We found 7653 price guide item(s) matching your search
There are 7653 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
7653 item(s)/page
Lot 2390
THREE THAI FERTILITY FIGURES one with a celadon glaze, 10.3cm, another with a yellow glaze, 10cm, modelled seated and nurturing a child, one unglazed, modelled seated with arms relaxed, 10.3cm, possibly 14/15th century, probably Si Satchanalai, and a Thai pottery Sawankhalok elephant, 6.5cm (4) Condition Report:figures heads are intact. Yellow has glaze bubbles. Unglazed example has chipped hand. Elephant is good.
Lot 2556
AN EARLY 20TH CENTURY LEOPARD SKULL SMOKER'S COMPENDIUM Housed in its original fitted "coffin"-style box, the eye sockets and nostrils holding loose gilt metal wells, mounted elsewhere with repousse white metal elements depicting Eastern (likely Thai) deities, measuring approx. 16.5cm high x 19cm deep x 12cm wideCITES Certificate no. 630131/01Condition Report:Available upon request
Lot 1009
A LARGE THAI STERLING SILVER COCKTAIL SHAKER the tapering body decorated in relief with the figures of three deities, the pull-off bun top opening to reveal the inner pierced cover, stamped STERLING. 32cm high, 20.9 troy ouncesA small dint to the cover but otherwise in generally good condition.
Lot 655
Trade cards etc, Football, unusual selection of mostly Asian issue cards including Thai issued player postcards, uncut card sheets, a Thai magazine covering the Arsenal v Newcastle FA Cup Final 1998, French Football badges mounted on special card, a South Africa World Cup 2010 sticker album (mint, unused complete with stickers), Euro 1996 postcards with match details etc (mostly vg) (1 packet)
Lot 151
A 19th century c.1860 Thai niello gilded silver teapot of cylindrical form, with a liner and split hinged loop handle, the exterior with profuse floral lai dok phuttan decoration, on four bun feet, the lid with an attached floral filigree chain, 20.5cm high including handle, 528g 19th century Thai niello ware has a royal household association, and has long existed in both royal Thai collections and been given as State gifts by Thai royalty. A very similar example was given to the United States by King Monkut, Rama IV (Smithsonian museum USNM #65) Provenance: the Peto Family, formerly of Chedington Court, Dorset
Lot 95A
A quantity of late 20th century and modern jewellery comprising mainly silver and white metal items, 4 simulated pearl necklaces to include Pompadour, a silver keyring, earrings and brooches, a Thai Niello and Sterling silver brooch in the form of a fan, a pair of late 1970s/early 1980's Danish Carl Ove Frydenberg silver earrings stamped with the maker's mark COF and a Swarovski silver tone and white crystal necklace, new with tags and original branded box.
Lot 64
Mixed Retro 1960's and 1970's beaded costume jewellery to include 'sweetie' clip on earrings such as D'Orlan and Attwood & Sawyer examples and others, mixed brooches to include an Orena, Paris example, L Chance, Canada, Monet, silver, a Thai Niello oval brooch example and 2 silver chains. Location:R1.4
Lot 99
An Eastern inlaid box containing mid to late 20th Century jewellery and watches to include a silver and abalone floral brooch and other silver items, Trifari clip on earrings and matching necklace, a Rotary gold tone ladies watch, a silver engraved bangle, g, a Tissot gold tone ladies watch, a gold plated rope twist necklace and matching bracelet and a Thai Niello and silver ring. Location:R1.4
Lot 1362
OLDS ROBIN: (1922-2007) American fighter pilot, a 'triple ace' with a combined total of 17 victories in World War II and the Vietnam War. Selection of nine signed printed images by Olds, each neatly removed from books or magazines, of varying sizes (largest 8 x 11), most of the images either depicting him in his flying gear or alongside various aircraft including a P-51 Mustang Scat VII, also including a magazine reproduction of Robert Taylor's painting entitled Phantom Strike depicting Olds flying his F-4 Phantom immediately after the attack on the steel mills at Thai Nguyen in North Vietnam on 30th March 1967. All are signed by Olds in black inks, some with his rank etc. added beneath his signature, and two are inscribed. Colour (5). G to generally VG, 9
Lot 342
A ruby and diamond cluster ring by Kutchinsky, 1989, the cushion-cut ruby within a flowerhead setting of brilliant-cut diamonds, shank signed and with maker’s mark, full London hallmark, total diamond weight approximately 1.60 carats, ring size K. £1,500-£2,000 --- Condition Report According to a verbal report from GCS, the ruby is of Thai origin, with indications of heating. Verbal report number 5783-1459. Ruby is a rich mid-red hue with minimal wear. Diamonds with excellent scintillation. Gross weight 5.0gm.
