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Lot 249
An 18ct gold diamond and enamel model, designed as a vari shade enamel ice skater, with brilliant cut diamond scarf, atop an agate slice, estimated total diamond weight 0.50ct, may also be worn as a brooch/pendant, Italian assay marks, length 8.9cm, height on stand 13cm, signed, gross weight of brooch 43.5g.
Lot 256
Three 19th Century Dieppe carved ivory figures, comprising a near pair, a mother breast feeding a child with another on her shoulder, 10.8cm high, a pedlar, 11.5cm high, and a figure with sword and quiver of arrows standing on cylindrical pedestal, 13cm high overall (3) Condition: Mother figure has lost two front edge of head scarf. Second item in good condition. Third item has lost plume of hat. Item in left hand probably also depleted (probably a bow), otherwise sound. **General condition consistent with age
Lot 53
Eugene Laurent Vail (1857-1934) 'Leonie' Etaples c.1887 or 1893 Oil on canvas, 65 x 54.5cm (25½ x 21½'') Original exhibition label verso with artist's name, title and number 26 Eugene Vail was a cosmopolitan artist of American-French background. He was one of a close-knit circle of young painters in the ateliers in Paris and at the artists' colonies of Grez-sur-Loing, Concarneau and Etaples during the 1880s. He was a close friend of Irish artists Frank O'Meara and John Lavery. His pictures enjoyed great success at the Paris Salon and he was awarded the Legion d'Honneur. Eugene Laurent Vail was born of an American father and French mother in St. Servan, near St. Malo, Brittany, in 1857. He gained and engineering degree at the Stevens Institute of Technology, Hoboken, New Jersey. He worked as a cartographer on a scientific expedition in the West of America. Vail was also a keen sportsman and had an interest in theatre and art. He began to study at the Art Students' League, New York, in the studios of William Chase and Carol Beckwith. He travelled to Paris c.1882 and became a pupil at the Academie Julian. He became a close friend of John Lavery's there. In March 1882, he entered the Ecole des Beaux Arts, studying in the atelier of Cabanel. He was also a pupil of Collin and Dagnan-Bouveret. Vail first exhibited in the Paris Salon in 1883. In common with many of his contemporaries, Vail was impatient to paint from nature. Many years later, Lavery acknowledged the influence of his comrade in introducing him to Grez: I came to know Gres-sur-Loing through Eugene Vail. We were both at the Academie Julian and we decided to go there to spend the weekend. I remained there for nine months. Hawkins also met Frank O'Meara there. In 1883, Vail first exhibited at the Paris Salon. In the same year he visited Brittany: Pont-Aven, and Concarneau, in the company of American students Harrison and Simmons. Vail favoured marine and harbour subjects. His best-known Breton painting, 'Le Port de la Peche, Concarneau' (Musée des Beaux Arts, Brest), is a large, low-key study of the harbour and fishing boats. Although sombre in tone, there is a glowing twilight atmosphere, that was, perhaps, to influence Charles Cottet's paintings of Brittany. The picture was exhibited at the Salon in 1884. It was purchased by the French State for the Musée Luxembourg. In 1887, Vail moved to Etaples, Pas-de-Calais. He spent the winter there, lodging with his friends from Grez, O'Meara and Scottish artist Middleton Jameson. Although less well known than the great art colonies, and less picturesque than Concarneau, Etaples was convenient to reach, being close to Boulogne, and living was cheaper there than at Grez. O'Meara wrote: Etaples is a very convenient place - lots of motifs about, plenty of models and studios to be had cheap. French artist, Cazin, a native of Pas-de-Calais, gained inspiration from the landscape around Etaples. Amongst the artists there in Vail's time were Jameson and O'Meara, French painters Boudin and Tattegrain, the Belgian Faradyn, the Americans Walter Gay and Birge Harrison, Dudley Hardy and a contingent from Cork: William G. Barry, Egerton Coghill and Edith Somerville. Sarah C. Harrison was there in 1890 and E.M. Synge and Frida Moloney in 1909. A large number of British and Australian artists continued to work there up to the First World War. While O'Meara studied figures at the harbour and Barry and Coghill painted woodland scenes, O'Meara wrote to Lavery that: Vail is painting the deck of a fishing boat in a heavy sea, life-size, and I think that it will be very fine. Vail exhibited at the Salon again in 1886 and in 1888, when he was awarded a 3rd class medal. His work was praised by Albert Wolff, art critic of 'Le Figaro'. Vail served on the international jury of the Exposition Universelle in Paris in 1889. Four of his pictures were also exhibited there and he received a gold medal. Some of Veil's paintings were known for their dark tonality. Like Welden Hawkins, some of his subsequent work became more decorative and Symboliste, showing the influences of Whistler, Japonisme and the Nabis. Vail may have visited Etaples