Eternity Gallery Auction Catalog - Eternity Masterpieces - November 2014 Online Auctions

Choson YI Dynasty, Antique Korean Chocolate vase

Lot #1 (Sale Order 1 of 490)

Choson YI Dynasty Antique Korean Chocolate Brown Glazed Vase or Bottle. From the USA local estate of a Chinese Collector. Thick Brown Stoneware or Pottery with Dark Chocolate Brown Glazes with an old dealer price tags that reads: " KOREAN. CHOCOLATE GLAZED BOTTLE - YI (CHOSEON) DYN. * RESTORED ". Exact age unknown, but it appears to be 300-600 years old. Approx. 3.4" tall x 3.5" wide and 11.3 ounces. Good Condition:With wear, misshaped, the rim / neck is damaged & has been restored (see last 4 pictures). References: Chosn dynasty Chosn dynasty, also called Yi dynasty, the last and longest-lived imperial dynasty (1392-1910) of Korea. Founded by Gen. Yi Sng-gye, who established the capital at Hanyang (present-day Seoul), the kingdom was named Choson for the state of the same name that had dominated the Korean peninsula in ancient times. The regime is also frequently referred to as the Yi dynasty, for its ruling family.General Yi established close relationships with the neighbouring Ming dynasty (13681644) of China, which considered Korea a client state, and Chinese cultural influences were very strong during this period. Choson's administration was modeled after the Chinese bureaucracy, and Neo-Confucianism was adopted as the ideology of the state and society.Under the previous dynasties, ownership of land was concentrated in the hands of a few high-ranking bureaucrats, but Yi Sng-gye (who ruled as King Taejo) and his successors redistributed the land throughout the various levels of officialdom, creating a new aristocracy of scholar-officials called the yangban. Scholarship flourished under the Choson dynasty, and in 1443, during the reign of King Sejong, the Korean phonetic alphabet, Hangul (hangl), was invented. By the time of the Choson ruler King Sngjong (147094), a bureaucratic system ... or Chinese Chocolate Brown Glazed Vase or Bottle.From the local estate of a Chinese Collector (he paid $650 for it many years ago).
Condition Good Condition with wear, misshaped, the rim / neck is damaged & has been restored (see photos).
Low Estimate: 5000.0;
High Estimate: 20000.0;
Original: Yes;
Circa: 1500;

Chinese Qing dynasty, Buddhist Zen Damo, glazed ware

Lot #2 (Sale Order 2 of 490)

Amazing Chinese Shiwan Glazed Ware, Buddhist Zen master Damo, Qing Dynasty. This figure represents the well-known Buddhist master Damo, the founder of Zen Buddhism in China during the 6th century. The piece is real from late Qing Dynasty. Absolutely breathtaking terracotta, applying of the old (Song dynasty) splashed glazing technique on the sculpture. Height: 13.8 cm = 5.5 in.Width of the base: 14.5 cm = 5.75 in. Weight: 450 g = 1 lb. 1 oz. Condition: normal aging of the pottery and glaze, no defects. Provenance: from private collection in Florida, USA. References: Bodhidharma was a Buddhist monk who lived during the 5th or 6th century CE. He is traditionally credited as the transmitter of Ch'an (Sanskrit: Dhyna, Korean: Seon, Japanese: Zen) to China, and regarded as its first Chinese patriarch. According to Chinese legend, he also began the physical training of the Shaolin monks that led to the creation of Shaolinquan.Little contemporary biographical information on Bodhidharma is extant, and subsequent accounts became layered with legend.[1][note 1] The principal Chinese sources vary on their account of Bodhidharma's origins.[4][5][note 2] Aside from the Chinese accounts, several popular traditions also exist regarding Bodhidharma's origins.[note 4]The accounts also differ on the date of his arrival, with one early account claiming that he arrived during the Li Sng Dynasty (420479) and later accounts dating his arrival to the Ling Dynasty (502557). Bodhidharma was primarily active in the lands of the Northern Wi Dynasty (386534). Modern scholarship dates him to about the early 5th century.[15]Several stories about Bodhidharma have become popular legends, which are still being used in the Ch'an and Zen tradition.Bodhidharma's teachings and practice centered on meditation and the Lankavatara Sutra.The Anthology of the Patriarchal Hall (952) identifies Bodhidharma as the 28th Patriarch of Buddhism in an uninterrupted line that extends all the way back to the Buddha himself.Throughout Buddhist art, Bodhidharma is depicted as a rather ill-tempered, profusely bearded and wide-eyed barbarian. He is referred as "The Blue-Eyed Barbarian" () in Chinese Chan texts.[16]Shiwan Ware was from kilns located in the Guangdong provincial city of Foshan. Area ceramic production experienced a long history by the late Ming period 16th century when ceramic artisans from perhaps Dehua and Jingdezhen relocated to the Shiwan area and expanded local production into a vigorous export related industry. Shiwan wares provide a contrast with more conservatively rendered Dehua efforts. Clay for the ware was provided not only from area preserves, but also from distant locations that could be variously mixed to provide a variety of textures and desired ceramic outcomes. The range could extend from a porcelain, that could rival Dehua in purity, to a rough stoneware. Shiwan ware was widely exported. Its glazing techniques directly influenced Japanese Shiga wares and others.
Condition used, normal age wear no defects:
Low Estimate: 4000.0;
High Estimate: 15000.0;
Original: Yes;
Circa: 1850;

Chinese porcelain pottery Yuan dy Chizhou vase Playboys

Lot #3 (Sale Order 3 of 490)

Chinese heavy porcelain pottery Yuan dynasty Chizhou vase with Playing boys design. S graffitto design Playing boys was made by engraving lines and pressing a reed or bamboo tool through engobe, a clay slip painted on the unfired vessel. A transparent glaze was added before firing a kiln. Height: approximately 8 in. = 20 cm; Width: 5.5 inches = 14 cm; Weight: 2 lb. 12 oz.= 1280 g. Condition: archaeological digging find, there is still orange dusty sand inside the vase. Natural aging of the glaze. No defects.References: The Yuan dynasty (1206-1368). While the Mongol occupation destroyed much, it also shook China free from the static traditions and techniques of the late Southern Song and made possible many innovations, both in painting and in the decorative arts. The north was not progressive, and the main center of pottery activity shifted permanently to the south. The northern traditions of Jun and Cizhou ware continued through the Jin and Yuan, bolder but coarser than before. New shapes included a heavy, wide-mouthed jar, sometimes with decoration boldly carved through a black or brown slip or painted in two or three colours. These new techniques and the overglaze painting already developed in the Jin dynasty prepared the way for the three- and five-colour wares of the Ming.Auction results:http://www.sothebys.com/content/sothebys/en/auctions/ecatalogue/2014/fine-chinese-ceramics-works-of-art-n09116/lot.212.htmlA 'CIZHOU' BROWN-SLIP PAINTED 'BIRD' BOTTLE VASE (YUHUCHUNPING)YUAN DYNASTYLOT SOLD. 8,750 USD (Hammer Price with Buyer's Premium)http://www.sothebys.com/content/sothebys/en/auctions/ecatalogue/2014/fine-chinese-ceramics-works-of-art-n09116/lot.212.htmlhttp://www.christies.com/lotfinder/lot/a-chinese-chizou-bottle-vase-yuan-4326272-details.aspx?intObjectID=4326272
Condition Archaeological digging find, there is still orange dusty sand inside the vase. Natural aging of the glaze. No defects;
Low Estimate: 10000.0;
High Estimate: 50000.0;
Original: Yes;
Circa: 1250;

Yuan dynasty, 1279-1368, Jun turquoise splash pot ware

Lot #4 (Sale Order 4 of 490)

China, Jun ware Yuan dynasty, 1279-1368, pot with two loop handles. China, Jun ware Yuan dynasty, 1279-1368. Stoneware with Jun glaze with blue-turquoise splashes. Height: 4.25 in. = 10.5 cm; Width: 4.5 in. = 11 cm; Weight: 12 oz. = 350 g. Condition: used, unglazed bottom, no defects. Provenance: from the prominent New York (USA) collector. Considered one of the five great wares of Chinese ceramics, Jun ware was produced at a number of kilns in Henan province from the Song dynasty (960-1279) through the fifteenth century. The distinctive blue colors of the glaze, which can range from greenish-blue to violet the result of a chemical reaction that occurs during the firing and cooling process. Variations in tone occur because some areas of the pot are less thickly
Condition used, unglazed bottom, no defects;
Low Estimate: 10000.0;
High Estimate: 50000.0;
Original: Yes;
Circa: 1300;

Longquan Celadon porcelain plate 42.5cm, China, Yuan Dy

Lot #5 (Sale Order 5 of 490)

Longquan Celadon porcelain plate 42.5cm, China, Yuan Dynasty (1279-1368)? Chinese archaic celadon ware dish with riled edge and central foliage motif. Weight: 3.7 kg. Diameter: 42.5 cm = 16 in.Provenance: Acquired on the London art market in the 1980's. Condition: Several crack, professionally reassembled, refer to the pictures. Auction results:http://networkedblogs.com/J8yWy; http://networkedblogs.com/LkFGp robustly potted, of large baluster shape with an ovoid body rising to a tall cylindrical neck, the shoulders crisply molded with scrolling lotus blossom and foliage borne on a continuous undulating stem, set between a neck decorated with three detached sprays of chrysanthemum blossoms, and carved overlapping upright leaves skirting the foot, covered overall in a rich unctuous bluish green glaze thinning to a pale gray, the rim fitted with a silver band. Height 18 1/2 in., 47 cm - Estimation: 100,000 - 150,000 USD. Chinese incised celadon glazed barbed dish Ming dynasty http://www.pinterest.com/pin/60376451227880939/The barb rimmed dish with chrysanthemum petal flutes to interior encircling a floral central medallion.
Condition Several crack, professionally reassembled, refer to the pictures;
Low Estimate: 5000.0;
High Estimate: 50000.0;
Original: Yes;
Circa: 1300;

Longquan Celadon porcelain plate , China, Yuan Dynasty (1279-1368)

Lot #6 (Sale Order 6 of 490)

Longquan Celadon porcelain plate , China, Yuan Dynasty (1279-1368)
Archaistic celadon ware dish, with rilled edge and central foliage motif.
Weight: 2.8 kg = 6 lb;
Diameter: 34 cm = 13.5 in.
Provenance: Acquired on the London art market in the 1980's.
Condition: Several crack, professionally reassembled, refer to the pictures

Auction results:
http://networkedblogs.com/J8yWy
http://networkedblogs.com/LkFGp

Original: Yes;
Low Estimate: 5000.0;
High Estimate: 50000.0;
Condition: Poor to Fair;
Circa: 1300;

Longquan Celadon porcelain plate 35cm, China, Yuan Dynasty (1279-1368)

Lot #7 (Sale Order 7 of 490)

Longquan Celadon porcelain plate 35cm, China, Yuan Dynasty (1279-1368)
Archaic celadon ware dish, with rilled edge and central foliage motif
Weight: 2.8 kg = 6 lb.
Diameter: 35 cm = 13 ¾ in.
Provenance: Acquired on the London art market in the 1980's.
Condition: Several cracks, all pieces were professionally reassembled, refer to the pictures
Check our other auction for the pair, please!
Auction results:
http://networkedblogs.com/J8yWy
http://networkedblogs.com/LkFGp

Orignal: Yes;
Low Estimate: 5000.0;
High Estimate: 50000.0;
Condition: Poor to Fair;
Circa: 1300;

Qing dyn Chinese antique carved gilt red furniture, 201cm

Lot #8 (Sale Order 8 of 490)

Chinese antique carved red furniture, partially gilded, with auspicious animals, Age: attributed to Qing/Ming Dynasty; Size: 80.5 in. x 26.5 in. = 201 cm x 66 cm = 2 m x 0.66 m Weight: 10 -15 lb. = 5-10 kg; It is hard to say what was the purpose of this piece - back of the bench, back of the bed, upper part of the display case, door lintel, etc.
Condition: used, some chips, no major defects;
Low Estimate: 5000.0;
High Estimate: 10000.0;
Original: Yes;
Circa: 1800;

Antique Chinese bamboo carving 8 Immortals

Lot #10 (Sale Order 9 of 490)

Antique Chinese bamboo carving 8 Immortals, Qing dynasty(?) Weight: 4 lb. 8 oz. = 2 kg; Length: 17 inches = 42 cm; Provenance: private collection, Florida, USA
Condition: natural bamboo aging; insignificant cracks at the bottom, no other defects;
Low Estimate: 5000.0;
High Estimate: 10000.0;
Original: Yes;
Circa: 1850;

Archaic Chinese translucent Jade dragon in 14 cm wheel

Lot #11 (Sale Order 10 of 490)

Age: attributed to Warring States or earlier; Chinese translucent Jade dragon in the wheel; Diameter: 5.75 in. = 142 mm; Thickness: 11 mm; Weight: 10 oz. = 280 g; Provenance: from private collection Florida, USA
Condition used, well preserved, hand cut, no defects
Low Estimate: 30000.0;
High Estimate: 60000.0;
Original: Yes;
Circa: 481-221 BC;

Certified Archaic 21cm long Chinese Jade belt hook, E Zhou

Lot #12 (Sale Order 11 of 490)

Certified long Archaic magnificent Chinese Jade belt buckle, Age: Attributed to early Chinese Dynasties: -Xia (2100-1600 BC);Shang (1600-1046 BC);Zhou Dynasty (1045-256 BC); Length: 8.2 inches = 21 cm; Thickness: 28 mm; Width: 1.25 in. = 35 mm; Weight: 4 oz. = 111.27 g; Microscopic research at x50 and x 200 magnification: marks of ancient tools and natural jade aging. Condition: used, well preserved, hand-carved, no defects;Provenance: from private collection in Florida, USA;Review of the Literature and Discussion:The belt hook was initially a dress accessory, but eventually became a collector item. A few jade hooks have been found at a Lingzhou site (34002250 BC), Neolithic culture. Belt hook was at its most widespread during the Eastern Zhou period (770-256 BC). Traditionally, the Chinese people tied knots to fasten their clothes. Belts were used tighten loose robes, mainly to facilitate movements, especially in outdoor activities. The stud on the back of the hook would would have been pushed through a slit on one end of the belt, while the other end would be equipped with a ring could be inserted into the hook.In Northern Song era , scholars avidly collected ancient jade or bronze belt hooks. By 17th century, belt hooks were put to a number of novel uses: elegant picture hooks on the wall or brush rests on scholars desks.Qing dynasty robes for men were not as loose as those of of the preceding Ming dynasty, and there is a very little pictorial evidence to show that belt hooks were worn as a clothing accessory.Although it was a considerable amount of jade hooks made in 18th and 19th century, they were made only to satisfy collecting craze of that era.since the hook was not intended to be worn, the gap between the dragon's head and the chi is very small.Another characteristic of Qing workmanship is that the chi is raised above the body of the hook to a level almost parallel wit the dragon's head. Conclusion:1) The hook in our auction is really worn and made to wear a clothing as a practical accessoires; 2) This hook has traces of ancient tools and signs of being buried for several hundred years; 3) There is a high probability that the hook in this auction was made in Eastern Zhou Dynasty 770-256 BC.
This jade hook is accompanied by certificate of authenticity.
Condition used, well preserved, hand-carved, traces of ancient tools, no defects;
Low Estimate: 30000.0;
High Estimate: 60000.0;
Original: Yes;
Circa: 770-256 BC;

Certified Archaic Chinese Jade belt hook, E Zhou dyn 770-226BC, 12cm short

Lot #13 (Sale Order 12 of 490)

Certified, Eastern Zhou dynasty (770-256 BC) Archaic Chinese carved Jade belt buckle, 120 mm; Length: 4.7 inches = 120 mm; Thickness: 1 in. = 25 mm; Width: 0.8 in. = 32 mm; Weight: 2 oz. = 64.55 g; Provenance: from private collection Florida, USA; Microscopic research at x50 and x 200 magnification: marks of ancient tools and natural jade aging. Review of the literature and Discussion: The belt hook was initially a dress accessory, but eventually became a collector item. A few jade hooks have been found at a Lingzhou site. Belt hook was at its most widespread during the Eastern Zhou period (770-256 BC). Traditionally, the Chinese people tied knots to fasten their clothes. Belts were used tighten loose robes, mainly to facilitate movements, especially in outdoor activities. The stud on the back of the hook would would have been pushed through a slit on one end of the belt, while the other end would be equipped with a ring could be inserted into the hook.In Northern Song era , scholars avidly collected ancient jade or bronze belt hooks.By 17th century, belt hooks were put to a number of novel uses: elegant picture hooks on the wall or brush rests on scholars desks.Qing dynasty robes for men were not as loose as those of of the preceding Ming dynasty, and there is a very little pictorial evidence to show that belt hooks were worn as a clothing accessory. Although it was a considerable amount of jade hooks made in 18th and 19th century, they were made only to satisfy collecting craze of that era.since the hook was not intended to be worn, the gap between the dragon's head and the chi is very small. Another characteristic of Qing workmanship is that the chi is raised above the body of the hook to a level almost parallel wit the dragon's head. Conclusion:1) The hook in our auction is really worn and made to wear a clothing as a practical accessoires; 2) There is a high probability that the hook in this auction was made in Eastern Zhou Dynasty 770-256 BC.
This jade hook is accompanied by certificate of authenticity.
Condition used, well preserved, hand-carved, no defects;
Low Estimate: 30000.0;
High Estimate: 60000.0;
Original: Yes;
Circa: 770-256 BC:

Chinese jade belt buckle Beast & Ring, Qing dynasty

Lot #14 (Sale Order 13 of 490)

Antique Chinese jade belt buckle with the beast and a ring, Qing dynasty; Weight: 3 oz. = 83.82 g. Length: 5.25 in. = 13 cm. Height: 1.25 in. = 3 cm. Age: attributed to Qing dynasty (1644-1912). Condition: used, but no defects. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's.
Condition Used, but no defects;
Low Estimate: 3000.0;
High Estimate: 6000.0;
Original: Yes;
Circa: 1800;

Chinese Pottery Jar with corals, shipwreck, 1752

Lot #15 (Sale Order 14 of 490)

Chinese Pottery Jar covered with corals, shipwreck GELDERMALSEN anno 1752 From our Shipwreck Porcelain Collection, a fine crackled pottery jar, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christies for 37 million guilders, about 50,000,000 euro today. The ship sunk on January 3, 1752. The wreck was found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. This is a part of it. Diameter: ca 3 inch. = 8 cm = 80 mm; Height: ca. 7 inch. = 17.5cm = 175 mm; Weight: 14 oz. = 400g; Age: 1752 and older. Condition: completely covered with genuine marine coral depositions, no defects.
Condition completely covered with genuine marine coral depositions, no defects.
Low Estimate: 3000.0;
High Estimate: 10000.0;
Orignal: Yes;
Circa: 1750;

Chinese porcelain geo plate shipwreck GELDERMALSEN 1752

Lot #16 (Sale Order 15 of 490)

Chinese porcelain plate from shipwreck GELDERMALSEN 1752, decorated with beautiful geometric design, Diameter: ca 4.25 inch. = 10.8cm; Weight: 75.64g; Age: 1752 and older. From our Shipwreck Porcelain Collection, a fine celadon crackled porcelain plate, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christies for 37 million guilders, about 50,000,000 euro today. Nice shipwreck plate from the ship GELDERMALSEN. The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. http://archive.is/AMh4j References: The construction of the ship begins in October 1746 under the direction of boss Hendrik Raas. Her measurements are impressive: 42 feet wide, 150 feet long (appr. 12 by 42 meters) and a capacity of 1.150 metric tons (500 'last'). Nine months later delivery takes place, on 10 July 1747. It will be more than a year before the Geldermalsen leaves for the Indies on her maiden voyage, but on 16 August 1748, captain Willem Mareeuw van den Hoek can cast off. The crew will have to load and unload many times. First in Batavia, where the Geldermalsen puts into port on 31 March 1749. After that she leaves for Japan on 21 June, where she arrives on 2 August. Once again new cargo is taken on board. On 31 October the ship embarks on the voyage back to Batavia, where she arrives on 10 January 1750. Via Cheribon (March 1750) and Bantam (April) the Geldermalsen is now directed to Canton to take in goods for Surat. That, again, is quite a voyage and in China it takes months to collect the proper merchandise. Finally, the Geldermalsen leaves for Gujarat where she arrives on 8 March 1751, after having successfully warded off an attack by pirates off the coast of Goa. Once more loading and unloading, departure on 15 April. Via Cochin and Malacca the ship now sails back to Canton, where on 21 July 1751, the Geldermalsen can join the other ships of the VOC who are waiting there to be loaded. On 18 December 1751, three weeks later than the Amstelveen who will reach home safely in July 1752, the Geldermalsen leaves Canton. There are 112 people on board. It is Monday 3 January 1752. After 16 days' sailing the Geldermalsen is near the 55th minute latitude, just above the equator. At half past three in the afternoon captain Morel emerges from his cabin. There is no reason whatsoever to think of a catastrophe: the weather is fine and there is a calm northerly wind. Morel asks the boatswain and third watch Christoffel van Dijk, who is on duty at the moment, how the situation is with regard to the orientation point Het Ruyge Eiland. The boatswain answers that the island is visible to the north-west of the ship. The captain says that at this point of the route Geldria's (or Gelderse) Droogte has been passed and he gives instructions to set a southerly course. At six o'clock, just before dark, third watchman Jan Delia and two cadets, Arie van Dijk and Anthony van Grauw, climb up for a lookout. There is no land in sight. One hour later boatswain Urbanus Urbani is at work with the anchors. It is now dark, but just in front of the ship he suddenly observes breakers. He manages to shout that the helm should be hard over, but it is already too late, for with a loud noise the Geldermalsen crashes onto a reef. Of the crew members, 32 survived the shipwreck; the other 80 went down with the ship. There is no complete list of crew members of the Geldermalsen, though there is a ship's list of the Sjandvastigheid, part of whose crew transferred onto the Geldermalsen in Canton. On this list those who drowned in the shipwreck have later been noted. There are also data from other records. Although the Amstelveen, due to the sudden halving of the annual supply made a record profit, the VOC naturally suffered a loss from the wreck. The entire cargo, valued at fl. 714.963, was lost, plus the gold at a value of fl. 68.135. The ship's hull is recorded as worth fl. 100.000. A total loss of nearly nine hundred thousand guilders.
Condition Covered with genuine marine coral depositions, no defects
Low Estimate: 2500;
High Estimate: 5000;
Original: Yes;
Circa: 1750;

Qing porcelain carved plate shipwreck GELDERMALSEN 1752

Lot #17 (Sale Order 16 of 490)

Qing porcelain carved plate from the shipwreck GELDERMALSEN 1752, 11.8 cm From our Shipwreck Porcelain Collection, a fine crackled porcelain bowl, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christies for 37 million guilders, about 50,000,000 euro today Nice shipwreck plate from the ship GELDERMALSEN. The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160,000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. Diameter: ca 4 5/8 inch. = 11.8 cm Weight: 106.13g. Age: 1752 and older. We combine shipping. Please feel free to take a look to my other auctions.
Condition used, insignificant chips, covered with genuine marine corals
Low Estimate: 3000.0;
High Estimate: 8000.0;
Original: Yes;
Circa: 1750;

Shipwreck pumpkin pottery scholar dropper, Song Dynasty

Lot #18 (Sale Order 17 of 490)

Song Dynasty Shipwreck pumpkin small pottery scholar dropper/brush washer, 6 cm.
Pottery pumpkin jar - shipwreck find.
Age: attributed to Song Dynasty (960-1279).
Height: 3.5 cm = 1.25 inch.
Diameter: 6 cm = 2.2 inch.
Weight: 70.96g;
Condition used, the glaze is partially lost, no other defects;
Low Estimate: 1000.0;
High Estimate: 5000.0;
Original: Yes;
Circa: 1750;

Chinese Qing porcelain bowl, sand dollar shipwreck 1752

Lot #19 (Sale Order 18 of 490)

Qing porcelain bowl with sand dollar from the shipwreck GELDERMALSEN 1752, 10.4cm From our Shipwreck Porcelain Collection, a fine crackled porcelain bowl, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christies for 37 million guilders, about 50,000,000 euro today The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. Diameter: ca 4 inch. = 10.4cm Height: ca 1 6/8 inch. = 4.6cm Weight: 205g Age: 1752 or older. We combine shipping. Please feel free to take a look to my other auctions. References: The construction of the ship begins in October 1746 under the direction of boss Hendrik Raas. Her measurements are impressive: 42 feet wide, 150 feet long (appr. 12 by 42 meters) and a capacity of 1.150 metric tons (500 'last'). Nine months later delivery takes place, on 10 July 1747. It will be more than a year before the Geldermalsen leaves for the Indies on her maiden voyage, but on 16 August 1748, captain Willem Mareeuw van den Hoek can cast off. The crew will have to load and unload many times. First in Batavia, where the Geldermalsen puts into port on 31 March 1749. After that she leaves for Japan on 21 June, where she arrives on 2 August. Once again new cargo is taken on board. On 31 October the ship embarks on the voyage back to Batavia, where she arrives on 10 January 1750. Via Cheribon (March 1750) and Bantam (April) the Geldermalsen is now directed to Canton to take in goods for Surat. That, again, is quite a voyage and in China it takes months to collect the proper merchandise. Finally, the Geldermalsen leaves for Gujarat where she arrives on 8 March 1751, after having successfully warded off an attack by pirates off the coast of Goa. Once more loading and unloading, departure on 15 April. Via Cochin and Malacca the ship now sails back to Canton, where on 21 July 1751, the Geldermalsen can join the other ships of the VOC who are waiting there to be loaded. On 18 December 1751, three weeks later than the Amstelveen who will reach home safely in July 1752, the Geldermalsen leaves Canton. There are 112 people on board. It is Monday 3 January 1752. After 16 days' sailing the Geldermalsen is near the 55th minute latitude, just above the equator. At half past three in the afternoon captain Morel emerges from his cabin. There is no reason whatsoever to think of a catastrophe: the weather is fine and there is a calm northerly wind. Morel asks the boatswain and third watch Christoffel van Dijk, who is on duty at the moment, how the situation is with regard to the orientation point Het Ruyge Eiland. The boatswain answers that the island is visible to the north-west of the ship. The captain says that at this point of the route Geldria's (or Gelderse) Droogte has been passed and he gives instructions to set a southerly course. At six o'clock, just before dark, third watchman Jan Delia and two cadets, Arie van Dijk and Anthony van Grauw, climb up for a lookout. There is no land in sight. One hour later boatswain Urbanus Urbani is at work with the anchors. It is now dark, but just in front of the ship he suddenly observes breakers. He manages to shout that the helm should be hard over, but it is already too late, for with a loud noise the Geldermalsen crashes onto a reef. Of the crew members, 32 survived the shipwreck; the other 80 went down with the ship. There is no complete list of crew members of the Geldermalsen, though there is a ship's list of the Sjandvastigheid, part of whose crew transferred onto the Geldermalsen in Canton. On this list those who drowned in the shipwreck have later been noted. There are also data from other records. Although the Amstelveen, due to the sudden halving of the annual supply made a record profit, the VOC naturally suffered a loss from the wreck. The entire cargo, valued at fl. 714.963, was lost, plus the gold at a value of fl. 68.135. The ship's hull is recorded as worth fl. 100.000. A total loss of nearly nine hundred thousand guilders.
Condition Covered with genuine marine corals, no defects;
Low Estimate: 2000.0;
High Estimate: 6000.0;
Original: Yes;
Circa: 1750;

Chinese celadon Porcelain 10cm bowl corals shipwreck Ge

Lot #20 (Sale Order 19 of 490)

Chinese celadon Porcelain 10 cm bowl with beautiful corals, shipwreck GELDERMALSEN anno 1752. From our Shipwreck Porcelain Collection, a fine crackled porcelain bowl, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christie's for 37 million guilders, about 50,000,000 euro today Nice shipwreck bowl from the ship GELDERMALSEN. The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. Diameter: 4 inch. = 10.3 cm = 103 mm Height: ca. 1 6/8 inch. = 4.5 cm = 45 mm Weight: 200 g = 8 oz. Age: 1752 and older Condition; covered with coral incrustations, no defects
Condition covered with coral incrustations, especially at the bottom, no defects
Low Estimate: 2000.0;
High Estimate: 4000.0;
Original: Yes;
Circa: 1750;

Chinese porcelain celadon 17cm coral flower bowl, shipwreck

Lot #21 (Sale Order 20 of 490)

Chinese porcelain celadon 17 cm plate, from shipwreck GELDERMALSEN anno. 1752 From our Shipwreck Porcelain Collection, a fine crackled porcelain plate, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christies for 37 million guilders, about 50,000,000 euro today Nice shipwreck plate from the ship GELDERMALSEN. The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May, 1986 at Christie's auction house in Amsterdam. This is a part of it. Diameter: 6 7/8 inch. = 17.7 cm = 177 mm. Height: ca. 2 3/8 inch. = 58 mm = 5.8cm Weight: 1 lb. = 450 g. Age: 1752 and older.
Condition Covered with ocean corals all over, no defects
Low Estimate: 1000.0;
High Estimate: 4000.0;
Original: Yes;
Circa: 1750;

Chinese celadon Porcelain 16.5cm flower plate shipwreck

Lot #22 (Sale Order 21 of 490)

Chinese celadon Porcelain 16 cm plate flower design, shipwreck GELDERMALSEN, 1752 From our Shipwreck Porcelain Collection, a fine crackled porcelain bowl, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christies for 37 million guilders, about 50,000,000 euro today Nice shipwreck plate from the ship GELDERMALSEN. The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. This is 1 part of it. Diameter: 6.5 inch. = 165 mm = 16.5 cm Height: 1 5/8 inch. = 43mm = 4.3 cm Weight: 1 lb. = 450 g; Age: 1752 and older.
Condition Fine, the bottom is covered with corals, no defect;
Low Estimate: 2000.0;
High Estimate: 5000.0;
Original: Yes;
Circa: 1750;

Chinese porcelain 7cm cup, T Shan mark, shipwreck Gelde

Lot #23 (Sale Order 22 of 490)

Chinese porcelain celadon 7cm cup, T Shan mark, from shipwreck GELDERMALSEN anno 1752 From our Shipwreck Porcelain Collection, a fine small celadon porcelain bowl, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christies for 37 million guilders, about 50,000,000 euro today Nice shipwreck cup from the ship GELDERMALSEN. The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. This is one part of it. Diameter: 2 7/8 inch. = 75 mm = 7.5 cm Height: 1 7/8 inch. = 4 cm Weight: 48.82g. Age: 1752 and older.
Condition Fine, insignificant imperfections (refer to the photos);
Low Estimate: 1000.0;
High Estimate: 3000.0;
Original: Yes;
Circa: 1750;

Porcelain crackled 10cm celadon bowl shipwreck 1752

Lot #24 (Sale Order 23 of 490)

Porcelain crackled 10cm celadon bowl from shipwreck GELDERMALSEN, anno 1752 From our Shipwreck Porcelain Collection, a fine crackled porcelain bowl, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christies for 37 million guilders, about 50,000,000 euro today The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. This is a part of it. Diameter: 4 inch = 10 cm Height: ca. 1 6/8 inch. Age: 1752 and older. References: The construction of the ship begins in October 1746 under the direction of boss Hendrik Raas. Her measurements are impressive: 42 feet wide, 150 feet long (appr. 12 by 42 meters) and a capacity of 1.150 metric tons (500 'last'). Nine months later delivery takes place, on 10 July 1747. It will be more than a year before the Geldermalsen leaves for the Indies on her maiden voyage, but on 16 August 1748, captain Willem Mareeuw van den Hoek can cast off. The crew will have to load and unload many times. First in Batavia, where the Geldermalsen puts into port on 31 March 1749. After that she leaves for Japan on 21 June, where she arrives on 2 August. Once again new cargo is taken on board. On 31 October the ship embarks on the voyage back to Batavia, where she arrives on 10 January 1750. Via Cheribon (March 1750) and Bantam (April) the Geldermalsen is now directed to Canton to take in goods for Surat. That, again, is quite a voyage and in China it takes months to collect the proper merchandise. Finally, the Geldermalsen leaves for Gujarat where she arrives on 8 March 1751, after having successfully warded off an attack by pirates off the coast of Goa. Once more loading and unloading, departure on 15 April. Via Cochin and Malacca the ship now sails back to Canton, where on 21 July 1751, the Geldermalsen can join the other ships of the VOC who are waiting there to be loaded. On 18 December 1751, three weeks later than the Amstelveen who will reach home safely in July 1752, the Geldermalsen leaves Canton. There are 112 people on board. It is Monday 3 January 1752. After 16 days' sailing the Geldermalsen is near the 55th minute latitude, just above the equator. At half past three in the afternoon captain Morel emerges from his cabin. There is no reason whatsoever to think of a catastrophe: the weather is fine and there is a calm northerly wind. Morel asks the boatswain and third watch Christoffel van Dijk, who is on duty at the moment, how the situation is with regard to the orientation point Het Ruyge Eiland. The boatswain answers that the island is visible to the north-west of the ship. The captain says that at this point of the route Geldria's (or Gelderse) Droogte has been passed and he gives instructions to set a southerly course. At six o'clock, just before dark, third watchman Jan Delia and two cadets, Arie van Dijk and Anthony van Grauw, climb up for a lookout. There is no land in sight. One hour later boatswain Urbanus Urbani is at work with the anchors. It is now dark, but just in front of the ship he suddenly observes breakers. He manages to shout that the helm should be hard over, but it is already too late, for with a loud noise the Geldermalsen crashes onto a reef. Of the crew members, 32 survived the shipwreck; the other 80 went down with the ship. There is no complete list of crew members of the Geldermalsen, though there is a ship's list of the Sjandvastigheid, part of whose crew transferred onto the Geldermalsen in Canton. On this list those who drowned in the shipwreck have later been noted. There are also data from other records. Although the Amstelveen, due to the sudden halving of the annual supply made a record profit, the VOC naturally suffered a loss from the wreck. The entire cargo, valued at fl. 714.963, was lost, plus the gold at a value of fl. 68.135. The ship's hull is recorded as worth fl. 100.000. A total loss of nearly nine hundred thousand guilders.
Condition Fine crackled celadon, covered with corals, no defects
Low Estimate: 2000.0;
High Estimate: 6000.0;
Original: Yes;
Circa: 1750;

Chinese carved stone antique chop stamp seal 4 characters

Lot #25 (Sale Order 24 of 490)

There 4 Chinese characters, engraved at the bottom; Weight: 25.29 g; Height: 14 mm; Base: 25 x 23 mm; Age: unknown; Material: Marble? Jade? Provenance: bought from a serious collector of Chinese culture in Florida, who acquired it from China many years ago.
Condition: Fine, used;
Low Estimate: 300;
High Estimate: 1000;
Original: Yes;
Circa: 1500-1900;

Chinese carved stone antique 2-sided chop stamp seal

Lot #26 (Sale Order 25 of 490)

Chinese carved stone antique double sided chop stamp seal There are 2 Chinese characters, engraved on 2 opposite sides; There are 2 holes for a thin string (cord, lace) to carry it on the necklace. Weight: 7.65 g; Height: 10 mm; Base: 16 x 14 mm; Age: unknown; Material: Marble? Jade? Provenance: bought from a serious collector of Chinese culture in Florida, who acquired it from China many years ago
Condition fine, used;
Low Estimate: 300;
High Estimate: 1000;
Original: Yes;
Circa: 1500-1900;

Antique Chinese rectangular jade seal, 2 characters

Lot #27 (Sale Order 26 of 490)

Antique Chinese rectangular jade seal, with 2 characters, Height -68 mm. Weight: 250 g = 10 oz. Height: 2.75 in. = 68 mm; Base: 37 mm x 36 mm; Condition: very good, no cracks, no chips; Provenance: Bought at auction in Toronto, Canada
Condition Fine, used;
Low Estimate: 800;
High Estimate: 2000;
Original: Yes;

Chinese antique Jade Foo Dog stamp seal, 63mm

Lot #28 (Sale Order 27 of 490)

Chinese antique Jade Foo Dog stamp seal, 63 mm. Height: 63mm; Base: 17 mm x 17 mm; Weight with cover: 43.92 g; Weight without cover: 42.26 g; Weight of the cover: 1.68 g; Provenance: Bought from estate collection in Florida
Condition Fine, used;
Low Estimate: 400;
High Estimate: 1000;
Original: Yes;
Circa: 1500-1850;

Chinese archaic bronze Buddha seal/stamp with 4 characters

Lot #29 (Sale Order 28 of 490)

Chinese archaic bronze Buddha seal/stamp with 4 characters. Height: 1.8 in. = 48 mm = 4.8 cm. Base: 1.1 x 1.3 in. = 25 x 28 mm.
Weight: 106.98 g
Condition Natural patina and red paint at the bottom seal;
Low Estimate: 600;
High Estimate: 2000;
Original: Yes;
Circa: 500-1800;

Gilded bronze Aydhya Buddha, Thailand, 18th-19th c,

Lot #30 (Sale Order 29 of 490)

Certified gilded bronze Aydhya Buddha, Thailand, 18th-19th c, This is a nice large sized bronze Buddha in meditation half-lotus position. The right hand is in the earth-witness gesture. The entire casting is covered with cold gold application with naturally aged surface. Height: 24.75 in. = 63 cm; Origin: Ayutthaya/Aydhya, Thailand. Provenance: 2006 -2014 private collection in USA;Before 2006 Antique Store in British Anguilla; Certificate of authenticity and commercial invoice are available on demand;
Condition Very good overall condition, natural aging of bronze, rust inside,
Low Estimate: 15000;
High Estimate: 30000;
Original: Yes;
Circa: 1700-1900;

Carved stone Buddha Head, 18kg, Qing dynasty or earlier

Lot #31 (Sale Order 30 of 490)

Carved stone Buddha Head, very heavy 40 lb. = 18 kg, Qing dynasty or earlier. Height x Width x Depth: 12 x 8 x 8 in.= 30 cm x 20 cm. Weight: 40 lb. = 18 kg. Condition: very good, to natural patina, scratches, insignificant chips all over (refer to photos). Age: Unknown, looks more than 200 years old. We suggest in USA - UPS ground, FEDEX ground International shipping is available, ask for the rates.
Condition very good, to natural patina, scratches, insignificant chips all over (refer to photos);
Low Estimate: 5000.0;
High Estimate: 10000.0;
Circa: 1500-1800;

Chinese Bodhisattva carved stone head, 6th century AD.

Lot #32 (Sale Order 31 of 490)

Chinese Bodhisattva carved stone head, 6th century ADA 6-th Century Chinese Stone Head Of Buddha, carved stone Bodhisattva head with serene expression, downcast eyes and full lips flanked by elongated ears, the Buddha with tiara, with hole 17-mm deep to head back. There are two birds, sitting on each brow. Birds may have meaning of purity and high spiritual values, which Bodhisattva achieved during meditation.Age: Attributed to Southern and Northern dynasties 386-589 AD or Sui Dynasty 581-618 AD;Height: 4 in. = 11.5 cm;Width; 3 in. = 9 cm;Weight: 1 lb. 12 oz. = 800 g;Condition: fine, some wear and insignificant scratches. There is a fixed stable horizontal crack at the base of the head, all the way around the neck.Provenance: From a prominent Atlanta Collection. Originally came from the Collection of Henry Francis Thompson. Henry Thompson an importer of Asian Art and antiques and co-founder of the Bollentin and Thompson oriental Rugs, acquired the artifacts during several round the world trips to and after World War I, between 1900 and 1920. The items on this auction were left to Thompsons son - Charles Rose Thompson. A graduate of the Princeton University, Charles Rose Thompson, briefly lent the collection to the Princeton University Art Museum in the 1960s. Later, it has remained in his collection until his death in 1975. References:Buddhism during Southern and Northern Dynasties (420 to 589) and Sui Dynasty (589618 CE)Chn: pointing directly to the mindIn the 5th century, the Chn (Zen) teachings began in China, traditionally attributed to the Buddhist monk Bodhidharma, a legendary figure.[note 2] The school heavily utilized the principles found in the Lakvatra Stra, a stra utilizing the teachings of Yogcra and those of Tathgatagarbha, and which teaches the One Vehicle (Skt. Ekayna) to buddhahood. In the early years, the teachings of Chn were therefore referred to as the ""One Vehicle School.""[33] The earliest masters of the Chn school were called ""Lakvatra Masters", for their mastery of practice according to the principles of the Lakvatra Stra.The principle teachings of Chn were later often known for the use of so-called encounter stories and koans, and the teaching methods used in them. Nan Huai-Chin identifies the Lakvatra Stra and the Diamond Stra (Vajracchedik Prajpramit Stra) as the principle texts of the Chn school, and summarizes the principles succinctly:The Zen teaching was a separate transmission outside the scriptural teachings that did not posit any written texts as sacred. Zen pointed directly to the human mind to enable people to see their real nature and become buddhas.[34]BodhisattvaIn Buddhism, a bodhisattva (Sanskrit: bodhisattva; Pali: bodhisatta) is an enlightenment (bodhi) being (sattva). Traditionally, a bodhisattva is anyone who, motivated by great compassion, has generated bodhicitta, which is a spontaneous wish to attain Buddhahood for the benefit of all sentient beings.[1] According to Tibetan Buddhism, a Bodhisattva is one of the four sublime states a human can achieve in life (the others being an Arhat, Buddha, or Pratyekabuddha).The bodhisattva is a popular subject in Buddhist art. Usage of the term Bodhisattva has evolved over time. In early Indian Buddhism, for example, the term bodhisattva was primarily used to refer specifically to the Buddha in his former lives.[3][4] The Jatakas, which are the stories of his lives, depict the various attempts of the Bodhisattva to embrace qualities like self-sacrifice and morality.
Condition used, scratches all over and chips in the area of the nose;

Low Estimate: 20000.0;
High Estimate: 100000.0;
Original: Yes;
Circa: 500;

Chinese carved stone Buddha -wheel of life, N. Qi dynas

Lot #33 (Sale Order 32 of 490)

Chinese carved stone Buddha head with wheel of the life on the forehead. Height: 6 inches = 17 cm. Weight: 10 lb. = 4.5 kg. Condition: overall good, some small chips on the nose and hair (refer to the photos). Age: attributed to Northern Qi Dynasty (550-577 AD).
Condition overall good, some small chips on the nose and hair (refer to the photos);
Low Estimate: 2000.0;
High Estimate: 10000.0;

Masterpiece carved stone Buddha Head, Qing or earlier

Lot #34 (Sale Order 33 of 490)

Masterpiece carved stone Buddha Head, great patina, 12 lb. Height: 7.5 x 5 x 5= 19 cm x 12 cm x 12 cm. Weight: 12 lb. = 5.4 kg. Condition: perfect, refer to natural patina. Age: Unknown, looks more than 200 years old. We suggest shipping in USA - UPS ground, FEDEX ground. International shipping is available, ask for the rates, please.
Condition perfect, refer to natural patina;
Low Estimate: 3000.0;
High Estimate: 10000.0;
Medium: Stone;

Chinese Bronze Seated Buddha Figure, Qing dynasty

Lot #35 (Sale Order 34 of 490)

Chinese Bronze Seated Buddha Figure, Qing dynasty mark. A bronze cast figurine of the Buddha seated cross-legged with sumptuous gilt robe. Weight: 411 gram. Height: 13 cm = 5 in. Provenance: From a German collection. Condition: used, smooth edges, which proves significant age.
Condition used, moderate wear;
Low Estimate: 1000.0;
High Estimate: 5000.0;
Circa: 1800;

Chinese stone Buddha Head, 7 wheels of life, Tang dynasty

Lot #36 (Sale Order 35 of 490)

Black carved stone Buddha Head, Heavy, with 7 wheels of life on the head. Size: 9.7 in. x 7 in. x 7 in. = 24 cm x 17 cm x 17 cm; Weight: 24 lb. = 10.8 kg; Age: attributed to Tang dynasty (618-907 AD).
Condition Condition: Good, refer to 3 deep chips: 1) of the left ear, 2) behind the left ear (6 x 2 cm), 3) at the occipital part (2 x 1.5 cm)
Low Estimate: 2000
High Estimate: 8000

Chinese Carved stone Buddha head with red seal, 10 lb.,

Lot #37 (Sale Order 36 of 490)

Chinese Carved stone Buddha head with red seal, 10 lb., 7.5 in. Weight: 10 lb. = 4.5 kg; Height: 7.5 inches = 17.5 cm; Age: unknown
Condition very good, no chips or cracks, great old patina
Low Estimate: 1000
High Estimate: 2500

Chinese carved jade Buddha Head, 5 lb., 6.5 inches

Lot #38 (Sale Order 37 of 490)

Chinese carved jade Buddha Head, Weight: 5 lb. = 2.25 kg. Height: 6.5 =16 cm. Age: unknown
Condition There is a 2 cm chip on the forehead (refer to the photos). Otherwise perfect condition
Low Estimate: 1000
High Estimate: 3000

Chinese carved wooden statue of Guan Yin, Qing or earlier

Lot #39 (Sale Order 38 of 490)

Chinese carved wooden statue of Guan Yin, Qing dynasty or earlier. Height: 30 inches = 75 cm. Base: 12 x 8 inches = 30 cm x 20 cm. Weight: 35 lb. = 15.75 kg. Provenance: bought at the auction in USA, from a big US collection of Oriental antiques.
Condition Overall condition is good for the age, with original paint. The paint is partially lost throughout the statue. Right hand, including fingers and wrist, was damaged during transportation and then professionally restored.
Low Estimate: 4000
High Estimate: 12000
Original: Yes

Antique Tibetan/Chinese bronze Buddha - Avalokiteshvara

Lot #40 (Sale Order 39 of 490)

Antique Tibetan Chinese bronze Buddha statue as Avalokitesvara Height: 8 in. = 20 cm. Width: 5.5 in. = 14 cm; Weight: 3 lb. = 1400 g Condition: part of the decoration, coming from left arm is missing References: Avalokitesvara (Sanskrit: lit. "Lord who looks down") is a bodhisattva who embodies the compassion of all Buddhas. Portrayed in different cultures as either male or female, Avalokitevara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism, as well as unofficially in Theravada Buddhism. The original name for this bodhisattva was Avalokitasvara. The Chinese name Gunshyn Ps () is a translation of the earlier name "Avalokitasvara Bodhisattva." This bodhisattva is variably depicted as male or female, and may also be referred to simply as Gunyn. In Sanskrit, Avalokitesvara is also referred to as Padmapni ("Holder of the Lotus") or Lokevara ("Lord of the World"). In Tibetan, Avalokitesvara is known as Chenrezig, (Wylie: spyan ras gzigs) and is said to emanate as the Dalai Lama, the Karmapa and other high lamas.
Condition fine
Low Estimate: 1000
High Estimate: 4000

Genuine Antique Chinese iron cast Buddha bust, Qing dyn

Lot #41 (Sale Order 40 of 490)

Genuine Antique Chinese iron cast Buddha bust, Qing dynasty or earlier A Chinese Buddha Head in Cast Iron, the serene face with full lips, half closed eyes, and urna to the forehead, the hair and ushnisha tightly curled, the figure on carved wood stand, with old cracks to the right side of the head and ear. Height: 9 3/8 in. = 23 cm; Base: 9 1/4 in. x 4 in. = 23.5 x 11 cm; Height with wooden stand: 11 in. = 28 cm; Wooden stand: 11 x 7 x 2 in. = 29 x 17 x 4 cm. Weight of the iron Buddha bust: 10 lb. = 4.5 kg; Weight of the stand: 1 lb 3 oz. = 520 g; Total weight Buddha + stand: 11 lb. = 5 kg; Provenance: From a Prominent Atlanta Collection. The ushnisha (Sanskrit, n., , IAST: ua) is a three dimensional oval at the top of the head of the Buddha. It symbolizes his attainment of reliance in the spiritual guide. This protuberance is not the topknot for Prince Siddhartha Gautama cut off his topknot upon leaving the city of Lumbini and crossing the river. The topknot is only worn by the Hindu royalty. Once Prince Siddhartha cut it off he renounced his royal heritage. * "The true Buddha head is bare, covered only with ringlets of hair (plate 560) and surmounted by a peculiar swelling, the "usnia", which is one of the thirty two traditional "great marks" (Maha-Laksana) of the Buddhist superman-savior. Sometimes on the Usnia there is represented a small image of the transcendent Spiritual Buddha from whom the historical savior is an emanation: the supramundane source whence his phenomenal appearance proceeds. But never does the Buddha wear a kingly crown" page 67 (The Art of Indian Asia vol 1. Zimmerman). "The Bodhisattva, it will be remembered, departed from his palace, cross the border-river of his father's Kingdom, and on it's bank severed, with a single stroke of his sword, the tuft of his hair, saying "If it is destined to me to become a Buddha, may my hair and head-cloth remain hanging in the air; if not, let them fall to the ground". A God caught both, transported them to the heaven of the Trayastrimsat Gods, and there a Chaitya-Cudamani was constructed". page 233.The ushnisha was not described initially in the Physical characteristics of the Buddha spelled out by the Buddhist canon. Rather, there are several mentions about a topknot:"His topknot is like a crown." (Secondary characteristics, No 53)"He has a topknot as if crowned with a flower garland." (Secondary characteristics, No 80)The first representations of the Buddha in the 1st century CE in the Greco-Buddhist art of Gandhara also represent him with a topknot, rather than just a cranial knob. It is thought that the interpretation of the ushnisha as a supernatural cranial protuberance happened at a later date, as the representation of the topknot became more symbolized and its original meaning was lost (Mario Bussagli, "L'art du Gandhara").
Condition Several cracks in the occipital region of the head
Low Estimate: 5000
High Estimate: 15000
Original: Yes

Chinese bronze lion burner, late Qing dynasty

Lot #42 (Sale Order 41 of 490)

Chinese bronze lion burner, late Qing dynasty. Weight: 850 g = 1 lb. 14 oz. Length: 15 cm. Height: 10 cm. Age: presumably Qing dynasty (1644-1911) or earlier.
Condition genuine patina, burning traces in the head of the lion
Low Estimate: 300
High Estimate: 1000
Orignal: Yes

Genuine antique Tibetan wooden printing block, - Lotus

Lot #43 (Sale Order 42 of 490)

Antique Tibetan wooden printing block, - Lotus. Size: 16.7 cm x 14.6 cm x 2.4 cm = 6.5 x 6 x 1 inches. Weight: 10 oz. = 300g. Age: 15th-19th century
Condition: Fine, normal wood aging, no defects
Low Estimate: 500
High Estimate: 2000
Original: Yes

Antique Tibetan Wooden printing block stupa

Lot #44 (Sale Order 43 of 490)

Antique Buddhist Tibetan wooden block Stupa.
Height: 19.8 cm
Width: 15 cm
Weight: 280 g
Age: 1700-1900
Condition: Fine, normal wood aging
Low Estimate: 1000
High Estimate: 2000
Original: Yes

Carved stone Buddha Head, on wooden stand, 20 lb.