Lot 64
A PAIR OF LARGE PAINTED POTTERY SQUARE VASES AND COVERS, FANGHU, HAN DYNASTYChina, 202 BC to 220 AD. Each with a facetted pear-shaped body supported on a tall foot and rising to a gently waisted neck with everted rim surmounted by a faceted cover. Each vase is applied at the shoulders with two impressive taotie masks suspending loose rings. Exquisitely painted to each side of the body with two swirling designs in pale green and lavender, below pendent stiff leaves in red and white alternating with hooked designs in pale green at the neck, framed by horizontal bands, the covers similarly painted. (4)Provenance: Collection of Joseph Rondina. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Good condition, commensurate with age. Old repairs and minor touchups as generally expected from Han dynasty excavations. Wear, flaking, losses and fading to pigment, small nicks, minor chips, light scratches, encrustations. One of the four loose rings broken and restored.Weight: 8,124 g and 8,352 gDimensions: Height 51.5 cm and 50.2 cmExpert's note: Expressive polychrome designs on ancient archaic wares from China, such as those on the present lot, are said to have inspired the Art Deco movement in Europe. A good example for this theory may be the advertising design work of noted architect Henry van der Welde (1863 Antwerp - 1957 Zurich).Bronze and lacquer ritual Fanghu vessels were expensive commodities that only the privileged class could afford, but in the Han dynasty, ceramic funerary wares that simulated these luxurious objects became a more affordable means of outfitting one's tomb, as a finished ceramic piece required far less fuel and specialized labor than its bronze or lacquer prototype. Fired at relatively low temperatures, earthenware vessels are not fully vitrified and are slightly porous, making them less than ideal as containers for daily use, but suitable as burial items. Only very few colored compounds can withstand kiln temperatures without alteration. In order to replicate the multiple bright colors and dynamic designs of painted lacquers, durable mineral pigments were applied to earthenware vessels after firing, hence the term 'cold-painted.'Literature comparison: Compare a related painted pottery fanghu and cover, painted with taotie masks, 55.1 cm high, dated to the Western Han dynasty, in the Harvard Art Museums (acquired from J.J. Lally & Co.), object number 1990.85. Compare a related pair of painted pottery fanghu and covers, dated to the Western Han dynasty, in the Musee Cernuschi, Paris, object number MC 9915. Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2015, lot 782 Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A large painted grey pottery faceted pear-shaped jar and cover, Fanghu, China, Western Han dynasty Expert remark: Compare the related form and manner of painting. Note the size (56 cm).漢代一對大型彩繪陶方壺中國，公元前202 年至公元220年。壺口部與足底皆為方形，四角攢尖方蓋，壺身兩側各有一活環鋪耳。通體飾以黑、紅彩為主色調的圖案，頸繪蟬紋，腹部繪流雲紋，並以條帶紋相間。 來源：Joseph Rondina收藏。Joseph Rondina (1927-2022年)出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。 第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：品相良好，小修整，磨損、顏料褪色、小劃痕、小缺口、結殼。一個活環曾被修復過。 重量：分別爲8,124 克與8,352克 尺寸：高51.5 厘米 and 50.2 厘米
Lot 69
A MASSIVE PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL AND SOGDIAN RIDER, TANG DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 3 February 2005, based on sample number C105a47, sets the firing date of three samples taken between 900 and 1500 years ago (one further sample contained restoration material and could not be dated). A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.China, 618-907. The large camel is modeled with its head slightly turned to the left, protruding eyes, flaring nostrils and ears lying against its neck, its mouth held wide open with the tongue in the center. A detachable saddle bag hangs between its humps and is surmounted by a bearded Turk or Sogdian rider, wearing a distinctively pointed hat, with one arm raised to hold the reins.Provenance: From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Some old repairs and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Drilled holes from sample-taking. Overall very good condition.Dimensions: Height 84.3 cmThe Tang dynasty is undoubtedly one of the most artistically exciting periods in China's long history. The arts are characterized by their diversity, the cosmopolitan nature of their design and the high technical skill employed in their manufacture as this pottery example amply demonstrates. In the first half of this dynasty, up to the An Lushan rebellion of 756, the level of luxury enjoyed by the court and the Tang elite ensured the production of a wide range of goods of the highest quality. As China prospered as a result of trade with the west along the famous Silk Road, camels became increasingly important for the transport of wares, since these impressive animals could carry heavy loads over long distances, surviving several days without water. As their large and broad feet did not sink easily into the sand, they became known as 'the ships of the desert'. Many camels were imported from the states of the Tarim basin, Eastern