TENG-HIOK CHIU 周廷旭 (Chou Ting-Hsu) (Chinese, 1903-1972) oil on board - Landscape with tree and pond to the fore, signed CHIU, the reverese painted with another landscape with pencil annotations, 22 x 31cmsProvenance: private collection Cardiff, purchased c. 1994 Arundel in West Sussex, UK.Auctioneers Notes: Born in Xiamen, Fujian Province in 1903 to a prestigious family, Teng-Hiok Chiu had the opportunity to study abroad from a young age. By 1924 he had enrolled in the University of London, and in 1925 studied Western painting under Sir George Clausen, Sir Walter Russell and Charles Sims at the RA Schools. He became the first foreigner to be granted membership of the Royal Society of British Artists. Chiu also trained at the School of the Museum of Fine Arts in Boston, and Paris, but he reached the turning point in his career when working alongside his mentor Laurence Binyon, a renowned Oriental scholar, in the British Museum in 1930. Working together they analysed many significant Chinese calligraphic works and paintings and it was from this point onwards that Chiu fused Eastern and Western artistic ideas and philosophy, to produce works with Chinese sensibilities and Western technique. From 1930 Chiu travelled extensively through Europe, Africa and Asia, including his homeland Xiamen in China. From 18 November to 4 December 1936 he exhibited a one-man show at The Fine Art Society in London. In the preface to the catalogue, Binyon wrote: “Mr. Chiu has travelled over many parts of the world, in the East and in the West, and has developed an eclectic style, in which it seems to me that through all the mastered technique of Western oil-painting the original Chinese element becomes more apparent than in the pictures shown six years ago […] Mr. Chiu, […] like so many Oriental painters who practice the Western style, found it a heavy and unpleasing means of expression: he has subdued it to a lightness of handling and felicities of colour natural to his gift.” (See T. H. Chiu, An Exhibition of Paintings by Teng H. Chiu, A.R.B.A. (London: Fine Art Society, 1936).Comments: framed ready to hang
We found 3381 price guide item(s) matching your search
There are 3381 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
3381 item(s)/page
(Japan, History, Art, Travel.) Engelbert Kaempfer: 'The History of Japan. Together with a Description of the Kingdom of Siam 1690-92', Glasgow, 1906, 3 volumes, portrait frontis + 162 illustrations (including large folding map at end of vol. III) as called for, uniform original cloth gilt; S. Bing: 'Artistic Japan: A Monthly Illustrated Journal of Arts and Industries', London, Sampson Low, May 1888-February 1891, 12 assorted issues, comprising No.'s 1, 3, 5, 6, 8-12, 25, 26 & 33, numerous colour plates and b/w ills. throughout, each folio (34 x 25cm), original pictorial wraps (several with wraps detached but present, chipped/worn at edges), housed in original blue cloth portfolio, large mounted colour illustration to front cover, ribbon ties; Henri L. Joly: 'Legend in Japanese Art', London, John Lane the Bodley Head, 1908, 16 colour plates + numerous b/w plates as called for, large 4to, original pictorial cloth gilt, all edges gilt; Douglas Sladen: 'Queer Things about Japan', L, Anthony Treherne, 1904, 2nd impression, colour frontis + 6 pages of colour plates + 30 b/w plates + pictorial end papers as called for, all after Hokusai, orig. cloth gilt (rubbed), top edge gilt; F. Hadland Davis; Evelyn Paul (ill.): 'Myths & Legends of Japan', L, Harrap, 1912, 32 colour plates by Evelyn Paul as called for, orig. decorative leather gilt, top edge gilt; D.C. Angus: 'Japan: The Eastern Wonderland', Cassell, 1910, 4 colour plates + numerous b/w plates as called for, orig. pictorial cloth gilt; Gaston Cerfberr: 'Contes Japonais', Paris, 1893, b/w ills. throughout, orig. pictorial wraps, glassine d/w; R.M. Knutsen: 'Japanese Polearms', 1963, 1st edition, b/w ills. throughout, orig. cloth gilt, d/w; plus 8 others similar including the floating world/ukiyo-e etc (18)
1946 (English Edition) an unusual and rare group of three books titled 'CHOP SUEY' which illustrate atrocities by the Japanese during the three-and-a-half-year Second World War military occupation of Malaya/Singapore, illustrations by Liu Kang, Eastern Art Co., Singapore, printed at Ngai Seong Press, Singapore, three volumes of illustrations by the artist Liu Kang offer a rare insight into how people in Singapore were persecuted and tortured by the Japanese during the occupation years, only 2000 copies of each edition were ever published. (3). Scarce.* Each taped to the spine, many tissue sleeves creased etc, little foxing, fair to fine.
TWO KOREAN CELADON BOWLSPOSSIBLY GORYEO, 13TH CENTURY OR LATERThe largest with a wide mouth and a shallow body, the well delicately incised with two phoenix in flight, 18.5cm; the smaller bowl of conical form and raised on a short foot, moulded with two large leaves either side of a gardenia or lotus flower, the reverse with a paper collection label reading 'Cunliffe QP5', 11.4cm. (2) Provenance: from an English private collection, London. Previously in the collection of Lord Cunliffe (1899-1963). Considered one of the great collectors of Asian art in the mid-20th century, Lord Cunliffe was a prominent member of the Oriental Ceramic Society and the Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge. By the 1960s, his collection included over 600 pieces, featuring such prized works as his three Chinese 'Palace' bowls. His pieces were displayed in a number of OCS exhibitions in the 1940s and '50s, and a series of articles by Edgar Bluett on the Cunliffe collection were published in Apollo magazine in 1956. Alongside Chinese art, Lord Cunliffe also collected Japanese and Korean art. His taste for simple forms with minimal decoration, mentioned in R Davids and D Jellinek, Provenance, pp.132-133, must have been well suited to the aesthetics of Korean works, as seen in the present lot.