again c.1893, for his painting 'Soir d'Automne Etaples', which was exhibited at the Salon in 1894. Veil was awarded the Legion d'Honneur in 1894. Six of his paintings were exhibited at the Salon Nationale in 1899 and his work was praised by Gabriel Mouray in 'The Studio'. The present portrait shows an attractive young woman, wearing a headscarf or bonnet and she is viewed in profile. On the reverse of the stretcher, the words 'Leonie' and 'Etaples' are written, probably by the artist himself. Leonie evidently is the name of the model. The word 'Etaples' and an art supplier's stamp 'Caron Cousin. Peintre Couleurs et Toiles - Etaples' on the back of the canvas, indicate that the picture was painted in this town, probably c.1887 or c.1893. Leonie has a fine profile and healthy red cheeks, set against the simple white costume which she is wearing. Vail enjoyed a profile view, as can be seen in 'A Breton Sunday', c.1890 (National Museum of American Art, Smithsonian Institution), which shows a pious woman in scarf, standing in front of a harbour. On the one hand, 'Leonie' has the heroic quality of a peasant woman viewed in profile by Realist painter Jules Beton, for example 'Repose', 1864 (Musée des Beaux Arts, Arras) and 'Jeanne Calvet', 1865 (Francine Clarke Art Institute, Williamstown). But, on the other hand, Leonie is an ordinary country girl, whose rosy colouring reveals her hardworking, healthy life in the open air and by the sea. Her face is well modelled, with the dress indicated in a simple manner, with relaxed, criss-cross brushstrokes. Vail follows the 'Academie Julian' manner, combining a carefully represented face against a more sketchy treatment of clothing. But this relaxed manner also suggests the influence of Impressionist painters, such as Manet and Berthe Morisot. Julian Campbell
Lot 413
A late 19th century Archaological Revival gold scarf ring by Wiθse, set with a Roman carnelian intaglio depicting Hercules with the lion skin to his shoulders, c.1st century AD, the gold scarf ring with openwork motif to the shoulders and with ropetwist decoration, French control mark, signed, maker's mark, 3cm wide, intaglio 1cm high
Lot 302
the hands originally in abhaya and varada mudra, with long looped celestial scarf, on lotus pedestal base with inscription, 34cm highFootnote: Exhibited: London, Oriental Arts (UK) Ltd, Chinese Buddhist Sculpture, London 18th-27th March 2001, no. 9 Literature: The style of this figure is discussed in an article by Osvald Siren, Chinese Marbles of The Transitional Period, Bulletin of the Museum of Far Eastern Antiquities, 1940, pp.473-96, no. 12. The Chinese Buddhist statuary and associated collection was acquired by C Roger Moss OBE in Hong Kong during the period 1980 to 2003. All items were officially exported from Hong Kong by shippers and handlers recommended and approved by the Mass Transit Railway Corporation of Hong Kong on 10th May 2003, with full documentation. Itemised inspection certificates - dated 24th February, 16th and 23rd April and 7th May 2003 (report No 0254/03) by J & H Surveying Co Ltd, Marine Surveyors - number and detail the items exported. A copy is available at Cheffins’ offices. The shipment arrived in Felixstowe, UK on 29th May 2003 and was received for transhipment by Redfern International Logistics of Leeds, recorded in their sales invoice no. IDSI2926, which details fees paid for the appropriate Sea Import Customs and Sea Import Documentation. The dating of Chinese sculpture is notoriously difficult and all such references in this catalogue are based entirely upon style and should not be relied on as a statement of fact. Regarding the stone carvings in the Moss Collection, these lots may only be bought and sold within the UK/EU. Buyers wishing to export items should make the appropriate checks before bidding. The auctioneers cannot be held responsible for any future liabilities associated with authentication or for export outside of the UK/EU 1980年至2003年期间，C Roger Moss OBE在香港购买了中国佛教佛像及相关藏品。所有物品均由香港地下铁路公司于2003年5月10日推荐并批准的托运和装卸机构从香港正式出口，并附有完整的单据。逐项检验证书-由海洋测量师J＆H Surveying Co Ltd于2003年2月24日，4月16日，23日和5月7日签发（报告号0254/03），对出口的物品进行编号和详细说明。您可以在Cheffins拍卖行获取一份副本。这批货物于2003年5月29日到达英国费利克斯托，并被利兹的Redfern International Logistics转运，记录在其销售发票中- IDSI2926，其中详细囊括了这次海关进口细节和相关文件的支付费用。众所周知，我们很难判定中国雕塑的历史时期，本目录中的所有相关参考文献均取决于它们的风格，因此买家不应作为事实陈述。 关于这次Moss Collection中的石雕，这批拍品只允许在英国/欧盟境内被出售或购买。 买家需要在投标前自行进行相关的出口检查与认证。 Cheffins概不承担任何法律责任或提供英国/欧盟地区以外的出口认证。
Lot 90
each wearing butterfly decorated kimonos, one dressed as a bijin gesturing downwards with her hands, the other as a scarf-wearing wood collector carrying a faggot pannier on her back, on a wooden stand with signed red lacquer kakihan, 34.5cm and 36.5cm high (excluding wooden stand)Condition report: Bijin-chipped lacquer on her knapsack and a crack in her left hand (underneath so not easily visible) Wood collector - crack acroos pannier. Small cracks under her right arm (rear) area.slight discolouration of ivory parts.Losses to knife in her hand. Small crack at the bottom of her right "trouser".