Turkmenistan and Mongolia and are known as Bactrian camels. The Tang civil servants created a special office to supervise their breeding and services. It seems that no pottery examples showing Chinese riders have been excavated. Perhaps only the Central Asian foreigners were able to tame and guide the camels.Literature comparison:A related large painted pottery group of camel and foreign rider, dressed in a fur coat and wearing a large pointed hat, excavated from the tomb of Wang Chen (buried 679), Changzhi, Shaanxi province in 1954 and now in the Museum of Chinese History, Beijing, is illustrated by Li Jian (ed.), The Glory of the Silk Road, Art from Ancient China, The Dayton Art Institute, 2003, p. 170, pl. 85.Auction result comparison: Type: Closely related Auction: Christie's London, 5 November 2019, lot 4 Price: GBP 75,000 or approx. EUR 99,000 converted and adjusted for inflation at the time of writing Description: A massive painted pottery figure of a camel and rider, Tang dynasty Expert remark: Compare the closely related pose, detachable saddle bag (albeit with a slightly different Sogdian rider), and painted details. Note the slightly smaller size (78.1 cm).唐代彩繪胡人騎駱駝陶俑中國，618-907年。駱駝背上的胡人深目、高鼻、絡腮鬍，雙眼緊盯前方，頭戴氈帽，身穿翻領棉毛襖，袒胸露乳，雙袖捲起，雙手持韁繩狀，腳踏棉鞋。駝囊上掛有一隻扁壺，是胡人平常飲水的水壺。駱駝體型高大、粗壯，張嘴作嘶鳴狀，四肢挺拔剛健，闊步向前。 科學檢測報告：隨附牛津檢測所Doreen Stoneham 2005年2月3日出局的熱釋光檢測複印本，樣本號 C105a47，確認陶俑為900至1500 年前所造 (另外一個修復材料樣本無法確認時間)。 來源：美國紐約Joseph Rondina收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：有修復、缺損、裂縫和結殼，取樣鑽孔，總體狀況非常好。 尺寸：高84.3 厘米
Lot 356
A TALL AMBER-GLAZED VASE, LIAO DYNASTYScientific Analysis Report: A thermoluminescence report issued by Daybreak Nuclear and Medical Systems, Inc., Guilford, Connecticut, USA, dated 12 September 1990, based on sample number 363A227, sets the firing date of one sample taken between 760 and 1020 years ago. A copy of the report accompanies this lot.China, 907-1125. The elongated ovoid body rising to a tall flared rim, decorated with incised lines around the shoulder as well as the base and mid-section of the waisted neck, covered with a lustrous amber glaze pooling in the recesses and falling to an irregular line above the unglazed base and foot.Provenance: The base with an old label, 'Liao Dynasty 907-1125 AD'. From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Very good condition with minor wear and firing irregularities, including three spur marks to the rim, the base with minor chips, the interior of the foot drilled with a hole from sample-taking. The vase is slightly leaning.Weight: 1,126 g Dimensions: Height 36.4 cmLiterature comparison: The attenuated tall form is a classic Liao shape. This type is generally monochromatic with either an amber or a green glaze. Similar examples are known from Liao burial sites in Liaoning province and Inner Mongolia illustrated in Liaoci Xuanji, A Collection of Liao Tomb Relics of the Liao Dynasty, Beijing, 1961, pl. 345, and another is illustrated in Li Zhi Yan, The Art of Glazed Pottery of China, Hong Kong, 1989, no 239. Green-glazed examples of this form are found in two museum collections, The Asian Art Museum of San Francisco, object number B60P1103, illustrated in He Li, Chinese Ceramics, London, 1996, p. 146, no. 208 and in The Boston Museum of Fine Arts accession number 50.891, illustrated in The Charles B. Hoyt Collection in the Museum of Fine Arts, Boston, vol. II, Boston, 1972, no. 4.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2015, lot 13 Estimate: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: An amber-glazed pottery vase, Liao dynasty Expert remark: Compare the closely related form, incised lines, and amber glaze. Note the related size (35 cm).遼代褐色釉弦紋瓶中國，907-1125年。瓶口外撇，細長頸，肩部、頸部和腹部飾有弦紋，覆蓋著褐色釉，底座和足部未上釉。 科學檢測報告：美國康涅狄格州Nuclear and Medical Systems，Inc 1990年9月12日出具的熱釋光測試報告，樣本號 363A227，確認此瓶為760-1020年前製作。隨附報告複印本。 來源：底部老標籤 'Liao Dynasty 907-1125 AD'。Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極好，有輕微磨損、製造瑕疵，邊緣有三個刺痕，底部有輕微缺口，足內部有取樣孔。瓶微微傾斜。 重量：1,126 克 尺寸：高 36.4 厘米 文獻比較： 高長頸的外形是經典的遼代瓶。此種瓶形大多施褐色釉或綠釉。相似的例子出土於遼寧省和內蒙古的遼代墓葬群，見Liaoci Xuanji，《A Collection of Liao Tomb Relics of the Liao Dynasty》，北京，1961年，圖345，and another 見Li Zhi Yan，《The Art of Glazed Pottery of China》，香港，1989年，編號239。兩件相似外形的綠釉瓶，收一件收藏於舊金山亞洲藝術博物館，館藏編號B60P1103，見He Li，《Chinese Ceramics》，倫敦，1996年，頁146，編號208 ；另一件收藏於波士頓美術館，館藏編號50.891，見《The Charles B. Hoyt Collection in the Museum of Fine Arts》，波士頓，卷II，1972，編號4。
Lot 83