A JAPANESE BLUE AND WHITE ARITA BOTTLE VASEEDO PERIOD, C.1680The bulbous body with a short flared neck, decorated with pavilions in a mountainous river landscape, one side with a large weeping willow and another with fishing nets; with concentric bands of lappets to the shoulder, 21.5cm.Provenance: formerly in the collection of Oliver Impey (1936-2005). Impey was Senior Curator at the Ashmolean Museum, Reader in Eastern Art at Oxford University, and a leading authority on Japanese Art. Published: Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, pp.50-51 no.22, where the piece is discussed and illustrated.
A large painting depicting Old Court House Street, Calcutta, after the print by Thomas Daniell Chinese School, probably Canton, 19th Centurygouache on paper, Chinese patterned silk border, framed 137.5 x 210 cm.; with frame 150 x 225 cm.Footnotes:ProvenanceA private San Francisco collection, assembled in the 1960s and 70s.Bonhams, San Francisco, Fine Asian Works of Art, 29th June 2009, lot 8281.In the collection of Ed Hardy, San Francisco.Abell Auction Company, Los Angeles, USA, March 2023.Our painting was probably executed between 1820 and 1860, on the basis of comparison with the development of Chinese oil paintings depicting Canton. From the late 18th Century views of the waterfront there were produced by local artists for western merchants and ship owners visiting the port. At first they were painted in bodycolour on paper, fine linens or silk, but canvas and oil paints appear to have been introduced to the Cantonese artists' studios in the last quarter of the 18th century.William Sargent notes: 'Exactly how Chinese artists learned western techniques and what their attitudes were towards their customers is not known [...] There are no records of East Asian artists studying under western teachers, other than in schools established in Asia by the Church specifically for the production of religious art. However, European artists did visit Asia, and their presence in coastal trading ports eventually influenced local imitators. It is more likely, however, that Asian artists learned western techniques from copying prints, book illustrations or other secondary sources'. A watercolour from a series of one hundred, in the Victoria and Albert Museum, depicting trades, produced in Canton, circa 1790, shows a Chinese artist painting on to glass with a European engraving propped up in front of him (see William R. Sargent, 'Asia in Europe: Chinese Paintings for the West', in A. Jackson, A. Jaffer (edd.), Encounters: the Meeting of Asia and Europe, 1500-1800, London 2004, pp. 274-275, and plate 21.2). For another example, circa 1800, see P. Conner, Paintings of the China Trade: the Sze Yuan Tang Collection of Historic Paintings, Hong Kong 2013, p. 118, no. 103.A Chinese porcelain dish of circa 1795 bears a design derived from an English engraving of 1794 of Fort William (the Company settlement which became Calcutta); the service of which the dish was part was probably produced for export to India for the use of Company employees (see P. Conner, The China Trade, 1600-1860, Brighton 1986, pp. 100-101, nos. 135 and 136). A second example is a painting on linen or silk by a Chinese artist of the late 18th Century, after a print depicting Stockholm harbour by the Swedish artist Olaf Jacobsson Arre (1731-1809). Conner notes that 'while following the original engraving in most respects, the Cantonese export artist has lent a decidedly Chinese quality to some of the ships in the harbour' (see P. Conner, op. cit. (2013), p. 85, no. 74).The copying of a Daniell print here represents an interesting complication of the direction of influence, for the Daniells were amongst the first British artists to visit China (in their case, on their homeward journey from India in 1793-94 as part of a convoy including Lord Macartney, himself returning from an embassy). Thomas Daniell produced views of the waterfront at Canton (from which prints were derived): see P. Conner, The Hongs of Canton: Western Merchants in South China, 1700-1900, as seen in Chinese Export Paintings, London 2009, pp. 61-63, and figs. 2.33 and 2.34. However, as Sargent and Conner note, prints and illustrations seem to have been the main source for the Asian artists.The Cantonese artists, in their frequent depictions of the Hongs (waterfront offices and warehouses) at Canton and the European 'factories' there, were used to portraying streets and buildings, as well as the population filling them: see, most strikingly in relation to our painting, an 1807 work showing a street scene with officials arriving outside the hongs before the trial of European seamen in Canton (see P. Conner, 2013, p. 142, no. 127). Here then, in our painting, they combine their source in a European print with the sort of scenes they were already painting of their home background - while doubtless being aware of the commercial possibilities of producing a view of Calcutta for British consumption. While our painting is still in gouache on paper, its scale is clearly related to a new familiarity with Western oil paintings of the late 18th Century.The view in our painting is a close copy of the