Lot #45 (Sale Order 44 of 490)

Carved stone Buddha Head, on wooden stand, 20 lb. Height x Width x Depth of the head = 10 x 5 x 5= 25 cm x 12.5 cm x 12.5 cm. Height with wooden stand: 15 inches = 37.5 cm. Weight: 20 lb. = 9 kg. Custom wooden museum mount is included. Age: Unknown, looks more than 100 years old. Origin: Tibet. We suggest in USA - UPS ground, FEDEX ground. International shipping is available, ask for the rates. This Buddha is a pure joy; classical expression carved in solid stone. He came to us from Tibet via China, measuring 16 inches in height and weighing 20 pounds [measurements include display stand]. This is a very classic and serious sculpture of Buddha. It is probably originates from Tibetan monasteries and originally was huge in size and weight. You will not be disappointed! These are becoming more and more difficult to get and prices have escalated.
Condition Very good, nice age natural patina, insignificant chips and scratches
Low Estimate: 1000
High Estimate: 3000

Old Clay Buddha 3 facets pyramid- bronze cast model

Lot #46 (Sale Order 45 of 490)

Antique Clay Buddha 3 facets pyramid model for bronze casts, Tibet. This is an exceptional tool for the research of a bronze production in antiquity. Height: 6.75 in. = 17.5 cm; Base: 10.5 cm x 8 cm x 8 cm; Weight: 2 lb. = 950 g; Condition: clay model has a lot of natural cracks, although it is stable, stands on its own on the base; Age: several hundred years;
Condition clay model has a lot of natural cracks, although it is stable, stands on its own on the base;
Low Estimate: 500
High Estimate: 1500
Original: Yes

Gandhara Carved Stone 19cm Buddha Head 200-300AD

Lot #47 (Sale Order 46 of 490)

Astonishing Stone Large 7.5 Buddha Head Gandhara/Gandharan, 200-300 AD!!! Presumably, this stone head was a part of the Buddhist Temple carved in a solid rock. Height: 7.5 inches = 19 cm Width: 4.5 = 11.25 cm Depth: 4.5 = 11.25 cm Weight: 10 lb. = 4.5 kg Material: Schist stone (?) Condition: Small chips all over, including tip of the nose, but good preservation, considering age (1700 years old). No restoration; original condition
Condition Small chips all over, including tip of the nose, but good preservation, considering age (1700 years old). No restoration; original condition
Low Estimate: 4000
High Estimate: 15000
Orignal: Yes

Gandhara, carved stone altar Buddha & 3 devotees, 300AD

Lot #48 (Sale Order 47 of 490)

Carved Stone altar composition: Buddha & 3 devotees, Gandhara Kingdom, 200-300 AD!!! Presumably, this stone head was a part of the Buddhist Temple carved in a solid rock.rnThis sample is original, not restored or altered in any way.rnrnHeight: 8.5 inches = 22 cm; Width: 7.5 inches= 19 cm; Depth: 1.25 inches = 3 cm; Weight: 7 lb. = 3 kg; Material: Schist stone(?). Provenance: from private collection (more info is available on demand);rnAdditional photos of several Gandhara items are available on demand, so you can create a composition (combination) of several carved figures, which will make collection more full. Gandhra (Sanskrit/Hindi: Gandr, Urdu/Punjabi: , Pashto: ,'; also known as Waihind in Persian),[citation needed] is the name of an ancient kingdom (Mahajanapada), located in northern Pakistan and eastern Afghanistan. Gandhara was located mainly in the vale of Peshawar, the Potohar plateau (see Taxila) and on the Kabul River. Its main cities were Purushapura (modern Peshawar), literally meaning City of Man and Takshashila (modern Taxila). rnThe Kingdom of Gandhara lasted from the early 1st millennium BC to the 11th century AD. It attained its height from the 1st century to the 5th century under the Buddhist Kushan Kings. The Hindu term Shahi is used by history writer Al-Biruni to refer to the ruling Hindu dynasty that took over from the Turki Shahi and ruled the region during the period prior to Muslim conquests of the 10th and 11th centuries. After it was conquered by Mahmud of Ghazni in 1021 CE, the name Gandhara disappeared. During the Muslim period the area was administered from Lahore or from Kabul. During Mughal times the area was part of Kabul province.
Condition Condition: Small chips all over, but good preservation, considering age (1700 years old). No restoration; original condition
Low Estimate: 5000
High Estimate: 15000
Original: Yes

Gandhara, 3 Devotees with gifts to Buddha, carved stone

Lot #49 (Sale Order 48 of 490)

Carved Stone 3 devotees, bringing gifts to Buddha, Gandhara Kingdom, 200-300 AD; Presumably, this stone head was a part of the Buddhist Temple carved in a solid rock. This sample is original, not restored or altered in any way. Height: 8.75 inches = 22.5 cm; Width: 7.5 inches = 19 cm; Depth: 2 inches = 5 cm; Weight: 8 lb. = 3.6 kg; Material: Schist stone (?) Condition: Small chips all over, but good preservation, considering age (1700 years old). No restoration; original condition; Additional photos of several Gandhara items are available on demand, so you can create a composition (combination) of several carved figures, which will make collection more full. Provenance: from private collection (more info is available on demand) Gandhara (Sanskrit/Hindi: Gandr, Urdu/Punjabi: , Pashto: ,'; also known as Waihind in Persian),[citation needed] is the name of an ancient kingdom (Mahajanapada), located in northern Pakistan and eastern Afghanistan. Gandhara was located mainly in the vale of Peshawar, the Potohar plateau (see Taxila) and on the Kabul River. Its main cities were Purushapura (modern Peshawar), literally meaning City of Man and Takshashila (modern Taxila). The Kingdom of Gandhara lasted from the early 1st millennium BC to the 11th century AD. It attained its height from the 1st century to the 5th century under the Buddhist Kushan Kings. The Hindu term Shahi is used by history writer Al-Biruni to refer to the ruling Hindu dynasty that took over from the Turki Shahi and ruled the region during the period prior to Muslim conquests of the 10th and 11th centuries. After it was conquered by Mahmud of Ghazni in 1021 CE, the name Gandhara disappeared. During the Muslim period the area was administered from Lahore or from Kabul. During Mughal times the area was part of Kabul province.
Condition Condition: Small chips all over, but good preservation, considering age (1700 years old). No restoration; original condition
Low Estimate: 3000
High Estimate: 6000
Orignal: Yes

Gandhara carved stone, 1 Devotee with gift to Buddha

Lot #50 (Sale Order 49 of 490)

Carved stone 1 devotee, bringing gifts to Buddha, Gandhara Kingdom, 200-300 AD!!! Presumably, this stone head was a part of the Buddhist Temple carved in a solid rock. This sample is original, not restored or altered in any way. Height: 7.25 inches = 18.5 cm; Width of the base: 2.5 inches= 6.5 cm ; Depth of the base: 2 inches = 5 cm; Weight: 2 lb. 4 oz. = 1 kg; Material: Schist stone (?) Condition: Small chips all over, but good preservation, considering age (1700 years old). No restoration; original condition. Provenance: from private collection (more info is available on demand) Additional photos of several Gandhara items are available on demand, so you can create a composition (combination) of several carved figures, which will make collection more full. Gandhra (Sanskrit/Hindi: Gandr, Urdu/Punjabi: , Pashto: ,'; also known as Waihind in Persian),[citation needed] is the name of an ancient kingdom (Mahajanapada), located in northern Pakistan and eastern Afghanistan. Gandhara was located mainly in the vale of Peshawar, the Potohar plateau (see Taxila) and on the Kabul River. Its main cities were Purushapura (modern Peshawar), literally meaning City of Man and Takshashila (modern Taxila). The Kingdom of Gandhara lasted from the early 1st millennium BC to the 11th century AD. It attained its height from the 1st century to the 5th century under the Buddhist Kushan Kings. The Hindu term Shahi is used by history writer Al-Biruni to refer to the ruling Hindu dynasty[4] that took over from the Turki Shahi and ruled the region during the period prior to Muslim conquests of the 10th and 11th centuries. After it was conquered by Mahmud of Ghazni in 1021 CE, the name Gandhara disappeared. During the Muslim period the area was administered from Lahore or from Kabul. During Mughal times the area was part of Kabul province.
Condition This sample is original, not restored or altered in any way. Overall very good condition, note some chips.
Low Estimate: 2000
High Estimate: 4000
Orignal: Yes

Gandhara Carved Stone Buddha head, 200-300AD, 22cm

Lot #51 (Sale Order 50 of 490)

Astonishing Stone Large, 22 cm, 4.5 kg, Buddha Head, Gandhara Kingdom, 200-300 AD!!! Presumably, this stone head was a part of the Buddhist Temple carved in a solid rock. Height: 8.5 inches = 22 cm; Width: 5.5 inches = 13.5 cm; Depth: 4 inches = 10.5 cm; Weight: 10 lb. = 4.5 kg; Material: Schist stone. Condition: Small chips all over, but good preservation, considering age (1700 years old). Restored area (3 x 2 cm) in forehead, otherwise original condition; Provenance: from private collection (more info is available on demand). References: Gandhra (Sanskrit/Hindi: Gandr, Urdu/Punjabi: , Pashto: ,'; also known as Waihind in Persian),[citation needed] is the name of an ancient kingdom (Mahajanapada), located in northern Pakistan and eastern Afghanistan. Gandhara was located mainly in the valley of Peshawar, the Potohar plateau (see Taxila) and on the Kabul River. Its main cities were Purushapura (modern Peshawar), literally meaning City of Man[1] and Takshashila (modern Taxila). The Kingdom of Gandhara lasted from the early 1st millennium BC to the 11th century AD. It attained its height from the 1st century to the 5th century under the Buddhist Kushan Kings. The Hindu term Shahi is used by history writer Al-Biruni to refer to the ruling Hindu dynasty that took over from the Turki Shahi and ruled the region during the period prior to Muslim conquests of the 10th and 11th centuries. After it was conquered by Mahmud of Ghazni in 1021 CE, the name Gandhara disappeared. During the Muslim period the area was administered from Lahore or from Kabul. During Mughal times the area was part of Kabul province.
Condition Condition: Small chips all over, but good preservation, considering age (1700 years old). Restored area (3 x 2 cm) in forehead, otherwise original condition; The last 2 photos show the original damage on the forehead before restoration.
Low Estimate: 5000
High Estimate: 20000
Orignal: Yes
Medium: Stone

Chinese carved wood happy Buddha with children, late Qing dy

Lot #52 (Sale Order 51 of 490)

Chinese carved happy Buddha with children, late Qing dynasty; Weight: 60-80 lb. Base width: 13 inches = 32 cm; Height: 15 inches = 37 cm; Age: 1800-1920;
Condition fine, several small stable cracks (refer to the photos)
Low Estimate: 15000
High Estimate: 40000
Orignal: Yes
Medium: Wood

Chinese carved gilt wood seated Buddha, Qing/Ming 107 cm

Lot #53 (Sale Order 52 of 490)

Chinese carved gilt wood seated Buddha, Qing/Ming dynasty(?) Buddha is seating on pedestal, in royal ease posture, ready to help those in need. Real gold gilt with red and black paint showing through. Height: 42.75 in. = 107 cm; Base: 27 in. x 17 in. = 67 cm x 42 cm. Weight: 150 - 200 lb. Provenance: from the private collection of the Lawyer from Florida, acquired in 1950s-1960s. Shipping in USA: Freight UPS or FEDEX - $800-$1600; Shipping overseas (international): $2000-$3500.
Condition Overall very good condition for the age, partial loss of gilt and paint, several vertical age splits and cracks, missing pieces, on the left side of the head, lower part of the body, and especially at base.
Low Estimate: 30000
High Estimate: 60000
Orignal: Yes
Medium: Wood

Masterpiece - Wooden Guan Yin, Indo-Chinese, 150 cm

Lot #54 (Sale Order 53 of 490)

Masterpiece - Wooden carved Guan Yin Statue, Indo-Chinese. It is not just a carved statue, - it is a masterpiece. Just look at the golden proportions, flowing folds of the skirt, gracious movements of the body, beauty of young girl, mesmerizing Egyptian eyes, etc. Weight: approximately 40-60 lb. = 20-30 kg; Height: 5 feet = 60 inches = 150 cm = 1.5 m; Provenance: Has been brought in 1960s from Indo-China by a husband as a present to his wife in Florida. Age: 100-200 years old; Origin: Thailand, Indonesia, Burma, Laos, any country of Indo-China; Condition: Very good for age, some loss of gilt.
Condition Very good for age, some loss of gilt.
Low Estimate: 5000
High Estimate: 12000
Orignal: Yes
Medium: Wood

Chinese carved wooden gilt statue of immortal Shou Xin, 51 in, 130 lb.

Lot #55 (Sale Order 54 of 490)

Chinese carved wooden gilt statue of immortal Shou Xin, 51 in, 130 lb.
LARGE CHINESE CARVED GOLD GILT WOOD IMMORTAL SHOU XIN FIGURE, RICHLY CARVED, EXCELLENT CONDITION,
Height: 51 in. = 127 cm;
Weight: 130 lb. = 58.5 kg;
Condition = Almost perfec, a small crack near the head (see photo)
Fu, Lu, and Shou is the concept of Happiness (Fu), Prosperity (Lu), and Longevity (Shou). This concept of the Chinese traditional religion is thought to date back to the Ming Dynasty,[1] when the Fu Star, Lu Star and Shou Star were considered to be personified deities of these attributes respectively.
The term is commonly used in Chinese culture to denote the three attributes of a good life. Statues of these three gods are found on the facades of folk religion's temples and ancestral shrines, in nearly every Chinese home and many Chinese-owned shops on small altars with a glass of water, an orange or other auspicious offerings, especially during Chinese New Year. Traditionally, they are arranged right to left (so Fu is on the right of the viewer, Lu in the middle, and Shou on the far left).
Shipping: because of heaviness 130 lb and large size shipping could be between $400 and $1000 in USA. Ask about quote.
Condition = almost perfect, a small crack near the head (see photo)
Low Estimate: 4000
High Estimate: 8000
Orignal: Yes
Medium: Wood

Chinese carved basalt stone Buddha head, 18 lb., 10 in.

Lot #56 (Sale Order 55 of 490)

Chinese carved basalt stone Buddha head, 18 lb., 10 in. Weight: 18 lb. = 8 kg. Height: 10 in. = 24.5 cm. Age: Unknown.
Condition overall good, a chip on the nose
Low Estimate: 500
High Estimate: 1000

Carved wooden SRI GANESH Mask, Katmandu, Nepal, 75cm

Lot #57 (Sale Order 56 of 490)

Original design hand carved wooden SRI GANESH Mask, Katmandu, Nepal, 30 in.= 75 cm; This is a great Mask for it's unique and distinctive carving. It is a wonderful 'one of a kind' rendition of SRI GANESH. Ganesh, the Elephant Head Deity is the most loved deity of the Hindu Pantheon of Gods. He is the son of Shiva, the head guy. I am particularly fond of him because he is considered the 'protector of travelers' and I travel often. He is also known as the student 'God of wisdom' and the 'bringer of good husbands'. Lastly, he is renowned as the 'remover of obstacles'. His belly is round as he enjoys the good things in life. He is happy-go-lucky and easy to approach as Deities go. This beautiful handcrafted Wooden Mask comes from skilled craftsmen in Nepal. In Nepal, Ganesh is very popular among both Hindus & Buddhist, so you fine many Ganesh images there. Age is unknown. It comes from Himalayan Mask Center on Jochen Tole in the old Durbar (Palace) Square district of Kathmandu. My friend Prakash told me that he travels to villages in the Himalayas between Kathmandu and Tibet to find these masks. Size is quite big measuring 30" tall x 10" wide x 4" deep Weight: 1600 g = 3 lb. 10 oz.
Condition Very good
Low Estimate: 700
High Estimate: 1500
Orignal: Yes

Chinese cast bronze Buddha head

Lot #58 (Sale Order 57 of 490)

Chinese cast bronze Buddha head. Weight: 1300 g = 2 lb. 14 oz. Height: 6.75 in. = 17.5 cm
Condition genuine bronze oxidation and patina
Low Estimate: 700
High Estimate: 1500

Carved Wooden Buddhist Tibetan Lama Mask, 31 cm

Lot #59 (Sale Order 58 of 490)

Carved Wooden Buddhist Tibetan Lama Mask; Height: 11.5 = 29.5 cm. Width: 7 = 18 cm. Depth: 3 = 7 cm. Weight: 1 lb. 2 oz. = 550g. Condition: Perfect, high quality. You can tell this is original native mask (not for tourists). There are still remnants of original blue and green colors, although the main color brown. The meaning of the colors you can read below. Tibetan masks such as this quality and age are often offered between $ 1500 and $ 2500 Qiang Mu and Tibetan drama follow some patterns in using masks. Since Tibetan people are all Buddhism followers, showing infinite piety to Buddha, the facial makeup imitating Buddha are not simply objects. They remain Buddhist idols, such as Dharmaraja, protective divinities and thunderbolts. Therefore, homage to masks is actually showing a respect to the deities. In particular, the facial makeup of the angry-looking type and fierce-looking type are esteemed, because they are powerful enough to deter evil spirits. Each time to fetch the masks for Qiang Mu and Tibetan drama performances, people would first recite sutras. When the performances are ended, they would recite sutras before putting the masks back to cases or hanging them on walls. This is a ritual that must be followed to fetch masks in all temples of Tibetan Buddhism. Qinghai Tibetan masks are sculpted under rigid formats. Qiang Mu and Tibetan drama characters are largely introduced from Buddhims stories. The facial makeup is generally made to follow the original versions in Image Measurement Scripture, Notes to Buddha on Image Measurement Scripture, Painting Measurement Scripture, Painting Treasure, and Origins of Craftsmanship. They are mainly produced by temple lama artisans and folk craftsmen, including some with superior skills. For example, Jiancuo, a master of art from Regong, Tongren County, is a best to produce solid pullover masks, famous in the Tibetan areas. Although Tibetan masks follow the Image Measurement Scripture in the Buddhism sutras, the temples might vary in exact moulds of the facial makeup. The differences originate from how the craftsmen understand Buddha statues and their actual skills in productions. As a result, the facial makeup art shows extraordinary splendor. In the early years, rough blank masks were made of red earth, paper pulp, gesso, white cloth, paper, and paste. They were smeared two to third times, and finally brushed with tung oil and lacquer for two times. Along with process of the time, the materials and processing technologies are upgraded. Loose clay and marble of fit sizes are adopted to have a rough mask engraved. After that, thin cloth is torn into small pieces to be pasted on the mould for many layers with the help of bone glues and facial glues, till they reach considerable thickness. When the cloth embryos are dried, chop the surface smooth with a sharp knife, and daub concentrated clay paste upon the cloth embryo (smear after it is dried for many rounds). When the mire is dried, come to the He Zuo Da Er working procedure (first rub it smooth with coarse and fine cloths, and then polish it slowly with millstone). Fix up the interior of the mask with thin bamboo strips and rubber colts. In the end, paint it with colors, brush lacquer upon the colors, finalize the design, and decorate it with all sorts of ornaments. Leading deity masks may be extended in sizes along to the positions of the deities and respects from the people. The bigger ones may reach several feet in length. Dyes are applied under strict specifications. In the early stage, stone colors were used. Confined by economic conditions, the regions with poorer economy would apply modern ads colors, while the well-off regions would adopt pure gold powder and mineral pigments imported from Germany and the United States. The masks are painted while the pigments are abraded. The most favored colors are pure red, pure yellow, pure blue, pure green, pure black and white. Half tints are seldom used. The colors must look simple, keen and gorgeous. The patterns must be decorative, showing sharply contrasted colors. The lacquer-smeared surface will look shiny, foiling imposing, stately and mysterious manners. Facial makeup is a genre of the Tibetan Buddhism painting art. The colors are of religious symbolic implications. They are painted with specific colors according to their roles in the tenets. This is a tradition criterion to be followed. Buddhism sutras say the eyes are keen to four colors, which are green, yellow, red and white, the cardinal colors in Tibetan paintings. Tibetan masks follow same principles to use colors with Tibetan paintings. Red is a main color to express the three virtues of authority, tranquility and indignation in Buddhism. When it is applied to women, red denotes love, passion and joy. Monk cassocks, monk cassock decorations, sea of flames supporting divinities, Nirmanakaya countenance, and Dakini body are largely shown with the red color, to deliver stateliness, awe and fervor.

Chinese Tibetan Bronze Buddha Plaque, 90 mm

Lot #60 (Sale Order 59 of 490)

Chinese Tibetan Bronze Buddha Plaque, 90 mm. An archaic cast plaque of the Buddha seated cross-legged. Weight: 130 grams = 4 oz. Height: 90 mm = 3 in. Provenance: Property of a London collector, acquired early 1990s.
Condition a lot of scratches, genuine patina and oxidation
Low Estimate: 200
High Estimate: 800

Chinese bronze mirror Buddha on lotus flower, Rare

Lot #61 (Sale Order 60 of 490)

Chinese bronze mirror with sitting Buddha on lotus flower, 15.8 cm; Rare. Weight: 1 lb. 9 oz. = 710 g; Diameter: 6.2 inches = 15.8 cm; Thickness of the rim: 5 mm; Rim: steeply inclined; Side: steeply inclined inward; Material: bronze ; Outer section: Raised circle; Inner section: Sitting Buddha; Mirror side: concave with preserved remnants of original polish; Age: presumably Qing or Ming dynasty.
Condition Worn by natural aging, authentic patina, no defects
Low Estimate: 1500
High Estimate: 3000
Orignal: Yes

Chinese Buddhist antique bronze hand mirror

Lot #62 (Sale Order 61 of 490)

Chinese Buddhist antique bronze hand mirror. An archaic, leaf-shaped, hand mirror with one polished face, panel of figural scenes to the reverse within a border of stylized flames. Weight: 985 grams = 2 lb. Length: 23 cm = 9 in.Width: 17.4 cm. Age: 500-1000 AD. Provenance: From a central London collection formed between 1990-2000
Condition edges are smooth; mirror is not symmetrical, which are good signs of being antiques
Low Estimate: 3000
High Estimate: 15000
Orignal: Yes

Lotus Bronze mirror with Buddhist Chinese inscriptions

Lot #63 (Sale Order 62 of 490)

Lotus Bronze mirror with Buddhist symbols and Chinese inscriptions. Translation of Dr. Q_____ C________, PhD in Chinese Arts: - Four grand pledges; - The pledge to stop the endless worries. Diameter: 70 mm = 2 ¾ in. Weight: 129 g = 4 oz. Knob: 4 mm high, open. Mirror surface is flat and has 2 types of inscriptions. The words "" come from the Buddhist scripture calling"", which are the rules to obey being a true Buddha. "" = There are so many things disturbing us,- Men should calm their heart and improve themselves. References: The swastika (Sanskrit: ) is an equilateral cross with four arms bent at 90 degrees. The earliest archeological evidence of swastika-shaped ornaments dates back to the Indus Valley Civilization, Ancient India as well as Classical Antiquity. Swastikas have also been used in various other ancient civilizations around the world. It remains widely used in Indian religions, specifically in Hinduism, Buddhism, and Jainism, primarily as a tantric symbol to evoke shakti or the sacred symbol of auspiciousness. The word "swastika" comes from the Sanskrit swastika - "su" meaning "good" or "auspicious," "asti" meaning "to be," and "ka" as a suffix. The swastika literally means "to be good". Or another translation can be made: "swa" is "higher self", "asti" meaning "being", and "ka" as a suffix, so the translation can be interpreted as "being with higher self".
Condition Normal aging of the bronze, genuine patina, no defects
Low Estimate: 3000
High Estimate: 6000
Orignal: Yes

5 Sacred Mountains Pass, Chinese square bronze mirror

Lot #64 (Sale Order 63 of 490)

Authentic Chinese square bronze mirror, 5 Sacred Mountains Pass, Qing dynasty(?); This is a Chinese Qing dynasty (?) bronze mirror; Bronze mirror with pictographic writings at the back; Weight: 1 lb. 9 oz. = 730 g; Size: 5 x 7 in. = 13 x 18.5 cm; Total length with a handle: 12 in. = 30 cm; Rim: 3 mm thick, rectangular; Mirror surface: flat, polished, could be used as a mirror; Material: bronze; Condition: Nice patina all over, excellent condition References: These characters existed in the history for more than 2000 years old. The lines or strokes of each of the character resemble the altitude view or map of the peaks of the five mountains in China. Geographically, used as a map to travel around these 5 mountains. Religiously, it was used as a pass by the immortals or believers to travel safely within mountains / forests without being harmed by evils, spirits, monsters, animals and etc. This link will point you to the five mountains that I mentioned: http://www.maps-of-china.net/a_sacredm.html The Eastern Mountain-Taishan Mountain Towering in the central part of Shandong Province, Mt.Taishan, with its elevation of 1545 metres above sea level, is the first of China's five sacred mountains and one of the national major famous scenic areas. In1987,MtTaishan was listed in the World Natural and Cultural Heritages by UNESCO. In history, emperors and many scholars stepped on the mountain to view its magnifi cent scenery,having left quite a many famous poems and inscriptions. The main scenic spots are Wangmu ( Heavenly Mother ) Pool, Doumu Palace, Jingshi ( Sutra Rock ) Valley, Heilong (Black Dragon) Pool, Shanzi (Fanshaped) cliff, Changshou (Longevity)Bridge. Daimiao Temple, situated in Tai'an City at the southern foot of the mountain, was first built in the Han Dynasty, and large-scale additions were made during the Tang and Song Dynasties. It is a key cultural heritage under state protection. The Western Mountain-Huashan Mountain Standing in Huayin County , 120 km east of Xi'an City , the mountain is noted for its sheer cliffs and tower ing peaks.It is one of the five great mountains in China and the sacred mountain to Taoists . It is known as the Western Sacred Mountain . Mt. Huashan has five famous peaks , namely, East Peak West Peak , South Peak , North Peak and Central Peak , of which South Peak soaring 2200 metres above sea level , is the highest. The peaks are connected by a series of sharp ridges , generally only wide enough to accommodate one person at a time Along the touring route , tourists can visit many amazing ancient buildings perched on the knife-sharp edges . The Northern Mountain-Hengshan Mountain Situated in the central part of Hunan Province, Mt.Hengshan is known as the Southern Sacred Mountain, one of the five great mountains in China, and has been praised as lithe first for its beauty among the five famous mountains". It boasts beautiful natural sceneries, with peaks rising one upon another. Among the 72 towering peaks, Zhurong Peak is the highest, rising to 1290 metres above sea level. Mt. Hengshan has ancient cultural origins. According to historical records, there were nine emperors of the past dynasties visiting Mt. Hengshan and many scholars also made their tours of the mountain having left many inscriptions and poems. The main scenic spots include Grand Nanyue Temple, Zhusheng Temple, Huangting Taoist Temple, Nantai Temple, Sutra Hall and Yehou Academy,the earliest academy well preserved. The Central Mountain-Songshan Mountain Located in the northwest of Dengfeng County and reputed as the Central Sacred Mountain among China's five sacred mountains, Mt. Songshan Stretches more than 60 km across from east to west. It consists of two mountains-Taishi and Shaoshi,with 36 Deaks alto ether.
Condition Mirror surface: flat, polished, could be used as a real mirror;
Low Estimate: 1000
High Estimate: 2000
Orignal: Yes

Newari altar bronze mirror,-right thought, Nepal

Lot #65 (Sale Order 64 of 490)

Newari altar bronze mirror,-right thought, Kathmandu, Nepal. This old mirror is a sacred symbol representing right thought. It reflects things as they really are, & can be seen on both Tibetan & Newari altars. This belonged to a Newari in Kathmandu, & is in excellent condition, nice patina. Width: The face is 7 inches across = 17.5 cm. Height: it stands 12 inches tall = 30 cm. Weight: 170 g. Newa people The Newa (Nepal Bhasa: New(h), Classical Nepal Bhasa: Newr or Newl) (Nepali: ) are the indigenous people of Nepal's Kathmandu Valley. The valley and surrounding territory have been known from ancient times as Nepal Mandala. Newars have lived in Nepal Mandala since prehistoric times, and immigrants that arrived at different periods in its history eventually merged with the local population by adopting their language and customs. Newars are a linguistic and cultural community of mostly Tibeto-Burman and some Indo-Aryan ethnicities. Scholars have also described the Newars as being a nation. Scholars in this field have consensus that prehistoric Newar (Newari) were originally interconnected to the ancient Kirat people (Kiratis). Stone Age, prehistoric Kirat tools found by Dr. A. Y. Shetenko (Leningrad Institute of Archaeology) date back to 30,000 years ago, matching prehistoric tools unearthed in China's Gobi Desert and Yunnan. According to Nepal's 2001 census, the 1,245,232 Newars in the country are the nation's sixth largest ethnic group, representing 5.48% of the population.
Condition Very good condition, original patina, no defects
Low Estimate: 500
High Estimate: 1000
Orignal: Yes

Chinese Neolithic(?) carved jade turtle, Inner Mongolia

Lot #66 (Sale Order 65 of 490)

Chinese Neolithic(?) carved jade turtle statue with a bird, Inner Mongolia. Length: 8 ½ inches = 21.5 cm; Width: 5 ½ inches = 14.5 cm; Weight: 2 lb. 15 oz. = 1340 g = 1kg 340g; Age: presumably 2000-4000 BC; Condition: very good for the age; there is minor stable hairline natural crack 3 long at the right posterior area (refer to the photos), which do not affect the integrity of the statue. This crack goes only to the center and then stops
Condition very good for the age; there is minor stable hairline natural crack 3 long at the right posterior area (refer to the photos), which do not affect the integrity of the statue. This crack goes only to the center and then stops
Low Estimate: 2000
High Estimate: 10000

Chinese Neolithic style pottery holder 2 handles

Lot #67 (Sale Order 66 of 490)

Chinese Neolithic earthenware pottery holder with 2 handles, 24.7 cm; Age: attributed to Neolithic period in China. Imprinted parallel lines design all over, with 7 protruding knobs around the base and 2 small handles. The purpose of the pottery holder is unclear. Height: 10 in. = 24.7 cm; Base diameter: 4.9 in. = 12 cm; Weight: 1 lb. 7 oz. = 630 g; Upper gorge diameter 2.25 in = 5.8 cm
Condition Used, no defects
Low Estimate: 1000
High Estimate: 3000

W. Zhou dynasty, 1000-900 BC, pottery jar 19.5cm

Lot #68 (Sale Order 67 of 490)

W. Zhou dynasty, 1000-900 BC, ceramic pottery jar with impressed imprints 19.5cm Large pottery jar of ovoid form with flat base, short neck and lipped rim. The body is decorated with an allover paddle-impressed pattern, consisting of rows of squares, possibly textile imprints. The pottery is hard fired and has burnt to a reddish-brown color. Height: 7.75 in = 19.5 cm; Upper gorge opening diameter: 3.4 in. = 88 mm = 8.8 cm; Base diameter: 5 in. = 12.5 cm = 125 mm; Widest diameter: 8 in. = 20 cm; Weight: 1 kg 600 g = 1600 g = 3 lb. 8 oz. Age: Western Zhou dynasty, 1000-900 BC Condition: excellent for the age, genuine dark patina, no defects Provenance: from California estate auction. References High-fired earthenware is known in Chinese as yingtao: hard pottery and pieces from early periods nearly always display geometric surface patterns that are impressed with either a wooden paddle or a textile. This type of vessel emerged in the late Neolithic period in south-eastern China, with production reaching a peak in the Bronze Age and gradually declining during the Han dynasty. Vessels of this type have an uneven shape, because they were hand-built by the coiling method, rather than thrown on the potters wheel. A jar of this type is in the Meiyintang collection. Other examples are in the Asian Art Museum of San Francisco and in the Cincinnati Art Museum.
Condition excellent for the age, genuine dark patina, no defects
Low Estimate: 3000
High Estimate: 6000
Orignal: Yes

Chinese Han Dynasty gray pottery Cocoon Jar 206BC-220AD

Lot #69 (Sale Order 68 of 490)

Chinese Han Dynasty gray pottery Cocoon Jar (206 BC-220 AD), decorated with incised vertical bands on the ovate form body. Used to store grains and wine. Weight: approx. 4 lb. Height: approx. 10 in. = 25 cm. Provenance: from private collection in Florida, USA
Condition Condition: used, mineralized surface, no defects.
Low Estimate: 5000
High Estimate: 20000
Orignal: Yes

Neolithic(?) Chinese Mystical Jade Statue, 1250g, 14cm

Lot #70 (Sale Order 69 of 490)

Neolithic(?) Antique Chinese Mystical Jade Statue, Height: 6 = 14 cm; Width: 7 = 18 cm; Depth: 1.5 = 3.5 cm; Weight: 1250 g = 2lb. 12 oz.; Age: unknown
Condition Perfect, no cracks, some natural age wear
Low Estimate: 2000
High Estimate: 4000

Shang dynasty? Chinese Carved Jade 3 Rams Tripod Burner

Lot #71 (Sale Order 70 of 490)

Shang dynasty(?) Chinese Carved Jade 3 Rams Tripod vase burner. Weight: 2 lb. =900 g; Height: 4.25 inches = 10 cm; Condition: very good for age, no cracks or defects, just minor scratches;
Condition very good for age, no cracks or defects, just minor scratches
Low Estimate: 3000
High Estimate: 6000

Shang/Zhou dynasty? Chinese carved dark jade rhinoceros

Lot #72 (Sale Order 71 of 490)

Shang/Zhou dynasty Chinese carved dark jade rhinoceros, great patina Possible attributions: Shang dynasty: 1600 BC to 1046 BC or Zhou dynasty: 1111BC to 255 BC; Weight: 2 lb. 8 oz. = 1150 g; Length: 6 = 15 cm; Height: 3.75 = 9 cm;
Condition Some aging wear of the surface (refer to the pictures)
Low Estimate: 3000
High Estimate: 6000

Shang/Zhou dynasty(?) Chinese jade rhinoceros, 16cm

Lot #73 (Sale Order 72 of 490)

Shang/Zhou dynasty(?) carved light jade rhinoceros, great patina, 1200 g, 6.5 in. Possible attributions: Shang dynasty: 1600 BC to 1046 BC; Zhou dynasty: 1111 BC to 255 BC; Weight: 2 lb. 11 oz. = 1200 g; Length: 6.5 in. = 16 cm; Height: 4.75 = 11.5 cm;
Condition some aging wear of the surface (refer to the pictures);
Low Estimate: 3000
High Estimate: 6000
Medium: Stone

Zhou dynasty(?), Chinese jade mask, 82mm

Lot #74 (Sale Order 73 of 490)

Chinese jade mask, attributed to Zhou dynasty (1100-221 BC). Weight: 121.92g; Height: 72 mm = 2.75 inches; Width: 82 mm = 3.25 inches; Age: presumably 1100-221 BC. Similar jades sold on Christies auction for $12,500 US: http://www.christies.com/lotfinder/lot/two-pale-olive-jade-openwork-ornaments-eastern-5344473-details.aspx
Condition Perfect, some natural wear

Warring States, Chinese Bronze mirror: Three Shan

Lot #75 (Sale Order 74 of 490)

Chinese Bronze mirror: Three T Shan, Warring States, 480-221 BC. Diameter: 5 inches = 126 mm. Weight: 7 oz. = 200 g. Rim: concave, with sharp edge. Side: slightly inclined inwards. Knob is very small, hole is blocked by oxidized metal; Round circle around knob, which is rare, usually a square. Mirror surface: flat. Inner section: 3 T Shan, against finely patterned ground (feather pattern) Metal: white bronze, nice patina. Mirrors with 4 or 5 Shan shapes as the main motif are one of the representative types of Warring States period. It is not clear, however, what the Shan shape signifies. One suggestion is that it is an early form of the T-shape, found on TLV mirrors and the liubo gaming board, but to date there is no proof of this.
Condition Some oxidation, patina and rust, which is normal for this age.
Low Estimate: 800
High Estimate: 3000

Warring States, Chinese bronze mirror T Shan Tiger Deer

Lot #76 (Sale Order 75 of 490)

Chinese Bronze mirror - 3 T Shan, 2 deer & tiger, Warring States 480-221 BC; Diameter: 8.25 in. = 208 mm; Weight: 2 lb. 5 oz. = 1080 g; Condition: beautiful genuine patina, no other defects.
Condition beautiful genuine multicolored patina, no other defects.
Low Estimate: 20000
High Estimate: 50000
Orignal: Yes

Warring States Chinese Bronze Square mirror 4 T Shan

Lot #77 (Sale Order 76 of 490)

Square Bronze Mirror with four gilt Shan (T) shapes, Warring States period (480-221 BC) Mirrors with 3-4-5 Shan shapes are the main motif of the Warring States period. It is not clear, however, what the Shan (T) shape signifies. One suggestion is it is an early form of the T-shape found on TLV mirrors and the liubo gaming board, but to date there is no proof of this. The Shan shape, dragons, bears, tigers, deer are represented in relief against a finely patterned ground. Such fine patterning was cast on bronzes by inlaying separately press-molded panels onto the mold surface. Weight 2 lb. 5oz = 1 kg 50g; Size: 6.5 x 6.5 inches = 167 x 167 mm; Thickness: 8 mm; Height of the knob: 8 mm; Condition: natural patina and oxidation, no defects. Estimate: 120,000-250,000 RMB = $16,000 - $38,000 US
Condition natural patina and oxidation, no defects
Low Estimate: 20000
High Estimate: 40000
Orignal: Yes

Chinese bronze flat handled spade coin, State Liang/Wei

Lot #78 (Sale Order 77 of 490)

Chinese bronze flat handled spade coin, State Liang (Wei) 425-344 BC; Extremely rare; Obverse: Shou shi ban jin (half jin); Height: 42 mm; Width: 29 mm; Weight: 11.71 g; Hartill: 3.29, p. 22; Estimate: (2) Extremely rare = $2000; Authenticity report: High probability of being genuine
Condition Used, EF, nice patina
Low Estimate: 1000
High Estimate: 2000

Chinese bronze Zhou round coin, state of Qin (250-220BC)

Lot #79 (Sale Order 78 of 490)

Genuine Chinese bronze Zhou round coin -38 mm, state of Qin (250-220 BC), Rare; Obverse: Zhong Yi Liang Shi Si (14) Yi Zhu c/wise (weight: 1 Liang 14 zhu) Warring States Period. Ring-money. "Zhong 1 Liang 14 Zhu" coins. Diameter: 38.2 mm; Weight: 18.47 g; Hartill: 6.27, p. 82; Estimate (3) Rare = $1000 - $3000; Authenticity report: Genuine;
Condition EF, used in circulation - worn edges, natural patina, pleasant to touch
Low Estimate: 1000
High Estimate: 3000

Chinese bronze round Zhou coin, State of Qin 250-220 BC

Lot #80 (Sale Order 79 of 490)

Chinese bronze round Zhou coin, State of Qin (250-220 BC), 3.77g, 24 mm, Extremely rare; Said to have been cast by Marquis of Chang An, the brother of Qin Emperor Shi Huang Di; Obverse: Chang An; Reverse: plain; Weight: 3.77g; Diameter: 24 mm; Hartill: 6.28, p. 82; Estimate: (2) Extremely rare $2000; Authenticity report: Genuine;
Condition EF, used in circulation, natural patina and rust
Low Estimate: 2000
High Estimate: 5000

Chinese bronze round Zhou coin, State of Yan (300-220BC)

Lot #81 (Sale Order 80 of 490)

Chinese bronze round Zhou coin, State of Yan (300-220 BC), 8.02g, 29 mm, Extremely rare. The Ming character is the same as that found on the Ming knives, so could be Yi. Obverse: Ming Si (Ming 4 hua). Reverse: plain. Weight: 8.02 g; Diameter: 29.5 mm; Hartill: 6.22, p. 81; Estimate: (2); Extremely rare $2000; Authenticity report: genuine; Provenance: from private collection in Canada
Condition EF, beautiful multicolored patina
Low Estimate: 1500
High Estimate: 3000

Warring States 400-200BC, Chinese bronze coin Yi Liu Hua

Lot #82 (Sale Order 81 of 490)

Chinese bronze coin, Warring States period (400-200 BC). Obverse: Yi Liu Hua; Reverse: Plain; Weight: 9.41 g; Diameter: 33 mm; Hartill: not found Estimate: $750-$1500; Authenticity report: Genuine; Condition: EF, used in circulation, colorful patina. The Warring States period (simplified Chinese: ; traditional Chinese: ; pinyin: Zhànguó Shídài), also known as the Era of Warring States, is a period in ancient China following the Spring and Autumn period and concluding with the victory of the state of Qin in 221 BC, creating a unified China under the Qin Dynasty. Different scholars use dates for the beginning of the period ranging between 481 BC and 403 BC, but Sima Qian's date of 475 BC is most often cited. Most of this period coincides with the second half of the Eastern Zhou Dynasty, although the Chinese sovereign (king of Zhou) was merely a figurehead.
Condition EF, used in circulation, colorful patina
Low Estimate: 700
High Estimate: 2000

Chinese bronze coin Jin dynasties and 16 kingdoms

Lot #83 (Sale Order 82 of 490)

Chinese bronze coin Jin dynasties and 16 kingdoms, Later Zhao Kingdom (319-352 AD), 25 mm; Obverse: Feng Huo (The coin of abundance), seal script. Reverse: plain; Weight: 3.43 g; Diameter: 25 mm; Hartill: 12.2, p. 98; Estimate: (7) - $150-$500; Authenticity: extremely high probability of being genuine
Condition Nice VF, used in circulation, colorful patina and oxidation
Low Estimate: 150
High Estimate: 500

Western Han 206 BC,Chinese bronze mirror- 9cm

Lot #84 (Sale Order 83 of 490)

Authentic Chinese bronze mirror- signed, Western Han Dynasty, 206 BC - 9 AD; Four characters signature of the artist; Diameter: 3.5in. = 90 mm. Weight: 195 g; Age: Western Han Dynasty 206 BC - 9 AD;
Condition Worn by natural handling and aging, natural patina
Low Estimate: 1500
High Estimate: 5000
Original: Yes

Western Han Dynasty, Chinese bronze mirror, 4 fish

Lot #85 (Sale Order 84 of 490)

Chinese bronze mirror - Four fishes- 4=94 mm, Western Han Dynasty, 206 BC 9 AD. Diameter: 4=94 mm; Weight: 166 g; Age: Western Han Dynasty 206 BC 9 AD
Condition Genuine oxidation, corrosion and patina all over. No defects
Low Estimate: 600
High Estimate: 2000
Orignal: Yes

W. Han Dynasty, Chinese bronze mirror, 4 dragons, arc, 124mm

Lot #86 (Sale Order 85 of 490)

Chinese Bronze mirror 4 dragons with Continuous arc design, W. Han Dynasty, 206 BC -9 AD; Diameter: 124 mm = 4 7/8; Weight: 10 oz. = 240 g; Rim: flat, 16 continuous arcs; Knob 4 mm high, has a hole all the way through; Inner section: 4 dragons, eating nipples; Metal: white bronze, nice patina; Mirrors with continuous arc design first appeared in the Warring States period, and their production continued until the Three Kingdoms period. This example from the mid-Western Han Dynasty has a vivid beauty common to all applied art of the Han dynasty.
Condition Beautiful multicolored patina all over
Low Estimate: 1000
High Estimate: 2000

W Han, 206BC-9AD, Chinese bronze mirror 88mm

Lot #87 (Sale Order 86 of 490)

Western Han Dynasty (206 BC - 9 AD) bronze mirror.
Weight: 121.97 g;
Diameter: 3.5 inches = 88 mm;
Mirror surface: Concave with remnants of original surface;
Condition: great authentic patina;
Provenance: private collection in Florida, USA;

Low Estimate: 5000
High Estimate: 20000
Original: Yes

W Han dyn, Chinese Bronze TLV Mirror, 107mm

Lot #88 (Sale Order 87 of 490)

Genuine Cosmic TLV Chinese Bronze Mirror 107 mm, Western Han Dynasty, 206 BC - 220 AD. TLV design incorporates both scientific and mythological elements. These mirrors are also called "compass mirrors" by Chinese Scholars. Made in Han Dynasty: 206 BC - 220 AD; Diameter: 107 mm = 4.5 inches; Weight = 200 g = 7 oz. Mirror surface is slightly convex; Knob - 5 mm high, open Authenticity report: Genuine. Development The first mirrors with TLV symbols appeared during the second century BCE, with some believing that they were related to Liu An's astrological and cosmological interests. The dragon was an important symbol of these early TLV mirrors. In early mirrors from the second century BCE, the dragons were often used as an arabesque, however by the first century BCE, the dragons lost their arabesque form and became fully-fledged figures. In the later part of the Western Han period, the dragons had been replaced by winged figures, monsters and immortals. These new mirrors also saw the division of the main area into two separate rings, with the TLV symbols being placed in the inner part of the main area, and other decorations being placed in the outer area.[3] By the end of the first century BCE, the band dividing the main area into two concentric rings largely lost its structural function of separating the mirror into two sections. Instead it existed merely as a line, or not at all. Mirrors from the Xin Dynasty (8-23 CE) usually have an outer band with cloud or animal motifs, and an inner circle with a square containing a knob. The inner circle often contains a series of eight 'nipples,' and various mythological animals and being, often including the Queen Mother of the West. The central square could have an inscription, or contain the characters of the Twelve Earthly Branches. Inscriptions placed in between the mirror's sections frequently discuss Wang Mang and his reign. Symbolism Scholars are engaged in a debate as to what the symbols on TLV mirrors mean. Some scholars believe that they represent ideas from Chinese Cosmology, while others believe that they could also be used to play the boardgame of liubo. Cosmological significance TLV mirrors are circular. At their centers is a circular boss inset on a square panel. According to Schuyler Camman, the design of TLV mirrors was cosmologically significant. The V shapes served to give the inner square the appearance of being placed in the middle of a cross. This forms an illustration of the Chinese idea of the five directions North, South, West, East and Center. The central square represents China as the Middle Kingdom. The area in between the central square and the circle represented the Four Seas. During the Han Dynasty the Four Seas represented territories outside China, and did not literally refer to water. The central square within the round mirror likely alludes to the ancient Chinese idea that heaven was round and earth was square. The Ts represented the concept of the Four Gates of the Middle Kingdom, an idea present in Chinese literature. They could have also represented the idea of the four inner gates of the Han place of sacrifice, or the gates of the imperial tombs built during the Han period. The Ls possibly symbolized the marshes and swamps beyond the Four Seas, at the ends of the earth. The bending of the Ls could possibly have served to create a rotating effect which symbolized the four seasons, which were very closely related to the cardinal directions. The nine nipples in the central square likely represented the nine regions of the earth as discussed by Cammann as having come from the Shiji. The eight nipples outside of the central square were most likely representations of the Eight Pillars, mountains that held up the canopy of heaven. The area between the inner round border and the outer rim of the mirror was often filled with swirls that represented the clouds in heaven. The game of Liubo Some believe that the design of TLV mirrors is derived from the board game liubo. Because of the lack of written documentation, the rules of the game are still as yet unconfirmed, although some scholars such as Lien-sheng Yang have made suggestions as to the method of play. Yang Sheng-yin believes that the liubo game was played between two players with each player having 6 men. In addition there were six throwing sticks shared between them. From a formula written by an expert player of liubo, Yang theorizes that a players piece would start on an L and try to move to a V depending on stick rolls. At this moment certain throws by the sticks would allow ones piece to move into the center and kill the opponents piece if already present in the center. Once present in the center, ones piece could begin to block the enemy pieces from taking the square. For each block one would gain two points. One could also attempt to recover ones pieces after they are blocked, and would gain three points for doing this. If one failed to win after having blocked two men

E Han d Chinese cast bronze mirror, heavy, thick, 128mm

Lot #89 (Sale Order 88 of 490)

Chinese cast bronze mirror, unusually heavy and thick, Han dynasty style, Diameter: 5 in. = 128 mm. Weight: 2 lb. = 900 g. Thickness: 15 mm; Concave mirror surface with real reflection.
Condition The cast details are worn
Low Estimate: 1000
High Estimate: 2000

E Jin dynasty Chinese bronze convex mirror - Phoenix, 87mm

Lot #90 (Sale Order 89 of 490)

Genuine antique Chinese bronze convex mirror with Phoenix, Eastern Jin dynasty (265-420 AD); Decorated with a bird, bands of short lines, saw and wave pattern; Diameter: 87 mm = 3 ½ inches; Weight: 119 g; Condition: genuine patina with original reflective areas. Age: Eastern Jin dynasty (265-420 AD). Knob: 7 mm high, filled with oxidative materials
Condition Genuine noble patina
Low Estimate: 2000
High Estimate: 10000
Original: Yes

W Han Convex Chinese TLV Bronze mirror 8 flowers design

Lot #91 (Sale Order 90 of 490)

Convex Chinese TLV Bronze mirror with eight flowers design, Western Han dynasty (206 BC-220 AD); Outer circle: Saw tooth design; Inner circle: TLV mixing with flowers; Diameter: 92 mm = 3.55. Weight: 173.65 g; Condition: authentic patina; Age: Western Han Dynasty, 206 BC-9AD;
Condition: authentic patina, no defects
Low Estimate: 2000
High Estimate: 10000
Original: Yes

Song dynasty, Chinese Bronze Mirror, 4 worn characters

Lot #92 (Sale Order 91 of 490)

Authentic Song Dynasty Chinese Bronze Mirror, signed with 4 worn characters.
Diameter: 4 in. = 100 mm; Weight: 7 oz. = 205 g; Age: Song dynasty (1000-1200 AD).
Condition Authentic old, a lot of wear, characters are worn and is hard to read
Low Estimate: 1000
High Estimate: 3000
Original: Yes

W Han dy 206BC-220AD Chinese inscriptions bronze mirror

Lot #93 (Sale Order 92 of 490)

Han dyn (206BC-220 AD) Chinese inscriptions bronze mirror, 93 mm; Age: Western Han Dynasty, 206 BC-220 AD; Outer band of inscriptions; Condition: Worn by natural aging, beautiful patina; Weight: 6.5 oz. = 165.9 g; Diameter: 3.7 inches = 93 mm; Thickness of the rim: 3 mm; Knob: 6 mm, small hole all the way through; Mirror surface: slightly convex; Width of the side rim: 11 mm, slightly inclined inward; Provenance: Bought at Greater London Auction in Houston, Texas, USA;
Condition Worn by natural aging, beautiful patina;
Low Estimate: 1000
High Estimate: 3000

Song dynasty, TLV bronze Chinese mirror with a Seal

Lot #94 (Sale Order 93 of 490)

Although the TLV style of Western Han dynasty, (206 BC AD 220), this mirror was made in Song dynasty (1000-1200 AD). TLV bronze Chinese mirror with a seal; Diameter: 3.5 inches = 90 mm; Weight: 183 g; Han Dynasty 206 BC- AD 220; Condition: oxidation, patina and rust on mirror surface.
Condition Oxidation, patina and rust on mirror surface.