A PAIR OF LARGE LONGQUAN CELADON PHOENIX TAIL VASES, YENYEN, LATE MING DYNASTYChina, 15th-16th century. Heavily potted, the baluster body rising from a spreading foot to a cylindrical neck and flaring rim, the body finely carved and incised with large lotus blooms amongst foliage, with horizontal ribbing to the upper neck and vertical ribs to the lower body. The glaze stopping just above the foot rim, revealing the ware. (2)Provenance: Collection of Joseph Rondina. The base of one vase with an old paper label, inscribed “Celadon $9,000 pr.” Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Excellent condition with expected old wear, traces of use and shallow surface scratches. Firing flaws include minor kiln grit, dark spots, glaze recesses and irregular glaze pooling. The foot rims and bases of both vases partially burnt to orange in the firing.Weight: 6,114 g and 6,012 gDimensions: Height 49.5 cm (each)Literature comparison: A closely related example was included in the exhibition Chinese Celadons and Other Related Wares in Southeast Asia, National Museum, Singapore, 1979, cat. no. 207. A group of yen-yen vases in the Topkapi Saray Museum, Istanbul, is illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, London, 1986, vol. I, fig. 206, p. 289. Another good example is illustrated in the National Palace Museum of Taipei, an Exhibition of Longquan Wares, cat. no. 78, pages 154-155 (fig. 1).Auction result comparison: Type: Closely related Auction: Christie's New York, 14 September 2017, lot 702 Price: USD 87,500 or approx. EUR 99,500 adjusted for inflation at the time of writingDescription: A Carved Longquan Celadon 'Phoenix-Tail' Vase, Late Yuan-Early Ming Dynasty, 14th Century Expert remark: Compare the closely related form and finely carved and incised floral decoration. Note the size (45.4 cm), that the lot comprises a single vase and that it has been dated to the 14th century.明末一對大型龍泉青釉鳳尾尊中國，十五至十六世紀。尊口喇叭形，束長頸，溜肩，深孤腹，腹以下漸收斂，近足處外撇，圈足露胎。通體施青釉，器身刻花裝飾，頸飾數道弦紋與纏枝紋，腹飾纏枝花卉紋，底飾仰蓮瓣。胎體厚重，釉層勻厚色澤青翠。 來源：尊底有舊紙標籤，可見 “Celadon $9,000 pr.” Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極佳，有磨損、使用痕跡和表面淺劃痕。燒製缺陷包括輕微的窯砂、黑點、釉凹陷和不規則的積釉。兩個花瓶的圈足和底座在燒製過程中部分燒成橙色。 重量：分別爲6,114 克與 6,012克 尺寸：分別為高 49.5 厘米 文獻比較： 一件非常相近的例子，曾展覽於《 Chinese Celadons》。另一件則展覽於《Wares in Southeast Asia》，新加坡國家博物館，1979年，圖錄編號207。一組鳳尾尊，收藏於伊斯坦堡Topkapi Saray Museum，見Regina Krahl，《Chinese Ceramics in the Topkapi Saray Museum》，倫敦，1986年，卷I，圖206，頁289。另一件極佳的尊，見臺北故宮博物院《Exhibition of Longquan Wares》展覽，圖錄編號78，頁154-155。
Lot 254
A RARE BRONZE FIGURE OF BUDDHA, MON DVARAVATI PERIODScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 12 February 2020, based on sample number N120b91, sets the firing date of one sample taken between 1000 and 1600 years ago. A copy of the report, signed by Helen Mason and Doreen Stoneham for Oxford Authentication, accompanies this lot.Thailand, 8th-9th century. Superbly cast standing with the hands extended, draped in a dhoti and sanghati, his face with benign expression, downcast eyes, arched joined brows, full lips, and a broad nose, flanked by pendulous earlobes, his hair in tight curls over a high ushnisha.Provenance: From an old Belgian private collection.Condition: Good condition commensurate with age. As expected there is extensive wear, some casting flaws, losses to the hands, signs of weathering and erosion, few nicks and shallow surface scratches. The back drilled with a hole from sample-taking. Naturally grown patina of a fine malachite-green tone overall, with distinct areas of cuprite encrustations.Weight: 1,812 g (excl. base) and 2,586 g (incl. base)Dimensions: Height 31 cm (excl. base and tang), 36 cm (excl. base) and 42 cm (incl. base)With a modern base. (2)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, Dvaravati was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly 550-650 AD. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha were influenced by contemporary Indian sculptural works, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and are therefore characteristic of Mon Dvaravati. Compared to earlier and later Thai kingdoms, Dvaravati was geographically and economically isolated, which contributed to the distinct qualities of its sculpture. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Within the context of the dominant Theravada school of Buddhism, which emphasized the singularity of the Buddha Shakyamuni, bronze sculptures from this area also demonstrate a remarkably cohesive design. As unifying features, the Buddha is clad in the humble dress of a religious renunciant, with the thin garment clinging closely to the body to reveal his delicate proportions and graceful contours that lie beneath. His face is characterized by high cheekbones, full lips, prominent eyes, and - as stated - the curved brows that form the characteristic V-shape at the bridge of the nose.As expressed by Jean Boisselier, "The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia" (J. Boisselier, The Heritage of Thai Sculpture, 1975, page 73). Bronze sculptures of this type and large size are exceedingly rare.Further emphasizing the presence of Buddha in the world of the devotee, the figure is depicted as if in motion, with the hems of the robe gently swaying to the sides. This stance, which also draws upon the classic tribhanga posture of Indian sculpture, presages the famous “Walking Buddhas” of Thailand that would grow prominent many centuries later. The bronze caster has masterfully captured the youthful appearance of Buddha that gives the spiritual themes imported from India their highly unique and refined local expressivity.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2015, lot 29Price: USD 269,000 or approx. EUR 318,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Figure of Buddha, Thailand, 8th CenturyExpert remark: Compare the closely related pose, facial features, expression, robe, and size (36.1 cm)Auction result comparison: Type: Closely related Auction: Christie's New York, 15 March 2017, lot 244 Price: USD 68,750 or approx. EUR 80,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, Mon Dvaravati style, 9th century Expert remark: Compare the closely related pose, facial features, expression, curls, ushnisha, and robe. Note that the figure is of slightly larger size (42.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 16 September 2008, lot 572Price: USD 32,500 or approx. EUR 43,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, Mon-Dvaravati, 8th/9th centuryExpert remark: Compare the closely related pose, facial features, expression, and robe. Note that the figure is of smaller size (21.6 cm).
