見Zacke,2021年10月16日,lot 333。 拍賣結果比較: 形制:非常相近 拍賣:紐約佳士得,2019年9月13日,lot 1017 價格:USD 20,000(相當於今日EUR 22,000) 描述:晚唐/五代邢窯渣斗 專家評論:請注意直徑 (15.6 釐米)。 拍賣結果比較: 形制:非常相近 拍賣:紐約蘇富比,2007年3月19日,lot 386 估價:USD 15,000(相當於今日EUR 20,500) 描述:唐代邢窯渣斗

Lot 143

A LARGE CIZHOU BLACK-GLAZED RIBBED JAR, SONG DYNASTY 宋代磁州窯黑釉瀝線紋雙係罐China, 12th century. The ovoid form rising from a short spreading foot to a short straight neck with an everted rim flanked by two scrolling handles. The body decorated with narrowly spaced vertical ribs formed by trails of white slip. Covered by a lustrous black glaze that continues beyond the rounded mouth rim towards the inside and thins to pale russet on the ribs and the slip ribs that decorate the tapering strap handles. The interior is covered with a thin transparent glaze of mottled brown tone, as are the lower body and base. The foot remains unglazed, revealing the buff ware.Provenance: Hang Tang Cheng, Dragon House, San Francisco, USA, 1990s. A private collection in North America, acquired from the above and thence by descent. With an old collector's label, manually inscribed 'N. Song Jin 12 c, Large wide mouth, jar with vertical ribs, 37, two Kaf handle, Northern blackware, Cizhou type, light grey structure, 01-157SL501-5.' Hang Tang (Hank) Cheng is a well-respected dealer and appraiser of Asian art who ran the famous Dragon House antiques shop in San Francisco, established in 1979. Hank Cheng worked closely with museums, institutions, and auction houses including the Asian Art Museum, Bonhams, and Christie's.Condition: Very good condition with old wear, expected traces of use, and some firing flaws. Few small chips to foot, minor fritting to rim.Weight: 2,534.5 gDimensions: Height 22 cm With a padded silk box and cover. (2)Notable for its large, wide-mouthed globular body and its lustrous dark glaze, the present jar is a remarkable example of Cizhou-type wares produced at numerous kilns in Henan, Hebei and Shandong Provinces in North China during the twelfth century. The attractive ribs were meticulously applied in slip onto the surface of the vessel before the application of the glaze, creating a striking contrast between the raised ridge and the convex areas with the darker glaze.Dark-glazed, high-fired ceramic vessels were highly regarded as solid, practical wares. Their production began during the Tang dynasty (618-907) and rapidly spread throughout China. The development of black wares during the Northern Song period (960-1127) appears to have been inspired by contemporaneous plain lacquerware, and different kilns developed their own styles. Ribs made of white slip were first used on ceramics during the Tang dynasty in imitation of lacquer and silver. Later they were added to the exterior body of the vessel during the tenth and eleventh century and ribbing finally emerged as an important tool of decoration in its own right by the twelfth century, also enabling better and safer handling of the vessel itself.Literature comparison: Compare a closely related slip ribs and black glaze cizhou jar with handles, dated to the late Northern Song (960-1127)-Jin (1115-1234) dynasty, 12th century, 19.7 cm high, in the Metropolitan Museum of Art, accession number 1997.1.7. Also compare a related large cizhou-type black-glazed ribbed jar, dated to the Northern Song/Jin dynasty, 12th century, 20.6 cm high, at Christie's New York, 30 March 2005, lot 295. Compare a similar black-glazed ribbed jar, Northern Song to Jin period, in the Arthur M.Sackler Museum, Cambridge MA, is illustrated in Hare's Fur, Tortoiseshell and Partridge Feathers, Cambridge MA, 1995, p. 176, no. 61.Auction result comparison: Type: Closely relatedAuction: Bonhams London, 18 May 2023, lot 48Estimate: GBP 15,000 or approx. EUR 17,500 converted at the time of writingDescription: A black-glazed 'ribbed' jarExpert remark: Note the smaller size (20.3 cm). 宋代磁州窯黑釉瀝線紋雙係罐中國,十二世紀。唇口,直頸、鼓腹、圈足,雙係耳,施黑釉,腹部均等距離的垂直凸起的瀝線,線條纖細,凸線紋部分呈金黃色。底足部露胎。 來源:美國舊金山Hang Tang Cheng,Dragon House,上世紀九十年代;北美私人收藏購於上述藝廊。舊收藏標籤上手寫 'N. Song Jin 12 c,Large wid mouth,jar with vertical ribs,37,two Kaf handle,Northern blackware,Cizhou type,light grey structure,01-157SL501-5. Hang Tang (Hank) Cheng 是一位備受尊敬的亞洲藝術品經銷商和鑑定師,他經營著舊金山著名的 Dragon House 古董店,該店成立於 1979 年。Hank Cheng 與亞洲藝術博物館、邦瀚斯和佳士得等博物館、機構和拍賣行密切合作。 品相:狀況極好,有磨損、使用痕跡和一些燒製缺陷。腳部幾乎沒有小缺口,邊緣有輕微磨損。 重量:2,534.5 克 尺寸:高 22 厘米 蓋盒内襯絲綢 (2) 此罐造型碩大,廣口球形,釉色瑩潤,是十二世紀華北河南、河北、山東等地眾多窯爐燒製的磁州窯的典型代表。在施釉之前,瀝線被小心翼翼地塗在器皿表面上,在凸起的脊線和凸出的區域與深色釉料之間形成鮮明的對比。深色釉、高溫燒製的陶瓷器皿是堅固實用的器皿。它們的生產始於唐代(618-907)並迅速傳播到中國各地。北宋時期(960-1127)黑瓷的發展似乎受到了同時代素色漆器的啟發,不同的窯爐也發展出了自己的風格。 白泥製成的瀝線最早用於唐代陶瓷上,仿漆、仿銀。後來,在十世紀和十一世紀,它們被添加到容器的外部主體上,到十二世紀,瀝線最終成為一種重要的裝飾工具。文獻比較: 比較一件非常相近的北宋末期至金代十二世紀磁州黑釉棱線紋雙繫罐,高19.7 釐米,收藏於大都會藝術博物館,館藏編號1997.1.7。比較一件相近的北宋至金代十二世紀磁州黑釉瀝線紋雙係罐,高20.6 釐米,見紐約佳士得,2005年3月30日,lot 295。比較一件的北宋至金代磁州黑釉瀝線紋雙係罐,收藏於哈佛Arthur M.Sackler博物館,見Hare's Fur,《Tortoiseshell and Partridge Feathers》,劍橋,1995年,頁176,編號61。 拍賣結果比較: 形制:非常相近拍賣:倫敦邦瀚斯,2023年5月18日,lot 48 估價:GBP 15,000(相當於今日EUR 17,500) 描述:北宋/金黑釉棱線紋雙繫罐 專家評論:請注意尺寸較小 (20.3 釐米)。