W Han dynasty Chinese inscriptions museum bronze mirror

Lot #95 (Sale Order 94 of 490)

Genuine Bronze Mirror, Western Han Dynasty, 8-inch, 206 BC - AD 9. Awesome antique authentic bronze Chinese mirror; Amazing thick patina; Museum quality, more than 2000 years old; Age: Early Western Han Dynasty 206 BC - AD 9; Most inner section depicts 12 disks surrounding the central knob, which may represent 12 planets around the Sun or 12 animal years of Chinese Astrology: the rat, the ox, the tiger, the cat, the dragon, the snake, the horse, the goat, the monkey, the rooster, the dog, and the pig; in that order. Next inner circle: 25 archaic Chinese characters. Middle circle: 4 flowers with knob-like centers and schematic pictures of pair of Phoenixes, Black Turtle, White Tiger and Dragon, which guard the four quarters of the world. The dragon and phoenix had been associated since ancient times, but the concept that these two animals, together with the White Tiger and Black turtle guard the 4 quarters of the world, owes much to the philosophy of the five elements (Wuxing), which originated and developed in the Han period. However on Han and later mirrors, the dragon and phoenix are often stressed, indicating that the old tradition had not died yet. (Donald Graham Jr. Collection, "Bronze Mirrors from Ancient China"); Outer circle: double saw tooth pattern around the flat rim; The mirror surface has several remnant islands of reflective surface. The size of the biggest island is 11 x 25 mm; Diameter = 8.25 inches = 207 mm = 20.7 cm; Weight = 2.3 lb = 1.05 kg = 1050g; Knob height: 7 mm; Thickness: 4 mm;
Condition Natural ancient patina, small area of original cast imperfection, no other defects
Low Estimate: 50000
High Estimate: 100000
Orignal: Yes

W Han dynasty, Cosmic TLV Chinese Bronze Mirror

Lot #96 (Sale Order 95 of 490)

Genuine Cosmic TLV Chinese Bronze Mirror Han Dynasty, 206 BC-220 AD. Stunning, absolutely incredible Cosmic TLV Chinese Bronze Mirror, 100% authentic. This mirror has a distinctive island of reflective surface 35 x 15 mm TLV design incorporates both scientific and mythological elements. The mirrors are also called "compass mirrors" by Chinese Scholars. Made in Han Dynasty: 206 BC-AD 220; Diameter: 137 mm = 5.5 inches. Weight = 400 g = 14 oz. Development The first mirrors with TLV symbols appeared during the second century BCE, with some believing that they were related to Liu An's astrological and cosmological interests. The dragon was an important symbol of these early TLV mirrors. In early mirrors from the second century BCE, the dragons were often used as an arabesque, however by the first century BCE, the dragons lost their arabesque form and became fully-fledged figures. In the later part of the Western Han period, the dragons had been replaced by winged figures, monsters and immortals. These new mirrors also saw the division of the main area into two separate rings, with the TLV symbols being placed in the inner part of the main area, and other decorations being placed in the outer area.[3] By the end of the first century BCE, the band dividing the main area into two concentric rings largely lost its structural function of separating the mirror into two sections. Instead it existed merely as a line, or not at all. Mirrors from the Xin Dynasty (8-23 CE) usually have an outer band with cloud or animal motifs, and an inner circle with a square containing a knob. The inner circle often contains a series of eight 'nipples,' and various mythological animals and being, often including the Queen Mother of the West. The central square could have an inscription, or contain the characters of the Twelve Earthly Branches. Inscriptions placed in between the mirror's sections frequently discuss Wang Mang and his reign. Symbolism Scholars are engaged in a debate as to what the symbols on TLV mirrors mean. Some scholars believe that they represent ideas from Chinese Cosmology, while others believe that they could also be used to play the boardgame of liubo. Cosmological significance TLV mirrors are circular. At their centers is a circular boss inset on a square panel. According to Schuyler Camman, the design of TLV mirrors was cosmologically significant. The V shapes served to give the inner square the appearance of being placed in the middle of a cross. This forms an illustration of the Chinese idea of the five directions North, South, West, East and Center. The central square represents China as the Middle Kingdom. The area in between the central square and the circle represented the Four Seas. During the Han Dynasty the Four Seas represented territories outside China, and did not literally refer to water. The central square within the round mirror likely alludes to the ancient Chinese idea that heaven was round and earth was square. The Ts represented the concept of the Four Gates of the Middle Kingdom, an idea present in Chinese literature. They could have also represented the idea of the four inner gates of the Han place of sacrifice, or the gates of the imperial tombs built during the Han period. The Ls possibly symbolized the marshes and swamps beyond the Four Seas, at the ends of the earth. The bending of the Ls could possibly have served to create a rotating effect which symbolized the four seasons, which were very closely related to the cardinal directions. The nine nipples in the central square likely represented the nine regions of the earth as discussed by Cammann as having come from the Shiji. The eight nipples outside of the central square were most likely representations of the Eight Pillars, mountains that held up the canopy of heaven. The area between the inner round border and the outer rim of the mirror was often filled with swirls that represented the clouds in heaven. The game of Liubo Some believe that the design of TLV mirrors is derived from the board game liubo. Because of the lack of written documentation, the rules of the game are still as yet unconfirmed, although some scholars such as Lien-sheng Yang have made suggestions as to the method of play. Yang Sheng-yin believes that the liubo game was played between two players with each player having 6 men. In addition there were six throwing sticks shared between them. From a formula written by an expert player of liubo, Yang theorizes that a players piece would start on an L and try to move to a V depending on stick rolls. At this moment certain throws by the sticks would allow ones piece to move into the center and kill the opponents piece if already present in the center. Once present in the center, ones piece could begin to block the enemys pieces from taking the square. For each block one would gain two points. One could also attempt to recover ones pieces after they are blocked, and would gain three points for doing this. If on

E Han dynasty, Chinese Bronze mirror, 4 Phoenixes, 84mm

Lot #97 (Sale Order 96 of 490)

Authentic Bronze mirror with Four Phoenixes, Eastern Han Dynasty, 25 in. 220 AD; Weight: 146 g; Diameter: 3.25 in. = 84 mm
Condition Genuine patina, remnants of original mirror polishing;
Low Estimate: 5000
High Estimate: 20000
Original: Yes

E. Han dyn, Chinese bronze mirror; Fantastic anim 75mm

Lot #98 (Sale Order 97 of 490)

Authentic Chinese bronze mirror. Eastern Han dynasty 25-220 AD; Other opinion is a Song dynasty (1000 AD-1200 AD). Diameter: 3.45 inches = 64 mm; Weight: 4.5 oz. = 140.43 g; Rim: 2 mm, steeply inward; Knob - 10 mm high, open all the way through. Mirror surface: nicely concave, with beautiful colorful patina all over. Inner section: fantastic animals with some decorations. Outer section: saw tooth;
Condition very well preserved, colorful natural patina
Low Estimate: 500
High Estimate: 2000
Orignal: Yes

Han Dynasty, Textile remnants on Wu Zhu Chinese coin

Lot #100 (Sale Order 98 of 490)

Han Dynasty Wu Zhu (5 zhu) Chinese bronze coin covered with remnant of textile, VF Cast since 113 BC during Western Han Dynasty Wu Zhu coins have been cast for more than 700 years. Interestingly, there is a remnant of textile from more than 2000 years ago stick on the obverse of this coin. Diameter: 26 mm; Weight: 3.23g, Condition: VF with nice green patina, Hartill: 8.8 Shan Ling San Guang Wu Zhu from 113 BC
Condition: Very Good
Low Estimate: 500
High Estimate: 2000

Three Kingdoms 220-265AD, Chinese Cast-Bronze Mirror

Lot #101 (Sale Order 99 of 490)

Genuine Chinese Cast-Bronze Figural Hand Mirror, Three Kingdoms period (220-265 AD). Circular outline, cast on the face with a central boss with hole for silk cord Numerous Emperor Court figures and a border of archaic characters with an outer border of "C" scrolls, Reverse mirror is plain and flat, patina with malachite incrustations. Diameter: 5-1/8" = 13 cm; Weight: 12 oz. = 335 g Thickness: 5 mm Height of the knob: 9 mm
Condition Genuine patina, oxidation and rust
Low Estimate: 1000
High Estimate: 3000
Orignal: Yes

Three kingdoms 220-261 AD, Chinese pocket bronze mirror

Lot #102 (Sale Order 100 of 490)

Kingdom of Shu (221-265 AD), Chinese pocket bronze mirror: reminds coin design: Zhi Bai Wu Zhu. Unusual shape of a heart or shield. Size: 65 mm x 76 mm. Weight: 67.52 g. Mirror surface: slightly concave, almost flat. Small knob (3 mm) with blocked hole. 4 Chinese characters around the knob: Chang Ping Wu Zu. Similar bronze coin was produced at that time. Design: 2 beasts and 2 clouds. References: David Hartill. Cast Chinese coins 13.27, p. 100
Condition Very good, natural patina
Low Estimate: 500
High Estimate: 2000

Tang Dynast, Chinese bronze lobed mirror, Flying Dragon

Lot #103 (Sale Order 101 of 490)

Tang Dyn, Chinese bronze lobed mirror with Flying Dragon; Outer section: stylized clouds; Inner section: dragon flying among the clouds; Weight: 7 oz. = 200g; Diameter: 4.5 = 12 cm; Thickness: 3.5 mm; Knob: 6.5 mm, the hole goes all the through; Mirror surface: unevenly slightly concave in one axis and flat in the perpendicular axis; Age: Tang dynasty (618-906);
Condition Well preserved, natural patina, uneven mirror surface
Low Estimate: 500
High Estimate: 2000

Tang, Unearthed, mysterious iron mirror, 8 Horses, 32cm

Lot #104 (Sale Order 102 of 490)

Unearthed, mysterious iron mirror(?) Eight Horses; Tang dynasty (618-906 AD); Diameter: 12.75 inches = 31.87 cm; Weight: 4.5 lb. = 2.1 kg; This mirror is a Chinese historical puzzle and we are still doing research on it. It may not be a mirror, because of the way it was crafted, but it might have a big historical significance. Provenance: This mirror was brought to UK from China, at the beginning of the 1900. We purchased it in UK. Shipping in USA by FEDEX or UPS. International shipping is available, ask for rates, please.
Condition A lot of rust and oxidation, which correspond to the old age
Low Estimate: 20000
High Estimate: 100000
Original: Yes

Sui/Tang dyn Chinese Bronze mirror, - 4 hunters, 12 cm

Lot #105 (Sale Order 103 of 490)

Sui/Tang dyn Chinese Bronze mirror, - 4 hunters, chasing 4 animals. This is a Masterpiece from the ages with a hunting scenes. Hunting scenes appear on mirrors of the mid eight century, reflecting the Tang penchant for riding, polo and other equestrian activities. Made in: Sui Dynasty (581-618 AD) or Tang Dynasty (618-906 AD). Lion shaped knob. Weight: 300 g = 48 ounces; Diameter =117 mm = 11.7 cm = 4.6 inches;
Provenance: from private collection in Canada.
Condition perfect preservation for the age, remnants of the original polished mirror surface
Low Estimate: 10000
High Estimate: 40000
Original: Yes

Sui /Tang dyn, Chinese bronze 5 suani & grapes, 14 cm

Lot #106 (Sale Order 104 of 490)

Masterpiece antique Chinese bronze 5 suani and grapes, Sui Early Tang dynasties. Weight: 1 lb. = 450 g; Diameter: 5.5 inches = 14 cm; Thickness of the rim: 4 mm; Rim: steeply inclined (triangular profile), with one small 3 mm dent. Side: steeply inclined inward; Knob: 10 mm with a hole all the way through; Material: White bronze + gild; Outer section: Raised circle with double saw tooth pattern; Medial and inner section: 5 running suani with grape design; Mirror side: concave with preserved remnants of original polish; Age: presumably Sui (581-618) or Early Tang (618-906;)
Condition Worn by natural aging, beautiful multicolored (bronze-greenish) patina, no defects
Low Estimate: 5000
High Estimate: 20000
Orignal: Yes

Tang dynast Chinese bronze mirror- Suani, Birds, Grapes

Lot #107 (Sale Order 105 of 490)

Antique Chinese convex bronze mirror- Suani, Birds & Grapes, 131 mm, Tang Dynasty. Age: Tang Dynasty (618-906 AD); Weight: 1lb. 4 oz. = 590 g; Diameter: 5 inches = 131 mm; Thickness of the rim: 10 mm; Knob: 7 mm, small hole all the way through. Mirror surface: slightly convex. Rim: 8 mm, inclined inward, saw tooth pattern. Side: slightly inclined inward. Provenance: From private collection.
Condition Worn by natural aging, beautiful patina
Low Estimate: 5000
High Estimate: 10000
Orignal: Yes

Sui - Early Tang, Chinese bronze mirror 4 suani,

Lot #108 (Sale Order 106 of 490)

Masterpiece antique Chinese bronze 4 suani and grapes, Sui Early Tang dynasties; Weight: 14 oz. = 400 g; Diameter: 5 inches = 14 cm; Thickness of the rim: 9 mm; Rim: steeply inclined (convex profile), Side: steeply inclined inward with saw-tooth pattern; Knob: 7 mm with a hole all the way through; Material: antique bronze; Outer section: Raised circle with double saw tooth pattern; Medial section: 2 running animals and 5 birds; Inner section: 4 running suani with grape design; Mirror side: concave with preserved remnants of original polish; Age: presumably Sui (581-618) Early Tang (618-906)
Condition Worn by natural aging, beautiful patina. Mirror side: concave with preserved remnants of original polish
Low Estimate: 10000
High Estimate: 30000
Orignal: Yes

Sui/Tang dyn Chinese bronze mirror- 5 running suani

Lot #109 (Sale Order 107 of 490)

Tang dynasty, Chinese bronze mirror- 5 running suani & grapes, 13 cm; Weight: 10 oz. = 250 g; Diameter: 5.25 inches = 133 mm; Thickness of the rim: 4 mm; Age: presumably Sui/Early Tang Dynasties 618-906 AD; Condition: Worn by natural aging, beautiful patina; Provenance and authenticity: This mirror was acquired at I.M. Chait Auction House in California and authenticated by Chait appraisal specialists in Chinese antiques.
Condition Worn by natural aging, beautiful patina
Low Estimate: 30000
High Estimate: 10000

Tang dyn.Chinese bronze mirror- Monsters & grapes, 14cm

Lot #110 (Sale Order 108 of 490)

Chinese bronze mirror- Monsters & grapes, 14 cm, Tang Dynasty Weight: 1 lb. 8 oz. = 670 g; Diameter: 5.75 inches = 148 mm; Thickness of the rim: 12 mm; Age: presumably Tang Dynasty 618-906 AD; Condition: Worn by natural aging, beautiful patina.
Condition Worn by natural aging, beautiful patina.
Low Estimate: 800
High Estimate: 2000

Chinese Bronze Operator license of Liao Imperial Palace

Lot #111 (Sale Order 109 of 490)

Chinese Bronze Operator license of Liao Imperial Palace, Khitan text, 180 g ; Operator license of Imperial palace (Liao dynasty) the Khitan text: ; Size: 108 mm x 58 mm; Thickness: 4 mm; Weight: 180g; Age: Liao Dynasty (A.D 907-1125); Liao Dynasty palace used by the royal family members or officials, is an original credentials.
Condition Fine, natural patina, one side is worn more compare to the other side.
Low Estimate: 1500.0
High Estimate: 5000.0
Original: Yes

Song dynasty Chinese bronze gilt mirror- 32 characters

Lot #112 (Sale Order 110 of 490)

Masterpiece Chinese bronze gilded mirror- 32 characters, 9 inch, Song Dynasty 960-1279; Weight: 2 lb.10 oz. = 1200 g; Diameter: 9 inches = 22.7 cm; Thickness of the rim: 7 mm; Rim: steeply inclined (triangular profile), with one small 3 mm dent; Side: steeply inclined inward Knob: 12 mm with a hole all the way through Material: White bronze + gilt Outer section: Raised circle with cloud design More inside: 32 characters , saying about, - Bodhisattva subduing the beasts; Medial section: Bodhisattva and devotees, and 2 tigers/beasts, + 4 nipples with beaded circles + smaller figures of animals, birds and mountains; Inner section: 2 fish; Mirror side: flat with dotted some rust, although still preserved and can be used as a mirror; Age: presumably Song Dynasty 618-906 AD;
Condition Worn by natural aging, beautiful patina

N. Song Dynasty 1101-1125, Chinese bronze coin, 98 mm

Lot #113 (Sale Order 111 of 490)

Chinese bronze coin, 98 mm, N. Song Dynasty (960-1127). Da Guan - the reign title (1107-1110 AD) of the Northern Song dynasty Emperor Hui Zhong (1101-1125). Obv: Da Guang tong bao, slender gold script. Bao (left) - precious treasury currency. Tong (right) - universal. Da Guan coins were issued also by both Jin Dynasty and Yuan Dynasty. Some were issued as charms with various marks on the reverse but others were simply unusual calligraphy. Reason for issue of unusual calligraphy is not known. But a good guess would be that they simply liked the writing and decided to make some coins! Coin is a symbol for money to hang somewhere. Condition: Amazing green natural patina. Diameter: 98 mm = 4 inches; Weight: 119 g = 4 oz. References: David Hartill: 16.418-16.427, p. 152. http://www.charm.ru/coins/china/da-guan-mongol.shtml. http://www.britishmuseum.org/explore/highlights/highlight_image.aspx?image=k146515.jpg&retpage=17216.
Condition Amazing green natural patina, natural wear
Low Estimate: 5000
High Estimate: 15000

Song Dynasty Chinese bronze mirror: turtle, crane, people

Lot #114 (Sale Order 112 of 490)

Song Dynasty Chinese bronze mirror: turtle, crane, people. Diameter: 4.5 in. = 11.6 cm; Weight: 8 oz. = 220 g; Mirror surface; slightly convex; Knob: 7 mm, has hole, which is open all the way through
Condition very good, natural patina, no defects
Low Estimate: 1000
High Estimate: 3000
Orignal: Yes

Jin Dyn (1115-1234) Chinese Bronze mirror,- Double Carp

Lot #115 (Sale Order 113 of 490)

Jin Dyn (1115-1234) Authentic Chinese Bronze mirror Double Carp Design. Jin Dynasty, 1115-1234. Diameter: 4 7/8 inches = 124 mm; Weight: 10 oz. = 240 g; Rim: raised: Mirror surface: concave: Knob 7 mm high, a hole is not visible because of oxidized metal: Inner section: 4 dragons, eating nipples. Metal: white bronze, nice patina: Double carp design. Double fish design was one of the auspicious symbols in use from the Han dynasty onwards. Among these, the carp, thought to transform into a dragon, carried a particular congratulatory meaning. It is usually combined with a lotus and scrollwork background to imply the water in which the fish swim. Examples of this design exist from the Jin, Yuan and Ming dynasties.
Condition White bronze, nice patina, no defects
Low Estimate: 2000
High Estimate: 10000
Original: Yes

Huge Chinese FIVE dyn bronze coin: TANG GUO TONG GUO

Lot #116 (Sale Order 114 of 490)

Chinese FIVE Dynasties carved Bronze coin: TANG GUO TONG GUO, 70 mm Diameter: 70 mm; Thickness: 6 mm; Weight: 132.83g. Five Dynasties and Ten Kingdoms (simplified Chinese: ; traditional Chinese: ; pinyin: Wdi Shgu) was between 907960/979 AD and an era of political upheaval in China, between the fall of the Tang Dynasty and the founding of the Song Dynasty. During this period, five dynasties quickly succeeded one another in the north, and more than 12 independent states were established, mainly in the south. However, only ten are traditionally listed, hence the era's name, "Ten Kingdoms." Some historians, such as Bo Yang, count 11, including Yan and Qi, but not Northern Han, viewing it as simply a continuation of Later Han. This era also led to the founding of the Liao Dynasty.
Condition EF, Natural wear
Low Estimate: 500
High Estimate: 2000

Ming dyn. Chinese Bronze mirror: 4 sons getting career

Lot #117 (Sale Order 115 of 490)

Ming dynasty Chinese Bronze mirror: "Having children with good prospect to pass examinations and get government degrees" Age: Ming dynasty (1368 1644). Diameter: 8 inches = 202 mm; Weight: 2 lb. 4 oz. = 1000 g; Rim: convex, with sharp edge; Side: slightly inclined inwards; Knob 7 mm high, the hole is open all the way through; Mirror surface: concave; Inner section: 4 characters + 8 diagrams of prosperity, happiness, fortunate business, etc.
Condition Well preserved, no defects. Metal: white bronze, nice patina
Low Estimate: 3000
High Estimate: 10000
Original: Yes

S. Ming, Chinese Coin Yong Li Tong Bao 10-cash, 1646 AD, rev Yi Fen

Lot #118 (Sale Order 116 of 490)

Southern Ming, Yong Li Tong Bao 10-cash, reverse Yi Fen, AD 1646, F. Cast during AD 1646 - 1659 by the prince Yong Ming of the Ming court, when he lead a branch of Ming royal army fight against the invasion of Manchurans. Hartill: 21.79; Diameter: 30.8mm; Weight: 8.32g,
Condition Fine, a hairline stable crack along the rim at 12:00, authentic patina
Low Estimate: 800
High Estimate: 3000

GuangXu Emperor property, Qing dy Chinese bronze mirror

Lot #119 (Sale Order 117 of 490)

Authentic Chinese bronze mirror, a property of Guang Xu Emperor, Qing Dynasty. Diameter: 3.5 in. = 93 mm. Weight: 70 g = 2 oz. Knob: 2-3 mm with a hole all the way through. Thickness - unusually thin: 1-2 mm. Mirror surface: nicely concave, with original polishing. The Guangxu Emperor (14 August 1871 14 November 1908), born Zaitian of the Manchu Aisin Gioro clan, was the eleventh emperor of the Qing Dynasty, and the ninth Qing emperor to rule over China. His reign lasted from 1875 to 1908, but in practice he ruled, under Empress Dowager Cixi's influence, only from 1889 to 1898. He initiated the Hundred Days' Reform, but was abruptly stopped when Cixi launched a coup in 1898, after which he was put under house arrest until his death. His regal name means "glorious succession".
Condition Well preserved, natural patina. Mirror surface: nicely concave, with original polishing.
Low Estimate: 5000
High Estimate: 15000
Orignal: Yes

Qing Dynas Chinese bronze laquer mirror 2 birds design

Lot #120 (Sale Order 118 of 490)

Genuine Chinese bronze mirror with design of 2 birds sitting on the tree, on a lacquer base. Qing dynasty (AD 1644-AD 1911). Diameter from the back: 20 cm = 7 ¾ inches. Diameter from the front: 19.7 cm = 7 ¾ inches. Weight: 12 oz. = 790 g. Similar mirror was sold on China Guardian Auction in 2010, in Beijing, China for $68,000 = RMB 504,000 (last 4 photographs). Provenance: Purchased at the auction in USA. Only serious buyers, please!!! Shipping in USA: UPS only, with full insurance. International shipping: UPS only with full insurance. Please, contact about details (security, customs, insurance, etc.) before bidding.
Condition Well preserved. Lacquer is cracked in some places. Original patina.
Low Estimate: 30000
High Estimate: 100000
Orignal: Yes

Genuine, 4 characters , Chinese bronze mirror, Qing dynasty

Lot #121 (Sale Order 119 of 490)

Genuine, 4 characters, Chinese bronze mirror, Qing dynasty_
________ = many
________ = moral
_________= "Return In Glory"
__________= The moral character of a person is noble
Material: bronze
Diameter 83 mm
Thickness: 2.2mm
Weight: 44 g
Condition: small 12 mm crack
Mirror surface - very slightly concave, almost flat, but not completely flat

Low Estimate: 500
High Estimate: 3000
Orignal: Yes

Chinese copper coin, Qing Dynasty, Xianfeng Emperor

Lot #122 (Sale Order 120 of 490)

Chinese copper coin, Qing Dynasty, Xianfeng Emperor, . Fuzhou, Fujian. Obverse: Xiang Feng Zhong Bao. 1853-1855; Reverse above: Dang er shi wen (equivalent to 20 cash), Boo fu left and right; Reverse below: Yi Liang wu fen (1 liang 5 fen); Weight: 30.88g; Diameter: 42 mm; Hartill: 22.791, p. 348; Estimate: (2) - $2000; Authenticity: High probability of being genuine; The Xianfeng Emperor (Wade-Giles: Hsien-feng Emperor; Chinese: , pinyin: Xiánfngdì; 17 July 1831 22 August 1861), born Aisin-Gioro I Ju, was the ninth Emperor of the Qing Dynasty, and the seventh Qing emperor to rule over China, from 1850 to 1861.
Condition Used in circulation, nice EF, natural patina and oxidation
Low Estimate: 1000
High Estimate: 2000

Chinese bronze coin, Qing dynasty Xianfeng Emperor 44mm

Lot #123 (Sale Order 121 of 490)

Chinese red bronze coin, Qing dynasty, Xianfeng Emperor (1831-61), 44 mm, 54.9g, Rare; Fuzhou, Fujian; Obverse: Xian Feng Zhong Bao 1831-1861; Reverse: Er shi (20 cash), Boo fu left and right; Field: Ji zhong yi liang (calculated weight 1 liang); Diameter: 44 mm; Weight: 54.88 g; Hartill: 22.786, p. 348; Estimate: (3) Rare $1000; Authenticity report: High probability of being genuine; The Xianfeng Emperor (Wade-Giles: Hsien-feng Emperor; Chinese: , pinyin: Xiánfngdì; 17 July 1831 22 August 1861), born Aisin-Gioro I Ju, was the ninth Emperor of the Qing Dynasty, and the seventh Qing emperor to rule over China, from 1850 to 1861. Yizhu was born in 1831 at the Imperial Summer Palace Complex, 8 kilometers northwest of the walls of Beijing, and was the fourth son of the Daoguang Emperor. His mother was the Imperial Consort Quan (), of the (Manchu) Niuhuru clan, who was made Empress in 1834, and is known posthumously as Empress Xiaoquancheng (). Yizhu was reputed to have an ability in literature and administration which surpassed most of his brothers, which impressed his father Daoguang Emperor who therefore decided to make him his successor.
Condition Crisp EF, edges were worn in circulation
Low Estimate: 500
High Estimate: 1500

Round copper bowl, Ming dynasty, Xuande Emperor 1426-35

Lot #124 (Sale Order 122 of 490)

Round copper bowl, Ming dynasty, Xuande Emperor Period (1426-1435). Weight: 380 g = 13 oz. Diameter: 11.9 cm;
Condition Natural patina and wear, no defects
Low Estimate: 800
High Estimate: 2000
Orignal: Yes

Square copper plate Ming dynasty (1426-1435), Xuande Em

Lot #125 (Sale Order 123 of 490)

Square copper plate 65 mm, Ming dynasty (1426-1435), Xuande Emperor Period; Length: 65 mm; Width: 53 mm; Weight: 196 g = 7 oz. Date: Ming dynasty (1426-1435)
Condition Used, insignificant scratches and wear
Low Estimate: 500
High Estimate: 2000
Original: Yes

Chinese Ming D, Xuande Emp(1426-1435) round copper bowl

Lot #126 (Sale Order 124 of 490)

Chinese Ming Dynasty, Xuande Emperor Period (1426-1435), round smooth copper bowl. Date: Ming dynasty, Xuande Emperor Period (1426-1435). Diameter: 80 mm. Weight: 143.18g Height: 23 mm. Provenance: Private collection, XiAn, Shaanxi province, China. Authenticity report: Genuine
Condition normal age wear
Low Estimate: 500
High Estimate: 2000
Orignal: Yes

Oval copper plate, 11.7 cm, Yuan dynasty (1271-1386)

Lot #127 (Sale Order 125 of 490)

Oval copper plate, 11.7 cm, Yuan dynasty (1271-1386). Weight: 250 g = 11 oz. Length: 11.7 cm = 4.5 inches. Width: 75 mm = 2 7/8 inches. Made: Yuan dynasty (1271-1386)
Condition: normal age and usage wear
Low Estimate: 500
High Estimate: 2000
Orignal: Yes

Song Dynasty Lovely Antique Chinese Blue Crackled Jar

Lot #128 (Sale Order 126 of 490)

Song Dynasty(?) Lovely Antique Chinese Celadon Crackle Glaze Vase or Jar w/ Stand. This is a 2-tone thick porcelain or pottery vase, jar or storage vessel. It has a crackle celadon glaze with dark stains in areas. Vase comes with a simple Chinese wood display stand. With an old dealer price tag that reads: "MING 1450 $495.00 ". Age: Although exact age is unknown, but it does appear to be antique and likely of Song dynasty (1115-1368) Width: 4.1 in. = 10 cm Height without stand: 4.5 in. = 11 cm Height with stand: 5.5" tall Weight: 12.8 ounces total = 300 g Condition: Good overall condition with wear, spots, glaze stains, base rim restoration. Vase is, obviously, handmade and the shape is not proportional, which proves old age. Provenance: from a huge private collection of Chinese porcelain and pottery from Santa Cruz estate, California, USA. Chinese Collector (he paid $495 for it many years ago). Similar bowl was sold on Sothebys for $185,000 http://www.sothebys.com/en/auctions/ecatalogue/2013/chinese-works-of-art-n08974/lot.92.lotnum.html
Condition Good overall condition with wear, spots, glaze stains, base rim restoration. Vase is, obviously, handmade and the shape is not proportional, which proves old age.
Low Estimate: 5000
High Estimate: 20000
Orignal: Yes

Pair of Chinese porcelain white-blue saucers, Qing Dyna

Lot #129 (Sale Order 127 of 490)

Beautiful Genuine Pair of Chinese antique porcelain white-blue saucers. Diameter of bigger plate: 6.25 in. = 19 cm; Diameter of smaller plate: 5.5 in. =14 cm; Weight of bigger plate: 7 oz. = 200 g; Weight of smaller plate: 5 oz. = 120 g; Age: presumably during TongZhi Emperor period (1856-1875)
Condition Very good, some age wear; there are several small (1-2 mm) chips on the edges, no cracks. The chips are old and smooth, looks like they were a part of manufacturing process. The edges of the rim at the bottom of both saucers are not glazed. All these details prove authenticity of Qing dynasty age.
Low Estimate: 500
High Estimate: 2000
Orignal: Yes

Chinese porcelain tea set for 2 persons, Qing dynasty

Lot #130 (Sale Order 128 of 490)

Genuine Chinese porcelain tea set 2 cups + 2 saucers + 2 plates, Qing dynasty Cup 1: Weight = 135.10 g, Diameter = 3.75 = 95 mm; Cup 2: Weight = 134.81 g, Diameter = 3.75 = 95 mm; Saucer 1: Weight = 160 g, Diameter = 5 ½ = 143 mm; Saucer 2: Weight = 163.46 g; Diameter = 5.5 = 142 mm; Plate 1: Weight = 200g; Diameter = 6 ¼ = 16 cm; Plate 2: Weight = 200g; Diameter = 6 ¼ = 16 cm; Total weight: 2 lb. 4 oz. = 994 g;
Condition No cracks, overall very good condition. There are very insignificant small chips (1-2 mm) on the edges of 2 cups, 1 saucer and 1 plate. Refer to all pictures, please
Low Estimate: 500
High Estimate: 1500
Original: Yes

Chinese porcelain, white blue, wine pot, Qianlong mark

Lot #131 (Sale Order 129 of 490)

Chinese porcelain, white blue, wine pot with lid, Qianlong period (1711-1799) mark? Possibly made in People's Republic of China 1949-1976; Weight: 1 lb. 2 oz. = 500g; Height: 8 in. = 21 cm; Diameter of the base: 2.7 in. = 7 cm; Lid diameter: 1.65 in. = 4.3 cm; Condition: some normal wear, no cracks or chips; Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition some normal wear, no cracks or chips
Low Estimate: 300
High Estimate: 2000

Tang Dyn (618-906) Chinese earthenware glazed wine cup

Lot #132 (Sale Order 130 of 490)

Tang Dyn (618-906) Chinese earthenware brown glazed pottery wine cup; Age: attributed to Han dynasty (618-906). Height: 2 in. = 5.3 cm; Upper diameter: 3 inches = 8 cm; Weight: 5 oz. = 135 g; Condition report: Good. Refer to minor wear, and chips, but good news - there are no cracks; Authenticity report: The dating of Asian porcelain and pottery is very difficult and opinions of authenticity vary between experts and specialists. Subsequently, we strongly encourage all prospective buyers and/or his/her agent to carefully examine, inspect and research any and all items they wish to bid on before the auction. All references to time periods and cultures are only an opinion and are not a guarantee of authenticity. Shipping in USA: We suggest USPS Priority, FEDEX or UPS- below $20; International Shipping: We ship worldwide, please, contact about shipping rates;
Condition Good. Refer to minor wear, and chips, but good news - there are no cracks;
Low Estimate: 500.0
High Estimate: 5000.0
Original: Yes

Jin/Yuan dyn (12-14th c) Chinese stoneware Ewer, Hebei

Lot #133 (Sale Order 131 of 490)

Jin/Yuan dynasty (12-14th c) Chinese Cizhou stoneware Ewer, Hebei-Henan (cizhou) Black floral sprays on a white ground. Creamy stoneware, coated with white slip and with painted decoration over transparent glaze. Hebei-Henan (cizhou wares) Height: 2.75 inches = 66 mm Weight: 90 g Condition: Good, a 25-mm chip on the upper rim, good news there are no cracks! In 1918 A.D, some villagers from Julu in Hebei discovered some ancient ceramics while digging a well during a drought spell. Antique dealers in Beijing got wind of the findings and the ceramics were subsequently brought to Beijing. It did not attract the interest of Chinese collectors as they were deemed to be unrefined and coarse folk kiln wares. The pieces were however snapped up eagerly by foreign antique dealers . Over the period from 1918 to 1919, many more pieces were recovered in Julu and sent to Beijing antique market. It was estimated at least half of them were now in Japan. In 1920, Tianjin Museum sent a team to Julu to carry out investigation. They recovered a stone tablet entitled '" which mentioned a davastating flood that engulfed Julu in the second year of Northern Song Daguan (). The artifacts recovered were all buried during this 1108 A.D flood. In fact, the team also discovered some residential sites which showed how some of those artifacts were actually displayed then. The artifacts recovered by the team were subsequently published in a book called ", ie a record of Julu Song wares. Among the vessels, there were some with inscription in ink such as a white glaze washer and a brown glaze box, both with a date of Daguan second year, and a carved/incised motif pillow with date of Chongning " seventh year (1092 A.D). References: http://www.koh-antique.com/cizhou/cizhouware.html
Condition Good, a 25-mm chip on the upper rim, good news there are no cracks!
Low Estimate: 1000
High Estimate: 5000
Original: Yes

Chinese Yuan dynasty glazed lidded jar, Jingdezhen kiln

Lot #134 (Sale Order 132 of 490)

Chinese Yuan dynasty shipwreck glazed small lidded jar, found in Java, Indonesia (shipwreck?) This exceptional piece of yellow-white-blue glaze small lidded jar pottery, was found in Java, Indonesia. It was produced in Yuan dynasty (1280 AD - 1368 AD). Height - 77mm; Diameter at mouth lid - 70mm; Middle - 79 mm and at Bottom - 48 mm. Condition: There are several glaze peals and a chip at lid. Because of the pale fading colors we suggest it was found at shipwreck in the ocean. This is a good reference for studying of ancient Chinese ceramics and marine time history. References: Porcelains of the Yuan Dynasty, Appreciating Beijing Cultural relics, p. 33
Condition There are several glaze peals and a chip at lid. Because of the pale fading colors we suggest it was found at shipwreck in the ocean.
Low Estimate: 500
High Estimate: 2000
Original: Yes

Six dynasties 222-589 Glazed Scholars Water Dropper

Lot #135 (Sale Order 133 of 490)

Evaluated by Dr. Qing Chang, PhD as Six Dynasties 222-589 AD, Chinese sienna (yellow-brown) glazed pottery Scholars' Water Dropper. The bottom is not glazed. There are 3 Chinese characters at the bottom. The character "" or "dui4" (pinyin) literally means "right" or "correct," or a pair, or toward something and is often used that way, but it is most commonly used in a way similar to the way English speakers say "yes," or "yeah." Another possible explanation of dui character is - it should not have any meaning toward scholar's study or studio, but contains a meaning of the potter or a collector, for them to record something or remember something. Height: 45 mm. Diameter at widest part: 65 mm. Diameter at the bottom: 34 mm. Weight: 3.5 oz. = 100 g. A water-dropper was used to dilute the cake of ink on the ink-stone to the right consistency for use in painting or calligraphy ('beautiful writing'). Evaluated by Dr. Qing Chang, PhD. References: Six Dynasties (Chinese: ; Pinyin: Liù Cháo; 220 or 222 - 589[1]) is a collective noun for six Chinese dynasties during the periods of the Three Kingdoms (220280 AD), Jin Dynasty (265420), and Southern and Northern Dynasties (420589). This era immediately followed the fall of the Han Dynasty in 220 AD, and was an era of disunity, instability and warfare. The era ended when Emperor Wen of Sui reunified Southern and Northern China and the Sui Dynasty began.
Condition Perfect, some wear at the bottom, no defects

Chinese Tang-Song Dynasty (618-1279) blue/white plate

Lot #136 (Sale Order 134 of 490)

Chinese Tang-Song Dynasty (618-1279) blue & white small plate, 124 mm. During Tang Dynasty one of the famous white ware production sites in Northern China was Gongyi (previously called GongXian) in Henan. Gongyi kiln also produced the first under glaze blue and white ware. They were experimental in nature and mainly for the overseas market and production volume was small. The motifs were mainly simplified floral or Islamic geometric form. Blue and white wares were produced for the middle- east market and interest was short-lived. Production only resumed during the Yuan Dynasty and interestingly, the main market was again the Middle East. This Chinese under glaze blue & white small plate was probably made during Tang Yuan Dynasty (618-1279). It is decorated with Islamic geometric lines. This plate is in excellent condition. Dimensions: Diameter: 4.75 in. = 124 mm. 1.25 in. tall = 27 mm; Weight: 8.10 oz. = 220 g; Condition: Excellent, without any chips or repairs. Color: White, blue
Condition Excellent, without any chips or repairs.
Low Estimate: 500
High Estimate: 1000
Orignal: Yes

Chinese ceramic lid with dragon, Qing dynasty(?)

Lot #137 (Sale Order 135 of 490)

Chinese ceramic lid with dragon, Qing dynasty(?) Diameter: 7 cm = 70 mm; Weight: 178 g. Age: unknown, possibly Qing dynasty Condition: perfect
Condition Perfect
Low Estimate: 100
High Estimate: 300

Song Dynasty, Chinese, heavy, glazed dish, 6 in.=15.5cm

Lot #138 (Sale Order 136 of 490)

Chinese, heavy, glazed dish, Song Dynasty (960-1279) Diameter: 6 inches = 15.57cm. Weight: 11 oz. = 320 g.
Condition Fine for the age, no cracks, minor rim chips. The base is unglazed.
Low Estimate: 500
High Estimate: 2000
Orignal: Yes

Song/Yuan glazed Chinese burnt porcelain bowl, 12.5cm

Lot #139 (Sale Order 137 of 490)

Chinese, antique, burnt glazed porcelain bowl, 5 in.=12.5cm, Song/Yuan Dynasty(?) Age: attributed to Song (960-1279) or Yuan Dynasty (1271-1368). Diameter: 5 inches = 12.5cm; Weight: 6 oz. = 160 g;
Condition Fair, refer to 3 chips on the edges, long crack and over burning in the fire
Low Estimate: 200
High Estimate: 1000
Original: Yes

large 'JUN' turquoise bowl, attributed to SONG Dynasty?

Lot #140 (Sale Order 138 of 490)

A large 'JUN' turquoise bowl, attributed to SONG Dynasty(?), 18.8 cm. The flaring sides rising from a slightly spreading foot to an incurved rim, covered overall in a pale lavender-blue glaze thinning to a tan-gray around the rim and coagulating just above the foot. Diameter of the top: 7.45 in. = 18.8 cm; Diameter of the base: 2.25 in. = 5.9 cm; Weight: 1lb 7 oz. = 675 g; Age: attributed to Song dynasty (960-1279). Authenticity report: The dating of Asian porcelain and pottery is very difficult and opinions of authenticity vary between experts and specialists. Subsequently, we strongly encourage all prospective buyers and/or his/her agent to carefully examine, inspect and research any and all items they wish to bid on before the auction. All references to time periods and cultures are only an opinion and are not a guarantee of authenticity. Shipping in USA: We suggest USPS Priority, FEDEX or UPS- below $20. International Shipping: We ship worldwide, please, contact about shipping rates. References: Very Similar LARGE 'JUN' BOWL, SONG DYNASTY was sold on Sothebys in 2013 LOT SOLD. 68,750 USD (Hammer Price with Buyer's Premium) Diameter 8 7/8 in., 22.5 cm http://www.sothebys.com/en/auctions/ecatalogue/2013/chinese-works-of-art-n08974/lot.25.lotnum.html
Condition almost perfect, there is one superficial, 2-mm chip on the rim. This chip is almost invisible.
Low Estimate: 5000
High Estimate: 50000

Genuine TANG/Song dynasty Chinese celadon bowl, 153 mm

Lot #141 (Sale Order 139 of 490)

Genuine Chinese celadon TANG/Song dynasty bowl, 153 mm THIS IS A BEAUTIFUL PIECE OF CHINESE CELADON WARE. This celadon bowl is probably Tang/Song (618-1279 AD) type of porcelain ware. Authenticity report: Genuine. Inner center of the bowl lost the glaze because of continuous usage. Dimensions: Diameter: 6 in. = 153 mm, Height: 2.5 in. = 67 mm, Weight: 13.10 oz. = 370 g. Condition: there is a hair-line, absolutely stable, almost invisible crack inside the bowl and a chip on the base rim.
Low Estimate: 2000
High Estimate: 6000
Original: Yes

Chinese TANG / SONG dynasty celadon bowl, 143 mm

Lot #142 (Sale Order 140 of 490)

Chinese TANG / SONG dynasty celadon bowl, 143 mm THIS IS A BEAUTIFUL PIECE OF CHINESE CELADON WARE. This celadon bowl is probably Tang/Song (618-1279) of porcelain ware. Upper rim of the bowl is unglazed. Diameter: 5.5 in. = 143 mm, Height: 2.5 in. = 65 mm, Weight: 6.55 oz. = 185.96 g Condition: Natural glaze cracks, no chips or repairs. There is some sand or clay deposit inside the bowl. Thank you for looking.
Condition Natural glaze cracks, no chips or repairs. There is some sand or clay deposit inside the bowl.