Lot 641
A THAI BRONZE FIGURE OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Cast standing in samabhanga, the right hand raised in abhaya mudra and the left elegantly lowered at the side, wearing a long samghati robe secured with a belt around his hips and covering his left shoulder. The face showing a serene expression with downcast eyes below elegantly arched brows, flanked by elongated earlobes, the hair in tight curls over the ushnisha surmounted by a flame. The bronze with a fine, solid patina with malachite encrustations.Provenance: RD collection, Paris, France. Acquired in the trade in Monte Carlo, Principality of Monaco. Condition: Good condition, commensurate with age. Extensive wear and some weathering, minor losses, few nicks, light scratches, and cracks.Weight: 1,254 g (incl. stand) Dimensions: Height 33.7 cm (excl. stand), 42.8 cm (incl. stand)Mounted to a modern wood stand. (2) Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 6 March 2021, lot 724Price: EUR 5,688 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: A Thai bronze figure of Buddha, Ayutthaya kingdomExpert remark: Compare the related pose, robe, period, patina, and size (34.6 cm). Note the different headdress.
Lot 187
A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 8th-10th century. Sensitively carved with heavy-lidded downcast eyes with incised pupils, thick ridged brows, a broad nose, elongated earlobes, and full lips forming a calm smile, the hair in snail shell curls over a high ushnisha.Provenance: Collection Monsieur M., an important French private collection. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Old wear, losses, nicks, scratches, very minor old fills, signs of weathering and erosion, encrustations, structural cracks. Fine, naturally grown patina. Scientific Analysis Report: A technical examination was conducted by Podany Conservation Services. The examination report concludes: “A comparison of observed features does favor the opinion that the head fragment is not of modern origin or a forgery.” The signed examination report, dated 24 May 2021, accompanies this lot. Note that the purported date stated in the examination report is circa 9th-11th century.Weight: 3,340 g (incl. stand)Dimensions: Height 17.5 cm (excl. stand) and 25.5 cm (incl. stand)Mounted on an associated stand. (2)While there is great variation within the Mon-Dvaravati tradition, the sensitivity paid to the modeling of these facial features is in keeping with the period's focus on the purity and fluidity of form. As expressed by Jean Boisselier in The Heritage of Thai Sculpture, 1975, p. 73, “The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia.”Literature comparison: Compare a closely related sandstone head of Buddha in the National Museum Bangkok, dated 8th-10th century, with nearly identical facial features.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 12 June 2018, lot 239Price: EUR 15,000 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A stone head of Buddha Shakyamuni, Thailand, Dvaravati period, 8th-9th centuryExpert remark: Despite being a larger example (32 cm), this comparable shares very similar facial characteristics with the current lot, including a flattened down-turned nose, a joined brow, pointed helices of the ears, and a lower lip equal or greater in size to that of the upper.Auction result comparison:Type: RelatedAuction: Bonhams New York, 19 March 2019, lot 874Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th centuryExpert remark: Note the size (23.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 643
A GILT-LACQUERED BRONZE FIGURE OF SEATED BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOMThailand, reign of King Rama III, 1824-1851. Seated in virasana on a stepped lotus base with petal and floral decoration, his hands resting in dhyana mudra above the lap, the close-fitting sanghati finely cast with diapered floral designs and embellished in 'gesso' conveying a lavishly embroidered cloth, finely inlaid with red glass. The face showing a meditative expression with downcast eyes inlaid in mother-of-pearl, arched eyebrows, and a subtle smile, flanked by long earlobes, the hair tightly arranged in small spikes and surmounted by a flaming ushnisha. Provenance: From an old German private collection, acquired before 2007. Condition:Very good condition, some wear and flaking to the gilt, light scratches, small nicks, few dents, some inlays lost, casting