Lot 144

A CIZHOU SILVER-DECORATED AND BLACK-GLAZED TEA BOWL, SOUTHERN SONG OR JIN DYNASTY 南宋或金代磁州窯China, 12th-13th century. The deep conical sides rising from a short straight foot, covered overall with a black glaze, changing to a distinct russet tone along the rim. Finely decorated with silvering to the interior showing scrolling foliage against a striated ground. On the exterior, the glaze ends in an irregular line above the foot to reveal the granular buff ware.Provenance: English trade.Condition: Good condition with old wear and expected manufacturing irregularities, some crackling and glaze lines, few minor hairlines to rim. Smoothened chips to the foot and few minute nicks to the rim.Weight: 158.4 gDimensions: Diameter 11 cm This bowl embraces a technique of decoration otherwise virtually unknown among Cizhou wares: overglaze silvering. The silver designs to the interior reveal influence from the overglaze-gold designs on russet-and-black-glazed Ding ware. Gold and silver bands were affixed to ceramic vessels as early as the Warring States period; so too was metallic foil used to decorate many of those vessels, as evinced by a gray earthenware covered hu jar in the Asian Art Museum of San Francisco that has been dated to the third century BC. And although their numbers were never large, many more ceramics from Warring States times onward must have been decorated with overglaze gold and silver than the few extant pieces might suggest.Literature comparison:Compare a pear-shaped bottle of Cizhou type with silver glaze decoration, formerly in the Robert Hatfield Ellsworth Collection, illustrated by Robert Mowry in Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400, Harvard University, 1996, pp. 167-69, no. 57, where it is dated to the Jin dynasty.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 21 March 2014, lot 2082Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A rare cizhou-type silver-decorated black-glazed tea bowl, Southern Song/Jin dynastyExpert remark: Compare the closely related form, decoration, black and russet glaze, and similar striations. Note the size (11.7 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2022, lot 328Price: HKD 126,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A rare silver-inscribed black-glazed bowl, Southern Song dynastyExpert remark: Compare the closely related form, decoration, black and russet glaze, and similar striations. Note the size (8.7 cm) and that this lot also comprises a cup stand. 南宋或金代磁州窯茶盞中國,十二至十三世紀。唇沿,深直腹,圈足。覆以有光澤的黑褐色釉,釉面密佈銀色“油滴”。黑釉至於圈足上方,露出棕褐色內胎。 來源:英國古玩交易。 品相:狀況良好,有磨損和製造不規則,一些裂紋和冲線。足部和口部有刻痕。 重量:158.4 克 尺寸:直徑11 厘米文獻比較: 比較一件金代梨形磁州銀製釉面裝飾,曾於Robert Hatfield Ellsworth收藏,見Robert Mowry,《Hare's Fur,Tortoiseshell,and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics,400-1400》,哈佛大學,1996年,頁167-69,編號57。 拍賣結果比較: 形制:非常相近 拍賣:紐約佳士得,2014年3月21日,lot 2082 價格:USD 13,750(相當於今日EUR 16,500) 描述:南宋/金磁州系黑釉銀彩「壽山福海」茶盞 專家評論:比較非常相近的外形、裝飾和褐黑釉面,以及相似的條紋。請注意尺寸(11.7厘米)。 拍賣結果比較: 形制:非常相近 拍賣:香港蘇富比,2022年5月25日,lot 328 價格:HKD 126,000(相當於今日EUR 15,000) 描述:南宋乙酉元年(1165年)黑釉描銀「滿堂金玉」、「萬代子孫」斂口茶盞 《乙酉元年》款 、「茶香」字 連 磁州系白釉盞托 專家評論:比較非常相近的外形、裝飾和褐黑釉面,以及相似的條紋。請注意尺寸(8.7厘米) ,以及此碗有一個托。

