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Lot 6

TWO RARE PARCEL-GILT 'CARDOGAN' COPPER-ALLOY AND SILVER RITUAL WINE EWERS NEPAL, 18TH-19TH CENTURY 尼泊爾 十八至十九世紀 局部鎏金銅合金及銀杜爾噶、文殊菩薩倒流壺(兩件) each of oval form on a flared foot, each side with a gilded floral form cartouche containing a multi-armed deity in relief, reserved on a copper sheet hammered and etched with rocky hills and mountains on sides and further etched with scrolling foliage, one side set with a handle, the opposite with makara-form spout Dimensions:widths: 16.5cm &15.5cm; 272g & 286g Provenance:Provenance: Michael Backman Ltd., 23 June 2022, with an original invoice.Dr. Kenneth P. Lawley's inventory number: M.71. Note: Note: According to the research by Michael Backman, four multi-armed deities on the pots, of which three appear to be Durga, and one other is Manjusri.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 67

POTTERY WATER JAR, MIZUSASHI BY INAYOSHI OSAMU (B. 1976), HEISEI PERIOD, 2017 稲吉 オサム(1976生) 陶金銀彩水指 共箱 of rock-like form, with splashes of gold, engraved mark on the base, the interior glazed in silver with black and blue splashes, with a signed, sealed, inscribed original tomobako Dimensions:19.5cm high Provenance:Provenance: Simon Pilling East Asian & Interiors, 5 November 2018, with a printed receipt.Dr. Kenneth P. Lawley's inventory number: Cer.169. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 76

SILVER-INLAID BRONZE DOUBLE-GOURD VASE GORYEO DYNASTY 高麗王朝 銅嵌銀絲蓮紋葫蘆瓶 of elegant double gourd form with extended cylindrical mouth, the larger and smaller bulbs similarly inlaid with silver wire with lotus borne on scrolling foliage, separated by a ring band below swirling pattern on the lower shoulders Dimensions:23.6cm high; 608g Provenance:Provenance: Han Collection, 1 August 2019, with a printed receipt.Dr. Kenneth P. Lawley's inventory number: M.59. Note: Note: Bronze bottles with silver wire inlay are more commonly found in kundika form, compare to several in the National Museum of Korea, all dated to the Goryeo dynasty, to name a few, see accession nos. Bongwan 2426, Deoksu 3772, and Bongwan 12484; also one in the Victoria and Albert Museum, note the similar dark tone of the patina on the bronze body, accession no. M.1189-1926. A further comparable circular covered box, dated to the 12th century, with inlaid phoenix and lotus scroll design in silver, is in the Ho-Am Art Museum, national treasure no. 171, illustrated in Goryeo Dynasty: Korea's Age of Enlightenment 918-1392, no.70, p. 216-7. A gourd-shaped gilt silver bottle of closely comparable form, dated to 12th century, is in the collection of the National Museum of Korea, no. S15081.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 9

GOLD AND SILVER DAMASCENED IRON 'CHHAANG' BEER FLASK TIBET, 18TH CENTURY 西藏 十八世紀 鐵鋄金銀龍紋執壺 of flattened form, each side with a central indented roundel decorated with stylised confronting dragons, enclosed by a scrolling tendril band, the shoulders with shou roundels, set to one side with a sinuous dragon handle in copper and the opposite a long-snouted makara spout Dimensions:38.8cm high; 2828g Provenance:Provenance: Spink & Sons Ltd., 1989 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: M.10. Note: Note: A comparable flask, dated to the 17th century, is in the British Museum, registration no. 1959,1216.3.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 90

WOVEN CANE JEWELLERY BASKET WITH BRASS MOUNTS, VEL-PETTIYA SRI LANKA, KANDY KINGDOM, 18TH-19TH CENTURY 斯里蘭卡 康提王朝 十八至十九世紀 編籐菱紋珠寶蓋盒 of tapering oval form with tightly woven cane over a wooden base, stepped domed cover, with brass mounts held in place with copper studs Dimensions:23.2cm wide Provenance:Provenance: Michael Backman Ltd., with an undated document issued by Michael Backman Ltd. Note: Note: According to the catalogue of Michael Backman, this type of cane basket was made for members of the Kandyan aristocracy and used to store jewellery and keepsakes. This example includes a hidden locking mechanism.A comparable Ceylonese silver-mounted Indian rosewood and woven basket, late 19th century, was sold at Christie's London, 30 Jan 2019, lot 128, note the similarity of the lozenge design.Please note this lot will be offered with no reserve. 本拍品不設底價