flaws, and signs of weathering. A minor old repair to the peg at the lower end of the flame.Weight: 20.5 kg Dimensions: Height 67.7 cmThe flame is original to the statue but separately cast. (2)Buddha images wearing such patterned robes, a symbol of royalty, were introduced during the reign of King Rama III (reigned 1824-1851) and disappeared thereafter. It is thus most likely that this majestic sculpture was one such royal commission produced under King Rama III's reign.Literature comparison:See further examples of Rattanakosin period gilt-lacquer bronze Buddha images discussed in Rod-Ari, The Buddha as Sacred Siamese King: Brocaded Buddhas of the Third Reign, The Walters Art Museum Journal, vol. 73, 2018, figs. 1-5. Auction result comparison:Type: RelatedAuction: Christie's New York, 5 June 2004, lot 998Price: USD 4,541 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: A Thai gilt-lacquered bronze figure of Buddha, late Rattanakosin period, 19th centuryExpert remark: Compare the related pose and gilt-lacquered decoration. Note the similar size (73.5 cm).Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 30 August 2021, lot 113Estimate: USD 8,000 or approx. EUR 8,000 converted and adjusted for inflation at the time of writingDescription: A gilt lacquer copper alloy figure of buddha, Thailand, Rattanakosin period, 19th centuryExpert remark: Compare the related pose and gilt-lacquered decoration. Note the near-identical size (68.6 cm).
Lot 258
A MAGNIFICENT BRONZE HEAD OF BUDDHA, SUKHOTHAI KINGDOMThailand, 15th-16th century. The serene face with arched eyebrows above heavy-lidded downcast eyes, a broad nose with incised nostrils, thin lips forming a benevolent smile, the chin heightened with incision work as well, flanked by long pendulous earlobes, the hair in tight curled spikes with a raised ushnisha.Provenance: From a noted Hungarian private collection. Condition: Good condition, commensurate with age, with expected old wear, small nicks here and there, obvious losses, some encrustations, minor casting irregularities, and a small aperture beside the ears. Naturally grown, almost black patina overall.Weight: 4,974 g (incl. stand) Dimensions: Height 24.5 cm (excl. stand), 35.7 cm (incl. stand)Mounted to a modern stand. (2)Expert's note: Over the centuries, the bronze has naturally patinated into a dark green, almost black tone with an unctuous feel to the surface, creating an overall not only elegant, but also meditative appearance.The Sukothai kingdom lasted for just two centuries but was an extremely wealthy and powerful period in the history of Thailand. Artists produced some of the most sophisticated and original sculpture found in the history of Thailand. For example they were the first to depict Buddha in four different attitudes: standing, seated, walking and reclining. The influence of this period can be seen in Thai sculpture throughout subsequent centuries. Religious texts prescribed strict definitions as to how Buddha should be depicted and these rules were firmly adhered to while maintaining an inspiring and meditative fluidity of line.Auction result comparison:Type: RelatedAuction: Christie's London, 11 May 2016, lot 94Price: GBP 20,000 or approx. EUR 29,500 converted and adjusted for inflation at the time of writingDescription: A fine bronze head of buddha, Thailand, Sukhothai period, 15th centuryExpert remark: Compare the closely related facial features, particularly the eyes, brows, nose, and ears, and the remarkably fine lines. Note the size (33 cm).
Lot 640
A BRONZE FIGURE OF BUDDHA, SUKHOTHAI KINGDOMThailand, 15th-16th century. Seated in dhyanasana atop a base with his right hand in bhumisparsa mudra, the left resting in his lap, dressed in a sanghati draped over his left shoulder, the serene face with heavy-lidded downcast eyes below elegantly arched brows, the hair arranged in tight curls over the ushnisha.Provenance: French trade, by repute previously in a French private estate. Condition: The Buddha with extensive old wear, weathering and corrosion, dents, losses, cracks, old repairs and fills.Weight: 3,856 g Dimensions: Height 34.2 cmEstablished in 1238, the Sukhothai kingdom enjoyed a brief but artistically brilliant period of independence until it acquiesced to Ayutthaya in 1583. Guided by itinerant Sinhalese Buddhist monks that frequented the Bay of Bengal and the Andaman Sea, Sukhothai sculptors returned to the ancient poetic descriptions of the mahalakshana ('signs of a great man') to create a new idealized Buddha image, breaking away from Mon and Khmer idioms.Auction result comparison:Type: RelatedAuction: Bonhams Paris, 14 June 2022, lot 64Price: EUR 8,925Description: A copper alloy figure of Buddha, Thailand, Northern Sukhothai style, 14th/15th centuryExpert remark: Compare the related pose and size (33.5 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 21 May 2008, lot 383Price: EUR 5,250 or approx. EUR 6,500 adjusted for inflation at the time of writingDescription: A Thai Sukhothai style bronze figure of Buddha, 15th/16th century or laterExpert remark: Compare the related pose and color of the bronze. Note the slightly larger size (40 cm).