Lot 15

A SILVER-DAMASCENED 'DRAGON' IRON HELMET, 17TH-18TH CENTURYTibet. The exterior of the helmet made from nine curved plates, seven of which are flat-inlaid in silver with shou symbols and Tibetan characters. Each plate is joined by a scalloped rim with prominent central rib, the upper tip of each rib notched to enclose the base of the knopped plume. The front of the helmet reinforced with a scalloped plate decorated with a dragon head at the center flanked by two sinuous dragons. The lower edge of the helmet pierced with numerous holes to secure the three-tiered neck guard.Inscriptions: To the plates, 'Lu', 'Sa', 'Sam', and 'Meh'.Provenance: French private collection.Condition: Good condition with wear, casting flaws, and traces of use. Corrosion, encrustations, minor nicks and losses, light scratches. The silver inlays are well preserved.Weight: 2,447 g (excl. stand) and 3,048 g (incl. stand)Dimensions: Height 44 cmThis type of segmented Tibetan helmet, used originally with a coat of lamellar armor, was probably derived from Sasanian Persian helmets of the 3rd century CE. Until the 17th century, Tibet was a disunited country where a number of regional secular rulers allied to religious orders vied for power and in which warfare was not uncommon. A sizeable armor production in Tibet was the result of this situation. The present helmet, with fine silver inlays depicting fierce dragons, is a rare example of this group.Literature comparison:Compare a closely related iron helmet of similar construction lacking the silver inlays, dated to the 14th-17th century, Tibet, in the collection of the National Museums Scotland, reference number A.1909.406 A. Compare a related iron helmet, dated to the 16th-17th century, Tibet, in the collection of the Metropolitan Museum of Art, accession number 2008.354.