print (coloured etching with aquatint) depicting Old Court House Street from the north, no. 9 from Thomas Daniell's Views of Calcutta, 1788 (illustrated in, for example, M. Archer, Early Views of India: the Picturesque Journeys of Thomas and William Daniell 1786-1794, London 1980, fig. 12; or J. P. Losty, Calcutta: City of Palaces, London 1990, p. 57, fig. 27).Archer writes in his caption:Old Court House Street ran north-south from the Old Court House in Tank Square along the eastern side of Government House to the Maidan. Its comfortable mansions of many different designs are set in compounds on either side of the road. The street is busy with varying forms of Indian and British transport - an elephant, a canopied bullock carriage, sedan chairs, palanquins and carriages. People of many types, including an ascetic, mingle in the road.For further information on this lot please visit Bonhams.com
A fine Kashan underglaze-painted pottery bowl Persia, 13th Centuryof conical form on a tall foot, decorated in black and cobalt blue under a turquoise glaze with radiating bands of inscription interspersed by flowerheads and foliate designs, the exterior with waterweed motifs, with fitted box 21.2 cm. diam. max.Footnotes:ProvenanceHagop Kervorkian (1872-1962).Nasli M. Heeramaneck, donated by Joan Palevsky.Christie's, Islamic Art and Manuscripts, 15 October 2002, lot 69.Private Belgian Collection acquired at Mansour Gallery, London, on the 11th of December 2002, and thence by descent. PublishedPhyllis Ackerman, Guide to the Exhibition of Persian Art, The Iranian Institute, New York, 1940, p. 225.ExhibitedThe Exhibition of Persian Art, New York, 1940, Gallery VIII, case 17, H. Inscriptions: a Persian quatrain, found on many 13th century wares including a lustre bowl in the al-Sabah Collection dated Shawwal 610 (January-February 1218 AD) (see Oliver Watson, Ceramics from Islamic Lands, 2004, cat. o.15, pp. 356-7); and a benedictory couplet.Hagop Kevorkian was an archaeologist, collector and art connoisseur of Armenian descent. Having studied at the Robert College in Istanbul, he moved to Great Britain and established a business in Bishopsgate, London, before eventually settling in New York in 1920. Kevorkian organised several ceramics exhibitions in London and New York and was pivotal in developing American interest in 'oriental' art and artefacts, acting as a key intermediary between Middle Eastern governments, clients and museums. Pieces from his collection are preserved in museums such as the Metropolitan Museum of Art, the Freer Gallery and the Cleveland Museum of Art. Kevorkian also donated objects to the University of Pennsylvania Museum of Archaeology and Anthropology and set up the Kevorkian Fund, enabling the facilitation of excavations and establishing research programmes.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
GROUP OF THREE INK RUBBINGS 《關聖帝君像》 及 二菩薩立像圖 水墨紙本 拓片 立軸 （共三幅）關聖帝君像 款識: 康熙六十年嵗次辛丑孟春穀旦、白山弟子李進泰薰沐敬摹菩薩立像其一 款識: 興和元年己▢一月朔日羊宇▢義敬造佛像一軀comprising: one depicting Guan Yu, 98.4cm x 48.3cm; the other two each with a standing Bodhisattva, 157.5cm x 50.5cm and 123.5cm x 52.2cm, all mounted as scrolls (3) Private Scottish collection, Melrose; acquired in China in the 1940's when working for Shell, thence by descent. Guan Yu (160-220), also known as Guan Yunchang, was a Chinese military general during the late Eastern Han Dynasty. This rubbing is taken from a Qing engraving of Guan Yu by Li Jintai based on a Ming dynasty stone carving. A comparable example is at the Berkeley Library, University of California, accession no. Tsa 179. A comparable ink rubbing of the Bodhisattva without inscription is in the Shaanxi Province Art Museum, attributed to Avalokitesvara and the original work of the Sui dynasty. Also see a comparable example inscribed by Pu Xinyu, sold at Rongbaozhai, Nanjing, 8 July 2017, lot 310.The other ink rubbing of a standing Bodhisattva has inscriptions on the podium, dated to the first year of Xing He reign, during the Western Wei Dynasty, corresponding to 539AD.
BRONZE 'DRAGON' BOTTLE VASE QING DYNASTY, 18TH-19TH CENTURY 清 銅蟠龍紋瓶sturdily cast with slightly compressed globular body on splayed foot, raised to cylindrical long neck, a dynamic sinuous dragon coiled on the neck in high relief, the face, mane, spine, muscles rendered in detail, all elevated on an integrated openwork square base 33cm high; 3655g From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This vase was on loan for decades, loan number ‘A.L.331.6’, with an associated museum label tied on the base inscribed ‘Loan 331/6’, deaccessioned in 2023, thence by direct descent. The old photograph of the vase (see illustration 1) was possibly taken next to the China Inland Mission Moongate in Dali, and another photograph shows Mr Forrest outside the same moon gate around 1905 (see illustration 2).We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photographs and their information. See two related bronze vases with dragons on the neck, one dated to the late Ming dynasty, 17th century, sold at Christie's New York, 25 Sep 2020, lot 1606; and one dated Qing dynasty, 18th century, sold at Christie's Hong Kong, 6 Apr 2015, lot 164.