Lot 239

"KWY 8", Paris, 1961, spanisch-portugiesisches Künstlerheft, Hrsg. Lourdes Castro, Jan Voss, René Bertholo und Christo, selten"KWY 8", Paris, 1961, Einband in Silberpapier, mit Farbserigraphien u.a. von Christo, Gail Silver, Aubertin, Lourdes Castro, Papierobjekt auf der inneren Einbandrückseite, 8. Ausgabe, Auflage von 300 Exemplaren, Einband lose, mit gelber Bauchbinde (durchtrennt)

Lot 840

Silberne Savonette der Waltham Watch Co., USA um 1890Sprungdeckel-Taschenuhr, Gehäuse in coin silver, weißes Zifferblatt mit römischen Zahlen, kl. Sek. bei 6, Werknummer 4217002 (lt. Werksucher 1890), Geh.-Nr. 99701, Werk funktionsfähig, Geh.-Dm 55 cm

Lot 888

8 Gold- und Silbermedaillen, MDM u.a.Gold- Medaille "Jesus am Kreuz", (585/1000), polierte Platte (eingeschweißt), 3,5 Gramm, Dm 20 mm, Prägejahr 1997, limitiert (hier die 944/2000), mit MDM- Zertifikat // Vergoldete Silber-Medaille "Otto von Bismarck", (999/1000) mit Feinvergoldung, 44,87 Gramm roh, Dm 48 mm, eine von insgesamt 500 Ex., im MDM- Holzetui // 4 Medaillen aus Silber mit 24 Karat Vergoldung "Tag der Niedersachsen 1996", je Dm 32 mm, je 14,0 gr., eine von 1000 Sonderprägungen, mit Zertifikat // Silber-Medaille "1250 Jahre Heilbronn" , 1000er Fein gest., Dm 47 mm, 60 Gramm, im MDM- Etui // "Silver Eagle, 1 Dollar", Silber 999/1000, Stempelglanz, von 1992 Staatl. Schatzamt der Vereinigten Staaten, Dm 49 mm, im MDM-Etui mit Zertifikat

Lot 251

9pc tulips with silver plated arch stand that were given to SCS members as renewal gifts. Includes three yellow lead crystal, three pink lead crystal, and three blue lead crystal tulips. Swarovski etched backstamp. This item has its original box. Box measures: 5in L x 3in W x 1.5in H. Stand measures: 2.5in L x 3in W x 0.25in H. Tulips measures: 1.25in H. Issued: 2002-2004Manufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

Lot 264

An assortment of clear crystal figurines with gold plated metal accents. Includes 1 Swarovski keychain, 1 Swarovski Trimlite pineapple, 1 Swarovski Silver Crystal bookmark, and 1 Mascot USA graduation cap with Austrian crystals. Swarovski and Mascot USA marked. Largest piece measures: 2.25"L x 2.25"W x 2"H. Manufacturer: Swarovski and Mascot USACountry of Origin: Austria and United StatesCondition: Age related wear.

Lot 271

From the When We Were Young Collection; 5 pieces of the Silver Crystal Express train. Includes the locomotive, the passenger carriage, the petrol wagon, the tipping wagon, and the tank wagon. Silver-tone metal hooks and hoops to connect the parts. Swarovski stamps on the underside. Artist: Gabriele StameyIssued: c. 1988-2003Dimensions: 10"L x 1.25"W x 1.5"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

Lot 272

An assortment of clear crystal figures with gold plated metal accents. Includes 1 Manon baby elephant, 1 pineapple, 1 Swarovski Silver Crystal apple, 1 Swarovski lighthouse, and 1 Swarovski bouquet of flowers. Swarovski marked. Largest piece measures: 1.5"L x 1.25"W x 2.75"H. Manufacturer: Swarovski and ManonCondition: Age related wear.

Lot 33

Porcelain figure with matte finish. From the 1942 animated film, Bambi, depicts Bambi with his mother. Includes a silver tone butterfly charm. Walt Disney Classic Collection backstamp. Certificate of Authenticity included. This item has its original box: 11.25"L x 7.75"W x 7.75"H. Issued: 1999Dimensions: 8"L x 4.5"W x 5"HEdition Number: 739 Manufacturer: Walt Disney ClassicsCountry of Origin: United StatesCondition: Age related wear.