Lot 151

A PAIR OF BLUE AND WHITE CANDLESTICKS, KANGXI PERIODChina, 1662-1722. Each raised on a domed octagonal base decorated with panels enclosing alternating flowerheads and floral sprays, the stem with three knops decorated with petals and trefoils, the cylindrical socket with prunus blossoms and pierced with two apertures. (2)Provenance: From the collection of Karl Emil Strømstad, by repute acquired at Bruun-Rasmussen, Copenhagen, Denmark. Old labels to bases, 'Strømstad 439a' and 'Strømstad 439b'. Karl Emil Strømstad was an important Norwegian collector of Chinese ceramics. He has written numerous articles on the subject, including 'Fifty Shades of Green. Den fascinerende celadonkeramikken', and co-founded the Oriental Ceramic Society of Norway (NSOK). A large part of his collection, which he built from the 1960s onwards, was acquired in London.Condition: Overall good condition, one candlestick with a chip to the base with associated old repair as well as a small chip around one of the apertures. Minor wear, firing irregularities, and traces of use including burn marks to the interior and remnants of wax. Some fritting and few shallow chips.Weight: 296 g and 294.6 gDimensions: Height 15.4 cm and 15.7 cmThe present candlesticks were made specially to order for the European market as they are entirely non-Chinese in concept, modeled after European brass or silver candlesticks. As the West developed a taste for Chinese Export porcelain, the usual orders of plates, dishes, and serving vessels were topped up with requests for utilitarian wares, such as candlesticks.Auction result comparison:Type: Closely related Auction: Christie's New York, 7 May 2020, lot 195 Price: USD 3,250 or approx. EUR 3,700 converted and adjusted for inflation at the time of writing Description: A pair of Chinese blue and white candlesticks, Kangxi period Expert remark: Compare the closely related form, decoration, and motifs. Note the size (19 cm).

Lot 185

A LARGE AND IMPRESSIVE MIXED METAL DISH DEPICTING WASOBEI AND MOUNT FUJI Japan, Meiji period (1868-1912)The large bronze dish with raised rim neatly engraved with a cloud design, the front worked in iro-e takazogan of suaka, silver, shakudo, and gold depicting the giant Wasobei leaning against Mount Fuji with a somewhat disinterested attitude and glaring at two cranes which are flying past. The details are superbly rendered.DIAMETER 45 cmWEIGHT 7 kgCondition: Very good condition with minor typical wear including some tiny nicks and light surface scratches.Provenance: From a private collection in Chicago, USA.The subject has also been previously identified as Daidarabotchi, a gigantic yokai in Japanese mythology, sometimes said to pose as a mountain range when sleeping.Auction comparison:Compare a closely related dish by Kazutoshi at Zacke, Fine Japanese Art, 2 December 2022, Vienna, lot 79 (sold for 13,000 EUR).

Lot 24

A PARCEL-GILT SILVER REPOUSSE RITUAL EWERTibet, 19th century. Finely chased and incised, the round body supported on a petal-lobed spreading foot, a spout emerging from the mouth of a makara with a dragon headed tip and the handle shaped in the form of a dragon. The body with two gilt foliate-shaped panels decorated in relief with Jambhala holding a mongoose in one hand and a jewel in the other, the ground neatly incised with leafy peony. The shoulder with smaller gilt panels, each with one of the eight Buddhist symbols. The neck is incised with band of foliate lappets. The similarly decorated cover with a gilt bronze bud finial rising from lotus petals.Provenance: From a private estate in Dublin, Ireland. The base incised with a collector's number, '63.' Condition: Very good condition with minor wear, minor casting irregularities, light tarnishing, minor dents, and light scratches.Weight: 818 g Dimensions: Height 20.1 cmAuction result comparison: Type: Related Auction: Christie's Amsterdam, 23 March 2011, lot 159 Price: EUR 6,000 or approx. EUR 8,100 adjusted for inflation at the time of writing Description: A Tibetan silver and gilt copper tea vessel, 19th century Expert remark: Compare the related form and spout. Note the larger size (36.5 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 10 June 2021, lot 73 Price: EUR 3,825 or approx. EUR 4,300 adjusted for inflation at the time of writing Description: A parcel-gilt silver repousse ritual ewer, Tibet, 19th century Expert remark: Compare the related style with panels on either side of the main body and a mahakala handle and spout. Note the size (25 cm).

Lot 26

A LARGE BRASS AND COPPER RITUAL TEAPOTTibet, 19th century. The broad body supported on a spreading foot and flanked by a large loop handle and elegantly curved spout. The lotus-form cover is attached to the handle by a brass chain and surmounted by a bud finial. The brass foot neatly incised with lappets, the finely formed spout is decorated to the base with stylized foliage.Provenance: From a German private collection.Condition: Good condition with traces of use and wear, one rivet lost, minor dents here and there, few small nicks, and light scratches.Weight: 2,796 Dimensions: Height 36.2 cm Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 10 March 2023, lot 525 Price: EUR 11,700 Description: A parcel-gilt and silver-applied brass ritual teapot, late 18th to early 19th century Expert remark: Compare the related form, albeit with a silver and parcel-gilt makara handles and spout. Note the smaller size (31.3 cm).