Lot 839
A group of various jewellery itemsincluding a yellow metal watch chain, a yellow metal turtle brooch, a pair of yellow metal and pearl earrings, a red paste and yellow gold pin, a yellow gold and pearl Art Nouveau pin, a chain (a/f), aeroplane pendant, a pair of novelty gilt metal kipper tin earrings, a garnet cross pendant, a gilt metal bracelet, gilt metal pins, a gilt metal watch key, a gilt metal pocket watch with engraved decoration to case, a 9ct gold heart ring, a gilt metal mesh scarf ring, etc.Condition report: Watch chain, turtle, pearl earrings, plane pendant, heart ring, yellow metal pins, approx. 22 grams combined.
Lot 209
Otto ModersohnIn Worpswede Öl auf Malpappe, auf Hartfaserplatte aufgezogen 57,2 x 40,5 cm Gerahmt. Unten rechts rotbraun monogrammiert 'O M', unten links braun datiert 'IX. 03.'. - Der Unterrand und die Ecken etwas bestoßen. Einige wenige winzige Farbabplatzungen und kleine Retuschen.Wir danken Rainer Noeres, Otto-Modersohn-Museum, Fischerhude, für bestätigende und ergänzende Informationen.ProvenienzPrivatbesitz Niedersachsen; seitdem in Familienbesitz Nordrhein-WestfalenAusstellungenWorpswede/Fischerhude/Bremerhaven 1989 (Kunsthalle/Otto-Modersohn-Museum/Kunsthalle), Otto Modersohn in Worpswede 1890-1907Der Maler gibt in dieser Worpsweder Impression einen stimmungshaften wie suggestiven Motiv-Ausschnitt: es öffnet sich ein unbefestigter Dorfpfad in leicht hügeligem Gelände mit altem Baumbestand zu etwas entfernter liegenden Gehöften - und auf dem Weg, seitlich, schaut ihm eine Kleine in rotem Tüchlein aufmerksam entgegen. Im geöffneten Tor des breiten Giebelhauses in der Bildtiefe erkennt man eine bäuerliche Gestalt, während davor eine Frau in dunkler Gewandung sich nach links über eine nur angedeutete Form beugt, vielleicht über den zugehörigen Kinderwagen. Modersohn formuliert keine Details aus, alles ist summarisch und doch schlicht und wirkungsvoll erzählt. Alles scheint, auch heute noch, beseelt von einer Gefühlsbindung an diesen Ort, von einer persönlichen Schau auf Gegebenheiten, auf ein Stück "Heimat" und damit auf einen ideellen Wert von ursprünglicher, ländlicher Geborgenheit. Die vereinfachte Perspektive, die großen Linien der Komposition wie die verteilten Farbsetzungen und Helligkeitswerte konstituieren das Motiv. Durch auffällige Kappungen und Zusammenziehungen von Formen und Flächen wie durch gelöste Strichlagen bekennt sich Modersohn zur Farbe und zu ihrer individualisierten Erfassung. Modersohn hatte die Zeit zuvor auf Amrum mit Paula Modersohn und der Tochter Elsbeth aus seiner ersten Ehe verbracht. Zur Entstehungszeit dieses Gemäldes, im September 1903, hielt Modersohn in seinem Tagebuch fest: "Dieser Sommer und besonders seit Amrum (5. August) hat mir die wichtigsten Erkenntnisse gebracht, seit ich male... mein ganzer Standpunkt ist ein anderer geworden. Mit der Natur verbindet sich Persönlichkeit, rechtes Naturgefühl ist auch ein persönliches. Das sind die wesentlichsten Seiten guter, großer Malerei, Sie entspringen alle aus dem rechten Verhältnis zur Natur." (Zit. nach: Ausst. Kat. Otto Modersohn, Otto Modersohn Museum, Bremen 1993, S. 299). Otto ModersohnIn Worpswede Oil on artist's board, laid down on fibreboard 57.2 x 40.5 cm Framed. Monogrammed 'O M' in red brown lower right, dated 'IX. 03.' in brown lower left. - Lower edge and corners somewhat bumped. A few minte losses of colour and minor retouches.We would like to thank Rainer Noeres, Otto-Modersohn-Museum, Fischerhude, for confirmatory and additional information.ProvenancePrivate possession, Lower Saxony; since then in family possession, North-Rhine WestphaliaExhibitionsWorpswede/Fischerhude/Bremerhaven 1989 (Kunsthalle/Otto-Modersohn-Museum/Kunsthalle), Otto Modersohn in Worpswede 1890-1907In this impression from Worpswede, the painter offers an atmospheric as well as suggestive detail of his motif: a rough village path in a slightly hilly terrain featuring a mature group of trees opens on to farmsteads lying somewhat in the distance while, at the side of the path, a little girl in a red scarf looks at him attentively. A farmer-like figure can be recognised in the open gate of