Rare Ming dynasty (1368-1400) bowl with 3 leaping horse

Lot #143 (Sale Order 141 of 490)

Rare Ming dynasty (1368-1400) bowl with 3 leaping horses signed There are two characters at the bottom . Translated by Dr. Qing Chang, PhD as "Second camp". The mark inside the bowl is not a character, but probably the mark of the production. Very rare and unusual early Ming dynasty, decorated with 3 leaping horses signed by the artist at the bottom. Weight: 9 oz. = 230 g. Upper diameter: 5.5 in. = 14 cm. Base diameter: 2.25 in. = 5.5 cm.
Condition there is a crack about 14 cm long across the side wall, although the bowl was reassembled from fragments; it retains its beauty and rarity.
Low Estimate: 2000;
High Estimate: 10000;
Original: Yes

Chinese porcelain fish bowl, Jiaqing 1796-1820, Qing dy

Lot #144 (Sale Order 142 of 490)

Chinese Famille Noire porcelain fish bowl, (1796-1820). Magnificent fish bowl, on a matching black wooden stand, with a lot of hand-painted decorations. Mark: Da Qing Jiaqing Nian Zhi - "Great Qing Jiaqing period (1796-1820) made. The Jiaqing Emperor (Chia-ching Emperor; Chinese: ; pinyin: Jiqìng Dì; 13 November 1760 2 September 1820) was the seventh emperor of the Manchu-led Qing dynasty, and the fifth Qing emperor to rule over China, from 1796 to 1820.rnHe was the son of the Qianlong Emperor. During his reign, he prosecuted Heshen () (the corrupt favourite of Qianlong) and attempted to restore the state and curb the smuggling of opium inside China. Composition outside: First composition shows 11 elevated lotus flowers with blooms and multicolored leaves on the light-blue background. There are two white herons, one flying, another standing between lotus leaves. Heron in Chinese sounds a lot like the word for "path or way." A painting of a heron and a lotus has the meaning of "May your path be always upward."Second composition: One heron is flying above blooming bush with three blooming peonies. The beautiful colorations and different hues of green color on the leaves make this composition unique and show the hand of the master. Symbolism of Peonies - Queen of Flowers, the peony is an emblem of wealth and distinction. Black background between two compositions: elevated design shows multicolored lotus flowers in a cloud design. Thanks to the Buddhist influence, the lotus (or sea-rose) is of unique importance in Chinese folklore and symbolism. It is the symbol of purity. The lotus comes out of the mire but is not itself soiled. It is inwardly empty, yet outwardly - upright. It has no branches, but yet smells sweet. The words for lotus in Chinese have the same meanings as: to bind, connect (in marriage), one after the other, uninterrupted, to love, and modesty. It is one of the Eight Auspicious Symbols of Buddhism. Clouds symbolize good fortune and happiness, especially when they have more than one color.rnPainting inside: depicts 6 golden fish in a 4 symmetrical design of big blooming lotuses and their leaves. The two gold fish are usually shown head to head and represent fertility as fish produce many offspring. They are one of the Eight Auspicious Symbols of Buddhism. The Chinese words for goldfish are identical with the two words meaning "Gold and Abundance" therefore many Chinese keep goldfish at their homes or in ponds in temple gardens.rnFish in Chinese sounds like the word for "Abundance and Affluence" so the fish symbolizes wealth. Fish shown with a lotus blossom symbolize "Year after Year may you live in Affluence". Dimensions: Upper Diameter opening: 16.25 inches = 40.6 cm. Lower base diameter: 10.5 inches = 26.25 cm. Height: 13 inches = 32.5 cm rnHeight of the bowl on the stand: 22.7 inches = 56.75 cm. Weight: 30 lb. = 13.5kg. Authenticity report: There are a lot of details, which support the age of Jiaqing Emperor (1796-1820) 1) A red stamp says that this vase was produced during the rule of Jiaqing Emperor. 2) The numerous thin lines on the base/bottom were made long time ago, during polishing of the surface to make it more even and smooth. Jiaqing mark stamp was applied above/upon them. So cleaning and stamping were made at the end of the process of creating of the bowl. 3) Light colors (white, pink, yellow) have a lot of natural crackles. 4) The rim on the bottom was originally painted with black color and by now it is almost worn away; 5)Sienna paint on the upper and lower rims is slightly worn by numerous handling. 6) overall a strong eminance of antiquity. Provenance: Originally the fish bowl was a part the collection (1950-1970) of old antique dealer in New York, who passed away about 40 years ago. Approximately 35 years ago the whole collection was brought to Florida by his successor, where Eternity Gallery purchased the bowl. The fish bowl still has an old sticker with a price $1,150 (in 1960). Because of inflation since 1960 the cost of this bowl today would be about $9,000 today. References: 1)Masterpieces from the collection of the Shanghai Museum. Exhibition Sovereign Splendour in Gemeentemuseum The Hague. http://www.flickr.com/photos/54576605@N00/5703078546/
Condition Perfect for the age 200 years. NO cracks, no other defects
Low Estimate: 5000
High Estimate: 20000

Chinese porcelain fish bowl, Qianlong Emperor 1711-1799

Lot #145 (Sale Order 143 of 490)

Chinese Masterpiece, Famille Rose, porcelain fish bowl, Qianlong Emperor Period Made. Magnificent fish bowl, on a matching wooden stand, with a lot of hand-painted decorations. Mark: Da Qing Qianlong Nian Zhi "Great Qing Qianlong Period Made": 25 September 1711 7 February 1799. The style of writing of Qing reign marks varies, but can be separated into two broad divisions within which there are further sub-divisions. In the first division written in 'kai-shu' (regular or modern script), the mark consists of six characters written in two columns of three characters. It is read from right to left and in descending order. The first character reads 'da' (great), followed by 'qing' (pure), the official name of the alien Manchu dynasty. This is followed by the two characters giving the reign title of the ruling emperor. The fifth character reads 'nian' (year) and the final character reads 'zhi' (made/manufactured). Composition outside: Highly embellished and decorated Famille Rose fish bowl. First composition: Emperor Palace with Emperor Family and nobility. Second composition: Ceremonial greeting in Emperor Palace of Emperor Family and nobility. Two garden scenes between two compositions, with two birds, butterflies and flowers. Painting inside: depicts 5 golden fish, swimming between sea grasses. The two gold fish are usually shown head to head and represent fertility as fish produce many offspring. They are one of the Eight Auspicious Symbols of Buddhism. The Chinese words for goldfish are identical with the two words meaning "Gold and Abundance" therefore many Chinese keep goldfish at their homes or in ponds in temple gardens. Fish in Chinese sounds like the word for "Abundance and Affluence" so the fish symbolizes wealth. Fish shown with a lotus blossom symbolize "Year after Year may you live in Affluence". Dimensions: Upper Diameter opening: 14.5 inches = 36.2 cm; Lower base diameter: 9.6 inches = 24 cm; Height: 12.8 inches = 32 cm; Height of the bowl on the stand: 20 inches = 50 cm; Weight: 18 lb. = 8.1 kg; Authenticity report: There are a lot of details, which support the age of Qianlong Emperor (1711 -1799): 1) A red six characters, hand-painted with thin brush (lines have different intensity) say that this vase was produced during the rule of Qianlong Emperor. 2) Light colors (white, pink, yellow) have a lot of natural crackles. 3) Generally the colors are somewhat dull, which reflects the influence of the age. 4) There is a strong aura of old antique masterpiece, which is irresistable. Provenance: Originally the Famille Rose porcelain fish bowl was a part the collection (1950-1970) of old antique dealer in New York, who passed away about 40 years ago. Approximately 35 years ago the whole collection was brought to Florida by his successor, where Eternity Gallery purchased the bowl. References: 1) Masterpieces from the collection of the Shanghai Museum. Exhibition Sovereign Splendour in Gemeentemuseum The Hague. http://www.flickr.com/photos/54576605@N00/5703078546/
Condition Overall very good condition. Natural wear of the rim of the base. Generally the colors are somewhat dull, which reflects the influence of the age.
Low Estimate: 10000
High Estimate: 50000

PORCELAIN GILT CHINESE ROSE MEDALLION FLOOR VASE 95 cm

Lot #146 (Sale Order 144 of 490)

PORCELAIN GILT CHINESE ROSE MEDALLION FLOOR VASE with wooden stand. Approx. height: 38 inches = 95 cm tall, The wood stands adds 12 inches = 30 cm. Approximate weight: 70-80 lb. Approximate age: 1850-1950. Authenticity report: The dating of Asian Works of Art is very difficult and opinions of authenticity vary between experts and specialists. Subsequently, we strongly encourage all prospective buyers and/or his/her agent to carefully examine and inspect any and all items they wish to bid on before the auction. All references to time periods and cultures are only an opinion and are not a guarantee of authenticity. Shipping in USA by Craters and Freighters 5105 W Knox St., Tampa, FL 33634 (813) 889-9008 (813-889-9008), approximately $400-$600. International shipping: UPS, Craters and Freighters (813-988-4162). Example: shipping to China by ocean boat to port Hong Kong - $950. Shipping to China by air - $1700-$2000. Ask for shipping cost, please! Local pick up is available, - if you live or take your vacation in Florida or Georgia. You can save hundreds of dollars by picking it up from Clearwater or Tampa, FL. This vase fits perfectly to the back seat of most of the large size cars, make sure there is 38-40" x 20" space in your car.
Condition Perfect for the age, no cracks or chips, some normal wear of the lower base rim.
Low Estimate: 4000
High Estimate: 10000

LARGE SATSUMA EARTHENWARE KORO VASE & lid: Meiji period

Lot #147 (Sale Order 145 of 490)

LARGE SATSUMA EARTHENWARE KORO VASE with lid: Meiji period. The Meiji period ( Meiji-jidai), also known as the Meiji era, is a Japanese era which extended from September 1868 through July 1912. The cover surmounted by a shishi or guardian dog, also with shishi handles on the main body. Decorated in colored enamels and gilding. Beautiful aging crackles all over. Size: Approximately 33 in. tall x 22 in. wide. Weight: 40 lb. Weight with packing: 55 lb. Condition: Several cracks and chips in the area of legs of the vase, body of the dog on the lid and ears of all three dogs are damaged, refer to the photos, please. Shipping in USA by Freight FedEx or UPS may cost $500-$1000, depending on shipping terms. International shipping is available: Approximate cost $1000-$2000, please, contact before bidding about the cost and terms.
Condition Several cracks and chips in the area of legs of the vase and body of the dog on the lid. Ears of all three dogs are damaged/broken, refer to the photos, please.
Low Estimate: 10000
High Estimate: 40000
Original: Yes

Chinese Terracotta Lady, Tang dynasty(?) 27.7 cm

Lot #148 (Sale Order 146 of 490)

Exceptionally Well-Preserved, Large Medieval Tang Dynasty(?) Painted Ceramic Statuette of a Woman. CLASSIFICATION: Painted Ceramic Statuette. ATTRIBUTION: Ancient China, in the Style of Tang Dynasty, 8th or 9th Century A.D. Possibly an 18th or 19th Century Imitative Revival. SIZE/MEASUREMENTS: Height: 277 millimeters (11.12 inches); Breadth: 100 millimeters (4 inches). Thickness: 82 millimeters (3.25 inches) at top lip. CONDITION: Very good, no repairs but some of the paint was worn away. A little wear and a few blemishes consistent with any item which is at least several centuries old. Not flawless, but certainly in a better than average state of preservation and unrepaired! Stands on its own. DETAIL: A nicely preserved painted ceramic statuette so wonderfully characteristic of Tang Dynasty statuary. Although it is quite possible that this specimen could be much older than we credit, it is possible that this is a revivalist imitative produced for the European market of the 18th or 19th century. The style and indications of age strongly suggest that it is indeed eighth or ninth century Tang. However it is widely known that Chinese porcelain was quite popular in Victorian Europe. Carrying Chinese porcelain from China to Europe was an industry for the seafaring mariners of the 16th, 17th, and 18th centuries. Entire fleets of sailing ships plied the trade, especially the Dutch and English. Ancient Chinese ancient ceramics were also extremely popular in Victorian Europe. Chinese ceramic artwork was highly appreciated and in great demand. Although the style of this specimen is very convincing and suggests it might indeed be of Tang Dynasty origin, most of the Chinese ceramics in Europe date to the 17th, 18th or 19th century so it is quite possible that this is an imitative revival piece. Judging by the style and wear it could indeed be considerably older, but only a $600 thermo luminescence test would establish this conclusively. So well simply err on the side of being conservative and label it as a revival piece, and if it is indeed older, so much the better for the buyer. However whether an antique several centuries old, or an antiquity a few centuries older, this is a valuable and collectible piece of art. Though obviously some of the paint has decomposed over the centuries, most of the paint remains intact. And all of the eloquent features remain quite distinct, the facial expression and gesture so lifelike quite remarkable for statuary this old.
Condition A little wear and a few blemishes consistent with any item which is at least several centuries old. Not flawless, but certainly in a better than average state of preservation and non-repaired! Stands on its own.
Low Estimate: 2000
High Estimate: 10000

Chinese snuff blue bottle: Peasants threshing rice Qing

Lot #149 (Sale Order 147 of 490)

Chinese antique snuff blue bottle: Peasants threshing rice, Qing dynasty (1600-1800). Description: 2 & 1 peasants, thrashing ricernHeight (with a cork): 3 in. = 73 mm. Weight: 2 oz. = 69.29 g. Condition: Used, slightly scratched, no defects. Authenticity report: genuine antique hand-made carving. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's. History: Snuff bottles were used by the Chinese during the Qing Dynasty to contain powdered tobacco. Smoking tobacco was illegal during the Dynasty, but the use of snuff was allowed because the Chinese considered snuff to be a remedy for common illnesses such as colds, headaches and stomach disorders. Therefore, snuff was carried in a small bottle like other medicines. The snuff bottle is comparable to the snuff box used by Europeans. Tobacco was introduced to the court at Beijing some time during the mid- to late-16th century. It was originally smoked in pipes before the establishment of the Qing Dynasty. The use of snuff and snuff bottles spread through the upper class, and by the end of the 17th century it had become a part of social ritual to use snuff. This lasted through most of the 18th century. Eventually, the trend spread into the rest of the country and into every social class. It was common to offer a pinch of snuff as a way to greet friends and relatives. Snuff bottles soon became an object of beauty and a way to represent status. The highest status went to whoever had the rarest and finest snuff bottle. The peak of snuff bottle manufacture was during the 18th century.rnThe use of snuff increased and decreased with the rise and fall of the Qing Dynasty and died away soon after the establishment of the Republic of China. However, replica snuff bottles are still being made, and can be purchased in souvenir shops, flea markets and museum gift shops. Original snuff bottles from the Qing period are a desirable target for serious collectors and museums. A good bottle has an extra quality over and above its exquisite beauty and value: that is touch. Snuff bottles were made to be held and so, as a rule, they have a pleasant tactile quality.
Condition Used, very good, no defects.
Low Estimate: 500
High Estimate: 1500
Orignal: Yes

Chinese antique snuff black bottle: Waiter & cashier

Lot #150 (Sale Order 148 of 490)

Chinese antique snuff black glass bottle: Waiter and cashier in Chinese restaurant. The bottle was open for a while and original bronze cosmetic powder/eye shadow has accumulated in a plastic bag. The lucky bidder will get original ancient cosmetics!!!!!!! Description: Waiter in the restaurant with inscriptions Height (cork including): 2.7 in. = 73 mm Weight: 2 oz. = 64.35 g Condition: Used, slightly scratched, no defects Authenticity report: genuine antique hand-made painting and glass blowing Provenance: from private collection in Florida, USA; purchased in 1980s -1990's History Snuff bottles were used by the Chinese during the Qing Dynasty to contain powdered tobacco. Smoking tobacco was illegal during the Dynasty, but the use of snuff was allowed because the Chinese considered snuff to be a remedy for common illnesses such as colds, headaches and stomach disorders. Therefore, snuff was carried in a small bottle like other medicines. The snuff bottle is comparable to the snuff box used by Europeans. Tobacco was introduced to the court at Beijing some time during the mid- to late-16th century. It was originally smoked in pipes before the establishment of the Qing Dynasty. The use of snuff and snuff bottles spread through the upper class, and by the end of the 17th century it had become a part of social ritual to use snuff. This lasted through most of the 18th century. Eventually, the trend spread into the rest of the country and into every social class. It was common to offer a pinch of snuff as a way to greet friends and relatives. Snuff bottles soon became an object of beauty and a way to represent status. The highest status went to whoever had the rarest and finest snuff bottle. The peak of snuff bottle manufacture was during the 18th century. The use of snuff increased and decreased with the rise and fall of the Qing Dynasty and died away soon after the establishment of the Republic of China. However, replica snuff bottles are still being made, and can be purchased in souvenir shops, flea markets and museum gift shops. Original snuff bottles from the Qing period are a desirable target for serious collectors and museums. A good bottle has an extra quality over and above its exquisite beauty and value: that is touch. Snuff bottles were made to be held and so, as a rule, they have a pleasant tactile quality.
Condition Used, slightly scratched, no defects
Low Estimate: 500
High Estimate: 1500
Orignal: Yes

Chinese antique snuff black bottle: Great Wall of China

Lot #151 (Sale Order 149 of 490)

Chinese antique snuff black glass bottle: Great Wall of China Description: under the glass you can see Great Wall of China with characters on both sides. Height (with the cork): 2.7 in. = 6.8 cm. Weight: 1.5 oz. = 39.83g. Authenticity report: genuine antique hand-made painting and glass blowing Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition Used, slightly scratched, no defects
Low Estimate: 500
High Estimate: 1500
Orignal: Yes

Chinese antique Peking glass snuff bottle, Carp 10cm

Lot #152 (Sale Order 150 of 490)

Chinese antique Peking glass snuff bottle, in the shape of the carp. Description: white orange fish. Length: 3.75 in. = 10 cm. Weight: 2 oz. = 56.78 g. Authenticity report: genuine antique hand-made carving. Provenance: from private collection in Florida, USA; purchased in 1980s -1990s.
Condition Used, very slightly scratched, no defects
Low Estimate: 700
High Estimate: 1500
Orignal: Yes

Chinese antique Ordos style bronze camel, 14 cm, 940g

Lot #153 (Sale Order 151 of 490)

Chinese antique bronze camel. Length: 5.5 inches = 14 cm, Height: 4.25 inches = 10 cm, Weight: 2 lb. 1 oz. = 940 g. Age: several hundred years old. Provenance: private collection in Florida, purchased in 1980s -1990's. The Ordos culture comprises the period from Upper Paleolithic to the late Bronze age at the Ordos Desert, in the south of the Inner Mongolian Autonomous Region of the People's Republic of China. The Ordos were predominantly Mongoloid, as known from their skeletal remains and artifacts,[1] but numerous interactions between Europoid and Mongoloid might have also taken place in that region over the course of several centuries,[2] until its occupation by Qin and Han dynasties.
Condition beautiful old patina, no defects
Low Estimate: 2000
High Estimate: 5000

Certified Warring States Chinese Bronze Rhinoceros wine container

Lot #154 (Sale Order 152 of 490)

Certified Chinese Bronze Rhinoceros wine container, Warring States (4th cent.-221B.C) ZUN, shaped as a rhinoceros, has two horns on the head and a round lid on the back. The whole body is covered with cloud decoration. Around the neck and about the front part of the body are wrinkles. Age: Warring States (mid.4th cent.-221B.C). Weight: 4 lb. 9 oz. = 2080 g. Length: 11 in. = 28 cm. Width: 4 = 9cm Height: 5.5 in. = 13.5 cm Condition: very old, authentic patina all over, the lid opens only up to 40 degrees, otherwise there are no other defects, a lot of white oxidation inside the vessel. Authenticity report: Genuine. Provenance: from private collection in Florida, USA, purchased in 1980s -1990's. References: Archaeological evidence shows that rhinoceros have been found in China since earliest times. A text on oracle bones from the late Shang dynasty (ca.1300 - ca. 1050 BCE) records the king hunting rhinoceros, whose tough, thick hide was used as body armor by high-ranking soldiers. In the war-torn centuries preceding the Han period, the rhinoceros was hunted nearly to distinction, becoming so rare that it attained almost mythical status. http://www.easterncurio.com/easten%20curio/F%20Bronze&Copper%20Pieces/F2%20Animal/Animal01.htm...... http://www.flickr.com/photos/sftrajan/7315946912/ Rhinoceros-shaped bronze 'Zun' (wine vessel) - gold and silver inlaid cloud design - Western Han Dynasty (202 BC to 8AD). Unearthed in Shaanxi Province National Museum of China () Beijing, China .the rhinoceros lived in China in ancient times......
Condition very old, authentic patina all over, the lid opens only up to 40 degrees, otherwise there are no other defects, a lot of white oxidation inside the vessel.
Low Estimate: 50000
High Estimate: 150000
Original: Yes

Chinese Museum Bronze Bowl Pair, Tang Dynasty 599-649AD

Lot #155 (Sale Order 153 of 490)

Chinese Antique Bronze Bowl Pair, Tang Dynasty, 599-649 AD) Matched pair of cast bronze bowls, each with low pedestal base and dished body, the outer face with running arabesque arcade and textured field; to the inner face a roundel with opposed lions; to the underside, a cartouche with maker's mark. Seal on the bottom " _____", "_______" was Zhen Guan (627-649 AD) Zhen Guan was the reign title of Tai Zong, personal name - Li Shimin (599-649) "________" was the TANG Kingdom. Weight: 400 g + 471 g = 871 grams = 2 lb. Diameter of plate #1: 12.4 cm = 5 in. Diameter of plate #2: 12.8 cm = 5 1/8 in. Provenance: Acquired on the London art market in the late 1990's.
Condition Fine condition, authentic patina and rust all over
Low Estimate: 2000
High Estimate: 5000
Original: Yes

Chinese Bronze Deer, Qianlong Emperor mark Qing dynasty

Lot #156 (Sale Order 154 of 490)

Qing dynasty, Qianlong Emperor (1735-1796) period, Chinese bronze deer. Height: 15 inches = 42 cm; Length: 11.5h inches = 29 cm; Weight: 7 lb. = 3 kg; Provenance: private collection in Florida, purchased in 1980's -1990's
Condition Partial oxidation of the bronze, some loss of gilded layer, otherwise - perfect
Low Estimate: 2000
High Estimate: 5000
Orignal: Yes

Four Chinese Bronze Worriers, Qin dynasty style

Lot #157 (Sale Order 155 of 490)

Four Chinese Bronze Worriers, Qin dynasty style; Attributed to Qin dynasty (221 to 206 BC); -Tallest soldier with 2 hair nodes. Weight: 1480 g = 3 lb. 4 oz , Height: 14 = 35 cm; -Middle soldier with 1 small hair node Weight: 3 lb. 8 oz. =1600 g; Height: 13.5 = 34 cm; -Middle soldier with 1 big hair node - Weight: 3 lb.=1400 g; Height: 13.25 = 33.5 cm; -Kneeling soldier with 1 small hair node Weight: 3 lb. 8 oz.= 1600 g ; Height: 10.5 in. = 26.5 cm; Total weight: 14 lb. = 6 kg; Tallest soldier with 2 hair nodes: 14 = 35 cm; 3 lb 4 oz = 1480 g; Middle soldier with 1 small hair node: 13.5 = 34 cm; 3lb 8 oz = 1600g; Middle soldier with 1 big hair node 13.25=33.5 cm 3 lb. = 1400 g. Kneeling soldier with 1 small hair node 10.5 = 26.5 cm; 3 lb. 8 oz. = 1600 g; Suggested Shipping in USA - FEDEX ground, UPS ground, approximately $50-$100. International shipping is available, ask for rates, please.
Condition Natural green patina and oxidation all over, remnants of clay or soil - inside the statues
Low Estimate: 2000
High Estimate: 6000

Antique Chinese pair of bronze vases, 4 characters marks, Ming(?)

Lot #158 (Sale Order 156 of 490)

Antique Chinese pair of bronze vases, 4 characters marks, Ming(?)
There is a 4 character mark at the bottom: Ming Dynasty(?)
Height: 10.5 in. = 26.5 cm;
Weight of 1 vase: 2 lb. 8 oz. = 1,180 g;
Weight of 2 vases: 2,360 g;
Condition: normal aging patina, no defects
Provenance: private collection in Florida, USA

Low Estimate: 1000
High Estimate: 100000

Chinese gilded Bronze pair of Foo Dogs, Ming/Qing dyn?

Lot #159 (Sale Order 157 of 490)

Chinese gilded Bronze pair of Foo Dogs, Ming/Qing dynasty(?) Weight: 5 lb. Base; 2.5 x 5.5 in. Height: 6 in. = 15 cm. Age: over 300 years old Provenance: private collection in Florida, USA, purchased in 1980s -1990's
Condition rust all over, partial loss of gild, no major defects
Low Estimate: 3000
High Estimate: 6000
Orignal: Yes

Chinese gilded bronze lotus incense burner, Qing dynasty

Lot #160 (Sale Order 158 of 490)

Chinese gilded bronze incense burner in the shape of lotus, Qing Dynasty. Symbolism of the burner: "Lotus" means "to continue" in Chinese language. . means many. So, Lotus with a child means "continue to deliver many children". Lucky words for mothers. Three legs in the shape of frogs. Diameter: 5.5 inches = 14cm. Height: 6 in. = 14 cm. Weight: 4 lb. 12 oz. = 2 kg 150g. Condition: used, natural patina, no defects. Authenticity report: genuine Provenance: private collection in Florida, USA, purchased in 1980s -1990s
Condition used, natural patina, no obvious defects
Low Estimate: 4000
High Estimate: 10000
Orignal: Yes

Chinese gilded bronze incense burner,- Kangxi mark

Lot #161 (Sale Order 159 of 490)

Chinese gilded bronze incense burner,- Deity on dragon, Qing Dynasty, Kangxi Emperor (?) Explanation of symbolism on the burner: Taoist deity on the dragon; Foo dog, sitting on the top of the lid; Phoenix birds on the sides of the lid; Three legs in the shape of beasts; Diameter: 3.5 in. = 9 cm; Height: 5 in. = 13 cm; Width 5.5 in. = 13 cm; Weight: 1 lb. = 450 g; Authenticity report: genuine antique; Provenance: from private collection in Florida, USA; purchased in 1980s -1990's in Germany
Condition used, natural patina, no defects
Low Estimate: 4000
High Estimate: 10000
Orignal: Yes

Chinese Ming Dynasty bronze Guan Yin on the beast

Lot #162 (Sale Order 160 of 490)

Chinese Ming Dynasty figure of a Guan Yin on the beast. Height: 8 inches = 20 cm; Length: 5.5 inches = 14 cm; Depth: 2.5 inches = 6.2 cm; Weight:2 lb.3 oz. = 1kg = 1000g; Shipping in USA: FEDEX or UPS International shipping is available: ask for rates. Provenance: This bronze statue was purchased at USA auction in California.
Condition The fingers on the left-hand side have not been properly molded during the casting. The casting around the neck and under the left-hand side has been affected. You can see wear and tear on the rest of the piece as a result of age. Left leg of the back of the animal has been restored.
Low Estimate: 2000
High Estimate: 10000
Orignal: Yes

Chinese Antique Bronze Tea Pot, Qing Dynasty

Lot #163 (Sale Order 161 of 490)

Chinese antique bronze tea pot, Qing dynasty (1644-1912); There is an image of the jade girl on the phoenix bird and golden boy on the dragon on both sides of the pot. - Dragon and Phoenix; - golden boy and jade girl -- immortal boy and girl in waiting of a divine house; Weight: 12 oz. = 350 g; Height: 4 in. = 10.5 cm; Diameter: 3.25 in. = 7.5 cm; Authenticity report: genuine antique, 6 character mark on the bottom; Provenance: bought on antique market in Germany in 1980s.
Condition Natural patina with some oxidation
Low Estimate: 5000
High Estimate: 10000

Ming Dynasty Bronze/Copper Lion Incense Burner w lion

Lot #164 (Sale Order 162 of 490)

Ming Dynasty Bronze/Copper Lion Incense Burner with lion and 2 candle holders Mystical lion on the cover, 2 candle holders on the sides. Rich patina everywhere; rich natural bronze oxidation inside 4 ancient characters on one side with 2 phoenix birds above 4 ancient characters on the other side with 2 phoenix birds above. Translation of the characters: Let your house - be full of gold and jade. Usually, these burners were used for burning candles and herbs for Buddha shrine. Seal with 6 characters on the bottom Weight: 2 lb. 6 oz. = 1100 g. Height (burner with lion cover): 7.5 inches = 17.5cm. Width: 6.5 inches = 16 cm
Condition Rich patina everywhere; rich natural bronze oxidation inside

Low Estimate: 4000
High Estimate: 12000
Original: Yes

Chinese bronze tripod ding, W. Zhou dynasty(?)

Lot #165 (Sale Order 163 of 490)

Chinese bronze tripod ding, attributed to Western Zhou dynasty (1122-771 BC). Height: 7 inches = 18 cm. Upper diameter: 5.9 inches = 15 cm; Weight: 2 lb. 1 oz. = 940 g. Provenance: Private collection Ontario, Canada.
Condition Old natural patina and oxidation all over. There is a small 2-mm hole in the bottom of the ding.
Low Estimate: 1500
High Estimate: 5000
Orignal: Yes

Chinese Museum Bronze Song dynasty plate: gilded Dragon

Lot #166 (Sale Order 164 of 490)

Antique Chinese Bronze hand-made plate with gilded Dragon, birds and flowers Bronze or Silver(?) with chased and punched decoration and gilding. Vessels such as these were made for formal entertaining. Presumable age: Southern Song dynasty (1127-1279) or Yuan dynasty (1271-1368), Possibly was made in lower reaches of Yangzi River. Weight: 8 oz. = 230 g; Diameter: 17 cm = 6.75 inches. Similar plate is exposed in Metropolitan museum, in New York, USA.
Condition: Beautiful patina, no defects
Low Estimate: 40000;
High Estimate: 150000;
Orignal: Yes

White Bronze Ming Dynasty Bronze Incense Burner, 4

Lot #167 (Sale Order 165 of 490)

White Bronze Ming Dynasty Bronze Incense Burner, silvered and gilded; partial oxidation. Usually, these burners were used for burning candles and herbs for Buddha shrine. Seal with 6 characters on the bottom. Weight: 4 lb. = 1800 g. Height: 8 inches = 20.5cm; Biggest width: 9.5 inches = 25 cm.
Provenance: bought on antique market in Florida, USA.
Condition Natural patina everywhere; silvered and gilded; partial oxidation
Low Estimate: 3000
High Estimate: 6000
Orignal: Yes

Chinese silver vase, Ming Dynasty, H: 30 cm

Lot #168 (Sale Order 166 of 490)

Chinese Ming Dynasty, hand-made, silver vase; Height: 30 cm; Featuring dragons amid stylized ruyi-head cloud scrolls; Handles in form of dragons; Archaic one-character mark, carved on base; Height: 30 cm, Diameter: 9.5 cm, Weight: 1541 grams. Age: Attributed to Ming dynasty (13681644).
Condition Natural patina, no major visible defects, just some imperfections. Contents of silver -90%, verified by professional jeweler.
Low Estimate: 10000;
High Estimate: 20000;
Orignal: Yes

Liao dyn(?) Chinese antique jade small recumbent horse

Lot #169 (Sale Order 167 of 490)

Chinese antique jade small recumbent horse, attributed to Liao dynasty (9071125). Height: 2.75 in. = 7 cm; Length: 5 in. = 12.5 cm; Weight: 1 lb. = 450 g; Age: attributed to Liao dynasty (9071125). Condition: Fine, no defects. Archaic evidences of exposed crystal plane, diffusive markings, dissolved pits and cleaving veins are seen. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's References: Sui, Tang, Song & Yuan Dynasties (589 D.D. -1368 A.D.) The designs of Tang Dynasty jade artifacts are seen to be characterized by reality and its relation to daily life. Due to the popularity of Buddhism, many jade Buddhist figures are made during this period. Owing to the particular cultural development such as the Tang trio color ceramics, many jade artifacts are painted with rich colors and guilt with gold. Flying fairy of Buddhist figure is appeared as single piece jade artifacts or constitutes major motif on the artifacts. Because of frequent communication with foreign countries, foreigners visited China quite often that many motifs of Tang Dynasty are appeared as foreigners from the west which are called Hu people. The designs of Song, Yuan, Liao and Kim Dynasties jade artifacts are more daily life oriented. The main theme of many Song Dynasty jade artifacts is lad with different posture and the main themes of Liao and Kim Dynasties are the scenes of spring with birds, flowers and ponds, the scenes of Autumn Mountain with pine trees, deer and animals.
Condition Fine, no defects. Archaic evidences of exposed crystal plane, diffusive markings, dissolved pits and cleaving veins are seen.
Low Estimate: 2000
High Estimate: 4000

Qing/Ming Chinese Double Elephant Jade Vase, 11.5cm

Lot #170 (Sale Order 168 of 490)

Chinese Antique Jade double elephant vase, attributed to Qing/Ming dynasty. In Buddhism the elephant is a symbol of mental strength. Height: 4.5 in. = 11.5 cm; Width: 3.5 in = 10.5 cm; Depth: 2.5 in. = 6.5 cm; Weight: 1 lb. 12 oz. = 800 g; Condition: some natural aging, no defects; Provenance: from private collection in Florida, USA; purchased in 1980s -1990's in Germany; Ming & Qing Dynasties( 1368 A.D. - 1911 A.D.): In the Ming Dynasty, the most important jade artifacts are those made by famous craftsman Lu Tzu-kang. The jade plaque made by him has become the standard design which calls Tzu-kang plaque. As a result, genuine Tzu-kang plaque is valuable even during the Ming Dynasty and goes without saying for later periods. The simple criteria to identify genuine Tzu-kang plaque are the material should be top grade white Hotien jade and low relief lines for the curving characters. In the Qing Dynasty, due to the emphasis of jade artifacts from the imperial court, especial from the Emperor Chienlung himself, jade artifacts of the Qing Dynasty become the last high peak in terms of quality and quantity of Chinese jade carving history. ELEPHANTS: The main characteristics of the elephant are his strength and steadfastness. There for it become a symbol of physical and mental strength, as well as responsibility and earthiness. In Indian mythology we hear about the flying elephants and Airavata, the white elephant who become the vehicle of Indra and appeared from the churning of the milky ocean. Therefore white elephants are considered very special and with the power to produce rain. They are identified as rain-bearing clouds, which will explain the belief in the flying elephants. In Indian society elephants were considered to bring good luck and prosperity. They were owned by the kings and used in wars. In buddhism the elephant is a symbol of mental strenght. At the beginning of one's practice the uncontrolled mind is symbolized by a gray elephant who can run wild any moment and destroy everything on his way. After practicing dharma and taming one's mind, the mind which is now brought under control is symbolized by a white elephant strong and powerful, who can be directed wherever one wishes and destroy all the obstacles on his way. Buddha Shakyamuni was born as elephant in some of his previous incarnations. Also in his last incarnation as Siddhartha Gautama he songs: descended from the Tushita pure land and entered his mother's womb in the form of a white elephant. In Buddhist iconography we find the elephant-faced deity Gangpati or Ganesh as an emanation of the bodhisattva Avalokitesvara. Also in another aspect, representing the worldly aspect of the same evergy he is trampled upon by same other deities such as Mahakala, Vajra Bhairava and others. In the mandala offering ritual one offers to the Buddha the Precious Elephant, with the strength of one thousand elephants and who can circumdbulate the whole universe three times in one day. Also the elephant tusks are one of the Seven Royal Emblems. The elephant is the vehicle of the Tathagata Aksobhya and the deity Balabadra. The elephant also appears as a guardian of the temples and of Buddha himself. References: 1) http://www.exoticjades.com/?page_id=2980 2) http://www.palaceantique.com/Browse.aspx?id=614 3) http://ccbs.ntu.edu.tw/FULLTEXT/JR-BH/bh117490.htm
Condition some natural aging, no defects
Low Estimate: 5000
High Estimate: 12000
Orignal: Yes

Certified Qing/Ming dynasty Chinese jade spinach vase, 26 cm

Lot #171 (Sale Order 169 of 490)

Certified Qing/Ming dynasty Chinese antique jade spinach vase with lid, 26 cm. The relief pattern imitates the pattern is from the Bronze Age period during the Shang dynasty. The two elephant heads represent a Buddhist meaning. In Buddhism the elephant is a symbol of mental strength. Age: Ming to mid Qing dynasty 1368- 1700 AD; The handles in the shape of the elephant trunks hold the rings. The rings were carved originally from the whole piece. Height: 10.5 in. = 26 cm; Width: 5 in. = 12.5 cm; Depth: 2.5 in. = 6.2 cm; Weight: 2 lb. 14 oz. = 1.2 kg; Condition: there is stable vertical crack from the rim down to the middle of the vase; otherwise very good condition. This jade vase is accompanied by certificate of authenticity.
Condition: Fine. There is stable vertical crack from the rim down to the middle of the vase; otherwise very good condition
Low Estimate: 50000
High Estimate: 200000
Orignal: Yes

Certified Qing dynasty, Chinese white jade fish boat 29cm

Lot #172 (Sale Order 170 of 490)

Certified Qing dynasty, Chinese white jade/nephrite fish boat with 2 fishermen. Age: Qing dynasty 1644-1911; Weight: 3 lb.10 oz. = 1650 g; Length: 11.5 in. = 29.5cm; Height: 3 in. = 8.7 cm; Condition: excellent, no defects. The surface of the base is polished and uneven. Authenticity report: genuine handmade antique. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's. Estimate: $200,000-$500,000 References: Ming & Qing Dynasties ( 1368 A.D. - 1911 A.D.) In the Ming Dynasty, the most important jade artifacts are those made by famous craftsman Lu Tzu-kang. The jade plaque made by him has become the standard design which calls Tzu-kang plaque. As a result, genuine Tzu-kang plaque is valuable even during the Ming Dynasty and goes without saying for later periods. The simple criteria to identify genuine Tzu-kang plaque are the material should be top grade white Hotien jade and low relief lines for the curving characters. In the Qing Dynasty, due to the emphasis of jade artifacts from the imperial court, especial from the Emperor Chienlung himself, jade artifacts of the Qing Dynasty become the last high peak in terms of quality and quantity of Chinese jade carving history. http://www.palaceantique.com/Browse.aspx?id=614. This jade statue is accompanied by certificate of authenticity.
Condition Excellent, no defects. The surface of the base is polished and uneven.
Low Estimate: 100000;
High Estimate: 400000;
Original: Yes

Certified Chinese jade horse & monkey on chariot, Sui/Tang dyn

Lot #173 (Sale Order 171 of 490)

Genuine certified antique Chinese jade horse and monkey on chariot trophy, Sui/Tang dynasties. Weight: 3 lb.10 oz. = 1660 g; Length: 9.5 in. = 23.5 cm; Height: 4.5 in. = 11.5 cm; Authenticity report: Genuine antique, appraised and analyzed by Orenda Lab, Santa Fe, NM. Fair Market value: $145,000 US; Replacement value: $250,000 US; Age: Sui/Tang dynasty (581-650 C.E.); Condition: used, no defects. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's. References: Frank Aon, M. Sci., is a renowned antiquities forensic scientist of Orenda Lab, Investigation and Analysis of Artifacts and Antiquities of Santa Fe, NM. He has 37 years of experience in evaluating Chinese and American jades, bronzes, and other antiquities. Orenda lab is the only one in USA, which has developed hand-made ancient tools and has a database of ancient tools signatures and aging samples of the jades, corresponding to different Chinese dynasties. Frank Aon has a highest record in selling of jade items on the US auctions with his appraisal. http://www.liveauctioneers.com/item/10346988 Auction House: Elite Decorative Arts, Boynton Beach, Fl, on Dec 10, 2011. Lot 100, Rare Eastern Han dynasty Solid Nephrite Jade Bear was sold for $7,050,000 US.
This jade statue is accompanied by certificate of authenticity.
Condition used, no defects, microscopically - ancient tools signatures
Low Estimate: 150000;
High Estimate: 250000;
Original: Yes

Certified White jade ritualistic mask, Qing/Shang

Lot #174 (Sale Order 172 of 490)

Certified white jade nephrite ritualistic mask, made in Early Qing dynasty in style of Shang dynasty. Weight: 1 lb. 12 oz. = 800 g; Height: 9.25 in. = 23.7 cm; Width: 6.5 in. = 16.7 cm. Authenticity report: according to the opinion of Frank Aon (Orenda Lab): early Qing dynasty (by tool signatures) in the style of Shang dynasty. Provenance: from private collection in USA, purchased in 1980's.
This jade mask is accompanied by certificate of authenticity.
Condition Very good, no defects; there is some dirt, which is hard to remove (I keep it for authenticity).
Low Estimate: 15000
High Estimate: 30000
Orignal: Yes

Zhou dynasty, Chinese white jade small vase 2 birds lid

Lot #175 (Sale Order 173 of 490)

Zhou dynasty, Chinese white jade small vase with 2 birds on the lid, 10.5 in. The ornamental design on both sides is similar; Height: 3 in. = 7.5 cm; Base: 3 in. x 1 in. = 7.5 cm x 2.5 cm; Width: 5 in. = 12.5 cm; Weight: 8 oz. = 220 g; Approximate age: Zhou Dynasty (1100-221 BC).
Condition used, handmade, traces of antique tools carvings, very good condition
Low Estimate: 5000
High Estimate: 12000
Orignal: Yes

Certified Chinese small grey jade tiger, W. Zhou (1122-771BC)

Lot #176 (Sale Order 174 of 490)

Certified Chinese small antique grey jade tiger, Western Zhou (1122 B.C. -771B.C.). Length: 4.5 in. = 11 cm; Weight: 8 oz. = 230 g. The archaic evidences of differential weathering, diffusive markings and cleaving veins are obvious. Authenticity report: Genuine, - analyzed and appraised by Frank Aon from Orenda Lab, Santa FE, NM. Fair Market value: $30,000. Replacement value: $90,000. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's. References: Frank Aon, M. Sci., is a renowned antiquities forensic scientist of Orenda Lab, Investigation and Analysis of Artifacts and Antiquities of Santa Fe, NM. He has 37 years of experience in evaluating Chinese and American jades, bronzes, and other antiquities. Orenda lab is the only one in USA, which developed ancient tools and has a database of ancient tools signatures and aging samples of the jades, corresponding to different Chinese dynasties. Frank Aon has a highest record in selling of jade items on the US auctions with his appraisal. http://www.liveauctioneers.com/item/10346988. Elite Decorative Arts Auction, Boynton Beach, Fl, Dec 10, 2011, Lot 100, Rare Eastern Han dynasty Solid Nephrite Jade Bear was sold for $7,050,000 US!
Low Estimate: 30000;
High Estimate: 90000;
Original: Yes

Certified Chinese W Zhou dynasty jade plaque Gemstones, Dragons & Phoenix

Lot #177 (Sale Order 175 of 490)

Certified Chinese archaic jade plaque Dragons and Phoenix birds, Western Zhou dynasty (1122 BC - 771 BC)
The plaque is archeological finding; magnificent example of Western Zhou culture.
Traces of archaic tools are indicated.
There is a cut groove around, the purpose of which was probably, applying of a string around, in order to hang the plaque.
This jade plaque is accompanied by certificate of authenticity.

Precious stones:
There are up 20 drilled holes on each side.
Most of them are filled with precious stones: diamonds, emeralds, garnets, sapphires, etc, the hardness (from 7 to 10, mostly 8 to 10) was checked by licensed jeweler.
The sockets for the dragon mouths have up to 3-4 precious stones, representing their teeth.
Probably, stones/crystals were inserted into the holes in order to made jade plaque shiny and beautiful.
The prevalent color of the precious stones are rosy, purple and brown.