Lot 28

A REPOUSSE SILVER-MOUNTED RITUAL CONCHTibet, 19th to mid-20th century. The white conch shell with a silver mount finely chased and incised with lotus blossoms borne on leafy vines enclosed by beaded and foliate borders, the spine of the shell similarly decorated and the sides flanked by prongs terminating in lotus buds.Provenance: From a French private collection.Condition: Very good condition with minor wear and natural imperfections. Minor restorations to the one prong. Weight: 552.5 gDimensions: Length 22 cmLiterature comparison:Compare a related ritual conch with brass mounting, 24 cm long, at the Metropolitan Museum of Art, accession number 1999.76. Compare a related ritual conch with silver mounting, 33.7 cm long, at the National Museum, New Delhi, accession number 64.55/a.

Lot 284

A ROCK CRYSTAL LINGA AND BRONZE YONI, ANGKOR PERIODKhmer empire, 12th-13th century. The linga is supported by the square stepped yoni terminating in a tapered spout and covered entirely in a rich, naturally grown patina with distinct malachite encrustation. The finely cut linga is completely transparent with a flat base and a rounded top, the stone of good clarity with few minute natural inclusions. (2)Provenance: French trade.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations overall, small losses, casting flaws, minor dents. It cannot be said with certainty that the Linga is original to the Yoni, but the crystal is ancient and fits perfectly well, and so it has a good chance to be.Weight: 1.001.2 Dimensions: Length 14.6 cm The lingam and yoni (or snanadroni) are aniconic representations of Shiva and Uma. They are symbolic of the female and male reproductive organs, which within Hinduism bring a balance to the cosmos when joined together. Within Hindu countries, adoration of the lingam was understood to be worship of the great generative principle of the universe, conceptualized as an aspect of Shiva. Some of the Khmer kings identified themselves with Shiva, placing a lingam at the summit of their most important temples as part of their royal paraphernalia.Literature comparison:Compare a closely related quartz linga and bronze-silver alloy snanadroni, dated to the Angkor period, in the National Museum in Phnom Penh, accession number Ga.3557. Compare a related Khmer stone linga with architectural base, 37.5 cm high, dated to the Angkor period, ca. 975, in the Metropolitan Museum of Art, accession number 1988.393.Auction result comparison: Type: Related Auction: Christie's New York, 23 March 1999, lot 222 Price: USD 9,200 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A quartz linga and gilt bronze yoni, Thailand, 15th century or earlier Expert remark: Compare the closely related form. Note the gilding, separate cylindrical cover, and size (19.8 cm). Note the Thai attribution.

Lot 295

A SILVER REPOUSSE FIGURE OF BUDDHA SHAKYAMUNI, AYUTTHAYA STYLEThailand, 19th century. Finely chased and embossed, seated in dhyanasana atop a triangular lotus pedestal supported by a multi-tiered base with a central brocade hanging halfway down the obverse. Holding his right hand in bhumisparsha mudra and his left in dhyana mudra, wearing a finely ring-punched robe and a floral sash. His serene face with almond-shaped eyes and full lips, and his hair arranged in tight curls surrounding a pointed ketumala. The base reveals the bitumen core of the sculpture. The reverse is incised with six lines of inscription.Provenance: From a private collection in Germany.Condition: Good condition with wear, casting flaws, some losses exposing the bitumen core, minor dents, and small nicks. The ears possibly replaced.Weight: 742.7 g Dimensions: Height 20.6 cmExpert's Note: This pristinely modeled Buddha was fashioned from a sheet of silver, using the repousse embossing technique, neatly modeled above an ancient resin or bitumen core. The style is typical of the last phase of Khmer art (9th-15th centuries), the Lopburi style, which combines characteristics of both Cambodian and Thai sculptural schools.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 28 January 2022, lot 1329 Price: EUR 8,364 or approx. EUR 9,600 adjusted for inflation at the time of writing Description: A 24-carat gold repousse figure of Buddha Shakyamuni, Ayutthaya style Expert remark: Compare the closely related style, repousse technique, and bitumen core. Note the different material and the related size (19 cm).