the wide building with a gable roof in the depth of the picture, while a woman in dark clothing in front bends to the left over a form that is only hinted at - perhaps the pram of the child. Modersohn does not articulate any particulars, all is summarily and nonetheless simply and effectively described. Even today, everything appears animated by an emotional bond to this place, by a personal look onto given facts, a patch of “home” and, with it, by a notion of virtue expressing a feeling of pristine, pastoral security. The simplified perspective and the grand lines of the composition as well as the distributed accents of colour and brightness constitute the essence of the motif. Through striking abbreviations and contractions of forms and surfaces as well as a diffuse application of brushstrokes, Modersohn professes his devotion to colour and its individualised representation. Modersohn had spent the preceding period on Amrum with Paula Modersohn and his daughter Elsbeth from his first marriage. At the time this painting was created, in September 1903, Modersohn recorded in his journal: “This summer, particularly since Amrum (5 August), has brought me the most important insights since I have been painting ... my whole standpoint has become different. Personality is joined with nature; a proper feeling for nature is also something personal. Those are the most essential facets of a good, grand painting; all of them grow out of the proper relationship to nature.” (cited in: exhib. cat., Otto Modersohn, Otto Modersohn Museum, Bremen 1993, p. 299).
Lot 4
QUINTEN MASSYSBetende Maria Öl auf Holz. 44 x 33,5 cm.ProvenienzKunsthandel P. De Boer, Amsterdam. – 547. Lempertz-Auktion, Köln, 20.-22.11.1975, Lot 117. – H. Becker, Dortmund. – Hans M. Cramer, Den Haag, 1977.LiteraturAndrée de Bosque: Quentin Metsys, Brüssel 1975, S. 252-3, Nr. 316, Abb. S. 251 und S. 390. – Hans M. Cramer, Addendum 3, Den Haag 1977, Nr. 107, mit Abb. – Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, S. 230, unter Nr. 49. – Petra Müller, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 28-30, Nr. 12, mit Abb.Vor einem dunklen Hintergrund zeigt die kleine Tafel das Brustbild Mariens mit gefalteten Händen. Meisterlich ausgeführt sind das zarte Inkarnat ihres Gesichtes und der Hände, das Weiß des um den Kopf geschlungenen und im Nacken gebundenen Tuchs sowie das strahlende Blau Ihres Mantels mit goldener Stickerei am Halsausschnitt und den Ärmeln. Die Tafel stellt sich als ein hervorragendes Werk der Übergangszeit zwischen spätgotischer und Renaissancekunst in den Niederlanden im frühen 16. Jahrhundert dar.In ihrer Monografie über Quinten Massys hat Andrée de Bosque 1975 den formalen und ikonographischen Zusammenhang des Bildes mit einem Flügel eines Diptychons dieses Malers im Museo Nacional del Prado erkannt. Der gleiche Bildausschnitt und eine nahezu identische Darstellung Mariens ist dort nur seitenverkehrt dargestellt. Daraus ist zu schließen, dass es auch für das vorliegende Bild einen „Segnenden Christus“ als Gegenstück gegeben haben wird. Ein weiteres Bilderpaar mit dem gleichen Motiv von Quinten Massys, das aber früher zu datieren ist, befindet sich im Königlichen Museum von Antwerpen. De Bosque hat unser Bild wohl im Original gesehen. Sie beschreibt es in ihrem Buch ausführlich und fasst ihr Urteil so zusammen: „La Vierge de la collection allemande est d´un qualité superieure à celle du Prado et se rapproche, bien qu´elle soit d´un style archaisant, de la Vierge du Louvre de 1529“. Während sie bei dem Madrider Diptychon - ursprünglich aus dem persönlichen Besitz von König Philipp II. von Spanien stammend - auch die Hand des Schülers und Sohnes Jan Massys zu erkennen glaubt, sieht sie unser Bild als ein eigenhändiges Werk des Vaters. Diesem Urteil schlossen sich Ekkehard Mai und seine Mitarbeiterin Petra Müller 1993 (op. cit.) an und übernahmen die Zuschreibung an Quinten Massys. Larry Silver ging in seiner 1984 erschienenen Monographie über Quinten Massys hingegen auf unser Bild zunächst nicht näher ein und erwähnt es lediglich im Zusammenhang mit dem Madrider Diptychon - für ihn ein Werk Quintens - als eine Kopie. Nach