Measurements:
Length: 10.25 in. = 25.5 cm
Height: 5.5 in. = 14 cm
Width: 0.65 in. = 14 mm
Weight: 2 lb. 6 oz. = 1100 g
Condition: Very good, natural aging of the jade. One side is more eroded than another. No other defects

Low Estimate: 30000;
High Estimate: 100000;
Original: Yes

Han dynasty, Chinese Jade small green vase & lid

Lot #178 (Sale Order 176 of 490)

Han dynasty (206 BC-220 AD), Chinese Jade small green vase with lid Age: Han dynasty (206 BC - 220 AD) or earlier; Weight: 5 oz. = 140 g; Diameter: 2.5 in. = 6.25 cm; Height: 2.25 in. = 5.6 cm; Provenance: from private collection in Florida, USA; purchased in 1980 -1990's
Condition Perfect for the age, normal jade wear, no defects;
Low Estimate: 4000;
High Estimate: 10000;
Original: Yes

Chinese Jade double bird container, Han Dynasty, 24cm

Lot #179 (Sale Order 177 of 490)

Chinese Jade double bird container, Han Dynasty (206 BC 220 AD) or earlier. Length: 9 ¾ in. = 24.5 cm Height: 6 in. = 14.6 cm. Width: 2 ¾ in. = 7 cm. Weight of the big bird: 1260 g = 2 lb.12oz. Weight of the small bird: 165 g = 6 oz. Total Weight of 2 birds: 1400 g = 3 lb. 2oz. Condition: Very good, no major defects, small bird has several chips (look at the pictures). Provenance: purchased on the auction in USA.
Condition Very good, no major defects, small bird has several chips (look at the pictures)
Low Estimate: 10000;
High Estimate: 80000;
Original: Yes

Neolithic Chinese Museum Jade crawling Amphibian, 20cm,

Lot #180 (Sale Order 178 of 490)

Neolithic Chinese Museum Jade crawling Amphibian. Length: 8 inches = 20 cm; Weight: 4 lb. = 1.8 kg; Condition: natural aging of jade, old chips with smooth edges; Age: over 4000 years old; Authenticity report: Genuine; Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition natural aging of jade, old chips with smooth edges;
Low Estimate: 10000;
High Estimate: 30000;
Original: Yes

Chinese Nephrite jade pitcher, Shijiahe culture, certified

Lot #181 (Sale Order 179 of 490)

Certified Chinese Nephrite jade pitcher, Shijiahe culture (2500-2000 BC), Hubei. Width: 9 inches = 235 mm. Diameter: 5.52 inches = 135 mm. Height from the bottom to the top of the lid: 6 inches = 160 mm. Weight of pitcher: 4 lb. 12 oz. = 2170 g. Weight of Lid: 12 oz. = 320 g. Total weight, including lid: 5.5 lb. = 2500 g. Provenance: from the estate sale in Washington State, USA. Condition: normal age wear more at the bottom and on the side walls, which is another proof of authenticity, no defects. Authenticity report by Dr. Ming Chieh Chen, Certified Appraiser, Palm Beach Appraisers Association:Made of green tone nephrite jade pitcher vase was used possibly for ritual ceremonies.Based on the degree of jade antiquity, motif and carving style, age of object may be from the Shijiahe culture (2500-2000BC) of late Neolithic cultures, centered around Yangtze river region in Hubei, China. Estimate Value for object is :$120,000-150,000. References: Shijiahe culture. The Shijiahe culture (Chinese: ; pinyin: Shjih Wnhu) (2500-2000 BC) was a late Neolithic culture centered around the middle Yangtze River region in Hubei, China. It succeeded the Qujialing culture in the same region and inherited its unique artifact of painted spindle whorls. Pottery figurines and distinct jade worked with advanced techniques were also common to the culture. The remains of copper ore and artifacts were discovered in one Shijiahe settlement.The type site was discovered at Tianmen County, Hubei, China. The upper layer of the type site belonged to the Qujialing culture. The site at Shijiahe covered an area of around 1,200,000 m. The settlement was surrounded by a moat and rammed earth wall. The type site was likely a regional center.Shijiahe is one of the largest towns excavated so far, almost a perfect square, one kilometer on each side. This was a period in which villages and towns expanded symmetrically in oval, square, rectangle and trapezoid shapes.[1]
Condition normal age wear more at the bottom and on the side walls, which is another proof of authenticity, no defects
Low Estimate: 50000;
High Estimate: 150000;
Original: Yes

Certified Chinese jade Phoenix bird, Xia dynasty (2070 -1600BC)

Lot #182 (Sale Order 180 of 490)

Certified archaic Chinese jade Phoenix bird, Xia dynasty (2070- 1600 BC). Weight: 1 oz. = 36.31 g. Length: 4.5 in. = 10 cm. Height: 2 in. = 5 cm. Authenticity report: Genuine antique tremolite jade, with ancient tools signatures according to the opinion of Frank Aon (Orenda Lab). Age: Xia dynasty 2070 - 1600 BCE. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's. This jade is accompanied by certificate of authenticity.
Condition Used, with age related changes, no defects.
Low Estimate: 10000;
High Estimate: 30000;
Original: Yes

Certified Jade plaque Chariot, Chinese God over cloud, Tang dynas

Lot #183 (Sale Order 181 of 490)

Certified Jade plaque with chariot with Chinese God over cloud, Early Tang dynasty 618-750 C.E. Description: A chariot with a man, riding a horse over the clouds. There is a two dragon - design around the plaque. Possibly, the plaque was a part of table screen or a wall decoration. Width: 13.25 in. = 33 cm. Height: 8.25 in. = 20.7 cm. Weight: 2 lb. 5 oz. = 1180 g. Authenticity report: Genuine, - antique hand-made carved jade, analyzed and appraised by Frank Aon from Orenda Lab, Santa FE, NM. Fair Market value: $75,000. Replacement value: $150,000. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's. References: Frank Aon, M. Sci., is a renowned antiquities forensic scientist of Orenda Lab, Investigation and Analysis of Artifacts and Antiquities of Santa Fe, NM. He has 37 years of experience in evaluating Chinese and American jades, bronzes, and other antiquities. Orenda lab is the only one in USA, which developed ancient tools and has a database of ancient tools signatures and aging samples of the jades, corresponding to different Chinese dynasties. Frank Aon has a highest record in selling of jade items on the US auctions with his appraisal. http://www.liveauctioneers.com/item/10346988 Auction House: Elite Decorative Arts, Boynton Beach, Fl, on Dec 10, 2011. Lot 100, Rare Eastern Han dynasty Solid Nephrite Jade Bear was sold for $7,050,000 US!
This jade plaque is accompanied by certificate of authenticity.
Condition The front surface is covered with mottled white thin patina. The back surface is more polished. No defects
Low Estimate: 75000;
High Estimate: 150000;
Original: Yes

Certified Chinese Warring States, Jade Horse Trophy

Lot #184 (Sale Order 182 of 490)

Certified Chinese Jade double horse container with lid: Warring States period 450 B.C.E. - 220 B.C.E. Possible purpose of the container: 1. trophy award for the hero in the war; 2. used as a container for water, wine or balsamic oils; 3. used as a food or wine container or libation cup. Dimensions of the major horse: Weight: 10 kg = 23 lb. Height: 22.5 cm = 9 in. Width: 13.6 cm = 5.5 in. Length: 39.8 cm = 15 in. Dimensions of the lid: Weight: 450 = 1 lb. Length: 8.5 cm = 3.5 in. Width: 6 cm = 2.5 in. Height: 3.5 in. Dimensions of the horse container and lid: Total Height (with lid): 23.5 cm = 9.5 in. Total Weight: 10 kg = 24 lb. Description: Cloud design on the body, flat tail, lid in the shape of smaller horse. Scientific observation and findings: Tremolite jade with partial decomposition, handling and use wear. Diffusion and exfoliation processes, involving the minerals of the object and the minerals of the burial environment are indicated. Diagenetic altering with microporosity and recrystallization is indicated. These deposits are indicated in formations that match data of the base samples from 450 BCE to 220 BCE. Ancient stone tool signatures are indicated: including pecking, cutting, grooving, gouging, bow drill hole drilling, hand twist drilling, and abrading. No modern tool signatures are indicated. Condition: There are 2 major cracks across the body of the horse. The neck of the horse shows a break that has been repaired and an old fissure that has opened in ancient times, but has been filled in certain areas with glue and debris in the waist area. We do not know exactly when the cracks happened: may be because water and chemical reactions damaged the stone, may it was broken during excavation, etc. There is a striking difference in the color and the surface of the jade between upper and lower parts of the body, which may took centuries for the reaction between water and minerals to create this. Possible explanation is in the reaction between the acidic water coming from the top soil and alkaline water coming from the rock. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's. Authenticity report: Genuine, - analyzed and appraised by Frank Aon from Orenda Lab, Santa FE, NM. Replacement value: $300,000. References: Frank Aon, M. Sci., is a renowned antiquities forensic scientist of Orenda Lab, Investigation and Analysis of Artifacts and Antiquities of Santa Fe, NM. He has 37 years of experience in evaluating Chinese and American jades, bronzes, and other antiquities. Orenda lab is the only one in USA, which developed ancient tools and has a database of ancient tools signatures and aging samples of the jades, corresponding to different Chinese dynasties. Frank Aon has a highest record in selling of jade items on the US auctions with his appraisal. http://www.liveauctioneers.com/item/10346988. Auction House: Elite Decorative Arts, Boynton Beach, Fl, on Dec 10, 2011. Lot 100, Rare Eastern Han dynasty Solid Nephrite Jade Bear was sold for $7,050,000 US! This jade trophy is accompanied by certificate of authenticity.
Condition There are 2 stable major cracks across the body of the horse. The neck of the horse shows a break that has been repaired and an old fissure that opened in ancient times, but has been filled in certain areas with glue and debris in the waist area
Low Estimate: 1000000;
High Estimate: 8000000;
Original: Yes

Qin dynasty, Jade Warrier Head, 30cm, 6 kg

Lot #185 (Sale Order 183 of 490)

Carved stone Head of the worrier, attributed to Qin Dynasty. Stands on its own base; Height: 12 inches = 30 cm; Weight: 13 lb. = 6 kg; Age: presumably Qin dynasty 221-206 BC; Condition: Perfect for age, some wear, no cracks or damage Material: Jade; Provenance: bought on auction in USA. references: The Qin Dynasty (Chinese: ; pinyin: Qín Cháo; Wade Giles: Ch'in Ch'ao; IPA: was the first imperial dynasty of China, lasting from 221 to 206 BC. The dynasty was formed after the conquest of the six other states by the state of Qin, and its founding emperor was known as Qin Shi Huang, the First Emperor of Qin. The Qin state derived its name from its heartland of Qin, in modern-day Gansu and Shaanxi. The strength of the Qin state was greatly increased by the legalist reforms of Shang Yang in the 4th century BC, during the Warring States period. In the mid and late third century BC, the Qin accomplished a series of swift conquests, first ending the powerless Zhou Dynasty, and eventually conquering the remaining six states of the major states to gain control over the whole of China, resulting in a unified China.
Condition Perfect for age, some wear, no cracks or damage
Low Estimate: 10000;
High Estimate: 40000;

Certified Chinese Jade Wine Cup: Beast on Bull, Ming dynasty

Lot #186 (Sale Order 184 of 490)

Certified Chinese Jade Wine Container Beast, Standing on the Bull, Ming dynasty/Early Qing dynasty. Length: 7 in. = 17.5 cm; Height: 10 in. = 25 cm; Weight: approximately. 5-8 lb. Condition: used, normal age wear, no damage. Jade is semitransparent to light; Age: Ming dynasty (1368 - 1644). Provenance: from private collection in Florida, USA; purchased in 1980s -1990's.
This jade statue is accompanied by certificate of authenticity.
Condition used, normal age wear, no damage. Jade is semitransparent to light;
Low Estimate: 25000;
High Estimate: 50000;
Original: Yes

Certified Chinese jade vase: 3 dragons & lid, Qing dy

Lot #187 (Sale Order 185 of 490)

Certified masterpiece Chinese jade vase with 3 dragons & lid, Qing dynasty. Age: Early Qing dynasty (approximately 1600-1750 AD). Material: white nephrite jade Height: 11 in. = 27.5 cm; Weight: 4 lb. 8 oz. = 2 kg; Provenance: from private collection in Florida, USA; purchased in 1980 -1990's;
Condition Excellent for the age, no cracks or other defects, some manufacturing imperfection at the base (see photos)
Low Estimate: 100000;
High Estimate: 400000;
Original: Yes

Lying Bull, -Antique Chinese Jade Statue, Qing dynasty

Lot #188 (Sale Order 186 of 490)

Lying Bull, - Antique Chinese Jade Statue, Qing dynasty (?), 16.5cm, 700 g. Height: 2.5 = 6 cm. Width: 6.5 = 16.5 cm. Depth: 2 = 5.5 cm Weight: 1 lb. 8 oz. = 700 g. Age: Qing Dynasty?
Condition fine, no defects, natural aging of jade
Low Estimate: 2000;
High Estimate: 6000;
Original: Yes

Certified Chinese Heavenly Jade horse, Warring States

Lot #189 (Sale Order 187 of 490)

Chinese Heavenly Jade horse, Warring States [](B.C. 403-B.C.221) Height: 6.5 inches = 16.25 cm; Length: 7.25 inches = 18 cm; Width: 2.5 inches = 6.25 cm; Item location: USA. Certificate of authenticity: Web-based Jade Identification by: Ming Chieh Chen, [] M.S. Stanford University Certified Appraiser, Palm Beach Appraisers Association Associate Prof. of Jade Identification & Appraisal, Jinwen University of Science & Technology February 23, 2011 In my professional opinion as an expert on Chinese jade identification, this is my report based on my research and the information and photographs given to me by the client: (1) Object of jade horse with motifs of dragon, phoenix and deity face is identified as authentic. Object is made of nephrite. Evidence of authenticity may be supported by differential weathering, cleaving veins, dissolved pits & diffusive markings. (2) Dimensions: 6.5" H x 2.5" W x 7.25" L. (3) Object is made in the Warring States [](B.C. 403-B.C.221) (4) Objects workmanship is of mastery workmanship quality. (5) Conservative estimate value for the object is: U.S. $32,000 - U.S. $35,000.
Condition Excellent. Some wear, no cracks or other defects.
Low Estimate: 30000.0;
High Estimate: 60000.0;
Original: Yes

Certified Chinese Hetian jade container, Qing dynasty

Lot #190 (Sale Order 188 of 490)

Certified Chinese Hetian jade container, Qing dynasty (A.D. 1644-1911). Height: 5.8h = 14.5 cm. Length: 5.6h inches = 14 cm. Weight: 1.2 lb.= 540g. Provenance: a seasoned antique collector, who wishes to divest his estate holdings. Certificate of authenticity EXOTIC JADES - WWW. EXOTICJADES.COM Web-based Jade Identification by: Ming Chieh Chen, M.S. Stanford University Certified Appraiser, Palm Beach Appraisers Association Associate Prof. of Jade Identification & Appraisal, Jinwen University of Science & Technology April 5, 2011 In my professional opinion as an expert on Chinese jade identification, this is my report based on my research and the information and photographs given to me by the client: (1) Object of jade container with low relief motifs of pine tree & crane symbolizing longevity and with mint seal (£²N»)[Made in the year of Qinglung] is identified as authentic. Object is made of green tone nephrite. Evidence of authenticity may be supported by differential weathering, cleaving vein and diffusive marking. (2) Dimensions: 5.6"L , 5.8" H. (3) Object is likely to be made in the Qing dynasty [´©](A.D. 1644-A.D. 1911) (4) Objectfs workmanship is of mastery workmanship quality. (5) Estimate value for the object is: U.S. $60,000 - U.S. $80,000. SELECTED PHOTOGRAPHIC SAMPLES SUBMITTED BY THE CLIENTF Upon receipt of this appraisal document and certification: The online appraisal and certification is furnished to the client for your use at your own risk. The client has no remedy for damages. Ming Chieh Chen will not be held liable and client will have no remedy for damages for claim of any kind whatsoever concerning the clients use of the appraisal and certification regardless, of legal theory, and whether arising in tort or in contract. In no event will Ming Chieh Chen be liable to the client for any special, indirect, incidental or consequential damages of any kind including but not limited to compensation, reimbursement or damages on account of loss of present or prospective profits or for any other reason whatsoever.
Condition no defects
Low Estimate: 40000;
High Estimate: 80000;
Original: Yes

Chinese carved Honan jade vase with lid and 3 palm tree

Lot #191 (Sale Order 189 of 490)

Chinese carved Honan jade vase with lid and 3 palm trees, 16.7 cm Height with cover: 6.75 inches = 16.7 cm. Height without cover: 5 inches = 12.5 cm. Weight with cover: 1 lb. 20z. = 500 g. Age: unknown. Provenance: was purchased on American auction for $1295 on July 19, 2003
Condition: the biggest palm tree is partially broken, refer to the images
Low Estimate: 2500;
High Estimate: 5000;
Original: Yes

Astonishing translucent Nephrite Chinese jade ram Qing

Lot #192 (Sale Order 190 of 490)

Astonishing Chinese antique jade translucent nephrite cup with ram head, Age: Qing dynasty or earlier. Weight: 1 lb. = 450 g. Height; 4 in.= 10.5cm. Length: 3.5 in. = 9 cm. Width: 2.75 in. = 7 cm. Age: Qing dynasty or earlier
Condition: There are 2 vertical and one horizontal veins 3-5 cm long, which look like cracks, but they are absolutely stable and should be considered as natural veins; no other defects, refer to the images, please
Low Estimate: 5000;
High Estimate: 10000;
Original: Yes

Chinese translucent white jade Foo Dog, Qing dyn, certified

Lot #193 (Sale Order 191 of 490)

Certified Chinese translucent white jade Foo Dog, Qing dynasty(?) Length: 11 in = 28.7. cm. Height: 4.5 in. = 11.5 cm. Width: 4 in. = 10 cm. Weight: 8 lb. = 3.6 kg. Similar jades were sold on Sothebys for $20,000-$60,000
Condition Perfect, some deposition of dirt inside the carved lines, no defects
Low Estimate: 20000;
High Estimate: 40000;
Original: Yes

Pleasant Chinese Nephrite jade Two Dragons playing ball

Lot #194 (Sale Order 192 of 490)

Pleasant Chinese Nephrite jade Two Dragons playing a ball, 7.5 cm. Weight: 210 g = 7 oz.; Length: 75 mm; Provenance: private collection New Jersey, USA
Condition perfect, no defects, pleasant to handle
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes

Magnificent Soap Stone Chop Seal, Chinese Grass Script

Lot #195 (Sale Order 193 of 490)

Magnificent Soap Stone Chop Seal with 2 dragons & ancient Chinese Running or Grass inscriptions, Qing dynasty or earlier; Height: 6 in. = 14.5 cm; Diameter of the base: 3 in. = 7.9 cm; Weight: 4 lb. = 1820 g.
Condition fine, beautifully carved, heavily used as a seal, with bottom seal, naturally covered with ink. There are 2 chips: 1) 9 x 3 mm at the bottom; 2) 6 x 3 mm in the area of outer ear of one dragon;

Low Estimate: 1000;
High Estimate: 5000;
Original: Yes

Antique Chinese carved soap stone- Old Philosopher

Lot #196 (Sale Order 194 of 490)

Antique Chinese carved soap stone figure of old philosopher, signed with three Chinese characters on the back. Weight: 12 oz. = 320 g. Height: 7 inches = 185 mm. Age: more than 100 years
Condition: Very good, no defects, refer to the photos
Low Estimate: 700;
High Estimate: 1500;
Original: Yes

Two vases and flowers:Chinese Carved Soap Stone, 18cm

Lot #197 (Sale Order 195 of 490)

Two vases and flowers: Carved Soap Stone, 5x 7, 2.5 lb. Height: 4.75 = 11.7 cm; Width: 7 = 18.5 cm; Depth: 2.25 = 6 cm; Weight: 2.5 lb. = 1 kg 200 g;
Condition Almost perfect, no cracks, one small (2 mm) chip in the area of lower part of big flower;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes

Antique Soap Stone carved Dragon, Chinese Grass script

Lot #198 (Sale Order 196 of 490)

Antique Soap Stone carved Dragon, Chinese Grass script; Ancient Chinese Running or Grass inscriptions, Qing dynasty or earlier. Height: 3 inches = 7.8 cm = 78 mm; Base: 2 in x 1 in. inches = 49 mm x 29 mm; Weight: 8 oz. = 200 g; Approximate age: 100-1000 years old;
Condition Very good, insignificant scratches, no defects
Low Estimate: 400;
High Estimate: 1000;
Original: Yes

2 vases and 2 dragons: Chinese Carved Soap Stone

Lot #199 (Sale Order 197 of 490)

2 vases and 2 dragons: Carved Soap Stone, 4.5x 6, 2 lb. Qing (?) Height: 4.5 = 11 cm; Width: 6.25 = 15.7 cm; Depth: 3 = 7cm; Weight: 2 lb. = 900 g; Age: Unknown. Qing Dynasty?
Condition Very good, no cracks;
Low Estimate: 400;
High Estimate: 1000;
Original: Yes

Qing(?) Chinese Carved Lapis Lazuli Octopus Lotus, 242g

Lot #200 (Sale Order 198 of 490)

Qing(?) Chinese Carved Lapis Lazuli Octopus Figure, 10 cm, 242 g. Chinese carved lapis lazuli figure; featuring octopus resting on lotus pad in relief; Height: 3.8 in. = 10 cm, Weight: 9 oz. = 242 grams
Condition Excellent, no defects
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes

Chinese antique carved bull horn: 4 monkeys & fruit

Lot #201 (Sale Order 199 of 490)

Chinese antique carved bull horn with 4 monkeys and huge fruit Length: 10.75 in. = 27.5 cm; Weight: 163.82 g; Age: unknown; Provenance: from private collection in Florida, USA; purchased in 1980s -1990's;
Condition used, but no defects
Low Estimate: 4000;
High Estimate: 8000;
Orignal: Yes

Chinese carved buffalo horn Libation Cup 3 legs, Qing dyn

Lot #202 (Sale Order 200 of 490)

Chinese carved buffalo horn Libation Cup on 3 legs, Qing or earlier;

Height: 6 inches = 15.3 cm;
Weight: 235 g = 9 oz.
Condition: perfect, there is no damage and no restorations. Insignificant wear and tear as a result of age;

Age of the horn: it is likely to be made in the Qing Imperial Dynasty or earlier;
The etching on the side of the horn reads __________________________________
Shipping in USA: FEDEX or UPS
International shipping is available: ask for rates

Low Estimate: 1500;
High Estimate: 3000;
Original: Yes

Chinese Carved Buffalo Horn Libation Cup, Qing(?), 10cm

Lot #203 (Sale Order 201 of 490)

Chinese Carved Buffalo Horn Libation Cup, Qing Dynasty(?) Height: 4" = 10 cm, Weight: 164.20 g, Provenance: Toronto, Canada, Private Collector
Condition fine, normal age wear, no defects
Low Estimate: 500;
High Estimate: 2000;

Chinese carved buffalo horn Libation Cup, 10.5cm

Lot #204 (Sale Order 202 of 490)

Chinese carved buffalo horn Libation Cup 10.5cm, Qing Dynasty(?) Height: 4 inches = 10.5 cm Weight: 190 g = 6.5 oz. Age of the horn: it is likely to be made in the Qing Imperial Dynasty or earlier. Shipping in USA: FEDEX or UPS International shipping is available: ask for the rates. Provenance: The horn was purchased at auction in Australia. References: History: Libation Cup In Chinese customs, rice wine or tea is poured in front of an altar or tombstone horizontally from right to left with both hands as an offering to gods and in honor of deceased. The offering is usually placed on the altar for a while before being offered in libation. In more elaborate ceremonies honoring deities, the libation may be done over the burning paper offerings; whereas for the deceased, the wine is only poured onto the ground.
Condition perfect, there is no damage and no restorations. Insignificant wear and tear as a result of aging.
Low Estimate: 500;
High Estimate: 2000;

Set of 5 antique Chinese carved ivory elephants

Lot #205 (Sale Order 203 of 490)

Antique Set of 5 ivory carved Chinese Elephants Beautiful antique set in original red box with white and blue silk stuffing inside. Size of the box: 11 x3.25 x 1.25 = 27.7cm x 8.5cm x 3cm. Weight of the box: 8 oz. = 220 g. Size of the elephants: 50 mm, 40 mm, 35 mm, 28 mm, 22 mm. Weight of the elephants: 20.26g, 13.11g, 9.06g, 3.25g and 2.15g. Only USA buyers, please.
Condition normal aging of the box and ivory, no defects, no smell
Low Estimate: 1200;
High Estimate: 2500;
Original: Yes

Antique Chinese Carved Ivory Doctors Model Nude Female

Lot #206 (Sale Order 204 of 490)

Antique Chinese Carved Ivory Doctors Model Nude Female Figure in High Relief in Incredibly Thin Layer with Wood Plinth Base. Length of the ivory: 4.2 in. = 10.2 cm. Width of the ivory: 1.5 in. = 3.8 cm. Wood base measures 5 inches long. 2 wide, 50-mm tall, with ivory in place on base. Weight of ivory: 47.39 g= 1.5 oz. Weight of the ivory and stand: 97 g. Condition: perfect, some minor wear, no defects In the early times doctors in China were not allowed to examine the whole patient. Usually, they checked the pulse and the tongue. Location of pain was shown to them on small figures. Shipping: to USA only
Condition perfect, some minor wear, no defects
Low Estimate: 2000;
High Estimate: 6000;
Original: Yes

Pair of Chinese carved bone vases with 3 men

Lot #207 (Sale Order 205 of 490)

Pair of carved bone vases with 3 men. Height: 7.25 in = 181 mm; Weight: 167.8g + 167.3g;
Condition Excellent, no defects
Low Estimate: 2000
High Estimate: 5000
Orignal: Yes

Pair of Chinese carved bone vases with 2 ladies design

Lot #208 (Sale Order 206 of 490)

Pair of Chinese carved bone vases with 2 females design. Height: 7.28 in = 185 mm. Weight: 165.62g + 152.68g.
Condition Excellent, no defects
Low Estimate: 2000;
High Estimate: 5000;
Original: Yes

Chinese carved Ivory Immortal figure, signed

Lot #209 (Sale Order 207 of 490)

Chinese carved Ivory Immortal figure, signed. Height: approx. 20 inches = 50 cm.
Condition perfect, no defects
Low Estimate: 5000;
High Estimate: 10000;
Original: Yes

African Ivory Mask with 5 painted glass beads- necklace

Lot #210 (Sale Order 208 of 490)

African Ivory mask with 5 painted glass beads as a necklace. Total length of the necklace in folded condition: 15 inches = 37.5 cm Total weight: 42.17g
Condition Almost perfect, there is a microscopic 2-3 mm chip on the lower lip. The lace is strong and reliable.
Low Estimate: 400;
High Estimate: 1000;

African carved Ivory mask Necklace with 7 glass beads

Lot #211 (Sale Order 209 of 490)

African carved Ivory mask (small eyes) with 7 painted glass beads as a necklace. Total length of the necklace in folded condition: 13 inches = 32.5 cm; Total weight: approximately 45g; Mask is hand-carved and hand-polished, perfect condition, no defects. The lace is strong and reliable.
Condition Mask is hand-carved and hand-polished, perfect condition, no defects. The lace is strong and reliable.
Low Estimate: 400;
High Estimate: 1000;

Chinese scroll painting: Mountain River, Zhang Chunqi

Lot #212 (Sale Order 210 of 490)

Chinese scroll painting: - River in the mountains. Collectable Chinese landscape painting "Li River Mountain" hang scroll marked by Zhang Chunqi. Original painting on paper, signed. On the back of the painting there is an explanation. Size of the painting: 53 x 26.2 inches = 132.5 cm x 65.5 cm. Size of the scroll: 78 x 29.5 inches = 195 cm x 74 cm. Wooden roll length: 33 inches = 82.5 cm.
Condition Fine, insignificant creases on paper
Low Estimate: 1600;
High Estimate: 3500;
Orignal: Yes

Chinese scroll painting Old Farmer, Liu Wen Xi (?)

Lot #213 (Sale Order 211 of 490)

Chinese scroll painting Old Farmer, signed by Liu Wen Xi(?), , 1982, China Liu Wen Xi, still alive, about 70 years old, lives in ShanXi province, China Hand Painted; Painting size: 26.5x25 inches; Scroll size: 78 x 29 inches; Material: ink and colors on paper; artist: Liu WenXi still alive, about 70 years old, in ShanXi province) signed: The farmer, year 1982); Authenticity report: The dating of Asian Works of Art is very difficult and opinions of authenticity vary between experts and specialists. Subsequently, we strongly encourage all prospective buyers and/or his/her agents to carefully research, examine and inspect any and all items they wish to bid on, before the auction. All references to artist name, time periods and cultures are only an opinion and are not a guarantee of authenticity. Shipping in USA - below $20 (Priority Mail, UPS ground, FEDEX ground).
Condition Excellent. no defects
Low Estimate: 1500;
High Estimate: 5000;

Certified Chinese Republican (1912-1949) folk painting on Lu (Daoism)

Lot #214 (Sale Order 212 of 490)

Certified Chinese Republican (1912-1949) folk painting on Lu (Daoism), carton. Mount: 49 x 29 inches. Painting: 42 x 23 inches. Provenance: from New York collection before 1950s. Evaluation by Dr. Qing Chang, PhD in Chinese Art History, MA in Chinese Buddhist Archeology. Chinese folk painting on Lu, one of the Three Gods of Daoism. Lu, meaning salary and position, is represented by the middle age man who wears a uniform of officials from the Ming dynasty. Chinese people believe that worshiping this god could provide them salary and position from the government. The two young boys are the attendants of the god. Date: according the seal, in the Republic period in the first half of the 20th century. Value: about $3000-$5000. Qing
Condition: Natural aging (spots) of the carton;
Low Estimate: 5000;
High Estimate: 10000;
Original: Yes

Chinese painting, Qing dynasty, general Guan Yu & son

Lot #215 (Sale Order 213 of 490)

Certified Chinese antique painting on paper, Qing dynasty. Evaluated by Dr. Qing Chang, PhD in Chinese Arts. This painting depicts Guan Yu, his son Guan Ping, and his attendant Zhou Cang from the late Eastern Han dynasty. Size of the frame: 37 x 28.5 in. = 92 cm x 71 cm; Size of the painting: 31 x 20 in. = 77 cm x 50 cm; Weight: 10 lb. = 4.5 kg; Condition: The painting is torn on the sides, but all three figures are preserved. Natural aging of the paper and colors. Framed under the glass.References:Guan Yu (died 220),[1][2] courtesy name Yunchang, was a general serving under the warlord Liu Bei in the late Eastern Han Dynasty of China. He played a significant role in the civil war that led to the collapse of the Han Dynasty and the establishment of the state of Shu Han in the Three Kingdoms period, of which Liu Bei was the first emperor.[3]As one of the best known Chinese historical figures throughout East Asia, Guan's true life stories have largely given way to fictionalised ones, most of which are found in the historical novel Romance of the Three Kingdoms or passed down the generations, in which his deeds and moral qualities have been lionised. Guan is respected as an epitome of loyalty and righteousness.Guan was deified as early as the Sui Dynasty and is still worshipped by many Chinese people today, especially in southern China, Taiwan, Hong Kong, and among many overseas Chinese communities. He is a figure in Chinese folk religion, popular Confucianism,Taoism, and Chinese Buddhism, and small shrines to Guan are almost ubiquitous in traditional Chinese shops and restaurants. He is often reverently called Guan Gong (Lord Guan) and Guan Di (Emperor Guan).[4] His hometown Yuncheng has also named its airport after him. Physical appearance: No descriptions of Guan Yu's physical appearance exist in historical records, but his beard was mentioned in the Sanguozhi. Traditionally, he is portrayed as a red-faced warrior with a long lush beard. The idea of his red face may have derived from a later description of him in the first chapter of the historical novel Romance of the Three Kingdoms, where the following passage appears:Xuande took a glance at the man, who stood at a height of nine chi,[notes 1][5] and had a two chi long beard; his face was of the colour of a zao,[notes 3] with red lips; his eyes were like that of a phoenix's,[notes 4] and his eyebrows resembled silkworms.[notes 5] He had a dignified aura and looked quite majestic.Alternatively, the idea of his red face could have been borrowed from opera representation, where red faces depict loyalty and righteousness.[citation needed] Supposedly, Guan Yu's weapon was a guan dao named Green Dragon Crescent Blade, which resembled a glaive and was said to weigh 82 catties (about 18.25 kg or 40 lbs). A wooden replica can be found today in the Emperor Guan Temple in Xiezhou County, Shanxi. He traditionally dons a green robe over his body armour, as depicted in illustrations of Romance of the Three Kingdoms.
Condition: The painting is torn on the sides, but all three figures are preserved. Natural aging of the paper and colors. Framed under the glass.
Low Estimate: 10000;
High Estimate: 50000;
Original: Yes

Chinese scroll Silk PAINTING,Taoist Deities, Xie Shiqin, certified

Lot #216 (Sale Order 214 of 490)

Certified Chinese scroll PAINTING on SILK, with 88 Taoist Deities. Evaluated by Dr. Qing Chang, PhD in Chinese Arts. Artist: Xie Shiqin (1880-1956) A Chinese, hand-painted, painting on silk, depicting a festival scene with numerous 88 Chinese deities and historical figures. Signed to lower right with 2 characters and holds one red seal. Gathering of Immortals and Deities The painting, with fine line draw style, depicts many Daoist immortals, including the well-known Eight Immortals of Daoism. In addition, one can see some Buddhist deities, including a few arhats and Guanyin Bodhisattva. Guan Yu (160 or 162-220 CE), the well-known warrior from the late Eastern Han dynasty also appears in the painting, together with his attendant Zhou Cang , who holds the large sword of Guan Yu. The painting also represents some historical figures based on their dresses, but it is hard to figure out who they are. The ink signature of the artist is Fuyuan . Underneath the signature is the seal: Fuyuan . Fuyang is the hao or nickname of Xie Shiqin (1880-1956). Xie is the native of Sui county of Hubei province, and graduated from the Judiciary School of Hubei Province. After the Wuchang Upraising in 1911, he became the inspect censor served for the ministries of the Republic of China government. In 1922, he was the secretory of the public finance office of Hubei province, and became the head of the industry department of Hubei province in 1923. After that, he used to be the head of the educational association of Hubei province. Later he became a lay Buddhist, and worked for the Buddhist society, Huiming Xueshe. Xie is also skillful at painting and calligraphy. Scroll: 68 x 30 ¼ inches = 170 cm x 76 cm Silk painting: 49.5" height x 27 ¼ " = 124 cm x 68 cm
Condition The silk painting is used, a little bit darkened with age, although in very good condition, except for the right upper corner, which was damaged with water (see photos) The mount is damaged on the back, upper corner (see photos). The mount on the top was cut, is repaired and reattached to the upper wooden bar.
Low Estimate: 15000;
High Estimate: 50000;
Original: Yes

Chinese scroll silk painting,- Minister & 2 ladies

Lot #217 (Sale Order 215 of 490)

Chinese hanging scroll silk painting,- Minister with two ladies, signed. The male figure is high ranking official, based on his dress. The two female figures should be court ladies, based on their dress and the fan they hold. Painting size: 38.5 x 23 inch Scroll size: 83 x 29 inches Material: silk, ink, colors Roller ends: wood Provenance: Bought on auction in California, USA. Shipping in USA - below $20 (Priority Mail, UPS ground, FEDEX ground) International shipping is available ask for the rates, please.
Condition fine, refer to insignificant spots;
Low Estimate: 1000;
High Estimate: 3000;

Chinese scroll painting on paper-Monks washing clothing

Lot #218 (Sale Order 216 of 490)

Chinese scroll painting- Monks washing their clothing. Painting size: 49 x 24 inches = 122 cm x 60 cm. Scroll size: 78 x 30 inches = 195 cm x 75 cm. Material: Paper, Ink, Colors, Hand painted. Roller ends: Wood. Shipping in USA by Priority Mail, or FEDEX or UPS - below $20 International shipping is available; ask for shipping rates, please.
Condition Very good, no defects
Low Estimate: 2000;
High Estimate: 10000;

Qing/Ming Chinese scroll painting, 3 Dao Gods, by Wang Wenwei

Lot #219 (Sale Order 217 of 490)

Chinese scroll painting, by Wang Wenwei Qing/Ming dynasty, 17th c(?)Painting: 48 x 24 inches = 120 cm x 60 cm. Scroll: 52 x 26 inches = 130 cm x 65 cm. Frame: 50.5 x 31 inches = 126 cm x 77.5 cm. Provenance: from New York collector, before 1950s. Relined in 20th century and framed in 1950s in New York, USA. Age: Exact age is unknown, but the silk is old and there is a high probability of being painted in 17th century. Shipping:1) Could be shipped in a big box as a framed flat painting (more expensive, but safer for the painting)2) Could be shipped in a small tube as scroll (less expensive, but painting will have to be rolled). Evaluation by Dr. Q________ C________, PhD in Chinese Art History, MA in Chinese Buddhist Archeology: Painting of Offering Birthday Congratulations by Wang Wenwei ca. 17th century Late Ming (1368-1644) to early Qing (1644-1911) period Inscription: Offering Birthday Congratulations Painting of Offering Birthday Congratulations By Wang Wenwei Ca. 17th century. Late Ming (1368-1644) to early Qing (1644-1911) period. Inscription: Offering Birthday Congratulations to the elder Kong Tairong Wang Wenwei of JintangChang Qing notes: I do not know who is Kong Tairong, probably a friend of the artist. Jintang is the hometown of the artist, probably located in present-day Zhejiang Province.The artist used fine line drawing style to paint the Three Gods of Daoism, Fu, Lu and Shou, together with five children. This is a traditional popular motif of Chinese painting. Fu, meaning blessing, is represented by the middle age man seated in the middle together with three children. In the mind of Chinese, having more children is a blessing from the heavenly god. Lu, meaning salary and position, is represented by the middle age man seated in the upper section, who wears a uniform of officials from the Ming dynasty. High salary and position are the goals of mens study and hard works. The old age man in the lower section is the god of Shou, meaning Longevity. The deer beside the Shou also symbolizes Lu, salary and position, since deer in Chinese also pronounce Lu. Actually the Three Gods represent the good fortunes and wishes of Chinese.
Condition Silk painting is old, insignificant creases and loss of paint. Relined in 20th century and framed in 1950s in New York, USA. Good preserved condition, because the last 60 years the painting was kept under glass. The last 3 images shows microscopy of the silk under x50 magnification.
Low Estimate: 10000;
High Estimate: 30000;
Original: Yes

Chinese silk scroll painting Monkeys, birds calligraphy

Lot #220 (Sale Order 218 of 490)

Chinese silk scroll painting -Monkeys, birds and calligraphy. Scroll length 151.5 inches = 377 cm; Scroll width: 10 inches = 25 cm; Painting size, including calligraphy: 111 in. x 6 inches. Hand painted on silk - verified with 100 magnification microscopy.
Condition Very good, refer to insignificant creases.
Low Estimate: 2000;
High Estimate: 5000;

Chinese hanging scroll -8 running horses, Shu Pei Huan manner

Lot #221 (Sale Order 219 of 490)

Long Chinese hanging scroll 8 running horses, in the manner of Shu Pei Huan. Hand-painted on paper (verified under microscope); Signature: two red seals (unknown); Size of the painting: 53" x 26" = 132 cm x 65 cm; Size of the scroll: 73 x 30" = 182 cm x 75 cm; Material: Paper, ink, colors; Roller ends: wood Condition: Very good, refer to insignificant creases Provenance: Purchased in Canada in 1990s
Condition Very good, refer to insignificant creases.
Low Estimate: 1000.0;
High Estimate: 4000.0;

Ancient people & crane, Chinese hanging scroll 175cm

Lot #222 (Sale Order 220 of 490)

Ancient people and crane, Chinese hanging scroll painting 80x 28 in. Materials: ink, watercolors, hand painted on paper; Signed: seal unknown; Scroll: = 70x22 inches = 175cm x 55cm; Painting: 38 x 19 in. = 95cm x 47.5cm; Age: unknown; Shipping in USA. We suggest USPS Priority, FEDEX or UPS- below $25 International Shipping We ship worldwide, please, contact about shipping rates
Condition Perfect. Refer to insignificant creases, stains, aging and imperfections;
Low Estimate: 1000;
High Estimate: 2000;

Chinese hanging scroll painting- Wise man reading book

Lot #223 (Sale Order 221 of 490)

Chinese hanging scroll painting- Wise man reading a book Painting size: 26 x 20 inches = 65cm x 50cm Scroll size: 67 x 24inches = 167 cm x 60 cm Material: Paper, Ink, Colors, Hand painted Roller ends: Wood Condition: Perfect, very good mounting Signed: Signature unknown Shipping Shipping in USA by Priority Mail, or FEDEX or UPS - below $20 International shipping is available, ask for shipping rates, please.
Condition Perfect, very good mounting
Low Estimate: 750;
High Estimate: 1500;

Chinese Script Calligraphy Liang Qichao 1873-1929

Lot #224 (Sale Order 222 of 490)

Chinese Script Calligraphy Liang Qichao (1873-1929), Politician, 148 x 41cm Chinese script calligraphy; ink on paper; Mounted on thick paper, but it is not a hanging scroll. Inscribed and signed with one artist seal. Size: 148 cm x 41 cm. Condition: very good for age. Authenticity: original. Liang Qichao (simplified Chinese: ; traditional Chinese: ; pinyin: Liáng Qcho; WadeGiles: Liang Ch'i-ch'ao, Leung Chi-tso (used in Hawaii in 1900),styled Zhuoru, ; Pseudonym: Rengong, ; February 23, 1873 January 19, 1929) was a Chinese scholar, journalist, philosopher, and reformist during the late Qing Dynasty and early Chinese Republic who inspired Chinese scholars with his writings and reform movements
Condition very good for age, some lost of paint.
Low Estimate: 2000;
High Estimate: 4000;
Orignal: Yes

Chinese modern painting album Shi Qi, 8 women portraits

Lot #225 (Sale Order 223 of 490)

Chinese painting album, attributed to Shi Qi - Eight portraits of the women, #P002270. Modern art. Album size: 15 x 15 inches = 37.5 cm x 37.5 cm. Material: Paper, ink, water colors, hand painted.
Condition Very good, insignificant creases.
Low Estimate: 1000;
High Estimate: 2000;

Chinese scroll painting on silk, Two humming birds, attributed to Ma Yuan Yu

Lot #226 (Sale Order 224 of 490)

Chinese masterpiece scroll painting on silk, Two humming birds, -attributed to/after Ma Yuan Yu. Stock #1939. Painting size: 45x16 inches = 112.5 cm x 40 cm. Scroll size: 77 x 22 inches = 192 cm x 55 cm. Ends: wood. Material: ink colors, hand painted on silk (verified under x100 magnification). Microscopy: thick fibers - horizontally, thin fibers - vertically. Shipping in USA: We suggest USPS Priority, FEDEX or UPS- below $20 International Shipping: We ship worldwide, please, contact about shipping rates. We suggest USPS Express Mail.
Condition Refer to some aging spots, hangs down perfectly on the wall.
Low Estimate: 3000;
High Estimate: 10000;

Chinese hanging scroll painting, Birds on Rockery

Lot #227 (Sale Order 225 of 490)

Chinese hanging scroll painting: water color on paper: Birds on Rockery Hanging Scroll, Chinese watercolor on paper, ink and color on paper: birds on rockery; inscribed and signed with two artist seals; Size: 185 cm x 42 cm;
Condition Very good, insignificant creases;
Low Estimate: 1000;
High Estimate: 3000;

Chinese hanging scroll painting: 2 tropical red birds, attr Jian Han Ting

Lot #228 (Sale Order 226 of 490)

Chinese hanging scroll painting: 2 tropical red birds, attributed to Jiang Han Ting. Painting size: 36 x 17 inches = 90 cm x 42 cm; Scroll size: 66 x 22 inches = 165 cm x 55 cm; Material: ink and water colors on paper; Shipping in USA: We suggest USPS Priority, FEDEX or UPS- below $20. International Shipping: We ship worldwide, please, contact about shipping rates. We suggest USPS Express Mail.#P001586
Condition Excellent, refer to insignificant creases Hand-painted (verified under x 100- magnification microscope).
Low Estimate: 600;
High Estimate: 1200;

Chinese scroll painting Mysterious Mountains, HeiBoLong

Lot #229 (Sale Order 227 of 490)

Chinese scroll painting, Mysterious Mountains, attributed to Hei Bo Long. Painting size: 17 x 26 inches = 42.5 cm x 65 cm; Scroll size: 21 x 59 inches = 52.5 x 147.5 cm; Material: ink and water colors on paper; Condition: Excellent, refer to insignificant creases; Hand-painted (verified under x100 microscope); Shipping in USA: We suggest USPS Priority, FEDEX or UPS- below $20 International Shipping: We ship worldwide, please, contact about shipping rates. We suggest Express Mail. Stock number: #P001006
Condition Excellent, refer to insignificant creases; Hand-painted (verified under x100 microscope);
Low Estimate: 500;
High Estimate: 1000;

Chinese scroll painting Two travellers in widerness, Hei Bo Long?

Lot #230 (Sale Order 228 of 490)

Chinese scroll painting Two travelers in the wilderness, attributed to Hei Bo Long; Painting size: 20 x 35 inches = 50 cm x 87.5 cm; Scroll size: 23 x 59 inches = 57.5 cm x 147.5 cm; Material: ink and water colors on paper; Hand-painted (verified under x 100 microscope); . Shipping in USA: We suggest USPS Priority, FEDEX or UPS- below $20. International Shipping: We ship worldwide, please, contact about shipping rates. We suggest Express Mail. #P001007
Condition Excellent, refer to insignificant creases;
Low Estimate: 500;
High Estimate: 1000;

Chinese hanging scroll painting, Stranger, Xiao Qian Zhong attributed

Lot #231 (Sale Order 229 of 490)

Chinese hanging scroll painting, Stranger, - attributed to Xiao Qian Zhong, Painting size: 54 x 19 inches = 135 cm x 47.5 cm; Scroll size: 77 x 25 inches = 192 cm x 62 cm; Material: ink, water colors on paper; Hand painted (verified microscopically, under x100 magnification); Ends: wood; Condition: very good, refer to several horizontal creases; Shipping in USA: We suggest USPS Priority, FEDEX or UPS- below $20; International Shipping: We ship worldwide, please, contact about shipping rates. We suggest USPS Express Mail. #P001896
Condition very good, insignificant horizontal creases, refer to the photos;
Low Estimate: 600;
High Estimate: 1200;

Chinese hanging scroll painting, - 3 cormorants YaMing?

Lot #232 (Sale Order 230 of 490)

Chinese hanging scroll painting, - 3 cormorants drying wings, -attributed to Ya Ming. Painting size: 27 x 17 inches = 67cm x 42 cm; Scroll size: 74 x 22 inches = 185 cm x 55 cm; Material: ink, water colors on paper; Hand painted (verified microscopically, under x100 magnification); Ends: wood; Condition: very good, insignificant several horizontal creases; Shipping in USA: We suggest USPS Priority, FEDEX or UPS- below $20; International Shipping: We ship worldwide, please, contact about shipping rates. We suggest USPS Express Mail. #P002128.
Condition very good, insignificant several horizontal creases;
Low Estimate: 600;
High Estimate: 1200;

Chinese painting, -Disappointed Artist, -Yan Mei Hua(?)

Lot #233 (Sale Order 231 of 490)

Chinese painting, -Disappointed Artist, -attributed to Yan Mei Hua. Painting size: 26 x 15 inches = 65 cm x 37.5 cm; Material: Paper, mounted on carton (it is not a scroll), ink, water color, hand painted; Condition: Good, refer to some rubbing of the paper, obviously made by artist; #P002281; Shipping in USA - below $20 (Priority Mail, UPS ground, FEDEX ground). International shipping is available ask for the rates, please
Condition Good, refer to some rubbing of the paper
Low Estimate: 1200
High Estimate: 2500

Chinese painting scrol - Singing bird, Huang Shen(?)