Lot 10

Hallmarked silver two handled sugar bowl, London assay. Approx. 158.1g reasonable used condition marks slightly worn

Lot 110

Silver plated four piece tea/coffee set All in used condition

Lot 112

Silver plated three piece tea/coffee set All in used condition

Lot 115

Parcel of various Silver Plated ware including goblets, baskets etc All in used condition, unchecked

Lot 12

Hallmarked Silver presentation bowl, London assay dated 1977 by William Comyns and Sons. Approx. 12cm Diameter 19.5cm Reasonable used condition

Lot 13

Small Hallmarked Silver Gin label, Birmingham assay dated 1975 by David Hollander & Son. Weight Approx. 12.3g Reasonable used condition

Lot 134

Large quantity of boxed and unboxed silver plated flatware including Viners part canteen, silver sugar tongs etc All in used condition, unchecked

Lot 14

Four various hallmarked silver napkin rings. Total Approx. 61.2g used condition

Lot 3

Pair of George II 18th century hallmarked silver candlesticks, by James Gould, London assay, dated 1739. Approx. 931.6g reasonable used condition

Lot 300

Pretty 935 silver French style fob watch with gilded and enamelled circular dial used not tested

Lot 43

SILVER PLATED MEAT COVER, INSET PANEL BEARING ENGRAVED HORSE'S HEAD, APPROX 34 x 56cm USED WITH NEED OF A CLEAN

Lot 44

SILVER PLATED MEAT COVER, INSET PANEL BEARING ENGRAVED HORSE'S HEAD, APPROX 29 x 51cm USED WITH NEED OF A CLEAN

Lot 6

Hallmarked silver repousse decorated photograph frame. Approx. 24 x 20cms reasonable used condition

Lot 67

20th century hallmarked silver photograph frame. Approx. 19 x 15cms reasonable used condition

Lot 7

Hallmarked silver wave edged salver on raised supports, Birmingham assay, dated 1937. Approx. 18cms D. Approx. 251.5g reasonable used condition

Lot 8

Hallmarked Silver presentation bowl, London assay dated 1977 by William Comyns and Sons. Approx. 12cm Diameter 118.7g Reasonable used condition

Lot 9

Hallmarked Silver presentation bowl, London assay dated 1977 by William Comyns and Sons. Approx. 12cm Diameter 120.6g Reasonable used condition

Lot 8

Gaston La Touche (French, 1854-1913)La Fortune en détresse signed 'Gaston La Touche / S:C' (lower right); inscribed 'La Fortune en détresse' (in pencil on the reverse of the stretcher); label from the 1913 Carnegie International reads 'La Fortune en détresse / Gaston la Touche / Possesseur: l'artiste' (on the stretcher); label from P. Navez, Emballage de Tableaux & Objets d'Art, reads 'Exposition de No 64 / M La Touche' (on the stretcher) oil on canvas213.7 x 198.1 cm (84 1/8 x 78 in).framed 196.0 x 217.0 x 8.0 cm (77 3/16 x 85 7/16 x 3 1/8 in).Footnotes:ProvenanceAcquired by the Cleveland Museum of Art in 1917 by Ralph King; with the Cleveland Museum of Art until 1944; sometime after to current owner.LiteratureArts and Decoration Vol. 5, No. 2 (New York, The Frick Collection, December 1914), p. 71, illustrated.Margaret Steele Anderson, The Study of Modern Painting (New York, The Century Co., 1914), p. 68.ExhibitedCarnegie Institute 17th International Exhibition of Paintings, 1913. Illus., cat. no. 161. The catalogue of the exhibition cites La Touche as follows: 'La Touche, Gaston, St. Cloud, France; born, St. Cloud. Member of the Société Nouvelle, and of the Société Nationale des Beaux-Arts, Paris; Conseil Superieur des Beaux-Arts, Paris; President of the Société des aquarellistes internationaux, Paris. Represented in the Luxembourg, Paris; Modern Museum of Painting, Brussels; Museums in Rouen, Venice, Barcelona, Mannheim, Crefeld; Fine Art Galleries, Brighton. Awarded Medal of the third class, Salon, Paris, 1884; Medal of the second class, Salon, Paris, 1888; Silver Medal, Exposition Universelle, Paris, 1889; Gold Medal, Exposition Universelle, Paris, 1900; Medal of the second class, International Art Exhibition, Munich, 1901; Grand Prize, International Exposition, Venice, 1903; Medal of the first class, Carnegie Institute, Pittsburgh, 1907; Grand Prize, International Exposition of Fine Arts, Barcelona.'Cleveland Art Loan Exposition, Cleveland School of Art, November 25 to December 17, 1913, catalogue number 101C.For further information on this lot please visit Bonhams.com