einer aktuellen hochauflösenden Photographie bestätigt Larry Silver nun hingegen die Zuschreibung an den Antwerpener Maler und bezeichnet das Bild sogar als „a major work by Massys“, das er in die späten 1520er datiert. Die zahlreichen Andachtsbilder, die dieser bedeutende Antwerpener Meister neben großen Altarbildern ausführte, sind Heiligen- und vor allem Madonnendarstellungen. In kleinem Format wurden diese Bilder für bürgerliche Auftraggeber zur persönlichen Andacht hergestellt. Dabei wurde die Madonna entsprechend ihrer theologischen Rolle als Fürsprecherin zwischen dem Betenden und dem Gottesssohn als Vermittlerin verehrt. Das Sujet bearbeitete Massys besonders häufig im letzten Jahrzehnt vor seinem Tod, was auch zur Datierung unseres Andachtsbild von Larry Silver in das Spätwerk des Künstlers passt. QUINTEN MASSYSMary in Prayer Oil on panel. 44 x 33.5 cm.ProvenanceWith P. De Boer, Amsterdam;Anonymous sale, Lempertz, Cologne, 20-22 November 1975, lot 117;H. Becker, Dortmund;Hans M. Cramer, The Hague, 1977.LiteratureAndrée de Bosque: Quinten Metsys, Brussels 1975, p. 252-53, no. 316, reproduced p. 251 and p. 390;Hans M. Cramer, Addendum 3, The Hague 1977, no. 107, reproduced;Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, p. 230, under no. 49;Petra Müller, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 28-9, no. 12, reproduced.The small panel shows a portrait of the Virgin Mary with hands folded, in front of a dark background. The delicate esh tones of her face and hands, the white of the scarf wrapped around her head and tied at her neck are masterfully executed. This same display of skilled handling is also found in the radiant blue of her coat with gold embroidery and sleeves. The panel is an excellent work of the transitional period between late gothic and Renaissance art of the Netherlands in the early 16th century. In her 1975 monograph on Quinten Massys, Andrée de Bosque recognised the formal and iconographic connection of the picture with a wing of a diptych by this painter in the Museo Nacional del Prado (ill. 1). The Prado painting shows the same cropped detail of an almost identical representation of the Virgin but viewed from the other side. From this it can be concluded that there would have been a Christ Blessing as counterpart for our picture. Another pair of paintings by Quinten Massys with the same motif, but dated earlier, can be found in the Koninklijk Museum voor Schone Kunsten Antwerp.De Bosque has possibly seen our picture in the original. She describes it in detail in her book and summarises her judgement as follows: “La Vierge de la collection allemande est d'une qualité supérieure à celle du Prado et se rapproche, bien qu'elle soit d'un style archaisant, de la Vierge du Louvre de 1529”. While she believes to recognise the hand also of his student and son, Jan Massys, in the Madrid diptych - originally from the personal collection of King Philipp II of Spain - she sees our painting as a work by the father himself. Ekkehard Mai and his associate Petra Müller concurred with this judgement in 1993 (op. cit.) and adopted the attribution to Quinten Massys. Larry Silver, on the other hand, did not initially reference our painting in his 1984 monography about Quinten Massys in any detail, mentioning it only in connection with the Madrid diptych - which he believes to be by Quinten - as a copy. However, having viewed a recent high-resolution photograph, Larry Silver now con rms the attribution to the Antwerp painter and even describes the picture as “a major work by Massys”, which he dates to the late 1520s. The many devotional pictures which this important Antwerp master executed, in addition to large altar pictures, are depictions of saints and the Madonna in particular. These pictures were produced in small format for bourgeois clients for personal devotion. The Madonna was worshiped as mediator according to her theological role as intercessor between those praying and the Son of God. Massys turned to this subject particularly often in the last decade before his death which also ts Larry Silver's dating of our devotional picture to within the artist's late work.