Lot #234 (Sale Order 232 of 490)

Chinese painting - Singing bird, attributed to Huang Shen. Painting size: 37 x 20 inches; Material: Paper, ink, colors; Roller ends: carved red wood; Material: Paper, ink, colors, hand-painted. #P002378. Shipping in USA - $20-$25 (Priority Mail, UPS ground, FEDEX ground). International shipping is available, ask for the rates, please.
Condition Excellent mounting on silk, refer to all creases on paper;
Low Estimate: 1500;
High Estimate: 3000;

Oil painting on board, - Bamboo & bird; framed 65x50 cm

Lot #235 (Sale Order 233 of 490)

Oil painting on the board, - Bamboo and bird; framed 65 cm x 50 cm. Signed: Signature unknown; Frame: 26 in x 19 in. = 65 cm x 50 cm; Painting: 24.5 x 18.5 cm = 63 cm x 47 cm; Weight: 3.5 lb. = 1600 g; Shipping in USA by USPS Priority, FEDEX or UPS ground, approx. $40-$60 International shipping is available. Contact for rates, please.
Condition Perfect, no defects.
Low Estimate: 1000;
High Estimate: 3000;
Orignal: Yes

Framed Chinese watercolor painting, signed, 76 x 37 cm

Lot #236 (Sale Order 234 of 490)

Framed Chinese watercolor painting, signed, sealed. Framed Chinese watercolor painting, ink and color on paper; inscribed and signed with one artist seal; Painting size: 23 in. x 11 in. = 57.5 cm x 27.5 cm; Frame size: 30.5 in. x 15 in. = 76.25 cm x 37.5 cm; Condition: Perfect, - preserved under glass;
Condition Perfect, - preserved under glass.
Low Estimate: 600;
High Estimate: 2000;
Orignal: Yes

Chinese scroll fan painting on paper, Mountain scenery

Lot #237 (Sale Order 235 of 490)

Chinese scroll fan painting on paper, Mountain scenery, signed; Hand-painted on paper; Size of the painting: 25 in. x 13.5 in. = 62 cm x 34 cm;
Condition very good insignificant creases, needs framing
Low Estimate: 500;
High Estimate: 1500;

Chinese hanging scroll painting, attr. Qian Hui An, Three wise men talking

Lot #238 (Sale Order 236 of 490)

Chinese hanging scroll painting, -Three wise men talking, - attributed to Qian Hui An. Stock # 1615. Scroll size: 72 in. x 17.4 in. = 180 cm x 43.5 cm. Painting size: 25.5 in x 9.8 inches = 64 cm x 24.7 cm. Material: ink and water colors on paper. Hand-painted (verified under x100-magnification microscope). Shipping in USA: We suggest USPS Priority Express, FEDEX ground or UPS ground- below $20. International Shipping: We ship worldwide, please, contact about shipping rates. We suggest USPS Express Mail.
Condition Condition of the painting is good, refer to aging creases, folds and stains. Condition of the base scroll is fair - refer to repaired tears at the top, near the wooden bars.
Low Estimate: 1500;
High Estimate: 5000;

Chinese silk paintinting, framed 150 x 80cm

Lot #239 (Sale Order 237 of 490)

Four cranes,- stunning large Chinese painting on silk: 20th c. Framed 60 in. x 32 in. Image of 4 cranes, characters of longevity; Materials: ink and colors on silk; Signed and dated. Laid down perfectly flat on board and professionally framed. Just framing costs $500; Size of the painting: 48in. x 26 inches = 120 cm x 65 cm; Size of the frame: 60 x 32 inches = 150 cm x 80 cm; Condition: almost perfect, refer to the photos; Shipping in USA: by FEDEX or UPS; International shipping is available: ask for shipping rates;
Condition Excellent. Laid down perfectly flat on board and professionally framed. Just framing costs $500-$600;
Low Estimate: 2000;
High Estimate: 5000;
Orignal: Yes

Vintage Chinese Qing Dyn, 10 Famous Celebrity Portraits

Lot #240 (Sale Order 238 of 490)

Vintage Chinese Qing Dynasty, 10 Famous Celebrity Portraits
Condition natural aging of the paper;
Low Estimate: 300;
High Estimate: 500;
Orignal: Yes

Japanese painting on silk, 1700-1850, Autumn Official

Lot #241 (Sale Order 239 of 490)

Japanese antique painting on silk, -Sweeping Lesson, 18th- 19th c. Evaluation is done by Dr. Qing Chang, PhD in Chinese arts: The two Chinese characters above the seal is , and the seal represents the same two characters. This should be the first name or nickname of the artist. Because the artist is a Japanese, I do not know the Japanese pronunciation. The Chinese pronunciation is Qiuqing. In China, this is an old official title. The meaning of the two characters is Autumn Official. qing also is a respectful way to call a man or a woman, with a meaning similar to sir or lady.Measurements: Size of the frame: 57 in x 28.5 in. = 142 cm x 71 cm;Size of the silk painting: 40 x 15.5 in. = 100 cm x 39 cm;Weight of the painting with frame and glass: 20 lb. = 9 kgShipping could be simplified by un-framing the painting and making a scroll again.This would save a lot of money and would be much safer (no glass)
Condition natural aging of silk, refer to insignificant folds and spots on the photos, well preserved under glass.
Low Estimate: 10000;
High Estimate: 30000;
Orignal: Yes

Japanese Silk Painting, Kamijima Sosui, 1900-1940

Lot #242 (Sale Order 240 of 490)

Japanese Painting on Silk, singing bird, flower & spider, signed Japanese painting with flower and bird motif. The artist used boneless brush strokes to paint the tree, leafs and the bird, with a strong influenced from Chinese Qing dynasty artists. The seal on the lower right side read as . Kamijima Sosui active in the first half of the 20th century. Authenticated by Dr. Qing Chang, PhD. Signed: red artist seal in the lower right corner. Framed without glass and mounted on plywood, probably 50 years ago. Size of the painting: 39 inches x 15 inches = 99 cm x 39 cm; Size of the frame: 43 x 19 inches = 109 cm x 49 cm; Weight: 8 lb. = 3.6 kg; Condition: Very good, no damage, some natural darkening because of the dust (no glass); Authenticity report: Genuine; Provenance: private Chinese collector from New York, USA; Shipping in USA: FEDEX ground
Condition Very good, no damage, some natural darkening because of the dust (no glass);
Low Estimate: 5000;
High Estimate: 12000;
Orignal: Yes

God of Longevity, Japanese PAINTING, Edo 1603-1868, certified

Lot #243 (Sale Order 241 of 490)

Certified Japanese painting on silk: God of Longevity, PAINTING with CALLIGRAPHY, Edo period (1603-1868). The painting, with the sketching idea style brush strokes, represents the God of Longevity from Chinese Daoist belief. The God of Longevity sits in a lotus posture by crossing his legs, with a tall protruded forehead, representing the typical iconography of the deity. The ink inscription was written in Japanese language, mentioned Fu Lu Shou , referring to the Three Gods, Good Fortune (Fu), Salary (Lu), and Longevity (Shou). Actually, the God of Longevity is one of the Three. The deity put his fan on his right side, and there is a large cloth bag on his left side. The cloth bag indicates the deity of Budai [Cloth Bag, Hotei in Japanese] from Chinese Buddhist belief. Budai was a Chan or Zen Buddhist monk from the tenth century Zhejiang province, China. After his death, people believed that he was the reincarnation of Maitreya, the Future Buddha. After that, people have worshiped him. Japanese accepted Chinese influence, and treat Budai as one of The Seven Gods of Fortune in Japanese native belief. Therefore, one can see that this painting represents two of the Seven Gods of Fortune. The artist of the painting and inscription is Kodou Haruhiko . I cannot find who the artist is. Based on the style of the painting, it could be painted during the Edo period (1603-1868). An antique Japanese, Shou Xing painting, depicting the deity with fan and peach under calligraphy poem Painting: 8.5 x 6.5 inches = 21.4 cm x 16.3cm Mat & frame: 16.5 x 13.5 inches = 41.2 cm x 33.8 cm. Authenticated by Dr. Qing Chang, PhD.
Condition The painting is old and used, there is some loss of paper, stains, folds, etc. (refer to the photos). The painting is framed under glass for protection.
Low Estimate: 3000;
High Estimate: 6000;
Orignal: Yes

JAPANESE hanging silk scroll "Beautiful Geisha" Baisen

Lot #244 (Sale Order 242 of 490)

JAPANESE hanging scroll on silk "Beautiful Geisha", by Baisen Signature & Seal = Baisen; Scroll Box = None. Roller Ends = Wood. Technique = Hand painted on silk. Condition = Refer to all pictures, some stains, damage in the upper mounting. Painting size: 40 cm x 34 cm = 16 x 13.5 inches; Scroll Size: 52.5cm x 122.5cm = 21" x 49" inches; Our policy: We offer valuable Japanese art from Kano school painting to famous painter playing an active part in the present age. But the judgment of the original or not is very difficult even if the expert checks it. Please bid it after having judged it in your responsibility. The item has stains, creases and some damages. It's more about old items. Please decide after you see the item picture and the description closely. Happy bidding!
Condition Very good, insignificant imperfections: Refer to all photos, some stains, damage in the upper mounting.
Low Estimate: 600;
High Estimate: 2000;

Japanese hanging scroll silk painting,- Rainy Landscape

Lot #245 (Sale Order 243 of 490)

Japanese hanging scroll painting on silk "Rainy Landscape". Signature & Seal = Anonymous. Scroll Box = None. Roller Ends = Bone. Technique = Hand painted on Silk. Condition = Very good. Refer to all photos: insignificant creases and stains. Size of the scroll: 59 cm x 202 cm = 23.3" x 79.6 inches
Condition Very good. Refer to all photos: insignificant creases and stains.
Low Estimate: 500;
High Estimate: 2000;
Orignal: Yes;

Japanese vintage hanging paper scroll "Bridge Scenery"

Lot #246 (Sale Order 244 of 490)

Japanese vintage hanging scroll on paper "Bridge Scenery" Signature & Seal =Anonymous. Scroll Box = None. Roller Ends = Wood. Technique = Hand painted on Paper. Condition = Very good. Refer to all pictures, insignificant stains, creases and wrinkles. Scroll size: 37.9cm x 184.2cm = 14.9 in. x 72.5 inches
Condition Very good. Refer to all pictures, insignificant stains, creases and wrinkles.
Low Estimate: 100;
High Estimate: 300;
Orignal: Yes;

Japanese scroll - Two cranes at mount scenery

Lot #247 (Sale Order 245 of 490)

Japanese scroll - 2 cranes at mount scenery HORAISAN; Scroll size: 76 x 19 inches = 190 cm x 48 cm Painting size: 14 x 48 inches = 36.5 x 120 cm Weight: 400 g. Material: Hand painted on silk. Signed: seal unknown. Condition: Very Good, refer to all aging creases & folds. Roller ends: Bone
Condition Very Good, refer to all aging creases & folds;
Low Estimate: 1500;
High Estimate: 3000;
Orignal: Yes;

JAPANESE hanging silk scroll: SANSUI- 4 men in a boat"

Lot #248 (Sale Order 246 of 490)

JAPANESE hanging scroll on silk: SANSUI- 4 men in a boat Hand Painted Scroll TITLE: SANSUI; Signature (Seal): UNKNOWN; Height: 74.9 in. Width: 21.5 in. Weight: 850 g; Origin: Japan; Material: Silk; Roller ends: Bone; Condition: Very Good; With original tomobako (signed storage box)
Condition Very Good;
Low Estimate: 500;
High Estimate: 2000;
Orignal: Yes;

Japanese silk scroll - Mount Fuji, by Kano

Lot #249 (Sale Order 247 of 490)

Japanese hanging scroll on silk Mount Fuji, by Kano Yoshinobu; Scroll size: 47 x 27 inches = 117.5 cm x 68 cm; Painting size: 16.5 x 22 inches = 41 x 55 cm; Material: Hand painted on silk; Roller ends: Bone; Before bidding our item: - Please read and understand our business policy and business approach below. We indicate the artist's name based on a signature and seal and also the style for convenience but, please, understand that it is not a thing to guarantee is it an original or later copy.
Condition good, refer to all aging creases, folds and perforations;
Low Estimate: 1500;
High Estimate: 3000;

JAPANESE hanging scroll -Fish on plate, by Ueda Togy

Lot #250 (Sale Order 248 of 490)

JAPANESE hanging scroll Bream on the plate, by Ueda Togyu Hand Painted Scroll TITLE: Bream on the plate Signature (Seal): Ueda Togyu Height: 52.3 inches. Width - 17.9 inches. Weight - 620 g; Origin: Japan; Material: Paper; Roller ends: Resin; Condition: Good, refer to all creases and stains; Comes in a wooden box; Thanks for Looking!! Before bidding our item --- Please read and understand our business policy and business approach below. We indicate the artist's name based on a signature and seal and also the style for convenience but please understand that it is not a thing to guarantee is it an original or later copy.
Condition Good, refer to all creases and stains;
Low Estimate: 500;
High Estimate: 1000;

Japanese paper scroll Bamboo & sparrow

Lot #251 (Sale Order 249 of 490)

Japanese(?) Chinese(?) scroll Bamboo & sparrow, hand painted on paper Scroll size: 75 x 19 inches = 187 cm x 47.5 cm Painting size: 52 x 13.5 inches = 130 cm x 34 cm. Weight: 260 g Material: Hand painted on paper. Signed: seal unknown. Condition: Very Good, refer to all aging creases & folds Roller ends: Wood
Condition Very Good, refer to all aging creases & folds. Roller ends: wood;
Low Estimate: 400;
High Estimate: 800;
Orignal: Yes;

Two Japanese porcelain translucent hand-painted tea cup

Lot #252 (Sale Order 250 of 490)

Two Japanese porcelain translucent hand-painted tea cups with two saucers, 20th c, Diameter of the cup: 96 mm. Diameter of the saucer: 138 mm. Total weight of all 2 cups and 2 saucers: 12 oz. = 350 g. One saucer and one cup are marked with red dot on the bottom
Condition: used, fine thin translucent glass, some wear.
Low Estimate: 400;
High Estimate: 1000;
Orignal: Yes;

Shino-Yaki pottery bowl -JAPANESE TEA ceremony, signed

Lot #253 (Sale Order 251 of 490)

Large Shino-Yaki glazed pottery bowl - JAPANESE TEA CEREMONY, Signed Horaku. This is not tea bowls but bowls for Wagashi (Japanese cakes) in tea ceremony; Seal: made by Horaku; Diameter: 7 in. = 18.41 cm; Height: approx. 3 in. = 8.25cm;Weight: 701g; Shino-yaki is one of the most loved varieties of ceramics, both for the table and the tearoom. Named for its Shino glaze, which ranges from snowy white to deep cream and on to grey and even orange and thick, curdled texture that often shows small holes. Shino-yaki is certainly distinctive in its Zen-like simplicity. This was Japans first white glaze, and is made of ground feldspar mixed with clay. Firings of Shino glaze tend to be of lower temperature for a longer period of time, and then a slow cooling process. These conditions do not allow the glaze to melt fully, and the result is a thick glaze that often has a crawling pattern. Shino first appeared in the Momoyama era (1568-1600) but the glaze fell out of favor in the early 18th century when green and brown Oribe glazes became popular. This is beautiful example of Japanese Shino ware (yaki).
Condition It is in very good condition with no cracks or chips.
Low Estimate: 2000;
High Estimate: 5000;
Orignal: Yes;

Japanese Chawan, Tea ceremony Shino Yaki Ceramic flower

Lot #254 (Sale Order 252 of 490)

Japanese Chawan, Tea ceremony Shino Yaki Ceramic flower Bowl.Ceramic Chawan that would be used in the tea ceremony, creamy color with purple flower design. Condition: It is in good condition with no chips or cracks. There is a kiln flaw - see photo. Dates from 20th century; Diameter: 5 inches = 12.5 cm. Height: 3 inches = 7.5 cm;Weight: 12 oz. = 350 g; References: A chawan (; literally "tea bowl") is a bowl used for preparing and drinking tea. There are many types of chawan used in East Asian tea ceremonies. The choice of their use depends upon many considerations.
Condition It is in good condition with no chips or cracks. There is a kiln flaw - see photo;
Low Estimate: 800;
High Estimate: 2000;
Orignal: Yes;

Shino Yaki Japanese Chawan wavy glaze bowl

Lot #255 (Sale Order 253 of 490)

Japanese Chawan, Tea ceremony Shino Yaki Ceramic Bowl, wavy glaze. Ceramic Chawan that would be used in the tea ceremony, creamy color with wavy over glaze. Condition: It is in good condition with no chips or cracks. There is a kiln flaw - see photo. Dates from 20th century;Diameter: 4.75 inches = 12 cm;Height: 3 inches = 7.5 cm; Weight: 11 oz. = 300 g; References: A chawan (; literally "tea bowl") is a bowl used for preparing and drinking tea. There are many types of chawan used in East Asian tea ceremonies. The choice of their use depends upon many considerations.
Condition good condition with no chips or cracks;
Low Estimate: 500;
High Estimate: 1500;
Orignal: Yes;

JAPANESE small plate with Mount. FUJI, Fukagawa mark

Lot #256 (Sale Order 254 of 490)

BEAUTIFUL JAPANESE SMALL PLATE WITH MT. FUJI AND A STREAM BLUE MARK, early 20th c; This auction is for a beautiful Japanese small plate. It has a mark of Mount Fuji and a stream painted in blue ink on the back. Diameter: 5 in. = 126 mm Weight: 6.3 oz. = 179.18 g Condition: It has 2 small, 3-mm chips (see pictures). Thank you for looking.
Condition It has 2 small, 3-mm chips on the edge (see pictures).
Low Estimate: 500;
High Estimate: 2000;
Orignal: Yes;

Painted & glazed pottery plate by FAYE NAKAMURA, signed

Lot #257 (Sale Order 255 of 490)

Painted & glazed pottery plate by FAYE NAKAMURA, signed This is very early, glazed and painted clay, plate by Eugene artist Faye Nakamura. Faye Nakamura, who was born in Honolulu, received her BFA degree from the University of Oregon in 1977, has created fine art ceramics more than for 30 years now. Working in the ceramic medium, Nakamuras subject matter is often the nude or draped female form, decorative, heavily outlined, in an environment of pattern inspired by textiles or nature. Her work requires the viewer to think about and envision a life both playful and peaceful at the same time. Delicate yet strong, her women in art guide you to understand that gentle beauty is the only a thin cloak over power and wisdom. Faye creates with a beauty from within that exposes a thoughtful and bold spirit hidden behind an engaging smile. This plate is in good condition with no chips or cracks. It has a clear sing Nakamura 80. Diameter: 7 inches = 177 mm. Weight: 14 oz. = 400 g Thank you for looking.
Condition Excellent, no defects;
Low Estimate: 500;
High Estimate: 2000;
Orignal: Yes;

Japanese Kutani porcelain vase, Meiji period 1868-1912?

Lot #258 (Sale Order 256 of 490)

Japanese antique Kutani porcelain vase, Meiji period 1868- 1912(?) A beautifully hand painted and enameled Japanese porcelain vase, depicting scenes of trees, flowers, bird. A group of 4 people is having a conversation about 3 vases. Height: 4.5 in. = 10.8 cm; Weight: 11 oz. = 300 g;
Condition Overall extra fine condition. No cracks. There is a chip at the bottom rim, which is not visible in normal standing position. There is a lack of glaze in a triangle shape inside the vase. Refer to photos please.
Low Estimate: 600;
High Estimate: 1000;
Orignal: Yes;

Set of 4 Japanese Kutani cups, signed, Meiji period

Lot #259 (Sale Order 257 of 490)

Set of four Japanese Kutani cups, signed, Meiji period 1868 1912(?) Height: 4 in. = 10 cm; Diameter of the opening: 3 in. = 75 mm; Weight of one cup: 5 oz. = 150 g; Weight of four cups: 1 lb. 3oz. = 540 g;
Condition one cup has a stable crack, otherwise great condition;
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes;

SATSUMA TASHIO ANTIQUE, 24cm, JAPANESE VASE 19-20th c

Lot #260 (Sale Order 258 of 490)

ANTIQUE JAPANESE SATSUMA TASHIO VASE circa 1880-1910 In my opinion a late 19th to early 20th century, JAPANESE, FULLY HAND PAINTED SATSUMA TASHIO WARE LARGE VASE WITH HAND PAINTED LARGE FLOWER AND INSECT DESIGN. Made for the export market of Europe. Circa 1880 to 1910 in date. Height: 10.5 inches = 24.5 cm. Width: 4.5 inches = 12 cm. Weight: 1 lb. 4 oz. = 550 g. Provenance: This vase previously owned by lady from NEWCASTLE, Tyne and Wear, United Kingdom from the 1990's.
Condition The item is in good order. There is an expected amount of age associated wear; chip and crack free, see pictures for full details.
Low Estimate: 300;
High Estimate: 1200;
Original: Yes;

Kutani Antique Japanese porcelain red vase, 12 = 30 cm

Lot #261 (Sale Order 259 of 490)

Antique Japanese Kutani porcelain red vase, 12 = 30 cm tall, Height: 12 = 30 cm Width: 5.5 = 14 cm Upper gorge diameter: 2 = 7 cm Lower base diameter: 2.75 = 7 cm Approximate Weight: 1 lb. = 0.5 kg Kutani ware ( Kutani-yaki?) is a style of Japanese porcelain first established by Got Saijir, a member of the Maeda clan, who set up a kiln in the village of Kutani (now part of the city of Kaga)[1] on the order of Maeda Toshiharu, ruler of the Kaga domain. The porcelain style is known for multiple colorssuch as greens, blues, yellows, purples, and redsand bold designs covering most of the surface of each piece. Kutaniyaki was first produced in 1655 in the city of Kaga. The first kiln was set up at the present-day Yamanaka Onsen Kutani in the city, upon discovery of high-quality potter's clay in the area. It was then known as kokutani, with bold-coloured designs characterized by its motifs of birds, flowers, mountains and water. Maeda Toshiharu ordered Got Saijir to go to Arita in Saga Prefecture to learn how to make porcelain. Maeda did this to increase his political and personal fortune. Recently, a theory has been put forward that most or all of the Kokutani ware was actually created in Arita rather than just influenced by the ceramics being created there. Kokutani enjoyed popularity for the next few decades until the Kutani suddenly closed down in 1730. The reasons for this closure are debated. Theories put forward include that supplies of the pigments necessary for the glazing were difficult to find, or that there were financial difficulties. This period of production is now referred to as the Old Kutani ( Kokutani?).
Condition No defects, refer to the photos;
Low Estimate: 500;
High Estimate: 1200;
Original: Yes;

Delicate Antique Japanese porcelain tea caddy 2 lids

Lot #263 (Sale Order 260 of 490)

Delicate antique Japanese porcelain tea caddy with 2 lids. The walls of the vase are really thin and delicate and are transmissible for light.Height: 7 in. = 15.5 cm;Upper diameter: 4.5 in. = 10.5 cm;Upper opening: 2.5 in. = 6.5 cm;Base diameter: 2.5 in. = 6.5 cm;Weight: 1lb. 6 oz. = 600 g;Wooden stand is not included.References:A tea caddy is a box, jar, canister, or other receptacle used to store tea.The word is believed to be derived from catty, the Chinese pound, equal to about a pound and a third avoirdupois. The earliest examples that came to Europe were of Chinese porcelain, and approximated in shape to the ginger-jar. They had lids or stoppers likewise of china, and were most frequently blue and white. Until about 1800 they were called tea canisters rather than caddies.[1]A Tea Caddy is one of basic tool for a tea ceremony. Tea caddy is necessary for tea ceremony. There are 2 types of tea caddy. One is Natsume and another is Chaire. The Natsume is for thin tea powder and the Chaire is for thick tea. The Natsume is made of plastic, artificial wood or natural wood sometimes with lacquered pictures. The Chaire is made of potter with small bag ( Ko-Bukusa ). Some items are so beautiful and fashionable. It is presumed that they were used not only as a tea tool but their fashion item to show to their guest.
Condition Condition report for the vase: Very good, minor wear, no chips, no cracks; Condition or the inner lid: Small repaired crack; Condition for outer lid: Broken in several pieces and repaired;
Low Estimate: 1000;
High Estimate: 2000;
Orignal: Yes;

Japanese erotic wooden Netsuke, Loving family 19th c

Lot #264 (Sale Order 261 of 490)

Japanese antique carved wooden Netsuke, - Loving family, 4 cm, 22g. Height: 1.25 in. = 2.25 cm. Length: 2.5 in. = 4 cm. Weight: 22.46 g. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition Used old polished wood, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Japanese antique erotic wooden Netsuke, 2 Lovers 19th c

Lot #265 (Sale Order 262 of 490)

Japanese antique carved wooden Netsuke, - Two lovers, 5 cm, 21 g; Height: 1.8 in. = 5 cm; Width: 1 in. = 2.5 cm; Weight: 20.60 g; Condition: Used, no defects; Provenance: from private collection in Florida, USA; purchased in 1980s -1990's Netsuke (?) are miniature sculptures that were invented in 17th-century Japan to serve a practical function (the two Japanese characters ne+tsuke mean "root" and "to attach"). Traditional Japanese garments robes called kosode and kimonohad no pockets; however, men who wore them needed a place to store their personal belongings, such as pipes, tobacco, money, seals, or medicines. Their solution was to place such objects in containers (called sagemono) hung by cords from the robes' sashes (obi). The containers may have been pouches or small woven baskets, but the most popular were beautifully crafted boxes (inr), which were held shut by ojime, which were sliding beads on cords. Whatever the form of the container, the fastener that secured the cord at the top of the sash was a carved, button-like toggle called a netsuke. Netsuke, like the inr and ojime, evolved over time from being strictly utilitarian into objects of great artistic merit and an expression of extraordinary craftsmanship. Such objects have a long history reflecting the important aspects of Japanese folklore and life. Netsuke production was most popular during the Edo period in Japan, around 1615-1868. Today, the art lives on, and some modern works can command high prices in the UK, Europe, the USA, Japan and elsewhere. Inexpensive yet faithful reproductions are available in museums and souvenir shops.
Condition Used old polished wood, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Orignal: Yes;

Edo period (1600-1868) Japanese bronze mirror, 9 cranes

Lot #266 (Sale Order 263 of 490)

Authentic Japanese bronze mirror, 6+3 cranes, D=9.5, Edo period (1600-1868); Five adult cranes and three baby cranes. Cranes are symbols of fidelity and happiness in the family. Nice patina all over. Weight: 3 lb. 5 oz. = 1kg 500 g; Diameter: 9.5 in. = 24 cm = 240 mm; Total length with a handle: 14 in. = 35 cm; Rim: 5 mm, rectangular; Mirror surface: flat, nicely polished, can be used as a mirror; Material: bronze; Signed by the artist on the right side. Condition: excellent References: Japanese bronze mirrors Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theater dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682
Condition Perfect, several spots of green patina and oxidation;
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes;

Edo Japanese/Korean bronze mirror 2 cranes & 2 turtles

Lot #267 (Sale Order 264 of 490)

Authentic Japanese/Korean bronze mirror 2 cranes, 2 turtles, etc., Edo period (1600-1868); Lot of symbols of longevity (turtles), fidelity (cranes), happiness, good fortune, etc. Nice patina all over; Weight: 1 lb. 8 oz. = 700 g; Diameter: 7.5 in. = 183 mm; Total length with a handle: 11 = 28 cm; Rim: 5 mm, rectangular; Mirror surface: flat; Material: bronze; This is a Japanese (or remotely possible-a Korean) bronze mirror. It has elaborate decoration as seen in my photos. The large Chinese characters depict Long life and Happiness and there are many symbols of longevity, such as the Crane, Bundles of rice, etc. It appears that the makers name might have been removed from this mirror. It is in great condition other than the possible missing signature and has no dings, dents or repairs. It is approximately 11" high and 7 3/4" wide. It was made about the turn of the century or possibly earlier. Provenance: this mirror was purchased in Korea by Americans, when they lived in South Korea from 1966 until 1974 and again from 1976 until 1985.
Condition Authentic patina and oxidation;
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes;

Japanese Edo lady's bronze mirror, Houses & Trees

Lot #268 (Sale Order 265 of 490)

Authentic Japanese bronze mirror, Houses & trees, D=5.3 in., Edo period (1600-1868) This is a small, possibly lady mirror. Weight: 10 oz. = 300 g; Diameter: 5 3/8 in. = 137 mm = 13.7 cm; Total length with a handle: 9 inches = 23 cm; Rim: 4 mm, rectangular; Mirror surface: flat, polished, has some green patina; Material: bronze; Mirror is signed by the artist on the left side. Condition: Nice genuine patina all over References: Japanese bronze mirrors; Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. This Japanese hand mirror is probably 75-100 years old, and is made primarily of brass. The maker's mark at the left on the back is partially illegible, but appears to be an address that begins "Ooshita Ichigami-mura . . ." ("Ooshita, Ichigami Town . . ."), although it might also be something like a caption telling what the design depicts. As shown, there is a pretty fair amount of wear and tarnish, with several spots and patches of minor, green oxidation, but there is no significant structural damage. The reflective face is quite tarnished and stained, however, and so gives virtually no reflection at all.
Condition Used, perfect;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Japanese/Korean bronze Symbol mirror, 14in. Edo period

Lot #269 (Sale Order 266 of 490)

Authentic Japanese/ Korean bronze mirror, 14 in., Edo period (1600-1868) Another possibility it is a Korean mirror Lot of symbols of longevity, happiness, good fortune, etc. No animals Nice patina all over Weight: 2 lb. 6 oz. = 1kg 100 g Diameter: 9.5 in. = 24 cm = 240 mm; Total length with a handle: 14 in. = 35 cm; Rim: 5 mm, rectangular; Mirror surface: flat; Material: bronze; Condition: Natural patina. There are 2 bronze rings for hanging, but chain is missing. References: Japanese bronze mirrors: Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theater dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868).
Condition Natural patina. There are 2 bronze rings for hanging, but chain is missing.
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes;

Edo Emp Japanese Wedding bronze mirror, 9.5 in., 2 lb.

Lot #270 (Sale Order 267 of 490)

Authentic Edo Emp Japanese Wedding bronze mirror, 9.5 in., 2 lb. Made in Edo Emperor period (1600-1868); The mirror has a hanging chain. Has very nice sound if you strike it, can be used as a gong or bell; Diameter: 9.5 in. = 24 cm; Length with a handle: 13.5 = 34 cm Weight: 2 lb. 3 oz. = 1000g; Condition: perfect for the age, notice several spots of bronze oxidation References: Japanese bronze mirrors; Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. This Japanese hand mirror is probably 75-100 years old, and is made primarily of brass. The maker's mark at the left on the back is partially illegible, but appears to be an address that begins "Ooshita Ichigami-mura . . ." ("Ooshita, Ichigami Town . . ."), although it might also be something like a caption telling what the design depicts. As shown, there is a pretty fair amount of wear and tarnish, with several spots and patches of minor, green oxidation, but there is no significant structural damage. The reflective face is quite tarnished and stained, however, and so gives virtually no reflection at all.
Condition perfect for the age, notice several spots of bronze oxidation;
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes;

Japanese bronze mirror, Blooming Sakura, 8.25n, Edo p

Lot #271 (Sale Order 268 of 490)

Authentic Japanese bronze mirror, Blooming Sakura, Edo period (1600-1868); Weight: 1 lb. 9 oz. = 730 g; Diameter: 8.25 in. = 21 cm = 210 mm; Total length with a handle: 12 in. = 30 cm; Rim: 4 mm, rectangular; Mirror surface: flat, polished, has some green patina; Material: bronze; Signed by the artist on the left side. Condition: Genuine patina all over, several green spots on mirror surface References: Japanese bronze mirrors: Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682.
Condition Genuine patina all over, several green spots on mirror surface
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Museum Japanese bronze mirror: Two cranes, Edo

Lot #272 (Sale Order 269 of 490)

Museum Japanese bronze mirror: Two cranes and tree,- Edo Emperor period (1600-1868). Exceptional quality mirror surface you can see your real reflection almost like in a modern mirror; Diameter: 7 1/8" inches = 182 mm = 18.2 cm; Length with a handle: 11 1/4" inches = 283 mm = 28.3 cm; Weight: 2 lb. = 900 g; Condition: some rust and patina, handle still have remnants of original cover. The hay cover on the handle is partially missing. Japanese bronze mirrors Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868). Edo period (1600-1868); Exceptional quality mirror surface you can see your real reflection almost like in a modern mirror; Diameter: 7 1/8" inches = 182 mm = 18.2 cm; Length with a handle: 11 1/4" inches = 283 mm = 28.3 cm; Weight: 2 lb. = 900 g; Condition: some rust and patina, handle still have remnants of original cover. The hay cover on the handle is partially missing. Japanese bronze mirrors Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868).
Condition some rust and patina, handle still have remnants of original cover. The hay cover on the handle is partially missing.
Low Estimate: 2000;
High Estimate: 40000;
Orignal: Yes;

Japanese bronze mirror Two cranes, kissing turtle

Lot #273 (Sale Order 270 of 490)

Japanese bronze mirror Two cranes, kissing a turtle, Attribution: Muromachi period (1333-1568); Weight: 1 lb. = 450 g; Diameter: 4.75 in. = 120 mm; Rim: 15 mm; Knob: in the shape of turtle; Mirror surface: shiny, very slightly concave; References: Japanese bronze mirrors Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers, specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868).
Condition Very good for the age, shiny mirror surface;
Low Estimate: 1500;
High Estimate: 3000;

Pair of Qing/Ming Dynasty(?) Ginger jars & lids, signed

Lot #274 (Sale Order 271 of 490)

Pair of Qing/Ming Dynasty(?) ginger vases with lids, signed. Each vase has clear engraved signature of the master. Weight of one vase: 7 lb. = 3.15 kg, Weight of two jars: 14 lb. = 6.3 kg, Weight of two jars and packing: 20 lb. = 9 kg Height with lid: 9 inches = 22.5 cm; Width: 9 inches = 22.5 cm; Condition: Excellent for this age, no cracks. Both lids have some chips refer to the pictures Shipping in USA: FedEx or UPS, approximately $150-$300, depending on the distance and terms of delivery.
Condition Excellent for this age, no cracks. Both lids have some chips refer to the pictures. Some wear at the bottom rim.
Low Estimate: 2000;
High Estimate: 10000;
Orignal: Yes;

Peking glass multicolored vase

Lot #275 (Sale Order 272 of 490)

Chinese carved multicolored Beijing Glass vase with lid. Height: 4 in. without lid, 5 in. with lid. Seal mark on the bottom: Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Chinese Peking Red Glass Vase with the lid

Lot #276 (Sale Order 273 of 490)

Chinese Peking glass vase with the lid, signed at the bottom. Condition: fine, no defects. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition perfect, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Peking glass yellow vase

Lot #277 (Sale Order 274 of 490)

Chinese antique carved Beijing Glass tall yellow vase, 21 cm. Height: 8.5 in. = 21 cm. Seal mark on the bottom. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's.
Low Estimate: 1500;
High Estimate: 3000;
Condition: Excellent;
Original: Yes;

Peking glass yellow ball vase

Lot #278 (Sale Order 275 of 490)

Chinese carved Beijing Glass yellow-green vase. Height:__________Seal mark on the bottom. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition Excellent, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Qing dy blue white ceramic Double Happiness Wedding Jar

Lot #279 (Sale Order 276 of 490)

This is an authentic late Qing Dynasty blue and white ceramic "Double Happiness' Wedding Jar. It is in good condition for it's considerable age. This is a fine example of an authentic Qing Dynasty 'double happiness' ginger jar. This is not a modern reproduction. It is an authentic antique from the turn of the century. There are no chips or cracks on this jar. It is very thick and heavily built. It is hand painted in cobalt blue and glazed. It is old and used and has some visible wear from use and original firing. It has some very minor hairlines (hardly visible) and these are definitely not structural. Size: it is 9 inches tall and the base measures 6.5 inches in diameter. This is a large solid jar. You won't be disappointed. -Wooden stand is not included-
Condition It is old and used and has some visible wear from use and original firing. It has some very minor hairlines (hardly visible) and these are definitely not structural.
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;

Xuande Emp, Ming Dynasty Chinese porcelain Vase

Lot #280 (Sale Order 277 of 490)

Chinese porcelain Blue & White Vase, Ming Reign Marks- Xuande Period (AD 1426-1435) Jingdezhen, Jiangxi province . Porcelain vase with under glaze cobalt-blue decoration, with cover Tapering 8-lobed body, featuring figural scene underneath band, decorated with classic scroll and phoenix; The domed cover featuring Fu lion in Finiale design; Height without lid: 11.5 in. = 29 cm; Height with lid: 15 in. = 37.5 cm Width: 8 in. = 20 cm; Weight: 8 lb. = 3.6 kg. References The Liu Xuande (Liu Bei) Emperor was Emperor of China from 1426 to 1435. His era name means "Proclamation of Virtue". Himself being a competent poet and artist, the emperor sponsored improvements in the manufacturing of ceramics, which led to the world famous Ming porcelain. He surrounded himself with precious articles such as luxury items, precious stones and unusual animals. The Xuande Emperor, despite reigning for just ten years, commissioned an extraordinary variety of forms and patterns from the imperial kilns at Jingdezhen. Authenticity report: probability of Ming dynasty origin is very high.
Condition Very good, no cracks or any other damage, natural aging of porcelain;
Low Estimate: 5000;
High Estimate: 25000;

Chinese porcelain Yuan dynasty vase, Tang poet Li Bai

Lot #281 (Sale Order 278 of 490)

Chinese porcelain Yuan dynasty Chizhou vase with TANG poet Li Bai ; The image represents the famous Tang dynasty poet - Li Bai - ; The inscription says when Li was drunk, he would write many poems. Height: 9.8 in = 25 cm; Weight: approx. 3 lb. = 1415 g = 1 kg 415 g; Provenance: from private collection in New York, USA; References: Li Bai (701[1]762), also known as Li Po, was a Chinese poet acclaimed from his own day to the present as a genius and romantic figure who took traditional poetic forms to new heights. He and his friend Du Fu (712770) were the two most prominent figures in the flourishing of Chinese poetry in the mid-Tang Dynasty that is often called the "Golden Age of China".Around a thousand poems attributed to him are extant, thirty-four in the canonical 18th-century anthology Three Hundred Tang Poems. The poems were models for celebrating the pleasures of friendship, the depth of nature, solitude, and the joys of drinking wine. Among the most famous are "Waking from Drunkenness on a Spring Day", "The Hard Road to Shu", and "Quiet Night Thought", which appears frequently in school texts in China today. Legend holds that Li drowned when he reached from his boat to grasp the moons reflection in the river. The Yuan dynasty (12061368)While the Mongol occupation destroyed much, it also shook China free from the static traditions and techniques of the late Southern Song and made possible many innovations, both in painting and in the decorative arts. The north was not progressive, and the main center of pottery activity shifted permanently to the south. The northern traditions of Jun and Cizhou ware continued through the Jin and Yuan, bolder but coarser than before. New shapes included a heavy, wide-mouthed jar, sometimes with decoration boldly carved through a black or brown slip or painted in two or three colours. These new techniques and the overglaze painting already developed in the Jin dynasty prepared the way for the three- and five-colour wares of the Ming.
Low Estimate: 15000;
High Estimate: 50000;
Original: Yes;

Genuine Chinese Junyao porcelain vase, Jin/Yuan dynasty

Lot #282 (Sale Order 279 of 490)

Junyao pear-shaped vase, yuhu-chun-ping, Jin/Yuan dynasty (1115-1368). Delicately potted, standing on a short straight-cut foot, the swollen body with a tall neck, ending on a flaring rim, covered overall in a light-blue glaze and attractively splashed purple color in several (10) areas, suffused throughout with an attractive irregular russet crackles. Height: 7.2 in. = 18 cm. Biggest diameter: 4.5 in. = 11.5 cm. Diameter of the base: 2.35 in. = 6 cm. The opening is very small: 4 mm. Weight: 1 lb. 3 oz. = 540 g. Condition: very good for the age, about one dozen of tiny (1-4 mm) indentations (from the bubbles?) throughout the surface. They were originally present at the moment of glazing because of the original technique glazing over the hot wood. It means, they actually prove the authenticity. Age: Jin/Yuan dynasty (1115-1368). Authenticity report: According to our 30 years' experience in collecting of Asian and European antiques the probability of being genuine is very high. Provenance: from old US collection, purchased in 1980s. References: 1) Similar vase was sold at Christies for $84,241 US + 15% buyers premium, on Nov 2009. http://www.christies.com/Lotfinder/lot_details.aspx? 2) Another similar Jun bowl Song dynasty was sold in 2013 for $173,000. http://www.sothebys.com/en/auctions/ecatalogue/2013/chinese-works-of-art-n08974/lot.93.lotnum.html
Condition Very good. No defects, no cracks, natural aging of the porcelain;
Low Estimate: 80000;
High Estimate: 250000;
Orignal: Yes

Set of 3 Chinese porcelain vases, Shunzhi Emperor mark

Lot #283 (Sale Order 280 of 490)

Set of three Chinese porcelain vases, Shunzhi Emperor (1644 to 1661) mark DESCRIPTION: Up for sale lot of 3 antique Chinese porcelain with 17th Century Qing Dynasty Shunzhi Emperor (1644 to 1661) mark 1. Large Vase: Height - 8 in. = 20.8 cm. Width: 7 in. wide = 17.5 cm. Opening: 3 5/8 in. = 9.2 cm. Weight 2 lb. 14.4 oz. =1300 g. 2. Lidded bowl: Height 2.5 in. = 5.8 cm. Height with lid by 4.5 in. = 10.5 cm. Weight 1 lb. & 9.2 oz. = 700 g 3. Lidded jar: Height without lid: 3 7/8 in. = 6.5 cm. Height with lid 4 in. = 10 cm. Width: 3.25 in. = 8.5 cm. Weight: 9 oz. = 240 g Condition: all in good condition no chips or cracks, some wear at the bottom, beautiful natural crazing. References The Shunzhi Emperor (Shun-chih Emperor) was the third emperor of the Qing dynasty and the first Qing emperor to rule over China, from 1644 to 1661. A committee of Manchu princes chose him to succeed his father, Hong Taiji (15921643), in September 1643, when he was five years old. The princes also appointed two co-regents: Dorgon (16121650), fourteenth son of Qing founder Nurhaci (15591626), and Jirgalang (15991655), one of Nurhaci's nephews, both of whom were members of the Qing imperial clan.
Condition Very good/fine for the age, the base was not glazed, no cracks, no chips;
Low Estimate: 2000;
High Estimate: 10000;
Orignal: Yes;

Chinese, Jun ware porcelain Gu-vase, Jin/Yuan(?)18.7 cm

Lot #284 (Sale Order 281 of 490)

Chinese, Jun kiln ware porcelain Gu-shaped vase, Jin/Yuan dynasty (1115-1368)? Weight: 3 lb. = 1,350 g; Height: 7.5 inches = 18.7 cm; Upper diameter: 6 inches = 15.3 cm; Condition: very fine, no cracks or chips; Estimate: $2,000 - $20,000; Provenance: from private collection in USA; Age and authenticity: Style and shape of Jin/Yuan dynasty (1115-1368). This vase needs a thermolumenscent test in order to verify a real age. Until then, Jin/Yuan dynasty is only our opinion, but not a guarantee of authenticity. References: Jun ware (Chinese: ; WadeGiles: Chün) is a type of Chinese celadon. The use of straw ash in the glaze bestows its unique blue glaze suffused with white. The ware was created near Linru County in the province of Henan at the Jun kilns of Yuzhou City during the Northern Song dynasty (9601126) to the Jin dynasty (11151234) and Yuan dynasty (12711368). The Chinese character for Jun became incorporated in local place names only as late as 1368. There is no mention of the kilns of Jun ware in written sources from the Song to Yuan dynasties. A black ware with spots was produced at the Xiaobai Valley in the Tang dynasty and can be considered the precursor of Jun ware. Jun celadon closely resembles Jun official celadon with its multiple layers of blue glaze. The kiln sites of both wares were geographically near one another as well. The Jun glaze included blue-gray, sky-blue, moon-white, red and purple, the most prized have crimson or purple splashes. Varying the temperature of the kilns changed color tints, a technique known as yaobian. The foot of the later period ware is usually unglazed and brown; the rim of bowls can also be brown or greenish where the glaze is thinner. Song period examples display a careful finishing with glaze inside the foot. Naturally Song shapes are crisp and thinner than later Jin and Yuan examples. There is a great variety of shapes such as bowls, dishes and flowerpots. Narcissus bowls were often numbered and whose refinement suggests a connection with Jun official ware. Other extant examples of Jun ware display inscriptions on their bases that resemble other palace wares of the period. The numbers from one to ten are perhaps indications of size. The ware experiences a fall in quality into the Jin period. Later, in the Yuan dynasty, Jun ware production spread to other kiln sites in Henan, Hebei and Shanxi provinces, although Yuzhou City was the prime area for Jun ware production. Investigations of Jun ware kiln sites began in 1951 under Chen Wanli of the Palace Museum. A hundred kiln sites were subsequently discovered. A major report appeared in the journal Historical Relic in 1964.
Condition very fine, no cracks or chips;
Low Estimate: 500
High Estimate: 25000

YongZheng 1722-1735, Chinese porcelain Ox blood Vase

Lot #285 (Sale Order 282 of 490)

Yong Zheng period, 1722-1735, Qing Dyn, Chinese porcelain Red Vase. Lovely, ox blood vase from Yong Zheng period, 1722-1735. Weight: 800 g = 1 lb. 13 oz. Height: 12 in. = 30 cm.
Condition Perfect for the age. Some usage traces at the bottom. No defects.
Low Estimate: 2500;
High Estimate: 5000;
Orignal: Yes;

Kangxi 1662-1722, Artemisia leaf Chinese porcelain Vase

Lot #286 (Sale Order 283 of 490)

Kangxi 1662-1722, Artemisia leaf mark, Chinese porcelain VasernKangxi 1662-1722 period Artemisia leaf mark, and of the period rnBlue white Phoenix and Dragon flying among clouds.rnDuring the early Qing dynasty, up until the early 1680's conditions were unsettled in China and the existence of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period a number of different marks came into use, as well as two empty rings which in a way could be considered a period marking if not Imperial.rnHeight: 27 cm = 10.5 in.rnWeight: 1500g = 1.5 kg = 3 lb. 4 oz.
Condition Perfect for the age, some wear at the bottom, no defects;
Low Estimate: 1500;
High Estimate: 5000;
Original: Yes;

Qianlong 1736-1795?, Chinese porcelain vase, 12 people

Lot #287 (Sale Order 284 of 490)

Huge Chinese porcelain vase & lid, 12 busy people, Qianlong Emperor mark period 1736-1795, 35 cm. Scene of the family, horseman and peasants, working at the estate. Height: 14 in. = 35 cm. Biggest diameter: 5.25 in. = 15.5 cm. Weight: 5.5 lb. = 2.5 kg. Condition: perfect, no defects. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's.
Condition Excellent, no defects, some wear around the contact area between lid and vase.
Low Estimate: 5000;
High Estimate: 10000;

Four Chinese Tibetan porcelain silver bowls, - Qianlong

Lot #288 (Sale Order 285 of 490)

Four Chinese Tibetan porcelain silver bowls, - Qianlong Emperor mark. Set of four Chinese Tibetan porcelain bowls with silver decorations; Four-character Qianlong Mark; Height: 2.4 in. = 6 cm; Diameter: 4.5 in. = 11.7 cm
Condition: Fine, no damage, normal age wear;
Low Estimate: 1000;
High Estimate: 2000;

Pair of Daoguang red vases with Shen De Tang Zhi mark,

Lot #289 (Sale Order 286 of 490)

Pair of Daoguang red vases with Shen De Tang Zhi mark, circa 1831-1850. Shen De Tang Zhi - "Shen De Hall Made". This could be translated as Made for the Hall of Discreet Virtue. This mark first appeared in the Daoguang period Height: 10. 25 in. = 25.7 cm; Weight of first vase: 15 oz. = 420 g; Weight of second vases: 14 oz. = 405 g; Weight of two vases: 1 lb. 13.5 oz. = 830 g; Condition: very good for age, some wear at the bottom, no defects; Provenance: from private collection in USA References: 1) Lot 355. A Famille rose baluster vase Daoguang Shen De Tang Zhi. Sold for 102,000 (US$ 166,715) inc. premium. bonhams.com/auctions/18827/lot/355/ 2) Lot 355 A rare Famille rose vase Shen de tang zhi mark, Daoguang. Sold for 10,000 (US$ 16,344) inc. premium. bonhams.com/auctions/20108/lot/355/
Condition Overall very good condition, no cracks, several chips at the bottom;
Low Estimate: 1000;
High Estimate: 2000;

Chinese porcelain 18th c gilded Mandarin Vase, Qing dyn

Lot #290 (Sale Order 287 of 490)

Rare Chinese export porcelain 18th c gilded Mandarin Vase, Qing dynasty. Description: An antique, 18th century MANDARIN COVERED VASE A BLUE UNDERGLAZE vase VERY FINE DECORATED with lots of detail work BUTTERFLIES CHINESE MEN FAMILLE ROSE ELEMENTS. An 18th c Chinese export one greet scenery SUPER QUALITY. Age: circa 1770 GREAT SHAPE, GOOD COLORS, GOOD DECORATED, GREAT HANDMADE AND fine quality HAND painted WITH ONE HAIR OF A BRUSH, THE SCENERY IS JUST GREAT. DIMENSIONS: Height: 7 in. = 17.5 cm. Width: 3 in. = 7.5 cm. Weight: 7 oz. = 200 g. I ALWAYS HAPPY TO COMBINE ITEMS IF THE SHIPPING AMOUNT ALLOWS IT!!! GOOD BIDDING!!!!
Condition Very good for the age, 5 mm chip on the rim, 15 mm chip on the lower rim, 5 mm chip on the lid. There is a stable hairline long crack, going all the way around the widest part of the vase.
Low Estimate: 2000;
High Estimate: 5000;
Orignal: Yes;

Genuine Qing porcelain Chinese plate with 4 scenes;

Lot #291 (Sale Order 288 of 490)

Genuine Qing porcelain Chinese plate with 4 scenes; Diameter: 8.5 in. = 21.5 cm; Weight: 10 oz. = 280 g; Provenance: private collection, Florida, USA;
Condition Used, Very fine; no defects, refer to the photos;
Low Estimate: 1000;
High Estimate: 10000;
Original: Yes;

Chinese Porcelain Vase Qianlong mark, Carps & Lotus

Lot #292 (Sale Order 289 of 490)

Chinese Porcelain Vase Qing Dynasty Carps & Lotus, Qianlong Emperor 1736-1795 Chien Lung = Qianlong Emperor 1736-1795. Height: 14.5 in = 36 cm: Weight: 4 lb. = 2 kg. Shipping in USA by FEDEX International shipping: FEDEX, UPS, USPS Express mail Ask for shipping cost, please! References: Reign Marks on Qing Ceramics 1644-1912 http://www.chinese-porcelain-art.com/Chinese-Reign-Marks-Ming-Qing.html
Condition Perfect, no chips, no cracking, some normal age wear on the bottom;
Low Estimate: 800;
High Estimate: 3000;

Attribu Tang Yin 1736, Qing Dynasty Chinese porcelain vase?