(From the collection of George Forrest, lots 37-41)RARE INSCRIBED AND DATED ARCHAISTIC BRONZE VESSEL, FU YUAN DYNASTY, DATED TO THE XINYOU YEAR OF THE ZHIZHI REIGN, 1321AD 元 1321年 銅簠款識: 至治辛酉中慶路文廟禮器教敦趙善坤正錄孫彬杜餘慶記of rectangular form, with wide flared sides raised on a high gently splayed foot with cut-out aprons, both narrower sides set with a pair of loop handles issuing from mythical animal heads, decorated around the sides with bands of geometric motifs, wider sides with two small applied animal-mask plaques, the base with a panel reading Zhizhi xinyou Zhongqinglu wenmiao liqi jiaodun Zhao Shankun zhenglu Sun Bin Du Yuqing ji 35.5cm wide; 3278g From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This item was on loan for decades, loan number A.L.331.4, with an associated museum label tied to one handle inscribed ‘Loan 331/4’, further with a museum paperboard label with the information of the item, stated as an incense burner, obtained at Talifu, Yunnan, ‘Lent by Mr. George Forrest, Edinburgh, 1929. Loan 331.4’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. The inscriptions on the base record that this vessel was made in the year of Xinyou of the Zhizhi reign, corresponding to 1321AD during the Yuan dynasty. It was dedicated to the Confucious Temple located at Zhongqing Street, traceable to the still-standing Confucious Temple built in 1302AD in Anning county, Kunming city, Yunnan. While archaistic bronze ritual vessels are not uncommon, bronze ritual vessels documented to have been made for use in local academies and temples such as the present example are extremely rare. Compare to a highly similar rare inscribed and dated archaistic bronze vessel, fu, Yuan dynasty, dated to the Bingzi year of the Zhiyuan reign (1276 or 1336), formerly in the collection of Dr David Ho, sold at Sotheby's London, 3 November 2021, lot 121. Also see two documented bronze ritual vessels, fu, both dated to the Yuan dynasty, in the collection of Shanghai Museum.
(From the collection of George Forrest, lots 37-41) LARGE BRONZE 'CHI DRAGON' TRIPOD CENSER QIANQING GONG MARK, QING DYNASTY, 18TH-19TH CENTURY 清 乾清宮款 銅螭龍耳三足大爐impressively cast with wide rounded body raising to a ridge underneath waisted neck and everted flattened mouth, all on three cabriole feet, both sides with theatrically arched chi-dragons clinging to the mouth and body as handles in high relief, the base cast with recessed medallion centred with a three-character ‘Qian Qing Gong’ mark enclosed by a band of dragon amongst crashing waves 34cm wide across handles; 5.56kg From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This censer was on loan for decades, loan number ‘A.L.331.3’, with an associated museum tag label tied on one foot inscribed ‘Loan 331/3’, further with two associated museum cardboard labels with item details, loan number ‘L.331.3’ and ‘Lent by Mr. George Forrest, Edinburgh, 1929’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. Qianqing Gong, The Palace of Heavenly Purity, or Qianqing Palace (乾清宫) is a palace in the Forbidden City in Beijing, China. It is the largest of the three halls of the Inner Court, located at the northern end of the Forbidden City. During the Qing dynasty, the palace often served as the Emperor's audience hall, where he held council with the Grand Council. Objects, especially censers, bearing Qianqing Gong mark are deemed similar to ‘Neitan Jiaoshe’ mark (內壇郊社, refers to the altar to Heaven and Earth within the inner walls of the Temple of Heaven) as Imperial wares adorning or used in their specific rooms. Compare to an example of a bronze tripod censer with chilong handles, Qing dynasty Qianlong period, with a different treatment of the ‘Qian Qing Gong’ mark, sold at China's Guardian, 19 May 2021, lot 4634. Stylistically, a comparable large bronze tripod censer with chilong handles, dated to the late Ming dynasty, note the similar treatment of the waisted band with ridge on the mouth, sold at Sotheby's London, 22 February 2022, lot 50; Two other censers with similar design on the mouth, dated to Ming and late Ming dynasty, were sold at Christie's London, 18 Mar 2015, lot 686 and Sotheby's London, 10 November 2017, lot 366.
NINGXIA RUG QING DYNASTY, 19TH CENTURY 清 寧夏團花紋毯an arrangement of eight floral roundels intermittent with butterflies, flowers, pomegranate and buddha-hand citrus sprays against a burnt orange field, enclosed by a beaded border further with a larger floral border 184.5cm x 124.5cm From the collection of George Forrest (13 March 1873 - 5 January 1932), Edinburgh. George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This rug was on loan for decades, loan number A.L.331.1, with an associated museum tag label inscribed ‘L331.1’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. Two comparable Ningxia rugs, similar in design, were in the collection of Arthur M. Sackler, sold at Sotheby's New York, 16 September 2009, lot 68 & 70
An antique Persian urn, an urn from the 19th century, made of brass and decorated with delicate hand-engraved decorations by an artist (extremely high-quality work) in scenes from 'Lila and Magenun' (a well-known love story in the Eastern countries, based on a tragic event that occurred in the 7th century. In 1192, the Persian poet Nazami composed a long poem about the love story, included in his "Khamsa" file and since then the motif has become a common decorative element in Persian art). Width: 15 cm, Height: 18.5 cm. Period: 19th century