Lot 381

AN EXCEPTIONALLY RARE WHITE AND RUSSET JADE TIGER SCROLL-WEIGHTTang Dynasty or earlierThe large pebble finely carved as a tightly coiled tiger with large bulbous eyes above jaws agape revealing fangs, the body with finely incised stripes and terminating with two curled tails, the paws tucked neatly beneath the body, the stone of pale white tone with russet-brown speckles. 6.5cm (2 1/2in) wide. Footnotes:唐或更早 玉虎紙鎮Provenance: a Japanese private collection, by reputeR.H.Ellsworth (1929-2014), New York (noted in a Spink and Son Ltd. Valuation, dated 12 January 1968)Bluett and Sons Ltd., LondonA British private collection, and thence by descentPublished and Illustrated: Bluett and Sons Ltd., Oriental Art II, London, 1991, no.9 (dated as Western Han dynasty)J.Rawson, 'Strange Creatures' in Oriental Art, vol.XLIV, 1998, pp.44-47, fig.5 (dated as Western Han dynasty)J.Rawson, 'The Eternal Palaces of the Western Han: A New View of the Universe' in Artibus Asiae, vol.LIX, 1999, Zurich, pp.5-55, fig.32 (dated as Western Han dynasty)On Loan: The British Museum, London, from c.1998來源:日本私人收藏(據傳)R.H.Ellsworth (1929-2014),紐約(由Spink and Son Ltd.提供的一份日期為1968年1月12日的評估報告中提及)倫敦古董商Bluett and Sons Ltd.蘇格蘭私人收藏,並由後人保存迄今著錄:Bluett and Sons,《Oriental Art II》,倫敦,1991年,編號9(斷代為西漢)J.Rawson, 《Strange Creatures》,《Oriental Art》,第44期,1998年,第44-47頁,插圖5(斷代為西漢)J.Rawson,《The Eternal Palaces of the Western Han: A New View of the Universe》,《亞洲藝術》,第59期,1999年,蘇黎世,第5-55頁,圖版32(斷代為西漢)借展:大英博物館,倫敦,約1998年J.Rawson notes regarding the present jade tiger, that jade carvings such as the present lot, 'were probably made in small sets, like the very fine group from near the tomb of Yuan Di (reigned 48-33 BC) in Shaanxi.'; see J.Rawson, 'The Eternal Palaces of the Western Han: A New View of the Universe' in Artibus Asiae, vol.LIX, 1999, Zurich, p.52. In the Bluett's 1991 catalogue, also showing the present lot, it was noted that this carving shared the characteristics of other Han dynasty carvings in being carved in the round from a pebble of whitish tone with a surface that in places is pitted with brown specks of iron rust tone. It was also noted that cup shaped ears and finely carved claws are also found on these jades. A further comparison was made between the incised tiger stripes on the jade carving and those found on bronze animals inlaid with silver or gold of the Warring States period/Han dynasty; see Oriental Art II, 1991, no.9. For related jade carvings of tiger, Han dynasty, see J.C.Y.Watt, Chinese Jades from Han to Ch'ing, New York, 1980, p.40, no.9; and another illustrated in Chinese Jade Animals, Hong Kong, 1996, pp.80-81, no.46.The present carving of the tiger is exquisitely lively and dynamic, through the jaws open to reveal the menacing teeth, the long thick coiled striped tail emerging from the powerful back haunches, the naturalistic finely curved spine, and the exquisite detail on the underside of the clawed back foot touching on one of the front paws. This dynamism is indicative of an early dating. However, whilst a Western Han dating is possible, it is also possible that this piece is an early revival harking back to the Han style. The tiger has long been one of the oldest symbols for protection in China and is considered as one of the most powerful beasts for warding off evil. The tiger motif inspires both awe and admiration and also embodies the spirit and drive for success. According to Handai jiuyi (The Old Rites of the Han Dynasty), jade seals with a tiger-shaped knob were made for the use of the emperor and empress, indicating the importance of the tiger.For further information on this lot please visit Bonhams.com