Lot 301

AN EXTRAORDINARY LARGE GILT-LACQUER WOOD STATUE OF BUDDHA, VIETNAM, 17TH-18TH CENTURY 越南十七至十八世紀大型漆金佛陀木像A rare figure of Buddha, seated in padmasana, hands held in dhyanamudra on his lap holding a round jewel. His facial features emphasize reclusiveness while the sharp curls on his head symbolize spirituality. Finely crafted with black and gold lacquer as well as silver and gold foil. The matching red lotus pedestal is made separately from solid wood and covered in red lacquer. (2)Provenance: From a private collection in Ireland. Condition: Good condition overall, commensurate with age, and presenting exceptionally well. With wear and weathering. Age cracks, flaking to lacquer, and losses, some with associated old fills.Weight: 33.2 kg Dimensions: Height 90.7 cm Literature comparison: Compare with a related Buddha, Vietnam, c. 1600, in the collection of The Pacific Asia Museum, accession number 1996.28.3.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 25 April 2020, lot 456 Price: EUR 15,168 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A gilt wood Buddha, Vietnam, 17th-18th century Expert remark: Note the much smaller size (51 cm). 越南十七至十八世紀大型漆金佛陀木像罕見的佛像,蓮花坐姿,雙手結禪定印放在膝上,手持寶珠。面容安詳,頭上螺髻。 採用黑漆、金漆以及銀箔和金箔精心製作。 與之相配的紅蓮座是單獨由實木製成,並塗有紅漆。(2) 來源:愛爾蘭私人收藏。 品相:整體狀況良好,有磨損和風化,老化裂紋、漆層剝落和缺損,小填充。 重量:33.2 公斤 尺寸:高90.7 厘米 文獻比較: 比較一件相近的越南約1600年佛像,收藏於太平洋亞州博物館,館藏編號1996.28.3。 拍賣結果比較: 形制:相近 拍賣:Galerie Zacke,維也納,2020年4月25日,lot 456 價格:EUR 15,168(相當於今日EUR 18,500) 描述:十七至十八世紀鎏金漆木佛像 專家評論:請注意尺寸較小(51 厘米)。

Lot 309

A RARE GILT COPPER ALLOY FIGURE OF VISHNU, JAVA, 14TH-15TH CENTURY OR EARLIERFinely cast standing in samapada atop a circular lotus base with beaded edge, his main left hand resting on the handle of his mace, his main right holding a lotus stem, his secondary hands raised and holding the conch and disk. He is wearing a long diaphanous dhoti and the upavita (sacred thread) across his left shoulder, his body richly adorned with floral jewelry, his face bearing a serene expression, his hair pulled up into a high chignon secured by a band and topped by a jewel, behind the foliate tiara. 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 with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition with expected wear and manufacturing irregularities, minute nicks and small dents here and there, the gilding possibly later. The bronze with a fine, naturally grown patina with malachite encrustations. Weight: 105.6 gDimensions: Height 10 cmVishnu is the preserver and protector of the universe, called upon to save it from great calamity. In the current attitude, he is a martial deity, holding the mace and discus, and a conch to call troops to arms.Literature comparison: Compare a related earlier bronze of Vishnu, 13.8 cm high, dated late 9th to first half of the 10th century, in the Metropolitan Museum of Art, accession number 1987.142.15. Compare a gilt bronze figure of Shiva, 27.9 cm, dated 8th-9th century, in the Metropolitan Museum of Art, accession number 2004.556.Auction result comparison: Type: RelatedAuction: Christie's New York, 21 March 2018, lot 327Price: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: A gilt silver figure of Jambhala, Indonesia, Java, 14th/15th centuryExpert remark: Compare the related modeling, with similar floral jewelry and expression, and manner of casting and gilding, with a similar patina to the gilded figure. Note the smaller size (5.2 cm). Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 March 2018, lot 11 Price: HKD 375,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: A copper alloy figure of Vishnu, Java, 9th/10th century Expert remark: Note the larger size (29 cm).

Lot 103

A 9CT GOLD CHARM BRACELET, one silver charm attached, 21.9 g.

Lot 111

A CHINESE 14CT GOLD FRAMED PENDANT, together with a necklace, silver brooch etc.

Lot 115

A TIFFANY SILVER PENDANT, in a box

Lot 156

A SET OF FACETED AMETHYST BEADS, graduated, silver clasp

Lot 284

A SILVER PENDANT, on a silver chain

Lot 345

AN EARLY VICTORIAN DIAMOND BROOCH, modelled as a bow, the rose cut diamond mounted in silver

Lot 356

A MULBERRY AMBERLYEY CROSS BODY HANDBAG, white and black woven leather tartan, silver tone hardware, adjustable leather cross body strap, black sued interior, 9 x 7.5 x 5", with Mulberry dust bag, booklet and care guide *** new excellent condition

Lot 396

1272-1307 EDWARD I TWO SILVER ENGLISH PENNY COINS, London & Canterbury plus 17 x cross & pellets silver English & Irish pennies. Assorted types & mints. NF (20)

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