A LONGQUAN CELADON MINIATURE 'TWIN FISH' BRUSHWASHER AND A LONGQUAN 'INSECT' BRUSHWASHERYuan DynastyThe first with deep rounded sides, waisted neck and slightly everted rim, carved with a pair of unglazed carp to the well, the vessel covered in a pale sea-green glaze. 7.5cm (2 7/8in) diam.; the second with deep rounded sides, applied to the well with an insect, covered in a faintly crackled pale olive-green glaze. 7.4cm (2 7/8in) diam. (2).Footnotes:元 龍泉窯青釉貼塑雙魚紋洗 及龍泉窯青釉貼塑蟲紋洗Provenance: Professor Cheng Te-K'un (1908-2001) (The twin fish washer)Roger Keverne Ltd., London, 28 March 2006 (invoice) (The twin fish washer)來源： 鄭德坤教授（1908-2001）（雙魚洗）倫敦古董商Roger Keverne Ltd.，2006年3月28日 （發票）（雙魚洗）Professor Cheng, a Chinese archaeologist, was Curator of the West China University Museum at Chengdu in Sichuan. He left China and formed the Mu-fei Library at the University of Cambridge, where he was Lecturer in Far Eastern Art and Archaeology, 1951-1966; Reader in Chinese Archaeology, 1966-1974. He served as Visiting Professor of Fine Arts at the Chinese University of Hong Kong in 1974, and later became Dean of Arts, and Pro-Vice Chancellor. In 1978 he founded, and was Director of, the Centre for Chinese Archaeology and Art, CUHK. He retired in 1979 and was made Honorary Director of the Institute of Chinese Studies, 1981-1986. CUHK awarded him the Honorary Degree of Doctor of Literature in 1981, and Emeritus Professor of Fine Arts in 1982. His publications on Chinese archaeology include: Archaeology in China (3 volumes and supplement), Cambridge, 1966; The world of the Chinese, Hong Kong, 1981; and Studies in Chinese archaeology, Hong Kong, 1982.The twin fish motif symbolises harmony, abundance, and prosperity. Compare with a related but slightly larger Longquan celadon dish with twin-fish design, 13th century, in The Metropolitan Museum of Art, New York, (acc.no.65.82.4).For further information on this lot please visit Bonhams.com
A RARE GOLD AND BONE-INLAID COMBTang Dynasty or earlierOf wide U-shape with finely cut bone teeth, the gold upper section with cloisons in geometric patterns, some with stone inlay. 4.2cm (1 5/8in) wide. Footnotes:唐或更早 金花纍絲寶鈿梳Provenance: Jules Speelman, London, 2008A Princely collection來源: 倫敦古董商Jules Speelman，2008年 王子藏品Compare with a related jade and gold comb, Eastern Han dynasty, in the Metropolitan Museum of Art, New York, (acc.no.2004.322). See also a gold ornament plaque with related 'cloisons', Han dynasty to Six Dynasties period, in the Metropolitan Museum of Art, New York (acc.no.20.50).For further information on this lot please visit Bonhams.com
A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script,18cm high, in pack-horse basket (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏
A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script,18cm high, in pack-horse basket (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏
A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script, in pack-horse basket,18cm high (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏。
KIST, J. Ancient Near Eastern Seals from the Kist collection. Three Millennia of Miniature Reliefs. 2003. 4°. Or. bind. -- J.G. WESTENHOLZ. Seals and Sealing in the Ancient Near East. (1995). W. ill. 4°. Ocl. -- H. FRANKFORT. Cylinder Seals. A Documentary Essay on the Art and Religion of the Ancient Near East. 1939. W. ill. Ocl. -- And 2 o. (5).
TEIJI: A MASTERFUL LACQUERED AND CERAMIC-INLAID MANJU OF DARUMA BEHIND IRON BARSBy Teiji, signed Teiji 貞二Japan, Nagoya, mid-19th century, Edo period (1615-1868)The netsuke of manju shape and lacquered in roiro with iro-e hiramaki-e, as well as inlaid with mother-of-pearl and horn, depicting a moveable ceramic Daruma seated behind iron bars — an allusion to a brothel, which the Bodhidharma reputedly frequented. The ceramic Daruma dressed in an red robe with a cowl covering his head, his face carved with an impish expression, caught red-handed, peering through the confines of a brothel with ishime bars, overgrown with leafy vines. The reverse with two himotoshi and signed TEIJI.DIAMETER 4.3 cmCondition: Very good condition with minor wear.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. From the 1970s onward, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Teiji, pupil of Seiji, was originally a potter and made unique netsuke with ceramic inlays. The quality of his ceramic inlay is arguably unequaled in netsuke. Teiji made several netsuke depicting octopi, most like the one cited in the literature comparison. The present model appears to be unique.Auction comparison:Compare a related lacquered and ceramic-inlaid manju of an octopus in a pot, by Teiji, at Galerie Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 318 (sold for EUR 6,100). Compare a related lacquered and pottery-inlaid manju netsuke of Daruma inside a cave, by Kan, at Galerie Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 108 (sold for EUR 2,860).
ISSHINSAI: A HUMOROUS WOOD NETSUKE OF TANUKI WITH A MAGICAL DARUMA DOLL SCROTUM By Isshinsai Masanao, signed Isshinsai 一心齋Japan, Yamada, Ise province, early 19th century, Edo period (1615-1868)Published: Joly, Henri L. (1966) W.L. Behrens Collection: Netsuke and Japanese Carvings, Part 1, no. 3143, illustrated on pl. XXXVI.Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 200, no. 608.The shapeshifting creature sitting on its hindquarters and sensitively leaning on its magical scrotum which has, rather amusingly, transformed into an expressively carved Daruma doll detailed with minutely incised hair. The eyes of Daruma looking down beneath furrowed brows, appearing to question its existence, its mouth open revealing a movable tongue. The tanuki's fur is minutely incised and Daruma's eyes are inlaid with dark horn pupils. Two himotoshi to the side of the tanuki, and signed ISSHINSAI.HEIGHT 4 cmCondition: Good condition with typical wear, a few tiny nicks here and there, and a small chip to the ear and foot of the tanuki.Provenance: Collection of W. L. Behrens (1861-1913). Ex-collection W. Guest, acquired from the above. Collection of M.T. Hindson, acquired from the above. Sotheby's London, 9 July 1969, lot 643. Christie's New York, 29 June 1981, lot 326. Collection of Richard R. Silverman, acquired from the above. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. From the 1970s onward, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.The tanuki possesses magical powers and can change forms, sometimes into Buddhist monks; they are jovial, but also dangerous, as they have been known to suffocate hunters with their enormous scrotums. The present netsuke showing the tanuki with a Daruma doll scrotum appears to be a unique creation by the Masanao family and only one other netsuke of this type is known so far, signed Masanao, now in a German private collection.