Lot 382

A MAGNIFICENT AND LARGE GREEN JADE MYTHICAL BEASTQing DynastyThe imposing animal carved recumbent with large bulbous eyes beneath bushy brows, a wide mischievous grin revealing fangs, the accentuated spine terminating with the large bushy tail sweeping across its left haunch, its paws neatly tucked beneath the large body, the stone of mottled dark olive-green tone with russet veins. 32cm (12 1/2in) long; 8550g. Footnotes:清 青玉瑞獸Provenance: Milly von Friedländer-Fuld (1866-1943), Berlin (this lot is sold with the permission of the heirs of Milly von Friedländer-Fuld)Auktion Van Marle & Bignell, The Hague, 20-25 October 1941, lot 1384Kunsthandel v.Veen, AmsterdamSpink and Son Ltd., LondonBluett and Sons Ltd., London, 15 November 1984A British private collection, and thence by descentPublished, Illustrated and Exhibited: Chinesische Kunst, Berlin, 1929, p.394, no.1086Somerset House, 1979來源: Milly von Friedländer-Fuld (1866-1943)舊藏,柏林(該拍品經 Milly von Friedländer-Fuld 繼承人許可出售)Auktion Van Marle & Bignell,海牙,1941年10月20-25日,拍品編號1384Kunsthandel v.Veen,阿姆斯特丹倫敦古董商Spink and Son, Ltd.倫敦古董商Bluett and Sons Ltd.,1984年11月15日英國私人收藏,並由後人保存迄今展覽著錄:《中國藝術》,柏林,1929年,第394頁,編號1086Somerset House, 1979年Milly Antonie von Friedländer-Fuld was born in the Netherlands in 1866, the daughter of the banker Elias Jacob Fuld and his wife Lina. Her father, a native of Frankfurt, ran the Amsterdam bank Becker & Fuld together with Carl Becker, which maintained close ties with the Rothschild Bank in Frankfurt. According to a list from 1913, the family was one of the wealthiest families in Germany. The family's town house on Pariser Platz was furnished in a manner befitting its status and contained a constantly growing art collection, which was later to include paintings by van Gogh, Picasso, Gauguin, but also by French Impressionists such as Manet and Monet, which belonged to her daughter Marie-Anne von Goldschmidt-Rothschild. Milly's husband, Fritz von Friedländer-Fuld was known for his collection of gold and silver objects, such as rare boxes, nécessaires, flacons and watches, parts of which he had exhibited in Berlin in 1906. The present lot was loaned by Milly von Friedländer-Fuld and exhibited in the seminal Chinesische Kunst exhibition of 1929 in Berlin. This exhibition was amongst the first major exhibitions of Chinese art in Europe. It included 1270 works of art, on loan from some of the greatest museums such as the Asian Art Museum in Berlin, the Louvre and Guimet in Paris, the Rijksmsueum in Amsterdam, the National Museum in Stockholm, as well from some of the leading collectors and dealers such Adoplhe Stoclet, George Eumorfopoulos and C.T. Loo, to name a few. After her husband's death in 1917, Milly Antonie von Friedländer-Fuld initially moved to the Netherlands and France. However, the palace and its inventory remained in the family and was used by her as well as her daughter Marie-Anne von Goldschmidt-Rothschild and her family, who still resided there in June 1938. Following Hitler's rise to power, the palace was forcibly sold to Albert Speer, on behalf of the German Reich, and much of the family's property was seized. In August 1939 ten trucks left Berlin with inventory and art objects to Amsterdam for storage at De Gruyter & Co. - likely also including the present lot. These were later seized as well and similarly to the fate of the objects in Palais Friedländer in Berlin, were sold at auction between 1941 and 1942. After the occupation of the Netherlands by the Germans, Milly Antonie von Friedländer-Fuld fled to France, and died in Cannes in 1943. The jade mythical beast which was sold in The Hague at Marle & Bignell in October 1941 to a Dutch dealer, made its way to the UK and sold through London dealers Spink & Son and Bluett's & Sons to a British collector. It is now sold with the agreement of the British collector's family and the heirs of Milly Antonie von Friedländer-Fuld.The present lot is remarkable for its extremely large size (32cm long) and weight (8.55kg) and anthropomorphic face. Large jade animal carvings include both animals and mythical beasts; the former such as water buffaloes, horses and elephants and the latter, mythical creatures such as Buddhist lions, qilin and luduan. See for example S.C.Nott, Chinese Jade Throughout the Ages, London, 1975, pls.241, 391, 392, 394, 395 and 397. See also a pale green and russet jade carving of a bixie, Ming dynasty, with closely related humanoid face, which was sold at Bonhams London, 17 May 2012, lot 25.It is extremely rare to find animals and beasts of such striking size, and although widely published and much admired, exceptionally large jade animals such as the present lot, in fact, form a very select and unusual group within the tradition of Chinese jade carving. Usually carved with great sensitivity and naturalness, such pieces have been traditionally dated to the late Ming to early Qing period, based upon a number of factors: the similar mid-green or occasionally greyish colour of the pieces suggest that they were sourced before the quelling of Xinjiang in 1759 gave access to fine and large raw jades sent in as tribute from the new vassal region. See a large jade figure of a horse, late Ming/early Qing dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pl.26:20, and also a large jade buffalo, late Ming or Qing dynasty, illustrated in Ibid, pl.26:19.For further information on this lot please visit Bonhams.com