Lot #293 (Sale Order 290 of 490)

Attribution: Precious Chinese porcelain vase, Qing Dynasty, signed by Tang Yin, 1736, There are following characters on the vase: 1) From Left to right: _________________, Red Phoenix in Morning Sun. One of the Chinese traditional Lucky pictures, saying talented person in the right time. ____________________, January,1736, , Place, _______________- . 2) The very famous seal _________________"", meaning very good precious collection. 3) Seals on the bottom. _______________,, the two are Emperor Qian Long's seals. I don't know the one in the middle. The words around the bottom: ____________. Saying that Tang Ying take advantage of making this vase pot on January, 1736. TangYing was the best porcelain artist. He was good at painting, making poems, making seals and he was famous for making good porcelain. His works were in top quality and were liked by Emperor Yong Zheng and Emperor Qian Long.Translation by expert, PhD: Blue-and-White porcelain Jar. Chinese Inscription on the body: which means: Imperially written in the middle period of the great auspicious month in the first year of Qianlong reign (1736). Produced by ? studio. Seal: which means: The red phoenix flying toward the sun. Inscription on the bottom: which means: On the great auspicious day in the first year of Qianlong of the Great Qing (dynasty), Tang Ying, the imperial bestowed vice director of Imperial Household Office, who also manages the imperial kiln factory, produced (the jar) based on the commission of the emperor. Seals from right to left: Seal 1: Seal of imperial review of Qianlong. Seal 2: Art studio of bamboo art. Seal 3: Imperially used by Qianlong of the Imperial Qing (dynasty). Weight: 10 lb. = 4500 g. Height: 14 inches = 35 cm. Diameter in the middle: 8.5 inches = 21 cm. Diameter at the top: 2 inches = 5 cm. Diameter at the bottom: 2.65 inches = 12 cm. Provenance: from private collection in Florida, USA; Purchased in 1980s -1990's. References: http://most-expensive.net/vase.Disclaimer and authenticity report: It is very hard to evaluate Chinese porcelain, because Chinese masters used to make copies of the old porcelain vases,using the same techniques and characters. That was considered not as a forgery, but rather appreciation of the old masters.This vase is contradictable and the research is not finished. The thermo luminescent test was not done, because it is not statistically proven for the age less than 250-300 years. All the potential buyers are strongly advised to consult their agents and seek advice from the specialists before making their bids.Thank you for understanding!
Condition perfect, some aging wear, no major defects. There is one imperfection on the side surface of the vase, above the right wing of the phoenix bird;
Low Estimate: 200000;
High Estimate: 800000;

Chinese porcelain vase: 4 court scenes, TongZhi Mark

Lot #294 (Sale Order 291 of 490)

Chinese porcelain vase with 4 court scenes, Tong Zhi Emperor, 1862-1874 period/mark; Square shape, 4-sided, no lid, multicolored hand-painted scenes; Height: 12.5 in. = 31.2 cm; Weight: 7.5 lb. = 3400 g; References: The Tongzhi Emperor (Wade-Giles: Tung-chih Emperor; 27 April 1856 12 January 1875), born Zaichun (Wade-Giles: Tsai-chun) of the Manchu Aisin Gioro clan, was the tenth emperor of the Qing Dynasty, and the eighth Qing emperor to rule over China. His reign, from 1861 to 1875, which effectively lasted through his adolescence, was largely overshadowed by the rule of his mother Empress Dowager Cixi. Although he had little influence over state affairs, the events of his reign gave rise to what historians call the "Tongzhi Restoration", an unsuccessful attempt to stabilize and modernize China.
Condition Normal age wear, no defects;
Low Estimate: 1000;
High Estimate: 5000;

Museum saddled horse, Chinese Ming early glazed ceramic

Lot #295 (Sale Order 292 of 490)

Museum horse with a saddle, Chinese early glazed ceramics, Ming Dynasty(?) Height: 13 = 32.5 cm; Weight: 10 lb. = 4.5 kg; Age: Attributed to Ming dynasty (1368-1644) or earlier;
Condition very good for this age, insignificant repairs: right ear and end of the tail was glued;
Low Estimate: 15000;
High Estimate: 30000;
Original: Yes;

Wei/ Six dynasties 386-589AD, Chinese Terracotta Horse

Lot #296 (Sale Order 293 of 490)

Genuine ancient, excavated Chinese Terracotta Horse, made in Wei/ Six dynasties (A.D 386-589). Height: 16.5 in. = 41 cm, Length: 13 in. = 32.5 cm, Weight: 9 lb. = 4 kg, Condition: fine, no cracks or other defects. Authenticity: genuine antique, Wei/ Six dynasties (A.D 386-589). Authenticated by Dr. Qing Chang, PhD as Northern Wei terracotta horse. Provenance: from private collection in Florida, USA; purchased in 1991 at auction in California.Similar horse was estimated at Sothebys at 60,000-80,000 in 2003. Provenance: from old US collection, purchased in 1980s. State of Wei: The State of Wei (simplified Chinese: ; traditional Chinese: ; pinyin: Wèi), sometimes romanized Ngwei to distinguish it from Wey, was a Zhou Dynasty vassal state during the Warring States Period (475 - 221 BCE) of Chinese history. Its territory lay between the states of Qin and Qi and included parts of modern day Henan, Hebei, Shanxi and Shandong. After its capital was moved from Anyi to Daliang (today Kaifeng) during the reign of King Hui of Wei, Wei was also called the state of Liang (). References: 2005 The University of Kansas, Lawrence, KS.
Condition Very Fine, no cracks or other defects, spots of imprints of antique tissues. Originally there was a lot of soil and dirt after excavation, so extensive cleaning was done.
Low Estimate: 30000;
High Estimate: 100000;
Orignal: Yes;

Chinese YiXin Zisha tea pot with cover, signed

Lot #297 (Sale Order 294 of 490)

Authentic Chinese YiXin Zisha tea pot with cover, signed Chinese character seal mark at the bottom of the pot and 2 marks on the bottom of the lid It's not clay and it's not sandy mud. It's a special kind of rock which is mostly mineral deposits found under the ground near Yixing city. Nowadays the rock after it's mined are grounded by the machine with water, then it's filtered. The paste (just like the bean paste) is then used to make the teapots, Bonsai Pot, etc This paste is called Zisha Sand, because it contains very fine sandy particles. Height: 4 inches = 10 cm Length: 4-6 inches = 10-15 cm Approximate Weight: 300-400 g. Age: unknown. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition Used, very good, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Chinese YiXin Zisha tea pot w cover & Characters

Lot #298 (Sale Order 295 of 490)

Authentic Chinese Yi Xin Zisha tea pot with cover, signed Chinese character seal mark at the bottom and 5 characters on the side It's not clay and it's not sandy mud. It's a special kind of rock which is mostly mineral deposits found under the ground near Yixing city. Nowadays the rock after it's mined are grounded by the machine with water, then it's filtered. The paste (just like the bean paste) is then used to make the teapots, Bonsai Pot, etc This paste is called Zisha Sand, because it contains very fine sandy particles. Height with cover: 3.5 inches = 9 cm; Length: 6.7 inches = 16.5 cm; Weight: 10 oz. = 245 g. Age: unknown. Provenance: bought on estate auction in California, USA
Condition Perfect, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Chinese wooden board table screen carving, Qing dynasty

Lot #299 (Sale Order 296 of 490)

Chinese Antique Wooden board table screen carving, Qing/Ming dynasty. Height of the screen + base: 11 inches = 26.8 cm. Width of the screen: 7.5 inches = 14 cm. Width of the base: 6.5 inches = 16.5 cm. Weight of the base: 160 g. Weight of the screen: 260 g Total weight: 420 g. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition natural aging of the wood, no damage;
Low Estimate: 3000;
High Estimate: 6000;
Original: Yes;

Antique Chinese carved hard red wood Fisherman, Qing d

Lot #300 (Sale Order 297 of 490)

Antique Chinese carved hard red wooden Fisherman, late Qing dynasty(?) Weight: 2 lb. 8 oz. = 1150 g. Height: 13 inches = 32.5 cm. Condition: normal age wear, no defects. A fisherman is holding on a left shoulder a long stick with wide part at the top. I am not sure what does it mean. There are 2 drilled holes in the funnel part of the stick. Age: approximately 1800-1920
Condition normal age wear, no defects;
Low Estimate: 2500;
High Estimate: 5000;

Chinese antique rose wood carving old man with a beard

Lot #301 (Sale Order 298 of 490)

Chinese antique rose wood carving old man with a beard. Height: 10 inches = 25 cm. Base: 7.25 inches = 18 cm. Weight: 3 lb. 6 oz. = 1550 g. Age: approximately 1800-1900
Condition Fine, refer to the photos;
Low Estimate: 2000;
High Estimate: 6000;
Original: Yes;

Chinese carved hard wood Bull with rider, Late Qing dyn

Lot #302 (Sale Order 299 of 490)

Chinese carved hard wood Bull with one man, Late Qing dynasty (?) The wooden stand is made of other kind of black wood. Height: 5 inches = 12.5 cm Length of the stand: 12 inches = 30 cm. Weight of the bull: 1 lb. 8 oz. = 690 g. Weight of the stand: 1 lb. = 450 g. Total weight: 2 lb. 7 oz. =1125 g. Approximate age: 1800-1900. Check our other auction for matching pair A Bull with 2 men, please
Condition left horn is broken, otherwise great condition;
Low Estimate: 2000;
High Estimate: 6000;
Original: Yes;

Chinese carved hard wood Two Man riding a Bull, Qing dy

Lot #303 (Sale Order 300 of 490)

Chinese carved hard red wood - Two Man riding a Bull, Late Qing dynasty (?) The wooden stand is made of other kind of black hard wood. Height: 5 inches = 12.5 cm Length of the stand: 12 inches = 30 cm Weigh of the bull: 1 lb. 9 oz. = 720 g. Weight of the stand: 14 oz. = 400 g. Total weight: 2 lb. 8 oz. =1150 g. Approximate age: 1800-1900
Condition left horn is broken, otherwise great condition;
Low Estimate: 2000;
High Estimate: 6000;
Orignal: Yes;

Chinese wooden antique small container on the rope,

Lot #304 (Sale Order 301 of 490)

Chinese wooden antique small container on the rope, 3. Height: 2.75 inches = 69 mm. Width: 2.5 inches = 63 mm. Weight: 48.43 g. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's.
Condition used, natural wood wear and aging, insignificant scratches, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Chinese antique Carved Wooden Foo Dog, Qing dynasty

Lot #305 (Sale Order 302 of 490)

Chinese antique handmade Carved Wooden Foo Dog, Qing dynasty (?) Weight: 3 lb. 7 oz. = 1600 g. Height: 12 inches = 29.5 cm. Length: 7.5 inches = 18.5 cm. Age: presumably Qing dynasty (1644-1912). Material: Red hard wood.
Condition Overall very good condition. Amazing handmade carving from the whole piece of hardwood There are following damages: the right ear is broken, front upper and lower teeth are missing, decoration detail under left leg is partially broken. There is a stable (only 5 mm deep) vertical crack in the base (picture#2);
Low Estimate: 2000;
High Estimate: 5000;
Orignal: Yes;

Chinese carved Cinnabar lacquer plate, Ming - style

Lot #306 (Sale Order 303 of 490)

Chinese carved Cinnabar lacquer plate, Ming - style. Diameter: 9.75 = 24.5 cm. Weight: 1 lb. 2 oz. = 500 g. Base: possibly wood, hard to say
Condition excellent, no defects;
Low Estimate: 500;
High Estimate: 10000;
Condition: Excellent;

Chinese Cinnabar carving wood box, Qing dynasty or earl

Lot #307 (Sale Order 304 of 490)

Antique Chinese cinnabar carving wood box, Qing dynasty or earlier Length: 5.5 in.= 140 mm. Depth: 3 in.= 95 mm. Height: 1.6 in. = 44 mm. Weight: 11 oz. = 320 g.
Condition refer to all pictures - natural aging of cinnabar outside and black paint inside, couple of chips on the edge of the cover.
Low Estimate: 800;
High Estimate: 3000;
Original: Yes;

Pre-cloisonne Antique small Chinese bronze vase

Lot #308 (Sale Order 305 of 490)

Antique small Chinese bronze vase; A unique possibility of understanding of intermediate or pre- stage of cloisonne production.Height: 58 mm;Weight: 30.33 g;Origin and age: unknown;Condition: used. No defects; Cloisonne is an ancient technique for decorating metalwork objects, in recent centuries using vitreous enamel, and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonne. The decoration is formed by first adding compartments (cloisons in French[1]) to the metal object by soldering or adhering silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonne enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln.The technique was in ancient times mostly used for jewellery and small fittings for clothes, weapons or similar small objects decorated with geometric or schematic designs, with thick cloisonne walls. In the Byzantine Empire techniques using thinner wires were developed to allow more pictorial images to be produced, mostly used for religious images and jewellery, and by then always using enamel. By the 14th century this enamel technique had spread to China, where it was soon used for much larger vessels such as bowls and vases; the technique remains common in China to the present day, and cloisonne enamel objects using Chinese-derived styles were produced in the West from the 18th century.
Condition used. No defects;
Low Estimate: 200;
High Estimate: 500;
Original: Yes;

Chinese cloisonne vase, 12 in. 19th c

Lot #309 (Sale Order 306 of 490)

Chinese cloisonne vase, 19th c. Height: 12 inches = 30 cm.
Condition used, but nice, no defects;
Low Estimate: 1500;
High Estimate: 3000;
Original: Yes;

Chinese antique Cloisonne red Vase, Qing Dynasty?

Lot #310 (Sale Order 307 of 490)

Chinese antique cloisonne red Vase, attributed to Qing dynasty Heavy: 4-7 lb. Height: approximately 20 inches; Diameter in the middle: 8 in. Diameter at the opening: 7 in. Provenance: from private collection in Florida, USA; purchased in 1987 in Germany
Condition natural aging, no damage;
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;

Cloisonne Chinese copper box, Qing dynasty or earlier

Lot #311 (Sale Order 308 of 490)

Genuine hand-made, antique cloisonne Chinese copper box, Qing dynasty or earlier. Length: 3 ¾ in. = 95 mm. Width: 3 in. = 75 mm. Height: 1.5 in. = 40 mm. Weight: 200 g = 6.5 oz. References: Cloisonné is an ancient technique for decorating metalwork objects, in recent centuries using vitreous enamel, and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments (cloisons in French[1]) to the metal object by soldering or adhering silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln. The technique was in ancient times mostly used for jewellery and small fittings for clothes, weapons or similar small objects decorated with geometric or schematic designs, with thick cloisonne walls. In the Byzantine Empire techniques using thinner wires were developed to allow more pictorial images to be produced, mostly used for religious images and jewelry, and by then always using enamel. By the 14th century this enamel technique had spread to China, where it was soon used for much larger vessels such as bowls and vases; the technique remains common in China to the present day, and cloisonné enamel objects using Chinese-derived styles were produced in the West from the 18th century.
Condition fine, 2 small piece of blue enamel inside are missing. Right corner of the lid (near the hinge) is damaged. Hinge looks original. The box opens fully, stays open. In the closed condition there is a 2 mm gap between the lid and a box.
Low Estimate: 1000;
High Estimate: 5000;
Original: Yes;

Old master, Oil painting, Samaritan woman, Italy,18th c

Lot #312 (Sale Order 309 of 490)

Old master, Oil painting, - Samaritan woman near the well, 18th century, Italy. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy.
Condition very good for the age, natural aging of the oil paint;
Low Estimate: 3000;
High Estimate: 10000;
Original: Yes;

Renaissance portrait of Girolamo, 1474-1555, Italy

Lot #313 (Sale Order 310 of 490)

Evaluation by professor from the University of South Florida, Tampa, Florida, Associate Professor, Renaissance Art History, Cornell University Dr. Helena Szepe, PhD : Genuine portrait of Girolamo dai Libri from 1500's (16th century). Renaissance portrait of Girolamo dai Libri, 1474-1555, artist from Verona, Italy. Oil painting on the wooden board in oval carved wooden frame. At the back of the icon on the top same message is written in Latin:HIERONIMUS A LIBRIS PICT. MINATOR VER. At the back of the icon on the bottom is written:..no...libri tribu Veronese. Size of the icon without frame: 9 x 6.5 inches = 228 x 166 mm. Thickness of the board without frame: 6 mm; Weight of the icon without frame: 6 oz = 180 g; Weight of the icon with a frame: 1 lb 4 oz = 600 g; In the lower part of the painting it is written: "Hieronimus a Libris Pict. Minator Ver.",- that translated from Latin means: "Girolamo Dai Libri Painter Illuminator from Verona". Yes, Girolamo was a great painter and illustrator of illuminated books. In the back, it is written the same thing in the higher part; the reading of the lower part is difficult, because partly washed away, but it seems that somebody has repeated the previous capital inscription in italic type: "mani" - is probably the final part of word (Hiero)nimi Libri ... Veronese (that means from the town of Verona). The half word "tribu" is hard to understand because not complete. Yes, Hieronimus is the Latin name for Girolamo.
Condition cleaned and covered with varnish/lacquer. Back of the icon is planed (shaved) manually.
Low Estimate: 100000;
High Estimate: 200000;
Original: Yes;

ADOLPHE MONTICELLI, oil painting on panel France 19th c

Lot #314 (Sale Order 311 of 490)

ADOLPHE MONTICELLI (1824-1886), oil painting on panel, Walk in forest, France Panel: 16 in. x 11 in. = 40 x 27.5 cm; Frame: 24 in x 18.5 in. = 60 cm x 46 cm; Weight with frame: 8.5 lb. = 3.8 kg; "A Walk in the Forest"; forest with two ladies. Signed: Monticelli In a lower left. Also marked on verso, "Monticelli". Later gilt frame. Descriptive strip on verso reading, "Ex. Coll. Norton Simon, Museum of Art, Beverley Hills". Provenance: from the collection of Norton Simon References: Biography of the artist: Born in Marseilles, Adolphe Monticelli worked in his hometown and in Paris. He studied under Paul Delaroche in 1846-8 in Paris and also learned from examining the Old Masters work in the Louver. In 1856 (Paris) he acquainted with Diaz and was influenced by his style and colors He painted landscapes, still lives, portraits, and circus scenes. His career reached its height in the 1860s. Van Gogh greatly admired by Monticelli's work After the Franco-Prussian War began, Monticelli returned to Marseilles to retire. Prices Realized at Auction House "Christies": 6,875 = $9,522 Size: 14 x 18. 3/4 in. (37 x 46.3 cm = 1,713 sq cm) 10,800 = $20,768 Size: 14 x 8 in. (37cm x 23 cm = 851 sq cm) $37,500 Size 63 x 38 in. (161.3 x 97.8 = 15,775 sq. cm) 9,200 = $15,254 Size 11 x 20 in. (29.2 x 51.4 cm = 1,500 sq cm) Prices realized at Auction house: "Damien Leclere"-France, Marceille 36,993 = $60,615 "Le Bal masque", oil on panel 19.3 x 28.1 in (49 x 71.5 cm = 3,503 sq. cm) 36,091 = 40,000 EUR = 59,136 USD, "Femmes dans les Sous Bois" Size: 21.7 x 40.2 in (55 x 102 cm =5,610 sq. cm) Norton Winfred Simon (February 5, 1907-June 2, 1993), in the United States was a millionaire industrialist and philanthropist based in California. His significant art collection is housed in the Norton Simon Museum in Pasadena, California. Simon also accumulated a significant private art collection which included works of the Impressionists, Old Masters, modern and native art. He served as a trustee of the Los Angeles County Museum of History, Science and Art and supported the development of the LA County Museum of Art. Simon initially lent most of his art collection to that Museum although as it expanded he pioneered the "museum without walls" concept by actively lending his collection to different museums around the world. Simon's collection holds three autograph Rembrandt paintings, considered highly important works of Rembrandt in Southern California. In 1972 Norton Simon bought a tenth-century South Indian bronze Nataraja, or dancing Shiva, from New York dealer Ben Heller for $900,000. The Indian government declared that the statue had been stolen from a temple in Tamil Nadu and smuggled abroad. Although Simon was quoted (New York Times, 12 May 1973) as saying that he had knowingly bought smuggled art (Hell yes, it was smuggled. I spent between $15 and $16 million in the last two years on Asian art, and most of it was smuggled) he vehemently denied the quote (Los Angeles Times, 13 May 1973), declaring that the work had been legally imported into the United States. In the same Los Angeles Times article, he stated, As a collector deeply and emotionally involved in art, I deplore the rape of art treasures of any country. In 1976 Simon reached an amicable agreement with the Union of India whereby he agreed to return the Nataraja to India. In exchange, the Indian government agreed that Simon could keep and display the bronze in his museum for nine years before its return. Seeking a permanent home for his collection of over 4,000 objects, in 1972 he welcomed an overture from the financially troubled Pasadena Museum of Modern Art. He ultimately assumed control and naming rights, and in 1974 it was renamed the Norton Simon Museum. In 1987, the University of California, Los Angeles, announced an "agreement in principle" with Simon for the transfer to the university of the art collection owned by two Simon foundations - the Norton Simon Foundation and the Norton Simon Art Foundation.[1] The plan was to keep most of collection in Pasadena, administered by UCLA, the Simon board and the Norton Simon Foundation. The university was to build a separate museum facility on campus for part of the collection.[2] However, Simon withdrew his offer three months after the announcement was made.[3]
Condition Perfect for the age, no defects;
Low Estimate: 20000;
High Estimate: 40000;
Original: Yes;

Monticelli (1824-1886), France, 19th c, Oil Painting, Nobility in the Garden

Lot #315 (Sale Order 312 of 490)

Adolphe Joseph Thomas Monticelli (1824-1886), France, XIX c, antique oil painting. Ladies and gentlemen in the garden. Material: Oil on the wooden panel with thickness of 8 mm; Signature: no visible signature (by the way, 80% of his painting were not signed). Age: 19th century. Country: France; Size of the wooden board: 17.5 x 32.7 inches = 44 cm x 83 cm = 3,652 sq. cm; Size of the frame: 22 x 37 inches = 55.5 x 94.5 cm. Weight with a wooden frame: 3-5 lb. Provenance: The painting was purchased by Eternity Gallery, Tampa, FL in 2011 from antique dealer in Clearwater, Fl. He bought this painting in London, UK about 25 -30 years ago and brought it to USA about 20 years ago. Biography of the artist:Born in Marseilles, Adolphe Monticelli worked in his hometown and in Paris. He studied under Paul Delaroche in 1846-8 in Paris and also learned from examining the Old Masters work in the Louver. In 1856 (Paris) he acquainted with Diaz and was influenced by his style and colors. He painted landscapes, still lives, portraits, and circus scenes. His career reached its height in the 1860s. Van Gogh greatly admired by Monticelli's work. After the Franco-Prussian War began, Monticelli returned to Marseilles to retire. Prices Realized at Auction House "Christies": £6,875 = $9,522; Size: 14½ x 18. 3/4 in. (37 x 46.3 cm = 1,713 sq cm) £10,800 = $20,768; Size: 14 x 8 in. (37cm x 23 cm = 851 sq cm) $37,500; Size 63 x 38 in. (161.3 x 97.8 = 15,775 sq. cm) £9,200 = $15,254 Size 11 in x 20 in. (29.2 x 51.4 cm = 1,500 sq cm). Prices realized at Auction house: "Damien Leclere"-France, Marceille: £36,993 = $60,615 "Le Bal masque", oil on panel 19.3 x 28.1 in (49 x 71.5 cm = 3,503 sq. cm). £36,091 = 40,000 EUR = 59,136 USD, "Femmes dans les Sous Bois" Size: 21.7 x 40.2 in (55 x 102 cm =5,610 sq. cm)
Condition excellent for the age, no defects, because of the thick wooden panel, which was a genius choice of the artist.
Low Estimate: 50000.0;
High Estimate: 150000.0;
Original: Yes;

french Oil canvas painting 4 Arabic horsemen, France

Lot #316 (Sale Order 313 of 490)

Antique oil on canvas painting,- 4 Arabic horsemen, by E. Girardin, France. Signed in the right lower corner by E. Girardin. Size of the frame: 33 x 43 inches = 82 cm x 107 cm.
Condition small repaired area in the middle 8 x 6 cm;
Low Estimate: 20000;
High Estimate: 40000;
Original: Yes;

Marie Elysa Bonaparte, sister of Napoleon, oil painting

Lot #317 (Sale Order 314 of 490)

Marie Anna Elysa Bonaparte, by unknown artist, oil painting. Not signed; Relined; Oil on canvas; Canvas on stretcher: 22.2 x 18.4 inches = 55.5 cm x 46 cm; Old wooden frame: 31 x 27.5 inches = 77.5 cm x 69 cm; References and history: Maria Anna (Marie Anne) Elisa Bonaparte Baciocchi Levoy, Princesse Française, Duchess of Lucca and Princess of Piombino, Grand Duchess of Tuscany, Countess of Compignano (3 January 1777 7 August 1820) was the fourth surviving child and eldest surviving daughter of Carlo Buonaparte and Letizia Ramolino, making her the younger sister of Napoleon Bonaparte. Her other elder siblings were Joseph and Lucien, whilst her younger siblings were Louis, Pauline, Caroline and Jerome. As princess of Piombino and Lucca, then grand duchess of Tuscany, she was his only sister to possess real political power, though her sharp tongue often caused troubles in her relations with him. Highly interested in the arts, particularly the theater, she encouraged them in the territories over which she ruled.
Condition Genuine, professionally relined, very good condition, no visible defects;
Low Estimate: 200000;
High Estimate: 800000;
Original: Yes;

Portrait of British General Thomas Picton, killed in 1815

Lot #318 (Sale Order 315 of 490)

Oil on canvas, portrait of British General Sir Thomas Picton, killed in action at Waterloo, in 1815. Possible attributions: 1. Sir Thomas Lawrence (1769 - 1830); 2. Sir William Beechey (1753 - 1839); 3. Jacques-Louis David (1748 - 1825); 4. Sir Martin Archer Shee (1769 - 1850) - high probability. http://www.npg.org.uk/collections/search/person/mp03564/sir-thomas-picton 5. George Dawe (1781-1829) England - highest possibility. Size of the frame: 29 in. x 25 in. = 72.5 cm x 62.5 cm; Size of the stretcher: 24 x 20 in. = 60 cm x 50 cm; Weight of the frame: 15 lb. = 6.75 kg; In the right upper corner there is a message in English: Thomas Picton General Served in Paris under the Duke of Wellington Killed in action and _____________Cavalry 1815. Version 1. This is a portrait of King Leopold I, King of Belgians, by George Dawe. Leopold I (Leopold Georges Chretien Frederic; German: Leopold Georg Christian Friedrich; 16 December 1790 - 10 December 1865) was from 21 July 1831 the first King of the Belgians, following Belgium's independence from the Netherlands. He was the founder of the Belgian line of the House of Saxe-Coburg and Gotha. His children included Leopold II of Belgium and Carlota of Mexico, Empress-Consort of Maximilian I of Mexico. He was a maternal uncle and adviser of Queen Victoria. He was born in Coburg and died in Laeken. By birth, he was a Prince of Saxe-Coburg-Saalfeld, later a Prince of Saxe-Coburg and Gotha and Duke of Saxony. Leopold was the youngest son of Francis, Duke of Saxe-Coburg-Saalfeld, and Countess Augusta Reuss-Ebersdorf, and later became a prince of Saxe-Coburg and Gotha after Saxe-Coburg acquired Gotha from Saxe-Gotha-Altenburg in 1826 and yielded Saalfeld to Saxe-Meiningen. In 1795, as a mere child, Leopold was appointed colonel of the Izmaylovsky Guards Regiment in Russia. Seven years later, he became a major general. When Napoleonic troops occupied the Duchy of Saxe-Coburg in 1806 Leopold went to Paris. Emperor Napoleon I offered him the position of adjutant, but he refused. Instead, he took up a military career in the Imperial Russian Cavalry. He campaigned against Napoleon and distinguished himself at the Battle of Kulm at the head of his cuirassier division. In 1815, at the age of 25, Leopold reached the rank of lieutenant general in the Imperial Russian Army. Version II. This is a portrait of British General Thomas Picton. Discussion: The portrait was probably made in his younger years. Biography of Thomas Picton: Picton was the younger son of Thomas Picton, and was born in Poyston, Pembrokeshire, Wales. In 1771 he obtained an ensign's commission in the 12th Regiment of Foot, but he did not join until two years later. The regiment was then stationed at Gibraltar, where he remained until he was made captain in the 75th in January 1778, at which point he then returned to Britain. The regiment was disbanded five years later, and Picton quelled a mutiny amongst the men by his prompt personal action and courage, and was promised the rank of major as a reward. He did not receive it, and after living in retirement on his father's estate for nearly twelve years, he went out to the West Indies in 1794 on the strength of a slight acquaintance with Sir John Vaughan, the commander-in-chief, who made him his aide-de-camp and gave him a captaincy in the 17th foot. Shortly afterwards he was promoted major in the 58th foot.
Condition Fine, normal age wear, no defects;

Low Estimate: 100000.0;
High Estimate: 250000.0;
Original: Yes;
Medium: Oil Paint;
Circa: 1800;
Style: Classicism;

The Evangelist Matthew oil painting Rembrandt van Rijn?

Lot #319 (Sale Order 316 of 490)

The Evangelist Matthew(?) __________Oil painting, attributed to Rembrandt van Rijn. Signed: Rf. Rf - may mean Rembrandt made; fecit (verb Latin);he made (it); she made (it): formerly used on works of art after the name of the artist. Abbreviation: fe., fec. Size of the stretcher without frame: 33,7 x 29,3 cm; Size of the frame: 48,7 x 43,9 cm; Condition: The canvas was relined, probably in 19th century. Basically, there are 2 layers of canvas: old and new. There is a repaired cut or damage of the canvas in the area of of old man beard and his book. Provenance: from the collection of the late Yvonne Schotte, daughter of the Belgian magnate Hippolyte Schotte from castle Aalst. Here is picture of castle from family Shotte in Aalst .http://en.wikipedia.org/wiki/File:Kasteel_Regelsbrugge.JPGOpinion of Art Specialist Jean-Marie Clarke, art-historian from Europe about signature. http://www.rembrandt-signature-file.com/First of all, I am not a Rembrandt expert as such, but only an art historian who has done a lot of research on the signatures, which permits me to give an educated opinion on the matter.Second, it is very difficult to judge a painting from a photo alone.Nevertheless, I can say a few things about your painting and its signature.The form of the signature--an initial R, followed by an "f"--would point to an early work, i.e. previous to 1632 (or even 1630).What I see on the picture is a very calligraphic signature with an unusually prominent placing. This and the fact that there is no date, - do not necessarily disqualify it as authentic. One can usually expect surprises from the young Rembrandt. One surprise would be that this "tronie" is painted on canvas, whereas Rembrandt in ca. 1630 worked mostly on wood panels in the case of such small paintings. Another surprise is that the handling of the paint seems to be remarkably fluid, giving less an impression of searching for than of applying effects; i.e. it seems to be the work of a mature painter. In a sense, the old man's face is too well painted to be by the young Rembrandt, who, around 1630, was still working toward an accurate rendition of the human likeness. This is a very subjective judgment, of course.At any rate, this is a very fine painting, showing a face at an angle that is quite difficult to treat in a satisfying way. Only the hands look a bit summarily treated, but there may be more shadow in the foreground than the photograph indicates.As it happens, I am presently collaborating with the owner of a painting of similar size, but on wood showing an old woman to try to establish its (presumed) authorship by Rembrandt. It is an uphill battle. The experts and the art establishment have very mixed feelings. Opinion of professor Gary Schwartz :The painting does not seem to have the quality that would convince art historians and collectors that it was made by Rembrandt. However, it is not un-interesting. The model in the painting resembles a sitter who posed for Rembrandt on numerous occasions around 1630. In most of them, the old man has more hair on his head and his beard is not curly. In none of the compositions known to me, - is the model reading a book, as in this painting. I would, therefore, be inclined to call the painting a copy after a lost work by Rembrandt. It would be interesting to study it in relation to the entire group. Such a study might add a bit to our knowledge of Rembrandt. It would not necessarily add to the market value of the painting
Low Estimate: 1000000.0
High Estimate: 9.0E7
Medium: Oil Paint
Style: Classicism

Oil Portrait of Old Man, attributed to Rembrandt School

Lot #320 (Sale Order 317 of 490)

Old man with beard in beret, - attributed to Rembrandt School. Size of the stretcher: 24 in. x 20 in. = 61 cm x 51cm; Size of the wooden frame: 26 in. x 22 in. = 65 cm x 55 cm; Frame is modern, not original; Media: Oil on canvas; Research in ultraviolet light: The area (14 cm x 7cm) in the center and above of the beret was repaired with over paint, probably during the time of relining. The area with signature also has traces of over paint (9 x 3 cm). Signature: The painting is signed in the right lower corner in red paint, although signature is not very clear. The signature is about 9 cm long and contains 7-10 letters.
Condition In general, the condition of the painting is very good. The canvas was relined, presumably 40-100 years ago. There is a paint loss 7 x 5 mm, above the left shoulder and another several smaller (2-3 mm) spots of paint loss. Fortunately, the face is spared and intact.
Low Estimate: 10000;
High Estimate: 20000;
Original: Yes;
Medium: Oil Paint;
Style: Classicism;

Old woman portrait, attributed to Wilhelm Leibl, 19th c

Lot #321 (Sale Order 318 of 490)

Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris.
Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background.
Low Estimate: 100000;
High Estimate: 250000;
Original: Yes;
Medium: Oil Paint;
Circa: 1875;
Style: Classicism

David Wilkie, OIl painting "Scottish soldiers", 19th c

Lot #322 (Sale Order 319 of 490)

Original painting "Scottish soldiers collecting contribution from the citizens...", signed by artist Sir David Wilkie R.A.(?) Material: Oil on Canvas Canvas is torn along the upper left edge of the stretcher. Age: 19th century. Size of the canvas: 9 x 12 inches = 23 cm x 30.5 cm. Size of the triple frame: 21 x 25 inches = 54.8 cm x 63.8 cm Weight with a frame: 8 lb Magnification research Condition is good for the age with natural aging of the wood frame and canvas. This is an oil painting on canvas with light brush strokes. There is an old (not restored varnish), delicate cracks/crackelures all over the canvas, including background, soldiers figures, their boots and Wilkies signature. Research under ultraviolet light Results of ultraviolet research: In ultraviolet light black boots of soldiers and signature stand out. It does not look like in-paint or over paint, because black color absorbs all kind of light and may stand out. In the left low corner there is a bright spot 8x7 mm, which may represent wear and repair. Pants of sitting soldier are more prominent than background. The edge on the right has some bright elongated spots - later repairs? Biography Sir David Wilkie, a Scottish painter, was born in Cults manse in Fife in 1785. In 1799, he was sent to study at the Trustees Academy in Edinburgh and on his return home in 1804, painted his Pitlessie Fair. The Village Politicians (1806) was of great success which made him settle in London. In 1817, he visited Sir Walter Scott at Abbotsford, and painted the family group now in the Scottish National Gallery. His fame mainly rests on his genre pictures in the Dutch style, such as the Distraining for Rent (1815), The Penny Wedding (1818), The Letter of Introduction (1818) and others. Later he changed his style, tried to imitate the depth and richness of coloring of the old masters and chose more elevated historical subjects, like The Preaching of John Knox before the Lords of Congregation, 10 June 1559. He also painted portraits William Chalmers-Bethune, his wife Isabella Morison and their Daughter Isabella (1804), and was successful as an etcher. In 1823, he was appointed Kings limner in Scotland, and in 1830 painter-in-ordinary to King William IV. In 1840, for his health, he visited Syria, Palestine and Egypt, but died on his voyage home. Benjamin Disraeli, 1st Earl of Beaconsfield Benjamin Disraeli, 1st Earl of Beaconsfield, KG, PC, FRS, (21 December 1804 19 April 1881) was a British Prime Minister, parliamentarian, Conservative statesman and literary figure. He served in government for three decades, twice as Prime Minister of the United Kingdom. Although his father had him baptized to Anglicanism at age 12, he was nonetheless the country's first and thus far only Prime Minister who was born into a Jewish family. He played an instrumental role in the creation of the modern Conservative Party after the Corn Laws schism of 1846. Although a major figure in the protectionist wing of the Conservative Party after 1844, Disraeli's relations with the other leading figures in the party, particularly Lord Derby, the overall leader, were often strained. Not until the 1860s would Derby and Disraeli be on easy terms, and the latter's succession of the former assured. From 1852 onwards, Disraeli's career would also be marked by his often intense rivalry with William Ewart Gladstone, who eventually rose to become leader of the Liberal Party. In this feud, Disraeli was aided by his warm friendship with Queen Victoria, who came to detest Gladstone during the latter's first premiership in the 1870s. In 1876 Disraeli was raised to the peerage as the Earl of Beaconsfield, capping nearly four decades in the House of Commons. Before and during his political career, Disraeli was well-known as a literary and social figure, although his novels are not generally regarded as a part of the Victorian literary canon. He mainly wrote romances, of which Sybil and Vivian Grey are perhaps the best-known today. He is exceptional among British Prime Ministers for having gained equal social and political renown. He was twice successful as the Glasgow University Conservative Association's candidate for Rector of the University, holding the post for two full terms between 1871 and 1877.
Condition Canvas is torn along the upper left edge of the stretcher. The frame is original and old.
Low Estimate: 25000;
High Estimate: 50000;
Original: Yes;
Medium: Oil Paint;
Circa: 1815;
Style: Classicism;

Graceful lady reading a letter, Watercolor, France, 19 c

Lot #323 (Sale Order 320 of 490)

Graceful lady reading a letter", Signed watercolor/aquarelle, France, XIXc. Material: Aquarelle on carton with tempera, protected by glass, beautiful golden frame. Country: France; Signature is hard to read. Size of the carton: 18 x 15 inches = 45 cm x 37.5 cm; Size of the frame: 28 x 24 inches = 70 cm x 60 cm; Weight with a frame: approximately 10-15 lb. = 5-8 kg. Photos were taken with and without cover glass.
Condition Water color painting on carton in a very good condition, because it was protected by glass most of the time. Some aging spots on the carton on the back.
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Medium: Watercolor;
Circa: 1860;
Style: Impressionism;

Antique engraving Duchess of Guise, Paris, France, 1684

Lot #324 (Sale Order 321 of 490)

Antique French engraving: portrait of Marie of Lorraine, Duchess of Guise, Paris, France, 1684. Engraving after Pierre Mignard (1612 1695). Marie de Lorraine (15 August 1615 3 March 1688) was the daughter of Charles de Lorraine, Duke of Guise and Henriette Catherine de Joyeuse and the last member of the House of Guise, a branch of the House of Lorraine.Size of the engraving: 9.75 x 14 = 24.4 cm x 35 cm. Size of the frame: 22.5 x 17.5 inches = 56 cm x 44 cm. Weight of the framed engraving: 7 lb. = 3.15 kg. Condition: Good, except that there is a small tear (10x22 mm) in the region of the upper part of her dress.Provenance: from private collection of one lady in Florida.BiographyMarie de Lorraine de Guise was a "foreign princess naturalized in France" (that is, the daughter of a foreign prince of the House of Lorraine). After the death of the last male of the House of Guise in 1675, Marie became duchess of Guise, duchess of Joyeuse, and princess of Joinville and enjoyed the vast revenues from these duchies and principalities.[1] People addressed her formally as "Your Highness"; she herself signed legal documents as "Marie de Lorraine"; and after 1675, as "Marie de Lorraine de Guise," but she ended personal letters with, simply, "Guise."Exiled to Florence with her family, 163443,[2] Marie (whom the French knew as "Mademoiselle de Guise") became close to the Medicis and came to love Italy and especially Italian music. For over forty years scarcely a week passed that she did not write to her Medici friends in Florence, or receive word from them through the Tuscan resident in Paris. Circa 1650 she morganatically married Claude de Bourdeille, count of Montrsor [3] by whom she had several children whose existence was never acknowledged publicly.Starting in 1670, Marc-Antoine Charpentier composed for her and sang haute-contre in her service. She protected her loyal servant by soliciting commissions for him from people or establishments who were seeking her continued patronage. For example, she was probably one of the "enraged virgins" and "heroines" who swooped down on Molire in late 1672 and forced him to give Charpentier the chance to write the music for Molire's the forthcoming theatrical spectacle, the Malade Imaginaire. For eighteen years her patronage fostered a number of major works, most of them devotional and strongly influenced by Italian music.[4][5]Successively guardian of her nephew, Louis Joseph, Duke of Guise (d. 1671) and of her grand nephew Francis Joseph, Duke of Guise (d. 1675), as the last member of the senior branch of the House of Guise, she used her vast wealth not only to live splendidly but for projects dear to her heart.[6]After these two closely spaced deaths, Marie turned to devotion. With the help of Father Nicolas Barr, Minim, she founded a teachers' training institute and created schools for girls and hospitals for the poor in her Parisian parish and in her provincial lands. In her vast Parisian residence known as the "Htel de Guise," she presided "magnificently" over a select little "court" composed chiefly of members of the House of Lorraine, clergy, learned protgs, and Italians passing through Paris. Music (often Italian and Italian-style music) was the principal entertainment at these events.Although her relations with Louis Joseph's widow, Lisabeth Marguerite d'Orlans, were often frosty, the two women continued to see one another, both in Paris and at the abbey of Saint Pierre de Montmartre, where Marie's sister Rene was abbess and where Lisabeth's sister, Marguerite Louise d'Orlans, the erstwhile Grand Duchess of Tuscany, resided after 1675.In the early 1670s, Marie had begun to assemble a small ensemble of household musicians to perform the pieces being written by her in-house composer, Marc-Antoine Charpentier.[7] Then, in the early 1680s she enlarged the group, until it rivaled both in size and quality of ensembles maintained by "several sovereigns." Over the years Marie made her composer and her musicians available to her nephew's widow lisabeth, for performances in churches and at the royal court. Both women had private apartments at Montmartre.In a will intended to disinherit her niece,[8] la Grande Mademoiselle (that is, Anne Marie Louise d'Orlans, Duchess of Montpensier [9]) she chose Charles Francois de Stainville as beneficiary in 1688; but on the urging of her heirs, the will was broken by the Parliament of Paris in 1689...[10][11]In 1700, her trustees sold her home in Paris, the Hotel de Guise, was sold to Francois, Prince of Soubise and his wife Anne de Rohan-Chabot and became the Hotel de Soubise.
Low Estimate: 1500;
High Estimate: 5000;
Circa: 1684;
Style: Classicism;

Cubism, Menachem Helholz Or, Long arms, Oil painting

Lot #325 (Sale Order 322 of 490)

Original oil painting by Menachem Helholz Or, 35 x 40 cm; Style - cubism, school of Picasso; Size of the stretcher: 13.5 in x 15.5 in = 35 x 40 cm; Size of the wooden frame: 17.5 x 20 inches = 46 cm x 51 cm; Biography: Menachem Helholz-Our was born in Germany in 1911. Although his training was never formal, he was influenced by the various German Artists of the Expressionist and Bauhaus Movements in his youth, most notably Franz Marc, Heinrich Campendonk, Paul Klee and Auguste Macke. His later works show the influence of several of these artists especially in his fusing together of Cubism and vivid Expressionist colour. In 1933, when Hitler came to power, Helholz-Our fled from Germany and settled in Palestine, where from 1937 he was able to devote himself to his painting. His subjects include figurative scenes, marine life and schematic cities, some of which are based on Jerusalem, Jaffa and also German cities and railway bridges, reminiscent of motifs used by Max Beckmann. Helholz-Our also experimented with the prismatic effects of light, and like many other German artists of the period, his work fluctuated between an Expressionist version of Orphism under the influence of the Delaunays and also Cubism. His townscapes and still-lives owe much to Paul Klee, particularly his creation of all-over formal poetic patterning. Auction results http://www.bonhams.com/auctions/17442/lot/58/ http://www.alonzakaim.com/artists/helholz-or_menachem/
Condition Natural aging of oil, no defects;
Low Estimate: 6000;
High Estimate: 20000;
Original: Yes;
Medium: Oil Paint;
Circa: 1940;
Style: Cubism;

French cubist artist Robert Mark, oil, canvas: Composit

Lot #326 (Sale Order 323 of 490)

French cubist artist Robert Mark, oil on canvas, collage with other materials: Composition, cubism. Robert Mark was a an original French artist, cubist (1943-1993). His paintings were sold in Europe in the range of $5,000-$50,000. Size of the painting: 8 x 8 = 20 cm x 20 cm. Size of the frame: 20 x 20 inches = 50 cm x 50 cm. Wooden black frame.
Condition Excellent, no defects;
Low Estimate: 10000;
High Estimate: 50000;
Original: Yes;
Circa: 1970;
Style: Cubism;

10 Lithographs 18x24in. Bruce Jenner 1976 Olympic Edition

Lot #327 (Sale Order 324 of 490)

10 Lithographs 18x24 The Bruce Jenner Decathlon Suite; by William Nelson, 1976 Olympic Edition Limited Edition 42/500. Each lithograph is signed William Nelson in the right lower corner and by Bruce Jenner in the left lower corner. In the middle in between, every lithograph is numbered 42/500. 1) 100 meter Dash 2) Long jump 3) Shot Put 4) High Jump 5) 400 meter Run 6) 110 meter Hurdles 7) Discus 8) Pole Vault 9) Javelin 10) 1,500 meter Run Well-known Chicago Artist William Nelson made these limited edition Lithographs of Bruce Jenner in 1976. These are signed by Bruce Jenner and the artist, one set of 500 made. The set is housed in a leatherette folio and comes with a certificate of authenticity. Each litho is 18 by 24 plus margins. The cover of the collection is in excellent condition, as are the lithos. Each litho is housed in a heavy stock folio with a description of the event. The lithos are in excellent condition. A great addition to a William Nelson or Olympic collection. William Nelson has many honors and commissions, to name a few: Recording artist of the Sioux Indian Sundance Ceremony at Wounded Knee, South Dakota, Commissioned artist for the Bicentennial History of The United States, Recording artist of the Custer Centennial 1876 - 1976, designated as the first exclusive artist at the 1976 World Olympics by the United States Olympic Committee, First artist to have a private showing at the Senate Caucus Room in the Russell Senate Office Building, Washington, DC. Permanent Museum Collections: The White House, The National Gallery of Art, Washington, DC The Smithsonian Institution, Washington, DC The Chicago Historical Society The Field Museum, Chicago, Ill The South Dakota Museum, The Illinois State Museum. A set of signed in pencil prints by the artist William Nelson Size: 18 x 24 + margins = 29 x 22 Size of the cover: 30 x 22.5 Weight: 13 lb William Bruce Jenner (born October 28, 1949) is a former U.S. track and field athlete, motivational speaker, socialite and television personality. He won the gold medal for decathlon in the Montreal 1976 Summer Olympics. Following his Olympic victory and the related recognition, his professional career evolved into being a television celebrity. By 1981 he had starred in several made for TV movies and was Erik Estrada's replacement on the top rated TV series CHiPs. Since the 2007 debut of Keeping Up with the Kardashians he has appeared as the step-father of the Kardashian sisters.
Condition The cover of the collection is in excellent condition, as are the lithos. Each litho is housed in a heavy stock folio with a description of the event. The lithos are in excellent condition. A great addition to a William Nelson or Olympic collection.
Low Estimate: 1000;
High Estimate: 2000;
Condition: Excellent;
Circa: 1976;

Framed Etching lithograph Slavery to Freedom

Lot #328 (Sale Order 325 of 490)

Judaica Framed Etching/Lithograph Slavery to Freedom. The etching is signed and numbered 447/500 II. Approximate size: 24 x 24 inches.
Condition Excellent, no defects;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;

Framed Etching, - Six symbols

Lot #329 (Sale Order 326 of 490)

Judaica Framed Etching Six symbols. The etching is signed and numbered. Approximate size: 24 x 20 inches.
Condition: Excellent, no defects;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;

Italian Oil on canvas - Mandolin Party, Z. R. Tonin, 19th c

Lot #330 (Sale Order 327 of 490)

Italy, 19th century, Oil on canvas - Mandolin Party, signed by Z. R. Tonin,. Size of the frame: 21 x 17 inches. Size of stretcher: 19.7 x 15 inches. Check my other auction for matching pair oil by the same artist Z. R. Tonin.
Condition; Very good, natural aging of oil paint;
Low Estimate: 2000;
High Estimate: 5000;
Original: Yes;
Medium: Oil Paint;
Circa: 1850;
Style: Genre

Italy Oil on canvas- Shoemaker flirting a girl", Tonin,19th

Lot #331 (Sale Order 328 of 490)

Italy, Oil on canvas-Shoemaker flirting with Young Woman, signed by Z. R. Tonin, 19th c. Perfect genre scene from middle ages. Material: Oil on Canvas 18-19c. Size of the canvas: 19.5 x 15.5 inches = 50 x 39 cm. Size of the frame: 21 x 16 3/4 inches = 53 x 42 cm. Weight with a frame: 2 lb = 1 kg. Country of origin: Italy, Please, check the other auction of the other genre scene by the same artist Tonin.
Condition: very for the age, in the upper part of the painting two purses were painted later in order to cover two small tears (3 cm and 1 cm);
Low Estimate: 2000;
High Estimate: 5000;
Original: Yes;
Medium: Oil Paint;
Circa: 1850;
Style: Genre;