A SMALL RINPA STYLE LACQUER THREE-CASE INRO DEPICTING A HERONStyle of Ogata Korin (1658-1716), inscribed to the top case Seisei Korin zo 青々 光琳 造 and kakihanJapan, 18th century, Edo period (1615-1868)Of upright rectangular form and oval section, finely worked in gold hiramaki-e over a black lacquered ground, with inlays of mitsuda (pewter) and raden (mother-of-pearl), as well as sheet metal and kirigane, to depict a heron with its head turned as it balances on one leg by a river stream. Inscribed to the interior of the top case Seisei KORIN zo and kakihan.HEIGHT 5.5 cm, LENTH 5 cmCondition: Worn condition with few losses and associated minor touchups. Overall still presenting very well.Provenance: Ex-collection Claudio Perino, a collector with a keen interest in Japanese, Chinese and Far Eastern cultures. His collection consists of over 2000 works of art, partly loaned to the Museum of Oriental Arts (MAO) in Turin, Italy and to the Museo delle Culture (MUSEC) in Lugano, Switzerland. An exhibition of Kakemono scroll paintings was on view in the MUSEC until end of April 2021.Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning 'school of Korin,' Rinpa derives its name from Ogata Korin (1658–1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. Transmitted by means of pattern books and manuals, the work of the Ogata Korin inspired numerous other craftsmen.Korin was a follower and the greatest exponent of the versatile artist and craftsman, Hon'ami Koetsu (1558-1637). Koetsu pioneered a distinctive style of lacquerwork that made use of relatively straightforward techniques of lacquer, with inlays of shell and lead. His designs are usually in silhouette with little or no interior detail.Museum comparison:Compare a related inro with crane and plum tree, style of Ogata Korin, at the Metropolitan Museum of Art, accession number 29.82.2.
A SOMADA STYLE BLACK LACQUER FOUR-CASE INRO WITH GALLOPING HORSESUnsignedJapan, 18th century, Edo period (1615-1868)Of upright rectangular form and oval section, bearing a lustrous roiro ground, finely worked in aogai (iridescent shell) inlay in the Somada style, as well as gold and silver foil, to depict seven horses prancing and grazing among rolling hills. The interior compartments of roiro lacquer.HEIGHT 7.7 cm, LENGTH 5.7 cmCondition: Typical losses to the inlays. Otherwise good condition with minor wear.Provenance: Ex-collection Claudio Perino, a collector with a keen interest in Japanese, Chinese and Far Eastern cultures. His collection consists of over 2000 works of art, partly loaned to the Museum of Oriental Arts (MAO) in Turin, Italy and to the Museo delle Culture (MUSEC) in Lugano, Switzerland. An exhibition of Kakemono scroll paintings was on view in the MUSEC until end of April 2021.This inro is decorated in the style of shell inlay associated with the Somada, a family of lacquer artists traditionally said to have been founded by Somada Kiyosuke in the early eighteenth century. Kiyosuke is supposed to have learned the technique in Nagasaki, Edo-period Japan's window onto contemporary China, where shell inlay was one of the principal methods of lacquer decoration. Somada ware is characterized by intricate inlay of iridescent shell with tiny pieces of gold and silver foil laid flush with the ground which is usually black lacquer. The Somada family of lacquerers was employed for a time by the Maeda family, daimyo of Toyama in Etchu.Museum comparison:Compare a closely related Somada-style inro with horses in a landscape, at the British Museum, museum number 1981,0203.66.a.
GREGG STRADIOTTO: DAYDREAMING MONKEYBy Gregg Stradiotto, signed with the artist's initialsUSA, late 20th centuryFinely carved from fossilized walrus tusk, the monkey seated on its haunches, looking away in the distance, one foot folded over the other, the right hand resting on its knees as it scratches its ear in deep wonder. The natural duality of the fossilized walrus tusk cleverly picked out to denote the variation in the monkey's fur which is further enhanced by minute incision work. The eyes of the primate inlaid in ruby. Natural himotoshi through the loop of the tail and signed to the underside in an oval reserve with the artist's initials.HEIGHT 5.8 cmCondition: Excellent condition with minor surface wear.Gregg Stradiotto, raised in Colorado, developed a passion for drawing early on, shaping his lifelong dedication to studying nature and culture. In 1970, he joined the Anasazi Origins Project in New Mexico as a field archaeologist and illustrator, exploring the transition from hunter-gatherer to Pueblo sedentary cultures. His interest in traditional stone toolmaking evolved into carving and sculpture. After relocating to Washington State in 1980, he focused on carving wildlife and Bering Sea Eskimo subjects for a decade. In 1989, he shifted to carving netsuke full time, blending Eastern and Western mythological symbolism in his figurative work, particularly evident in his archetypal figures. His works are, amongst others, in the collection of HIH Prince Takamado (1954-2002).Literature comparison: Compare a related fossilized walrus tusk netsuke of a horse, by Gregg Stradiotto, carved especially for Prince Takamado, in The International Netsuke Society Journal (INSJ), vol. 14, no. 2, p. 16, no. 15.Museum comparison:Compare a related fossilized walrus tusk netsuke and ojime with lizards, by Gregg Stradiotto, at the Art Gallery of Greater Victoria, Canada, object number 2007.016.079 a,b.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Near Eastern, an antique albast oval panel with a standing warrior figure with raised arms, Herewith two India, carved wooden figures, a stone carved head and marbel square with half circle hole. [5] Provenance: Private Belgium colleciton, collected on the European art market, ca. 1990-2010. L. 18 - 6 cm.