Lot 317

A RARE 'CRANE-CRY AUTUMN MOON' STYLE LACQUERED 'HUNDRED-PATCH' GUQINMing DynastySuperbly constructed with the top section made of patches of wutong wood cut hexagonally imitating Buddhist patchwork vestments, the lower section of zimu, the flat elongated body with waisted bulbous central section, the top with thirteen inlaid mother-of-pearl studs (hui), seven strings threaded through tasseled wood pegs (qinzhen) running over the top and tied to either of the two button-like 'goose-feet' (yanzu) on the back, with two rectangular openings, the large one termed 'dragon pool' (longchi), with a seal, and the smaller 'phoenix pond' (fengzhao), all covered in mottled red and black lacquer, metal case and packets of strings. 122.5cm (48 1/4in) long. (3).Footnotes:明 鶴鳴秋月式百衲琴Provenance: Cecilia Lindqvist (1932-2021), Stockholm, acquired in Beijing in 1962Published and Illustrated: C.Lindqvist, Qin, Beijing, 2017, p.33來源:林西莉(1932-2021),斯德哥爾摩,在1962年獲得於北京著錄:林西莉,《古琴》,北京,2017年,第33頁Cecilia Lindqvist was a famous Swedish sinologist and musician of the guqin. She was born in Lund, Sweden, in 1932, and had long held a fascination with China and its ancient history. She first visited China when she was 28 with letters of recommendation including one from the King of Sweden. It was there that she learnt to play the guqin in 'Beijing Guqin Research Association' (北京古琴研究會) under the tutelage of Wang Di. She wrote in the preface to her book Qin:In the early spring of 1961 I saw a Chinese qin at close quarters for the first time. It was lying in front of me on a wooden table in a bare classroom at the University of Peking. Seven strings of tightly twisted silk stretched over a sound box made of black lacquered wood. After a certain amount of difficulty I had managed to get hold of a Chinese student who had promised to try to teach me the basics of playing the qin, and we were due to have our first lesson. He had brought his instrument with him. It dated from the Ming dynasty (1368-1644), and had been passed down through his family since that time.When I touched one of the strings, the tone that was released made the whole room vibrate. It was as clear as silver, but remarkably it also had a kind of metallic dullness, as if the instrument were made not of wood, but of bronze. During the years which followed it was precisely the tone of the instrument that captivated me the most, from the finest bell-like tones or fanyin, 'the floating sounds' as they are called in Chinese – delicate as the sound of the tiny temple bells right on the edge of the roof timbers when the wind gently stirs them – to the vibrating depths of the thick bass strings.The present lot was given to her by the 'Beijing Guqin Research Association' as a gift, which was of great significance to her career as a musician and sinologist. In her own words, 'this qin, and the people that I met in the Beijing Guqin Research Association are the important reasons why I write this book (Qin)'. She included the present lot in her monograph on qin as an example of the 'hundred-patch' qin (百衲琴) that is made of many hexagonal wutong wood sections and requires a high level of adhesive technique to enable an impeccable sound. See Cecilia Lindqvist, Qin, Beijing, 2017, pp.30-33. Apart from the rare 'hundred-patch' construction, its rare shape is known as 'Crane-cry Autumn Moon' (鶴鳴秋月), as it was said to resemble a crane with its wings tucked and standing upright. Compare with a related 'crane-cry Autumn Moon' style guqin, Ming dynasty, in the Hunan Provincial Museum, cited in 'Hunan sheng bowuguan guancang guqin zhi kaobian yu yanjiu (zai xu), Hunan sheng bowuguan guankan, 4, 2007, pp.424-428. See a 'Confucius-style' huanghuali and zitan 'hundred-patch' guqin, Ming dynasty, which was sold at Bonhams Hong Kong, 1 December 2020, lot 13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 394