Lot 220
A BRONZE FIGURE OF A DANCING HEVAJRA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, late 12th to early 13th century. The eight-headed deity very well cast dancing atop a prostrate figure with one leg raised and arms radiating around him holding diminutive figures of deities and animals, wearing a short sampot secured with a pendent fishtail sash, the details intricately rendered.Provenance: From a noted private collection. A copy of a certificate of authenticity, N° 389912, issued and signed by an archeologist and an official representative of the Asian Antiques Association of Thailand, dated 17 October 2014, confirming the dating above, and noting Prasat Muang Phai, Sakaew province, Thailand, as the original provenance for the present figure, accompanies this lot. A copy of an export license, issued by the government of the Kingdom of Thailand, EB0078/2022, also accompanies this lot. Condition: Good condition, commensurate with age. Extensive wear, minor losses, small dents and nicks, signs of weathering and erosion, soil deposits, corrosion, encrustations, 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. The surface of the figure has been cleaned in areas where the corrosion was thick and obscured the cast detail. A corrosion inhibiting varnish was then applied to the surface for protection against moisture intake from the atmosphere. Weight: 3,613 g (excl. base) Dimensions: Height 37.5 cm (excl. base, incl. tang) and 41 cm (incl. base)With a fitted modern metal base. (2)Hevajra is the personification of enlightenment, the dance pose symbolizing the process of enlightenment as liberation from worldly constraints.Literature comparison: Compare a closely related Khmer Bayon-style bronze of Hevajra, 22.7 cm high, in the CB National Museum, inventory number Ga.4170. Another closely related example was exhibited in the Ethnological Museum, Berlin. Compare a closely related Khmer Bayon-style bronze of Hevajra, 41 cm high, dated c. 1180-1230, illustrated in Wolfgang Felten and Martin Lerner, Thai Sculpture from the 6th to the 14th centuries, Stuttgart, 1988, p. 235, no. 37.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2004, lot 57 Price: USD 31,070 or approx. EUR 44,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of a dancing Hevajra, Khmer, Angkor period, Bayon style, late 12th/early 13th centuryExpert remark: Compare the closely related pose, number of heads and arms, and malachite patina. Note the smaller size (24 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 256
AN ICONIC LARGE BRONZE TORSO OF THE 'WALKING BUDDHA', SUKHOTHAI KINGDOMOpinion: The present lot is a sad and, at the same time, hopeful testimonial to the sheer endless number of Buddhist images that were destroyed during two millennia of turmoil, upheaval, revolution, and outright war. Sad, because the tragedy of brutal and mortifying repression is apparent in this statue, hopeful because even the most savage physical harm was unable to diminish Buddha's eternally peaceful appearance.Thailand, 15th-16th century. Cast striding with the right leg slightly raised, his left hand in vitarka mudra and his right gracefully extended alongside his body, wearing a diaphanous sanghati over his left shoulder and flaring down towards a gently undulating hemline.Provenance: French trade. By repute acquired from an old private estate. Condition: Presenting remarkably well. Condition overall commensurate with age. Old wear, partially from extensive worshipping within the culture. Some casting flaws, few nicks and dents, small cracks and old fills, obvious losses. Fine, naturally grown, dark patina.Dimensions: Height circa 84 cm (excl. stand), circa 97 cm (incl. stand)Mounted to a modern metal stand. (1)The 'Walking Buddha' is a striking and iconic Thai invention emerging in bronze sculpture during the 14th century. Known in Sukhothai as cankrama (walking back and forth) it refers to the pacing of Buddha during the third week after Enlightenment, see H. Woodward, The Sacred Sculpture of Thailand, 1997, page 160ff. When Shakyamuni renounced his princely life, he dismounted from his horse to become a peripatetic mendicant. Buddhist texts describe his constant wandering from city to city in the course of his teaching, exemplifying the important role that the act of walking had upon Buddha's life.Literature comparison:Large models of this size and condition are extremely rare. Compare a related bronze figure of the walking Buddha, dated to the 15th century, height 128.3 cm, in the Minneapolis Institute of Art, accession number 31.115. Compare another smaller example of the walking Buddha, dated to the 14th century, height 28 cm, in the British Museum, museum number 1947,0514.1.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 1999, lot 254Price: USD 112,500 or approx. EUR 194,000 converted and adjusted for inflation at the time of writingDescription: A Large and Important Bronze Figure of a 'Walking Buddha', Thailand, Sukhothai, 15th/16th centuryExpert remark: Compare the closely related pose, color of the bronze, and size (117 cm including head and feet).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 13 September 2017, lot 635Price: USD 100,000 or approx. EUR 117,000 converted and adjusted for inflation at the time of writingDescription: A Rare Bronze Figure of a Walking Buddha, Thailand, Sukhothai period, 15th centuryExpert remark: Compare the closely related pose and dress. Note the small size (43.7 cm).