Near Eastern, a collection of eight bronze objects, Khorasan, 11th century and later; two bells with texts, a Seljuk, copper alloy buckler with engraving, two bowls, a mortar and a Khorasan ewer, ca. 11th century or later. L. 6 - 22 and diam. 16 - 25 cm. Provenance: Private Belgium colleciton, collected on the European art market, ca. 1990-2010. [8]
Near Eastern, Seljuk, a bronze dish, 13th-15th century with a lion in the centre; Herewith a Seljuk dish, 13th-15th century (damaged), a dish of later date and an antique ajour dish on three on three legs, ca. 17th century. diam. 15,5 and 14,5-17,5 cm. Provenance: Private Belgium colleciton, collected on the European art market, ca. 1990-2010. [4]
Near Eastern, Seljuk, three bronze dishes, 11th-13th century or later; the centre medaillon decorated with animals. One standing on three high legs and with Islamic text on the outer rim. (with damage) diam. 18, 15,5 and 14,5 cm. Provenance: Private Belgium colleciton, collected on the European art market, ca. 1990-2010. [3]
ABU SUBHI AL TINAWI (SYRIAN 1888-1973) ABLA & SHEIBOUBsigned in Arabic lower centremixed media on unstretched canvas pasted onto board60 x 69cm; 24 x 27 1/4in64.5 x 72.5cm; 25 3/4 x 28 1/2in (framed)executed circa 1950s/1960sProperty from a Private Collection, LondonProvenanceCollection of a Diplomat, DubaiAcquired from the above by the present ownerBorn in Damascus, Abu Subhi Al Tinawi is one of the most well-known Syrian folk artists of his time. Originally named Muhammad Harb, it was when he opened his shop in Damascus that he began signing all of his artworks Abu Subhi Al Tinawi, a familiar Arabic way of calling someone after their eldest son.Hailing from a family of reverse glass-painters and tapestry artisans, Al Tinawi made his own paint using the traditional technique of combining natural pigments with Arabic gum. He became known for reverse glass painting, a technique which, having originated in Europe and popularised in Central and Eastern Asia in the 17th century, was already fading in the Levant by Al Tinawi’s time. Continuing his work on glass and other media, such as metallic paper or cloth, he became known for his use of bright colours and simple representations of characters with straightforward expressions. Fascinated by traditional verses and stories, Al Tinawi’s oeuvre explores folk epics, historical events and religious themes. Over the decades, his prolific depictions made him a spectacular visual storyteller who was able to express the emotions of his community through popular concepts.By the time of his death, Al Tinawi had accumulated unexpected fame. Though he never left his shop to see the exhibitions of his work, pieces had travelled to Europe and beyond. Rumoured to be one of the first Arab artists to participate in an exhibition showing Picasso in Paris, his work was acquired internationally by individuals and art institutions, including the Louvre. Al Tinawi’s work has greatly influenced contemporary Arab artists and has also found its way into numerous publications and films.
Ca. AD 900 - 1100.A 22 ct gold pendant with a lunate shape and a loop for suspension. The Viking culture, contrary to popular belief, was greatly influenced by the peoples with whom it came into contact in both cults and customs. But this is completely normal considering that they were possibly amongst the greatest travellers in history and consequently connoisseurs. In jewellery, the style and iconography of the late Viking period 10th and 11th centuries were strongly inspired by Byzantine productions, the only place in the world during that historical period capable of launching fashions, creating styles and crafting objects to be traded with the entire western area that was being raided precisely by the Vikings. We are therefore not surprised that a motif such as the moon motif from Roman fashion and then passed down through Constantinople could be found around the necks of prominent Viking warriors. We also know that seven thousand Vikings formed the Varangian Guard under the direct command of the emperor of Costantinople. The threads that bound the Vikings to the capital of the Eastern Roman Empire were many and well intertwined. For similar see: Viking Art. Thames and Hudson, pg. 67, n. 64. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 24mm x 18mm; Weight: 2g Provenance: From the private collection of a Cambridgeshire gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Ca. AD 175 - 300.A Roman bronze brooch decorated with four heads of horses realised in naturalistic manner. It was used principally in the Northern and Eastern part of the Empire, inspired by Thracian art. Fibulae had a fundamental role in the Roman Empire, in fact, in addition to holding the cloak they also served as an object of social distinction. This one in particular, was widespread in the military sphere and inspired by the art of the Thracians, a population from or settled on the edge of the Steppes. In these populations, horses were undoubtedly fundamental for its speed of movement. This animal was useful for pulling chariots, cultivating but also, above all, for fighting. These warriors aroused so much admiration in Emperor Marcus Aurelius that he decided to annex the war cavalry of the Sarmatians (descendants from the Thracians) into the Roman army. This fibula was in fact made and became widespread after the end of the Marcomannic wars. For similar see: Nordeuropaische fibelformen, fig.132. Size: 34mm x 32mm; Weight: 16g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 600 - 500 BC.A Neo - Babylonian stamp seal depicting a standing god facing left, with the tree of life and highly stylised details. The seal has a globular body with a horizontally drilled hole. For similar see: Berlin Museum, VA A1671. Size: 17mm x 13mm; Weight: 8g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. AD 200 - 400.A Sasanian stamp seal depicting a stylised mythological winged lion. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 103. Size: 15mm x 15mm; Weight: 4g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 600 - 500 BC.An octagonal Neo - Babylonian stamp seal depicting a standing god with a horned tiara facing left, holding a sceptre and looking at a star in the sky. Behind the figure, there is a highly stylised goat. The seal has an octagonal body with horizontally drilled hole. For similar see: Berlin Museum, VA 10368. Size: 17mm x 12mm; Weight: 8g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. AD 200 - 500.A Sasanian stamp seal depicting a stylised lamassu with high wings facing left. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 69. Size: 15mm x 11mm; Weight: 3g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 2300 - 1800 BC.A round Bactrian stamp seal depicting an eagle with its wings spread and a background of stars in the sky. The seal has a horizontally drilled hole. For similar see: Unpublished Stamp - seal from the north western Murgab Delta, Table 7.12. fig. 1. Size: 22mm x 22mm; Weight: 10g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. AD 200 - 400.A Sasanian stamp seal depicting a stylised seated man on a throne holding a tablet. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 73. Size: 13mm x 13mm; Weight: 2g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. AD 200 - 500.A Sasanian stamp seal depicting a stylised winged horse. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 69. Size: 13mm x 13mm; Weight: 2g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. AD 200 - 400.A Sassanid carnelian stamp seal depicting two stags facing each other realised in a naturalistic manner. Under the stags is an inscription. The seal has a globular body and a horizontally drilled hole. For similar see: Christie's, Liva Auction 12239, Antiquities, Lot. 121. Size: 29mm x 19mm; Weight: 21g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 2500 - 2000 BC.A Sumerian hard stone seal depicting two gods. On the right there is a seated god dressed in a long robe and horned crown. On the left there is a standing god raising their arms to the seated god. On the reverse, there are four vertical lines of cuneiform script and a longitudinally drilled hole. For similar see: Christie's, Live auction 1091, Antiquities, Lot. 365. Size: 25mm x 23mm; Weight: 42g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Eastern Zhou Dynasty, Ca. 771 - 256 BC.A Chinese bronze bell, decorated with bronze pellets and an abstract depiction of a phoenix on the lower register. The bell also boasts a narrow, cylindrical handle, used to hang the bell on a large rack. It is traditionally known as a Yong bell. A group of Yong bells constitute as the percussion instrument Bian bells. Jenny F. So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Volume III, New York, 1995, pp. 378-381, no. 78. Size: 220mm x 120mm; Weight: 2.19kg Provenance: Property of an American collector, acquired from the US estate collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 500 - 700. An extraordinary cross-shaped pendant made of rock crystal in a conical shape, with the widest part facing outwards, joined by a 21 ct gold bezel enclosing a circular garnet. At the ends of the crystal arms are gold end pieces decorated with filigree arranged in circles. An object of great value that was made and used by a prominent figure in the capital of Constantinople. it could be a high prelate or even a person from the imperial family. The refined decorations and precious materials of this object came from specialised workshops that were almost certainly located in the capital at that time. The taste is strictly from the eastern part of the empire. This cross may also have been made as a gift between people of the highest social standing, perhaps even between emperors and kings. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: 50mm x 33mm; Weight: 12g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1100 - 500 BC.A Near Eastern green faience cylinder seal depicting an archer in an hunting scene. The seal has a vertical hole. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert. For similar see: MET Museum journal n. 43, Gina Kostantoupolos. Size: 28mm x 12mm; Weight: 6g Provenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; Ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Ca. AD 200 - 400.A Sasanian pink hard stone stamp seal depicting a bull facing right and a star in the sky with highly stylised details. The seal has a cylindrical body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 96. Size: 17mm x 17mm; Weight: 9g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 1st millennium BC.A Bactrian green stone double stamp seal. On the front it depicts a naturalistic lion and on the reverse it has an antelope. The seal has a flat body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 174. Size: 21mm x 21mm; Weight: 9g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 2300 - 1800 BC.A round Bactrian stamp seal depicting two horned animals facing each other in the forest. The reverse is decorated with linear geometric motifs. The stamp seal has a flat body with a horizontally drilled hole. For similar see: Unpublished Stamp - seal from the north western Murgab Delta, Table 7.12. fig. 1. Size: 27mm x 27mm; Weight: 9g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. AD 200 - 400.A Sasanian stamp seal depicting a dog facing right with highly stylised details. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 96. Size: 19mm x 19mm; Weight: 10g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 3nd - 2rd Millenium BC.A triangular Western Asiatic stamp seal depicting a standing god with a scepter. On the second side, there is a zig-zag snake with engraved scales. On the final side, there is a lion facing right. The seal has a horizontally drilled hole. For similar see: MET Museum Accession Number: 55.65.5. Size: 17mm x 11mm; Weight: 2g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Loading...-
3381 item(s)/page