Lot 586
SCARF RING. A 15ct. gold scarf ring with gypsy-set diamond. Maker's stamp for Benzi, Cowes (Jeweller on the Isle of Wight). Approx. 4.3g. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 163
Feuervergoldete Bronze des Begtse auf einem Lotos TIBETO-CHINESISCH, spätes 18.Jh. H. 18,3 cm Provenienz: Ehemals aus einer alten deutschen Privatsammlung, vor 2007 erworben - Etwas berieben A GILT-BRONZE FIGURE OF BEGTSE, TIBETO-CHINESE, late 18th ct., standing in alidhasana on an elephant reclining on the lotus-base, his right hand brandishing a sword while the left holding noose, wearing armor secured with a belt, scarf floating around his body, pair of boots, jewellery partly set with stones, his face displaying a wrathful expression with bulging eyes below bushy eyebrows and his red coloured flaming hairdo secured with a tiara decorated with skulls, unsealed - Provenance: Former property from an old German private collection, acquired prior to 2007 - Minor wear
Lot 216
Große vergoldete Repoussé-Figur von Ganga NEPAL, 19.Jh. H. 100 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Teils etwas best., Altersspuren A LARGE EMBOSSED GILT-COPPER FIGURE OF GANGA, Nepal, 19th ct., h. 100cm, standing elegantly with feet crossed on the makara placed on a lotus-base, her principle hands in varadamudra while both secondary ones supporting mirror and small vase, wearing sari secured with a belt, scarf draped over her shoulders while it streamers encircle her arms finishing in floating finials, bejewelled, her face displaying a serene expression with almond-shaped eyes below arched eyebrows running into her nose-bridge, smiling lips, pierced elongated earlobes, her hair combed in a chignon secured with a tiara decorated with a pair of floating ribbons and a large flaming halo behind - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Partly chipped, traces of age
Lot 110
Feine feuervergoldete Bronze des Buddha Akshobya mit Kupfer- und Silbereinlagen TIBET, 14.Jh. H. 15,5 cm Provenienz: Ehemals Sammlung, Rutten, Amsterdam 1970'er-Jahre - Privatsammlung J.E. Holland bis 2017 - Europäische Privatsammlung - Minim. berieben, Altersspuren A FINE SILVER AND COPPER INLAID BRONZE FIGURE OF BUDDHA AKSHOBYA, TIBET, 14th ct., sSeated in vajrasana on a lotus base with his right hand in bhumisparshamudra while the left is resting on his lap, wearing dhoti decorated with various musters, scarf floating around his shoulders, jewellery lavishly set with semi-precious stones, his cold-gilded face displaying a serene expression with downcast eyes below arched eyebrows running into his nose-bridge, urna and his hair combed in a chignon secured with a tiara decorated with a pair of pattras, sealed - Provenance: During the 1970's in the Rutten collection, Amsterdam - Private collection J.E. Netherlands until 2017 - European private collection - Minor wear, minor traces of age
Lot 166
Ungewöhnliche Bronze des Hva Shang aus Bronze TIBET, ca. 17.Jh. H. 7,7 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Eine Figur verloren, etwas berieben A BRONZE FIGURE OF HVA SHANG, Tibet, ca. 17th ct., seated in lalitasana on a stepped throne with his right hand holding the lemon fruit while his left is stretched in vitarkamudra, wearing dhoti, scarf draped around his shoulders, slightly pot-bellied, bejewelled, his face displaying a serene expression, smiling lips, shaven hair and surrounded by presently six children, sealed - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Minor wear, one figure lost
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22442 item(s)/page