A CARVED COCONUT SHELL LOBED CUPXuanshi mark, 17th/18th century Exquisitely carved and hollowed, the deep rounded sides forming three lobes, each lobed carved with a meandering floral scroll in relief, the interior lacquered black and decorated in gilt with an archaistic chilong, the base with a seal mark reading Xuanshi. 7.1cm (2 3/4in) wide. Footnotes:十七/十八世紀 椰殼雕花卉螭龍紋碗 「玄示」刻款Provenance: a French private collection來源:法國私人收藏Coconut from the Annam (present day Vietnam), Hainan, Guangdong and Guangxi Provinces were noted by the early Ming connoisseur Cao Zhao in his Gegu Yaolun, where in a section on coconut cups he describes them as being painted or set in silver. In a later edition (1462) the following information is added: 'The small ones are the most expensive and hard to come by'. Compare with a related coconut wine cup, possibly 16th/17th century, illustrated by G.Tsang and H.Moss, Art from the Scholar's Studio, Hong Kong, 1986, p.260, no.256.For further information on this lot please visit Bonhams.com

Lot 212

A RARE FAMILLE ROSE DESK SETQianlongUnusually modelled after a European silver or pewter prototype, the rectangular base with a compartment for quills at the back under a domed cover enamelled with foliage, the front moulded with two square compartments, each to hold a square container for sand and ink and divided by a small fixed octagonal candlestick. 21cm (8 1/4in) wide. (4).Footnotes:清乾隆 粉彩文房套具Provenance: Ralph M. Chait Galleries, New York, 12 November 2007A European private collection來源:Ralph M. Chait Galleries,紐約,2007年11月12日歐洲私人收藏See a similar famille rose desk set for the European market, c.1750, which was sold at Christie's Amsterdam, 1 July 2009, lot 383.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 105

TWO BRONZE 'MOUNTAIN PEAKS' BRUSHRESTSMing DynastyEach crisply cast and darkly patinated, one cast unusually elaborately with three mountain peaks and deeply pierced with holes to simulate natural crevices in the landscape, a dignitary standing on a rocky outcrop in front of the highest peak, 20cm (8in) wide; and the other cast with five peaks, the largest dividing a mythical phoenix perched in front and a qilin at the back, 18cm (7in) wide. (2).Footnotes:明 銅筆山 一組兩件Provenance: a European private collection來源:歐洲私人收藏The present brushrests are fashioned in the form of five peaks, symbolising China's Five Sacred Mountains of Daoism: Taishan in Shangdong Province in the east, Hengshan in Hunan Province in the south, Huashan in Shaanxi Province in the west, Hengshan in Shanxi and Hebei Provinces in the north, and the Songshan in Henan Province, which represents the 'peak of the centre'. Compare with a related bronze brushrest, Ming dynasty, in the Robert H. Clague Collection at the Phoenix Art Museum, illustrated by R.D.Mowry, China's Renaissance in Bronze, the Robert H. Clague Collection of Later Chinese Bronzes, Phoenix, AZ, 1993, pp.203-205, no.48. See also a related bronze brushrest shaped as mountain peaks, inlaid with silver wire, Ming dynasty, in the collection of the Victoria and Albert Museum, London, illustrated by R.Kerr, Later Chinese Bronzes, London, 1990, pp.64-65, no.50.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 154

A JAPANESE ARITA BRONZE-MOUNTED COFFEE POT AND COVERThe porcelain Japan, circa 1700, the European mounts later.The conical body and cover brightly enamelled with scrolling foliage, all standing on three metal feet and fitted with a tap at the front, the domed cover en suite. 40.5cm (16in) high.Footnotes:約1700年 日本有田燒青花五彩花鳥紋執壺帶蓋 (鑲後期歐洲鎏金銅飾)Provenance: a European private collection來源:歐洲私人收藏The present lot was used as a coffee pot, made for the European market. Its prototype was probably a Dutch metal ware. Adding silver or gold mounts to porcelains was common in export wares, which indicates the high value placed on porcelain by the elite European consumers. Compare with a coffee pot of similar shape, 1680-1700, in the collection of the Ashmolean Museum, Oxford, acc.no.EA1978.1090. See also a related mounted Imari coffee pot and cover, late 17th/early 18th century, which was sold at Christie's London, 7 July 2016, lot 57.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 222