Lot 636
A BLACK STONE HEAD OF BUDDHA, MON-DVARAVATI PERIODThailand, 8th-9th century. Powerfully carved, the ovoid face with a prominent, ridged brow, heavy-lidded and incised eyes, broad nose above full bow-shaped lips, the head flanked by elongated ears and surmounted by an ushnisha covered with snailshell curls.Provenance: A French private collection built between ca. 1980 and 2012. Thence by descent. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, small chips, and few losses.Weight: 3,700 g (incl. stand) Dimensions: Height 19.7 cm (excl. stand), 26.5 cm (incl. stand)Mounted to an associated Plexiglas stand. (2)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, the Dvaravati polity was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly AD 550-650. Due to the large number of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha are heavily influenced by contemporary Indian sculptural styles, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and which are therefore characteristic of the Mon Dvaravati style. Compared to earlier and later Thai kingdoms, Dvaravati was relatively geographically and economically isolated, which contributed to the distinct qualities of its sculpture, such as the aforementioned eyebrows, the broad face, and the full, prominent lips. Additionally, the local stone was tough and difficult to work with, leading artists to prefer thick, strong features over softness and subtlety. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 19 March 2019, lot 874Price: USD 43,825 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: A blackstone head of Buddha, central Thailand, Dvaravati period, circa 8th centuryExpert remark: Compare the related facial features, the color of the stone, and curls. Note the size (23.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 12 September 2012, lot 620Price: USD 31,250 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A black stone head of Buddha, Thailand, Mon Dvaravati period, 8th/9th CenturyExpert remark: Compare the related facial features, the color of the stone, and curls. Note the size (26.7 cm).
Lot 346
AN AMBER-GLAZED POTTERY VASE AND COVER, HU, HAN DYNASTYChina, 202 BC to 220 AD. The compressed globular sides rising from a short, splayed foot to a waisted neck and everted rim surmounted by a domed cover. The shoulder and body each with a narrow band carved with wave designs enclosed by recessed line borders. Covered overall in an even and finely crackled, golden amber glaze, the interior of the cover with a greenish tint. (2)Provenance: The base with an old label, 'Han Dynasty. Amber glaze. Covered jar. 25-220 AD.' From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Good condition, commensurate with age. The foot chipped with an associated old fill, minor old repairs and touchups as generally expected from Han dynasty excavations. Wear, firing flaws, intentional glaze crackling, glaze abrasions, kiln grit, small losses, encrustations.Weight: 1,396 gDimensions: Height 25.8 cmLiterature comparison: Compare a related amber-glazed hu, decorated with taotie masks suspending mock ring handles and lacking the cover, 40.6 cm high, dated to the Eastern Han dynasty, in the Metropolitan Museum of Art, accession number 1994.605.123. Compare a related amber-glazed hu, decorated with taotie masks and lacking the cover, 34.5 cm high, dated 2nd century BC to 1st century AD, in the Ashmolean Museum, Oxford, accession number EA1956.909.Auction result comparison: Type: Related Auction: Sotheby's London, 18 May 2018, lot 284A Estimate: GBP 4,000 or approx. EUR 5,500 converted and adjusted for inflation at the time of writingDescription: A large amber-glazed pottery vase, hu, Han dynasty Expert remark: Compare the closely related form and amber glaze. Note the lacking cover and the larger size (47.5 cm).漢代褐釉弦紋壺中國，公元前202 年至公元220 年。口外撇，束頸，鼓腹，足外撇。有一個圓頂蓋。肩部和身體各有一條弦紋，上面刻有由凹線邊框包圍的波浪圖案。通體施褐色釉，釉色均勻，裂紋細密，蓋內泛綠。 來源：底部有標籤 'Han Dynasty. Amber glaze. Covered jar. 25-220 AD.'。Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：品相好，足部有小填充、小修補。有磨損、燒製缺陷、釉面裂痕、開片、窯砂、小損失、結殼。 重量：1,396 克 尺寸：高 25.8 厘米 文獻比較： 比較一件相近的東漢褐釉弦紋壺，飾有饕餮輔首啣環，沒有蓋子，40.6 厘米高，收藏於大都會藝術博物館，館藏編號1994.605.123。比較一件相近的公元前二至一世紀釉弦紋壺，飾有饕餮輔首啣環，沒有蓋子，34.5 厘米高，收藏於牛津Ashmolean Museum，館藏編號EA1956.909。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2018年5月18日，lot 284A 估價：GBP 4,000（相當於今日EUR 5,500） 描述：漢褐釉弦紋壺 專家評論：比較非常相近的外形和褐釉。請注意沒有蓋子和尺寸較大(47.5 厘米)。
Loading...-
7653 item(s)/page