A PAIR OF EXPORT SILVER 'DRAGON'-HANDLED VASESMarks of Cheng Chang, HI and 90, circa 1900Each rising from a stepped domed foot to a round body flanked by a pair of 'dragon' handles and decorated with six shaped cartouches enclosing reticulated designs of striding dragons amidst vaporous clouds and floral branches interspersed with butterflies and birds, all beneath a bulbous neck culminating in a flaring mouth decorated with further floral designs beneath a barbed rim. 21cm (8 2/8in) high, 764g and 753g. (2).Footnotes:約1900年 透雕開光花卉紋雙龍耳銀瓶一對「成昌」「HI」「90」鑄款Provenance: a European private collection來源:歐洲私人收藏The present lot is an excellent example of a cross-cultural product that combines Western-style shape with Chinese-motif decoration. This pair of silver 'dragon-handed' vases is in the shape of a trophy. They were made as commemorative ornaments rather than practical vessels, probably used by Chinese merchants as gifts to Westerners, which is related to the change in trade status between China and the West after the Opium War. The decorative patterns used on these vases, such as dragon handles, birds, chrysanthemums, bamboo and plum blossoms, are typical Chinese ones. The two vases each have three marks, namely the manufacturer's mark in Chinese characters (Cheng Chang 成昌), the seller's mark in Latin letters (HI), and the Arabic numeral quality mark (90). In the 1870s, the three-stamp format gradually became a common practice, which is called 'Guangdong-style export silverware marks' 廣式外銷銀器款識.Compare with a similar pair of Chinese export silver vases, circa 1900, which was sold at Sotheby's New York, 26 January 2013, lot 87.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 100

Silver pierced decoration dish with three handles, Birmingham 1921, Syner & Beddoes, 115.4 grams.

Lot 101

Silver tazza, Birmingham 1908, Deakin & Francis, 58.1 grams, with 2 handles.

Lot 102

Silver cayenne pepper / spice pot, Sheffield 1902, W Hutton, 24.5 grams, 6cm tall.

Lot 103

Silver and glass perfume bottle with silver base, Birmingham 1904, W Hutton, 12cm tall.

Lot 104

Silver and pottery match holder / striker in the form of a saucepan, Birmingham 1904, Levi & Salaman, 8.5cm wide.

Lot 105

A pair of silver Art Deco napkin rings, Birmingham 1934, C T B, 44.3 grams.

Lot 106

Silver pierced decoration sweet dish, Birmingham 1912, 19.2 grams, with a loaded silver tazza, Birmingham 1914 (2).

Lot 107

Silver 5 bar toast rack, Birmingham 1926, Mappin and Webb, 59.9 grams.

Lot 108

Silver Art Deco Mappin and Webb 5 bar toast rack, Sheffield 1937, 65.7 grams.

Lot 110

Novelty silver pepperette terminating with a duck's head, Birmingham 1892, L Spiers, 33.3 grams.

Lot 112

A pair of miniature silver tygs to include a Birmingham 1904 Sydney & Co Edinburgh example with a Liberty style hammered tyg, London 1905, F S Ltd (2), combined 64.4 grams.

Lot 113

Hallmarked silver dish with shaped edge, Sheffield 1921, HW, 60.5 grams.

Lot 114

Silver bookmark in the form of a thistle with green stone finial, Birmingham 1917, ALLd.

Lot 115

Chinese silver 1890-1920, Wang Hing, Hong Kong Canton Shanghai bookmark.

Lot 116

Silver Samson Mordan bookmark / letter opener, London 1889, 11cm long.

Lot 117

Silver Reynold's Angels pin tray, W Comyns, London 1900, 38.2 grams.

Lot 118

Silver and textured glass match striker, W Sparrow, Birmingham 1907.

Lot 119

Silver aide memoire, Birmingham 1911, with side pencil.

Lot 120

Silver ornate spill vase with blue glass liner, Sheffield 1923, H Atkin, 101.9 grams of silver, 14.5cm tall.

Lot 121

Silver and cranberry glass Art Deco perfume bottle with gilt decoration, London 1937, CD, 12cm tall.

Lot 122

Silver and glass globular perfume bottle, with original stopper, Birmingham 1900, Nathan & Haynes, 12cm tall. Minor holes to the silver.

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