Doge's Palace in Venice, by Ricco Azzuro, oil on

Lot #332 (Sale Order 329 of 490)

Doges Palace in Venice, by Ricco Azzuro, oil on canvas painting 24 x 20 in. Signed in right bottom corner: Rico Azzuro. At the back: Rico Azzuro - Veedig - Dogenpalast. From Paris Art Gallery, Chicago Illinois Size of the stretcher: 27.5 x 20 inches = 55 cm x 50 cm Refer to partial loss of paint, creases The Doge's Palace (Italian: Palazzo Ducale) is a gothic palace in Venice, northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the Republic of Venice. Its two most visible façades look towards the Venetian Lagoon and St. Mark's Square, or rather the Piazzetta. The use of arcading in the lower stories produces an interesting "gravity-defying" effect. There is also effective use of colour contrasts Shipping in USA by FEDEX International shipping is available: ask for rates
Condition Used, very good, no frame;
Provenance: Paris Art Gallery, Chicago, IL, USA;
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;
Medium: Oil Paint;
Circa: 1950;
Style: Impressionism;

Makena Cove scenery, Hawaii, Oil on canvas, Virba 1998

Lot #333 (Sale Order 330 of 490)

Makena Cove scenery, Hawaii, Oil on canvas, by William Virba, painted in 1998, William Virba, modern American artist from Czechoslovakia. Stretcher: 30 x 40 inches = 75 cm x 100 cm. Frame: 47.5 x 37.5 inches = 119 cm x 94 cm.
Condition Perfect, some aging of the oil paint;
Low Estimate: 3000;
High Estimate: 10000;
Condition: Excellent;
Original: Yes;
Medium: Oil Paint;
Circa: 1998;
Style: Impressionism;

Sumatra, Oil on canvas, William Virba, 1980, 130x105 cm

Lot #334 (Sale Order 331 of 490)

Sumatra, Oil on canvas, William Virba, 1980, frame- 130 x 105cm; William Virba, modern American artist from Czechoslovakia. Painted in 1980 on Sumatra; Frame: 52 x 42 inches = 130 cm x 105 cm;
Condition Perfect, some aging of the oil paint;
Low Estimate: 4000;
High Estimate: 8000;
Condition: Excellent;
Original: Yes;
Medium: Oil Paint;
Circa: 1980;
Style: Impressionism;

Oahu scenery, Hawaii, Oil on canvas, 2000, Virba

Lot #335 (Sale Order 332 of 490)

Oahu scenery, Hawaii, Oil on canvas, 2000, William Virba, frame- 115 x 85 cm. Painted in the year 2000, near Pall Mountains, Oahu, Hawaii. William Virba, modern American artist from Czechoslovakia. Stretcher: 36 x 23 inches = 90 cm x 57.5 cm. Frame: 46 x 34 inches = 115 cm x 85 cm Condition: Excellent
Condition Perfect, some aging of the oil paint;
Low Estimate: 4000;
High Estimate: 8000;
Condition: Excellent;
Orignal: Yes;
Medium: Oil Paint;
Circa: 2000;
Style: Impressionism;

Nude mother with 2 nude boys, Oil painting on porcelain

Lot #336 (Sale Order 333 of 490)

Nude mother with 2 nude boys, Oil painting on porcelain plaque. Mythological subject. Hand-painted. Framed.
Condition excellent, no defects;
Low Estimate: 1500;
High Estimate: 3000;
Medium: Oil Paint;
Style: Classicism;

Marble Beatrice of Dante, by Brogi 1853-1919, Italy

Lot #337 (Sale Order 334 of 490)

Stunning Beautiful Marble & Alabaster Beatrice(?) bust, signed by Giovanni Brogi 1853-1919, Italian sculptor. Material: Marble and alabaster. You could decorate your palazzo or estate with real marble statue, which looks like from Renaissance time. Approximate weight: 50-70 lb. Height with base: 18 inches = 45 cm. Height without base: 16 inches = 40 cm. Base: 17 x 6.5 inches = 42.5 cm x 16.25 cm. Shipping: Recommended shipping in USA and internationally by UPS, FEDEX or Freight with full insurance. International shipping is available, ask for shipping rates. Local pick up is available, - if you live or take vacation in Florida or Georgia. According to the autobiographic La Vita Nuova, Beatrice and Dante met only twice during their lives. Even less credible is the numerology behind these encounters, marking out Dante's life in periods of nine years. This amount of time falls in line with Dante's repeated use of the number three or multiples of, derived from the Holy Trinity. It is more likely that the encounters with Beatrice that Dante writes of are the two that fulfill his poetic vision, and Beatrice, like Petrarch's Laura, seem to blur the line between an actual love interest and a means employed by the poet. According to Dante, he first met Beatrice when his father took him to the Portinari house for a May Day party. At the time, Beatrice was eight years old, a year younger than Dante. Dante was instantly taken with her and remained so throughout her life even though she married another man, banker Simone dei Bardi, in 1287. Beatrice died three years later in June 1290 at the age of 24. Dante continued to hold an abiding love and respect for the woman after her death, even after he married Gemma Donati in 1285 and had children. After Beatrice's death, Dante withdrew into intense study and began composing poems dedicated to her memory. The collection of these poems, along with others he had previously written in his journal in awe of Beatrice, became La Vita Nuova. Following their first meeting, Dante was so enthralled by Beatrice that he later wrote in La Vita Nuova: Ecce Deus fortior me, qui veniens dominabitur mihi ("Behold, a deity stronger than I; who coming, shall rule over me.") Indeed, Dante frequented parts of Florence, his home city, where he thought he might catch even a glimpse of her. As he did so, he made great efforts to ensure his thoughts of Beatrice remained private, even writing poetry for another lady, so as to use her as a "screen for the truth".rnrnDante's courtly love for Beatrice continued for nine years, before the pair finally met again. rnt in his creations.
Condition Very good, no cracks, there are several small chips at the base of the bust, the biggest chip is 1.5 cm long.
Low Estimate: 30000;
High Estimate: 50000;
Condition: Excellent;
Original: Yes;
Circa: 1900;

Alabaster sculpture Boy Feeding Goat, 19th-20th c, 15in

Lot #338 (Sale Order 335 of 490)

Alabaster boy feeding a goat, 19th-20th c. EXCEPTIONAL, TURN OF THE XIX-XX CENTURY ALABASTER SCULPTURE OF A BOY FEEDING A GOAT: Height: 15 1/4 inches, no visible signature. Weight netto: 25 lb. Weight brutto with packing: 35 lb. Shipping in USA: FedEx of UPS. International shipping is available. Please, contact about rates.
Condition: Professional repairs to goat ear and front and back legs, boy's right toe;
Low Estimate: 5000;
High Estimate: 15000;
Condition: Excellent;
Orignal: Yes;
Circa: 1900

Genuine French floor clock with pendulum, period Louis

Lot #339 (Sale Order 336 of 490)

Genuine French floor clock with pendulum, period Louis XVI. Height: approximately 3 m = 300 cm. Width: 40 cm. Weight: 50-80 kg
Condition good/acceptable for the age, not in running condition, needs tune up, on sale as is;
Low Estimate: 25000;
High Estimate: 50000;
Original: Yes;
Circa: 1775;

Elegant Bronze horse 1, 6 lb., 9 inches

Lot #340 (Sale Order 337 of 490)

Elegant Bronze horse, 6 lb., 9 inches. Hollow inside. Height: 9 inches = 22 cm. Length: 11 inches = 27 cm. Weight: 6 lb. = 2.7 kg. Age: unknown
Condition left ear is bent, otherwise - excellent;
Low Estimate: 1000;
High Estimate: 4000;

Elegant Bronze horse 2, 6 lb., 9 inches

Lot #341 (Sale Order 338 of 490)

Elegant Bronze horse, 6 lb., 9 inches. Hollow inside. Height: 9 inches = 22 cm. Length: 11 inches = 27 cm. Weight: 6 lb. = 2.7 kg. Age: unknown
Condition Excellent, no defects;
Low Estimate: 1000;
High Estimate: 4000;

Sevres cobalt blue porcelain & bronze vase, France, 19c

Lot #342 (Sale Order 339 of 490)

Sevres cobalt blue porcelain & bronze vase, France, 19th century. On the front size: a court painting; On the back side: flowers painting; Height with lid: 16.5 in. = 41 cm; Height without lid: 14.2 in. = 35.5 cm; Width: 7.3 in. = 18 cm; Provenance: private collection in Florida
Condition: lid is not original, otherwise no problems; on sale as is;
Low Estimate: 5000;
High Estimate: 10000;
Orignal: Yes;
Circa: 1850;

Elegant Sevres porcelain & bronze vase, 25in.=62cm

Lot #343 (Sale Order 340 of 490)

Elegant Sevres porcelain & bronze vase, 25 in.=62 cm. Signed by G. Poitevin. Lid is not original, it was made later. Height: 25 inches = 62.5 cm. Height with lid: 28.5 inches = 71 cm.rnWidth: 9 inches = 22.5 cm. Weight: 10 lb. = 4.5 kg. Weight with packing: 15 lb. = 7 kg. Shipping in USA: UPS or FEDEX. International shipping is available, ask for terms, please.
Condition Excellent for the age, no cracks, and no chips, lid is not original, on sale as is;
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Circa: 1850;

Sevres porcelain vase, with 2 bronze fauns, signed,19 c

Lot #344 (Sale Order 341 of 490)

Sevres porcelain vase, with 2 bronze fauns, signed. Signed by G. Poitevin. Lid is not original. Height without lid: 19.5 inches = 49 cm. Height with lid: 25 inches = 62.5 cm. Weight: 19 lb. Weight with packing: 25-30 lb. Shipping in USA: UPS or FEDEX International shipping is available, ask for terms, please.
Condition: Very good for the age, no cracks, no chips, used, lid is fixed with a new screw, on sale as is;
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Circa: 1850;

Royal Vienna porcelain plate, Ackerman & Fritze 19th c

Lot #345 (Sale Order 342 of 490)

Ackerman & Fritze in antique wooden frame, signed by R. Dittrich, 19th c; Royal Vienna porcelain plate, Phsyche u Amor; Height: 33.5 inches; Width: 18 inches; Porcelain plaque diameter: 8.5 inches; Total weight: 9-10 lb.
Condition: perfect for the age;used, on sale as is;
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Circa: 1850;
Style: Classicism;

European Flemish Tapestry wool 17th century Belgian

Lot #346 (Sale Order 343 of 490)

European Flemish Tapestry wool 17th century, Belgian or Dutch; Size: Approximately 7 x 8 feet = 210 cm x 240 cm;
Condition: used, several repairs, refer to the photos, please;
Low Estimate: 20000;
High Estimate: 60000;
Condition: Fair;
Original: Yes;
Circa: 1650;

Vintage European framed tapestry, musician in the park

Lot #347 (Sale Order 344 of 490)

Graceful musician in the park, -Vintage European framed tapestry, - Lesson of music in the park; Size of the wooden frame: 105 cm x 72 cm = 42 x 30 inches; Weight: 8 lb. = 5 kg; Age: 20th century (?)
Condition The frame has traces of usage, scratches and loss of gilt; Tapestry is in fine condition;.
Low Estimate: 1000;
High Estimate: 3000;
Orignal: Yes;
Circa: 1950;

Pair of framed Chinese Embroidery: Flowers, birds, butt

Lot #348 (Sale Order 345 of 490)

Pair of framed Chinese Embroidery: flowers, birds, butterfly. All the embroidery is possibly forbidden stitch / Peking knot(?). Bordered with embroidered trim & fabric matte. Mounted in a simple vintage gild painted wood frame with glass. Exact age of the sleeves is unknown, I would guess early to mid 19th century. Size of the frame: 17.5 inches x 9.5 inches = 44 x 24 cm. Total weight: 3.25 lb. = 1.5 kg.
Condition: fine, no damage, some scratches on wooden frame.
Low Estimate: 250;
High Estimate: 500;
Original: Yes;
Circa: 1840;

Porcelain 32 cm vase with young lady, France, B C Cie 8

Lot #349 (Sale Order 346 of 490)

Porcelain 32 cm vase with young lady, France, B C Cie 8 mark Mark: B C Cie 8; Height: approximately 13 inches = 32.5 cm; Width: 7 inches = 17.5 cm; Weight: approximately 6-10 lb. Material: Porcelain with bronze details.
Condition: very good, no cracks, no chips or other defects;
Low Estimate: 1500;
High Estimate: 3000;
Orignal: Yes;
Circa: 1900;

French or Bohemian double-gorge glass bottle, 19th c

Lot #351 (Sale Order 347 of 490)

Antique Bohemian or French double-gorge, hand-painted glass bottle, 19th century, Height: 12 inches
Condition Very good for the age. used, no defects, some wear, on sale as is;
Low Estimate: 1500;
High Estimate: 3000;
Orignal: Yes;
Circa: 1850;

Moser Glass Wine container, Bohemia, 19th c;

Lot #352 (Sale Order 348 of 490)

Moser Glass Wine container, Bohemia, 19th c;Enamel hand-painted with yellow and white flowers;Height: 12 inches;Condition: normal age wear, the lid is hard to open, otherwise no defects;References: Moser a.s. is a luxury glass manufacturer based in Karlovy Vary, Czech Republic, previously Karlsbad in Bohemia, Austria-Hungary. The company is known for manufacturing stemware, decorative glassware (such as vases, ashtray, candlestick), glass gifts and various art engravings. Due to the quality, Moser is one of the most collected of 20th century decorative glass[1] and has been used everywhere from palaces to local restaurants.[2] From its beginnings in 1857, as a polishing and engraving workshop, it developed into a lead-free glass manufacturer lasting through the 20th century until the present.
Low Estimate: 2000;
High Estimate: 4000;
Condition: Excellent;
Original: Yes;
Circa: 1850;

Phillip's Longport pottery Charger New England 1822-40

Lot #353 (Sale Order 349 of 490)

Genuine Phillip's Longport mark, charger (plate), early 19th century, New England. Size: 15.5 x 20.75 inches = 39 cm x 52 cm; Weight: 10 lb. = 4.5 kg; Condition: excellent, no chips, no cracks. Some history: The pottery was founded by two brothers, Edward and George Phillips, in 1822. Their father was a merchant in Newcastle under Lyme, and no one in the family seems to have had a pottery background. Edward, however, married Benedicta Wedgwood, who had become a ward of Josiah Wedgwood after the death of her father, Thomas, of the Overhouse Works. The brothers leased the New Bridge pottery in Longport, also known as the Bottom Bridge Works, from Joseph Brindley. The pottery had an excellent location on the Trent and Mersey Canal and had been vacant since 1817, when the previous tenants, Lindop and Taylor, went out of business. The Rogers and Davenport firms, known for extensive North American trade, were neighbors. References: http://www.transcollectorsclub.org/bulletin_previews/articles/09Winter-Longport.pdf
Condition Excellent/Very Fine, normal aging of the porcelain, some scratches at the back (see the photos) no chips, no cracks,
Low Estimate: 3000;
High Estimate: 6000;
Original: Yes;
Circa: 1825;

Limoges porcelain scallop plate serving oysters, France

Lot #354 (Sale Order 350 of 490)

Elegant Limoges porcelain scallop plate for serving oysters, France. Length: 9.5 in. = 24 cm; Width: 9 in. = 23 cm; Weight: 1 lb. = 450 g.
Condition; used, very fine, some loss of gild, no other defects;
Low Estimate: 300;
High Estimate: 500;
Original: Yes;

Huge BURSA BUBA Seashell 23cm =9.2 inches

Lot #355 (Sale Order 351 of 490)

Huge BURSA BUBA Seashell 23 cm =9.2 inches. Name: BURSA BUBA Seashell. Origin: Phu Quoc Oasis, Vietnam, Pacific Ocean. Length: 230 mm =9.2 inches. Weight: 1 lb. 4 oz. = 550 g.
Condition: used, no obvious defects, on sale as is;
Low Estimate: 200;
High Estimate: 600;
Original: Yes;

Historical Document, US Newspaper 1918, WW1 End

Lot #356 (Sale Order 352 of 490)

Historical Document, US Newspaper from 1918, with articles on the End of WW1. The EVENING TELEGRAM, Monday Morning, November 11, 1918, Down goes Prussia! Severe fighting in Berlin!! Abdication of Emperor William in Paris! Peoples Government has been constituted in Berlin Friedrich Ebert, vice president of Socialist Democratic Party is carrying on the government. The newspaper is framed under the glass, ready to hanging on the wall. Size of the frame: 25 x 19 inches; Weight: 7 lb.
Condition The newspaper got a yellow color because of natural aging for almost 100 years. The newspaper is framed under the glass, ready to hanging on the wall.
Low Estimate: 300;
High Estimate: 500;
Original: Yes;
Year: 1918;

French silver coin, Ecu, Henri III, 1583

Lot #359 (Sale Order 353 of 490)

French silver coin, Ecu, Henri III, 1583; Mint: Nantes; Quart d ecu; Nomen Domini Benedictum; Henri III: 1551-1589. Size: 30 mm; Weight: 10.12g;Condition: VF, clipped;Henry III (19 September 1551 2 August 1589; born Alexandre douard de France, Polish: Henryk Walezy, Lithuanian: Henrikas Valua) was a monarch of the House of Valois who was elected the monarch of the Polish-Lithuanian Commonwealth from 1573 to 1575 and ruled as King of France from 1574 until his death. He was the last French monarch of the Valois dynasty.As the fourth son of King Henry II of France and Catherine de' Medici, Henry was not expected to assume the throne of France. He was thus a good candidate for the vacant Polish-Lithuanian throne, and he was elected with the dual titles King of Poland and Grand Duke of Lithuania.Henry's rule over Poland and Lithuania was brief, but notable. The Henrician Articles he signed into law accepting the Polish throne established Poland as an elective monarchy subject to free election by the Polish nobility. Of his three older brothers, two would live long enough to ascend the French throne, but both died young and without a legitimate male heir. He abandoned Poland upon receiving word that he had inherited the throne of France at the age of 22.The kingdom of France was at the time plagued by the Wars of Religion, and Henry's authority was undermined by violent political parties funded by foreign powers: the Catholic League (supported by Spain), the Protestant Huguenots (supported by England) and the Malcontents, led by Henry's own brother, the Duke of Alenon, which was a party of Catholic and Protestant aristocrats who jointly opposed the absolutist ambitions of the king. Henry III was himself a politique, arguing that a strong and religiously tolerant monarchy would save France from collapse.After the death of Henry's younger brother Francis, Duke of Anjou, and when it became apparent that Henry would not produce an heir, the Wars of Religion grew into a succession crisis that resulted in a war known as the War of the Three Henrys. Henry III's legitimate heir was his distant cousin Henry, King of Navarre, a Protestant. The Catholic League, led by Henry I, Duke of Guise, sought to exclude Protestants from the succession and championed the Catholic Charles, Cardinal of Bourbon, as Henry III's heir.In 1589, Jacques Clment, a Catholic fanatic, murdered Henry III, who was succeeded by the King of Navarre who, as Henry IV, would assume the throne of France after converting to Catholicism, and become the first French king of the House of Bourbon.
Condition: VF, clipped;
Low Estimate: 1500;
High Estimate: 3000;
Circa: 1583;

Antique Mysterious bronze coin 8 maravedis, 17th century

Lot #360 (Sale Order 354 of 490)

Genuine antique Mysterious bronze coin 8 maravedis, 17th century. That time period they were a bit odd shaped and had several stampings that tended to overlap. Diameter: 25 mm; Weight: 5.96 g;
Condition: used in circulation, fine/very good;
Low Estimate: 400;
High Estimate: 1000;
Circa: 1650;

Peter I (The Great) Rouble, 1723, Russian silver coin

Lot #361 (Sale Order 355 of 490)

Peter I (The Great) Rouble/Ruble, 1723, Russian silver coin. Weight: 26.91g .Diameter: 40 mm. Bust right of Tsar Peter the First Four crowned Russian P's in the form of a cross Diakov 57, Uzd 0610, Sev 586ff. Condition: Very Good/Fine, noble gray patina Magnificent coin of Peter the Great Rouble and a stunning example of early Russian numismatic art Peter the Great was born in Moscow in 1672 and died in 1725. Although he was tsar only from 1682-1725, he is credited with beginning the Westernization of Russia and starting it on the road to becoming an international power. There was much turmoil during his reign and Peter could be quite brutal at times, even his half-sister Sofia and wife Eudoxia were forced to become nuns when they conspired against him. Peter the Great, Peter I or Pyotr Alexeyevich Romanov (Russian: , I, Pyotr I, or , Pyotr Velikiy) (9 June [O.S. 30 May] 1672 8 February [O.S. 28 January] 1725)[note 1] ruled the Tsardom of Russia and later the Russian Empire from 7 May [O.S. 27 April] 1682 until his death, jointly ruling before 1696 with his half-brother. In numerous successful wars he expanded the Tsardom into a huge empire that became a major European power. According to historian James Cracraft, he led a cultural revolution that replaced the traditionalist and medieval social and political system with a modern, scientific, Europe-oriented, and rationalist system.
Condition Fine, natural patina, used in circulation;
Year: 1723;
Low Estimate: 5000;
High Estimate: 10000;

Silver Taller 1696 Ferdinand et Maria Anna, Austria

Lot #362 (Sale Order 356 of 490)

Silver Taller 1696, Ferdinand et Maria Anna, Austria, Schwarzenberg Ferdinand Wilhelm Eusebius with Maria Anna 1683-1703, AR Taller; Diameter: 47 mm Weight: 28.80 g; Wien (Vienna) mint; Dated 1696; Jugate busts of Ferdinand and Maria right; Crowned and draped double coats-of-arms; Davenport 1696; bold EF, nice patina;
Condition: bold EF, nice original patina;
Low Estimate: 2500;
High Estimate: 6000;
Circa: 1696;

Graceful French bronze medal - Monnais de Paris, 1900

Lot #363 (Sale Order 357 of 490)

Graceful French bronze medal - Monnais de Paris, 1900; Diameter: 50 mm; Weight: 60.16 g.
Condition: Condition: used, great original patina, insignificant scratches, but no defects, on sale as is.
Year: 1900;
Low Estimate: 500;
High Estimate: 2000;
Condition: Excellent;
Orignal: Yes;

Louis XIV French Copper/ Bronze Medal, 1693, France

Lot #364 (Sale Order 358 of 490)

France - Louis XIV -French Copper/ Bronze Medal, 1693. Dated 1693 by Mauger Obverse: profile bust signed below with LUDOVICUS MAGNUS REX CHRISTIANISSIMUS legend. Reverse: piled arms with CAESAHOST XX MILL TORMENTA BELL CAPT LXXVI SIGNAREIATA XC legend and DE FOEDERATIS AD NERVINDAM M DC XCVIII in two lines to exergue. Weight: 28 grams. Diameter: 41 mm = 1 ¾ in.
Condition Genuine medal, fine condition, natural patina, insignificant wear and scratches, on sale as is;
Year: 1693;
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes;

French bronze medal - Louis XIV & Carl Lotharing, 1641

Lot #365 (Sale Order 359 of 490)

French bronze medal - Louis XIV & Carl Lotharing, 1641, 60 mm, Restrike (?) Obverse: Portrait of Loius XIV with Latin inscription around: LUDOVICUS MAGNUS REX Reverse: Carl Lotaring on the knees in front Lois XIV with Latin inscription around CARL LOTARING DVX BARRENSIS REG FR VASSALUS, MDCLXI Engraving on the rim: BRONZE; Diameter: 60 mm; Weight: 85.22 g; Age: possible restrike, produced in 19th century or beginning of 20th c in Paris, France
Condition Excellent, nice patina

Incredible French bronze medal COLBERT, 83 mm, 1683

Lot #366 (Sale Order 360 of 490)

Incredible French bronze medal COLBERT, 83 mm, 1683. Obverse: Portrait of Colbert with Latin inscription around: Joan Bapt Colbert Regni Administer Regi Ab Intimis Consiliis et MandatisReverse: Two goddess in sorrow: FIDE et PRUDENTIA, Obiit VI Sept An M DC LXXXIII. Engraving on the rim: BRONZE. Diameter: 3.3 in. = 83.5 mm. Weight: 280 g. Age: possible restrike, produced in 19th - early 20th century in Paris, France.
Condition: Used, authentic patina, insignificant wear and scratches;
Low Estimate: 1000;
High Estimate: 2500;
Original: No;
Circa: 1900;

French bronze medal CARDINALIS MAZARINUS, 1659

Lot #367 (Sale Order 361 of 490)

Incredible French bronze medal CARDINALIS MAZARINUS, 62 mm, 1659, Restrike in 19th-20th centuries. Obverse: Portrait of Jules Mazarini with Latin inscription around: IYLIUS CARDINALIS MAZARINUS. Reverse: Rocky Island in the stormy sea with Latin inscription around: QUAM FRUSTRA ET MURMURE QUANTO 1659. Engraving on the rim: BRONZE. Diameter: 2 ½ in. = 62 mm. Weight: 107.33 g. Age: possible restrike, produced in late 19th - early 20th century in Paris, France. References: Jules Mazarin (French: [yl maza]; July 14, 1602 March 9, 1661), born Giulio Raimondo Mazzarino or Mazarini, was an Italian and French cardinal, diplomat, and politician, who served as the chief minister of France from 1642 until his death. Mazarini succeeded his mentor, Cardinal Richelieu. He was a noted collector of art and jewels, particularly diamonds, and he bequeathed the "Mazarini diamonds" to Louis XIV in 1661, some of which remain in the collection of the Louvre museum in Paris. His personal library was the origin of the Bibliothèque Mazarine in Paris. Giulio Mazzarino was born in Pescina, then part of the Kingdom of Naples,[4] where his parents were travelling, but was raised in Rome. Contemporary John Bargrave suggested, instead, that his father Pietro Mazzarini had lost a significant amount of money during a business transaction and was forced to flee to Rome.[5] Regardless, Pietro was a notary who made use of his connections to the Colonna once he arrived in Rome and became chamberlain to the Constable Filippo I Colonna. Mazarin never forgot that the basis of his fortune in life was the patronage of the Colonna, who had provided his father with a wife, Ortensia Buffalini, of a noble family of Città di Castello in Umbria with an ample dowry. He had a younger sister, Laura Margherita Mazzarini. Mazarini studied at the Jesuit College in Rome, though he declined to join their order. At seventeen he accompanied Girolamo Colonna, one of the sons of Filippo I Colonna, to the university of Alcalá de Henares in Spain, to serve as his chamberlain. His stay was brief; a notary who had advanced some cash to cover gaming debts urged the charming and personable young Mazarino to take his daughter as bride, with a substantial dowry. Later Mazarini frequented the University of Rome La Sapienza, gaining the title of Doctor in jurisprudence but gaining loose habits of serious gambling in the meantime.
Condition: Excellent, nice patina, used, insignificant wear and scratches
Low Estimate: 800;
High Estimate: 1500;
Orignal: No;
Circa: 1900;

US bronze military medal Occupation of Japan 1945

Lot #368 (Sale Order 362 of 490)

US bronze/brass military medal Occupation of Japan 1945. Diameter: 36 mm. Weight: 16.53g
Condition used, normal age wear, insignificant scratches, no defects;
Year: 1945;
Low Estimate: 100;
High Estimate: 200;
Condition: Excellent;
Original: Yes;

Alberti Dureri - Antique Bronze plate, 18th-19th centur

Lot #369 (Sale Order 363 of 490)

Alberti Dureri - Antique Bronze plate, 18th-19th century. Inscription: ALBERTI DURERI PICTORIS GERMANI APELLIS EFFIGIES, which means Albert DURERI painter Apelles GERMANS Bust. Weight: 1 lb. = 450 g; Diameter: 6.25" inches = 16 cm; Condition: original bronze, some natural age wear, Medal was produced in 1750-1795;so the plate was produced after that. References: Albrecht Durer (21 May 1471 - 6 April 1528)[1] was a German painter, engraver, printmaker, mathematician, and theorist from Nuremberg. His high-quality woodcuts (nowadays often called Meisterstiche or "master prints") established his reputation and influence across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Northern Renaissance ever since. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known prints include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1663981&partId=1
Condition: used, original bronze, some natural age wear, insignificant scratches, on sale as is;
Low Estimate: 1500;
High Estimate: 3000;
Original: Yes;
Circa: 1800;

Russian Imperial silver medal, Romanov 300 anniversary

Lot #370 (Sale Order 364 of 490)

Russian Imperial silver medal, 300 anniversary of Romanovs dynasty (1613-1913), 35 mm, 20g. Weight: 13.67g. Diameter: 27 mm. Obverse: Bust right of Tsar Nicholas II Romanov (last tsar) and Mikhail I Fedorovich Romanov (first tsar)Reverse: In the memory of 300 years (dynasty) house of Romanovs, 1613-1913
Condition: used, Fine/EF, noble gray patina, insignificant scratches:
Year: 1913;
Low Estimate: 1000;
High Estimate: 4000;
Condition: Excellent;
Original: Yes;

Imperial Russian bronze medal in Maria Fedorovna honor 1835

Lot #371 (Sale Order 365 of 490)

Imperial Russian bronze medal in honor of Maria Fedorovna 1748-1835.
Obverse:
Reverse: 1748-1835.
Weight: 146.11 g.
Diameter: 3 inches = 75 mm.
Thickness: 5 mm.
References: There were 3 Empresses with the same name, most obvious was:

Maria Feodorovna (Sophie Dorothea of Württemberg) (1759-1828), daughter of Frederick II Eugene, Duke of Württemberg; wife of Emperor Paul I of Russia

Condition used, perfect, some normal age wear, insignificant scratches;
Year: 1835;
Low Estimate: 4000;
High Estimate: 8000;
Condition: Excellent;
Original: Yes;

Russian bronze medal Tsar Alexander II liberates serfs in 1861

Lot #372 (Sale Order 366 of 490)

Russian Bronze Medal, Tsar Alexander II liberates peasants-slaves in 1861
Obverse: 19 February 1861, with name of the artist at the bottom: from the model of count Tolstoy, by Z. N. Kozin
Reverse: God bless Russian Christian people for the liberated labor/work

Diameter: 68 mm = 2.7 inches
Weight: 139.27 g
Condition: genuine patina and oxidation, was not cleaned

Emancipation of the serfs
Soon after the conclusion of peace, important changes were made in legislation concerning industry and commerce, and the new freedom thus afforded produced a large number of limited liability companies. Plans were formed for building a great network of railways, partly for the purpose of developing the natural resources of the country, and partly for the purpose of increasing its power for defense and attack.
The existence of serfdom was tackled boldly, taking advantage of a petition presented by the Polish landed proprietors of the Lithuanian provinces and, hoping that their relations with the serfs might be regulated in a more satisfactory way (meaning in a way more satisfactory for the proprietors), he authorized the formation of committees "for ameliorating the condition of the peasants," and laid down the principles on which the amelioration was to be effected.
This step was followed by one still more significant.[citation needed] Without consulting his ordinary advisers, Alexander ordered the Minister of the Interior to send a circular to the provincial governors of European Russia (serfdom was rare in other parts), containing a copy of the instructions forwarded to the Governor-General of Lithuania, praising the supposed generous, patriotic intentions of the Lithuanian landed proprietors, and suggesting that perhaps the landed proprietors of other provinces might express a similar desire. The hint was taken: in all provinces where serfdom existed, emancipation committees were formed.
The emancipation was not merely a humanitarian question capable of being solved instantaneously by imperial ukase. It contained very complicated problems, deeply affecting the economic, social and political future of the nation.
Alexander had to choose between the different measures recommended to him and decide if the serfs would become agricultural laborers dependent economically and administratively on the landlords or if the serfs would be transformed into a class of independent communal proprietors.
The emperor gave his support to the latter project, and the Russian peasantry became one of the last groups of peasants in Europe to shake off serfdom.
The architects of the emancipation manifesto were Alexander's brother Konstantin, Yakov Rostovtsev, and Nikolay Milyutin.
On 3 March 1861, 6 years after his accession, the emancipation law was signed and published.
Year: 1861;
Low Estimate: 3000;
High Estimate: 6000;
Condition: Excellent;
Original: Yes;

Russian Bronze Medal, Great Duke Sviatoslav of N.& S. Russia 945AD, 1750-1850

Lot #373 (Sale Order 367 of 490)

Russian Bronze Medal, Great Duke Sviatoslav of N.& S. Russia, 1750-1850
Obverse: Armed portrait of Great Duke with inscription around:
Great Duke Sviatoslav of Northern and Southern Russia
Reverse: Scene of negotiations between people of Drevlians and Duchesse Olga with inscription:
Apologies were not accepted. Reception of Drevlians Embassy with apologies
Diameter: 78 mm;
Weight: 161.65 g;
Condition: genuine patina and oxidation, insignificant scratches
The Drevlians (ÐÐµÑÐµÐ²Ð»ÑÐ½Ð¸, Derevliany in Ukrainian; ÐÑÐµÐ²Ð»ÑÐ½Ðµ, Drevlyane in Russian) were a tribe of Early East Slavs between the 6th and the 10th century, which inhabited the territories of Polesia and Right-bank Ukraine, west of the eastern Polans and along the lower reaches of the rivers Teteriv, Uzh, Ubort, and Stviga. To the west, the Drevlians' territories reached the Sluch River, where the Volynians (related to the territory of Volynia) and Buzhans (related to the name of Southern Bug river) lived. To the north, the Drevlians' neighbors were the Dregovichs.

Igor of Kiev Exacting Tribute from the Drevlyans, by Klavdiy Lebedev (1852-1916).
The name of the tribe derives from the Slavic word Ð´ÑÐµÐ²Ð¾ or Ð´ÐµÑÐµÐ²Ð¾ (drevo or derevo), which means "tree" - the Drevlians used to live in thick woods.
The Drevlians left many archaeological traces, such as agricultural settlements with semi-dugouts (or earth-houses), moundless burial grounds and barrows, fortified towns like Vruchiy (present-day Ovruch), Gorodsk, site of an ancient settlement near Malyn (supposedly, a residence of the Drevlian prince Mal) and others. The principal city of the Drevlians was Iskorosten (today's Korosten), where one can still see a group of compact ancient settlements. After the Kievan Rus' conquered the Drevlians, Iskorosten was burned to the ground and the capital transferred to Ovruch.[1] By the end of the first millennium, the Drevlians already had well-developed farming and handicrafts.
The Drevlians opposed fervently any attempts by outsiders to include them in Kievan Rus. According to a number of chronicles, in the times of Kyi, Schek and Khoriv (supposedly, founders of Kiev) the Drevlians had their own princely rule and were frequently at war with the Polans. In 883, Prince Oleg of Novgorod made the Drevlians pay tribute to Kiev. In 907, the Drevlians took part in the Kievan military campaign against the Byzantine Empire.
Olga's revenge for the assassination of her husband.
After Oleg's death in 912 the Drevlians stopped paying tribute. The Varangian warlord Sveneld made them pay tribute to himself. Oleg's successor Igor attempted to levy the tribute after Sveneld, but the Drevlians revolted and killed him in 945. Igor's widow Olga avenged her husband's death in an extremely harsh manner, killing Drevlianian ambassadors and nobility, burning their capital of Iskorosten to the ground and leveling other towns. After having subjugated the Drevlians, Olga transformed their territories into a Kievan appanage with the center in Vruchiy.

The Slavs in the 9th century
The last contemporary mention of the Drevlians occurred in a chronicle of 1136, when Grand Prince Yaropolk Vladimirovich of Kiev gifted their lands to the Church of the Tithes.

Low Estimate: 3000;
High Estimate: 10000;
Condition: Excellent;
Orignal: Yes;
Circa: 1800;

One Rouble/Ruble, 1829, Russian Imperial silver coin

Lot #374 (Sale Order 368 of 490)

One Rouble/Ruble, 1829, Russian Imperial silver coin, 35 mm, 20g. Weight: 20.15g. Diameter: 35 mm. Obverse: Pure Silver, 4 zolotnika, 21 part, S.P.B. (St. Petersburg). Reverse: Double head crowned eagle, 1829, Moneta ruble.
Condition: Very Good/Fine, noble gray patina, a 4-mm hole all the way through;
Year: 1829
Low Estimate: 1000.0
High Estimate: 2000.0

One Rouble/Ruble, 1877, Russian Imperial silver coin, 3

Lot #375 (Sale Order 369 of 490)

One Rouble/Ruble, 1877, Russian Imperial silver coin, 35 mm, 20.5g. Weight: 20.56gDiameter: 35 mm. Obverse: Ruble, 1877, S.P.B. (Sankt Petersburg)Reverse: Double head crowned eagle, 21 part of zolotnika of pure silver.
Condition EF, noble gray patina, a 2.5-mm hole all the way through

Russian Imperial huge copper coin 5 kopeek (kopeks 1772

Lot #376 (Sale Order 370 of 490)

Russian imperial copper coin 5 kopeek (kopeks) 1772, Catherine the Great, 40 mm. Weight: 47.94 g. Diameter: 40 mm. Thickness: 4 mm
Condition Fine;
Year: 1772;
Circulation: Circulated;
Low Estimate: 500;
High Estimate: 2500;

Russian copper coin 1909, 2 kopek/kopeek

Lot #377 (Sale Order 371 of 490)

Russian copper coin 1909, 2 kopek/kopeek. Diameter: 23.5 mm. Weight: 6.57 g
Condition Fine/EF;
Year: 1909;
Circulation: Circulated;
Low Estimate: 100;
High Estimate: 300;

Russian copper coin 1914, 1 kopek/kopeek

Lot #378 (Sale Order 372 of 490)

Russian copper coin 1914, 1 kopek/kopeek. Diameter: 20 mm. Weight: 3.23 g
Condition, used in circulation, EF;
Year: 1914;
Circulation: Circulated;
Low Estimate: 100;
High Estimate: 200;

Russian Imperial Silver decorative enameled car model,

Lot #379 (Sale Order 373 of 490)

Russian Imperial Silver decorative enameled car model, 1896 Moscow, by Andrey Alexandrov. Hand-made soldered/welded. 84 probe of silver content. Length: 4.5 inches = 110 mm. Height: 1.8 inches = 45 mm. Width: 1.8 inches = 44 mm. Weight: 89.4 g
Condition: Very fine, no defects, normal aging patina, cleaned recently;
Low Estimate: 3000;
High Estimate: 6000;
Condition: Excellent;
Orignal: Yes;
Year: 1896;

Russian Imperial Bronze Cross with crucifixion 19th c,

Lot #380 (Sale Order 374 of 490)

Authentic Russian Christian Bronze Cross with crucifixion 19th c, 15 inches tall. Height: 15 inches = 38 cm. Width: 8 in. = 20 cm. Weight: 2 lb. 5 oz. = 1070 g. Material: antique bronze with beautiful patina.
Condition: Very good/fine for the age, natural patina, no defects;
Low Estimate: 2000;
High Estimate: 6000;
Original: Yes;
Circa: 1850;

Jesus Christ Enamel Silver Russian Imperial cross 19 c

Lot #381 (Sale Order 375 of 490)

IC XC Jesus Christ Enamel Silver Russian Imperial cross, 19th c. Russian letters: IC XC. Weight: 11.5 g. Size: 59 x 32 mm. Jeweler stamp: Factory of Reniker Jakob, Smolensk, 1861-1877. Three 84 silver marks: 2 on the left part of the cross and 1 stamp - on the ring
Condition: used, normal age wear;
Low Estimate: 2000;
High Estimate: 5000;
Original: Yes;
Circa: 1865;

Genuine Russian bronze cross with blue enamel, 18th cen

Lot #382 (Sale Order 376 of 490)

Genuine Russian bronze cross with blue enamel, 18th century. Weight: 230 g = 9 oz. Length: 199 mm = 19.9 cm = 8 inches; Width: 11.6 cm = 4.75 inches; Lord Savaof- on the top of the cross. Below - 2 angels with trumpets. Inscription below the angels - Lord of the Glory. Above the cross crucifixion of the Son of the God - Our Lord Jesus Christ. Jesus Christ on the right and left of the cross. Below the cross - resurrection in Your glory. On the back of the cross - praying in Cyrillic language.
Condition Normal age wear, used, insignificant scratches, but no defects

Russian Bronze/ Copper Icon Triptych, Gilded Enamel, 19

Lot #383 (Sale Order 377 of 490)

Authentic Russian Bronze/ Copper Icon Triptych, Gilded Enamel, 19c This folded bronze/copper icon, was used for praying by travelers or during the periods of war by soldiers and officers. The triptych depicts major events, happened to Jesus Christ. Total width: 31 cm = 12.5 in. Height: 17.5 cm = 7 in. Weight: 900 g = 2 lb.
Condition: Very good to Excellent. Normal age wear, some loss of enamel, possibly missing the 4-th part of the icon.
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;
Circa: 1850;

Russian Wooden Icon 18th c, Maria & Jesus child

Lot #384 (Sale Order 378 of 490)

Antique Authentic Russian Wooden Icon 18th c, Maria & Jesus child Size: 11.25 x 8.5 in. = 28 cm x 21.5 cm. Thickness: 1 inch = 2.5 cm. Weight: 1 lb. 12oz. = 800 g. Condition: Good for age, refer to insignificant partial loss of paint Icon is covered with protective lacquer. On the back there are hand-made carved inscriptions in old Russian language Cyrillic.
Condition Good for age, refer to darkening and partial loss of paint;
Low Estimate: 3000;
High Estimate: 6000;
Original: Yes;
Medium: Tempera;
Circa: 1750;

Genuine St. Nicolas Russian icon, 14x11in., 19th c

Lot #385 (Sale Order 379 of 490)

Genuine St. Nicolas Russian icon, 14 x 11 in., 19th c. Carved names of the owners or Saints in old Cyrillic letters. Size: 14 x 11.5 x 1.5 inches. Approximate Weight: 450 g = 1 lb. Framed into wooden cover box, with glass cover, made recently to preserve the icon; (just cost of the this box was $500)
Condition The icon is damaged at the bottom from constantly burning the candle in front of the icon

Russian icon: St. Nicholas, with metal oklad 18-19th c

Lot #386 (Sale Order 380 of 490)

Beautiful authentic Russian icon: St. Nicholas, with metal oklad (cover)18th-19th c. St Nicholas with a bible in the left hand, 2 saints on the right, two saints on the left Height: 11.75 in. = 295 mm Width: 10.5in. = 260 mm. Thickness: 1.25 inch = 30 mm Weight: 2 lb.10 oz. = 1200 g
Condition: good, notice loss of the gild and paint in the upper part of the icon, fortunately, mostly - around the face in a golden nimbus area, face is mostly saved.
Low Estimate: 3000;
High Estimate: 6000;
Original: Yes;
Medium: Tempera;
Circa: 1800;

Russian Icon: St John the Baptist and Jesus, 18th c

Lot #387 (Sale Order 381 of 490)

Russian Christian Icon: St John the Baptist and Jesus, with oklad, 18th century. St John the Baptist holds a bowl with Jesus child with left hand. Why Jesus as a child? -May be to show immaturity of the soul before baptizing. Right hand makes a gesture of baptizing. There is a leave from the bible with a short message in old Slavic language. There are two inscriptions on the metal oklad: in the left corner 4 letters (probably for St John); in the right corner 3 letters PRE, which means pure. Height: 14 inches = 36 cm. Width: 12 inches = 31.5 cm. Weight: 1670 g = 3 lb. 10 oz. A lot of carved writings on the back in Old Russian Staroslavic language.
Condition Notice several scattered small areas of loss of the paint, otherwise in very good preservation for this age.
Low Estimate: 5000;
High Estimate: 10000;
Medium: Tempera;
Circa: 1750;

Beautiful authentic Russian icon 18th-19th c

Lot #388 (Sale Order 382 of 490)

Beautiful authentic Russian icon 18th-19th c The name of the saint is written above his head in black letters, but it is hard to read it. Height: 9.3 in. = 235 mm. Width: 5.75 in. = 148 mm. Thickness: 0.75 in. = 18 mm. Weight: 12 oz. = 350 g. Shipping in USA - $20, USPS Priority or FEDEX ground Internationally - $40, USPS priority or $60 Express Mail
Condition: Fair condition, a lot of damage to the paint. The area at the bottom is restored, but not professionally. Looks like, originally, the icon was 2-3 bigger with several saints. About 150 years ago it was probably cut with a saw down to one saint. On sale as is.
Low Estimate: 500;
High Estimate: 1500;
Original: Yes;
Medium: Tempera;

Russian Imperial Silver Enamel Egg, Yakov Borisov, 19 c

Lot #389 (Sale Order 383 of 490)

Russian Imperial 88 Silver Enamel Egg, , end of 19 century, Hallmarked with 88 silver, womans head and initials , possibly (Yakov Borisov), Moscow 1876-1896. 62 mm -long, 47 mm -diameter, 47 gr - weight,
Condition Excellent, natural patina, no defects;
Low Estimate: 3500;
High Estimate: 8000;
Original: Yes;
Circa: 1880;

Floral amber perfume bottle, Qing Dyn from Russian Tsar

Lot #390 (Sale Order 384 of 490)

Russian tsars collection from Catherine Palace - Floral and Foo Dogs carved amber perfume bottle, Qing Dynasty. Weight: 75.3 g. Height: 9 cm with a cork; Cork is connected to the bone spoon; Provenance: possibly from the collection of Russian Tsars - Romanoff's Dynasty. We bought it from a dealer in St Petersburg, Florida. There are a lot of Russian immigrants in St Petersburg, FL, which moved to USA after 1917 revolution in Russia. The dealer told me this amber bottle is from the Catherine Palace (Russian: ) is a Rococo palace located in the town of Tsarskoye Selo (Pushkin), 25 km southeast of St. Petersburg, Russia. It was the summer residence of the Russian tsars.It is interesting that Amber Chamber was located in the same palace.The Amber Room (sometimes known as the Amber Chamber, Russian: Yantarnaya komnata, German: Bernsteinzimmer) in the Catherine Palace of Tsarskoye Selo near Saint Petersburg is a complete chamber decoration of amber panels backed with gold leaf and mirrors. We am not sure about the exact provenance, but we know that members of Tsars family used to give a precious presents to their citizens (servants, friends, relatives) for Easter and Christmas.
Low Estimate: 2000;
High Estimate: 5000;
Original: Yes;
Circa: 1850;
Condition: used, but excellent, with original bone spoon;

Filigree Turquoise Silver Imperial Russian kinzhal, 19c

Lot #391 (Sale Order 385 of 490)

Filigree Turquoise Silver Imperial Russian paper knife, 19th c. Russian Cyrillic letters KG. There are four 84 silver stamps with profile head looking to the right. Weight: 17.8 g. Length with scabbard: 127 mm. Length without scabbard: 117 mm.
Condition: Excellent, normal age wear, no defects;
Low Estimate: 2500;
High Estimate: 5000;
Orignal: Yes;

Levin Russian Imperial 84 silver cigarette case, 19th c

Lot #392 (Sale Order 386 of 490)

Levin Russian Imperial 84 silver cigarette case, 19th c, CEC Jeweler. Weight: 110.3 g. Size: 90 x 67 x 18 mm. Four stamps with 84 probe silver. Name of the jeweler: CEC
Low Estimate: 2500;
High Estimate: 5000;
Condition: Very Good to Excellent;
Original: Yes;
Circa: 1870;

Russian Orthodox bible Minei/Mesetsoslov 1704-1799

Lot #393 (Sale Order 387 of 490)

Russian Orthodox book Minei/Mesetsoslov 1704-1799, October, There were originally a set of 8 manuscripts (books) that were needed to do the Orthodox services for one year. One of these eight manuscripts/books was the Minei (Greek = menaion, Slavic = "mesetsoslov"). Basically, it means "month." A set of 12, or sometimes 6 (with two months in each) or four (with three months in each) would be compiled and used. The menei could be of several different types. This is just some basic information. Menei in Slavic translation were among the first books to be translated (St. Cyril and St. Methodius) in the middle of the 9th century. - , 1704-1799. - , 12- ( ). . The Slavs, like the Greeks and many others, used letters of the alphabet as numbers, also. There is no hard cover. We are sorry, but we could not find pictures of the title page and the covers. Originally, books were usually not sold with the covers, but each buyer would arrange to have covers put on, sometimes immediately, sometimes they would wait. The covers would usually be of wooden boards covered with leather of some type. Often, the leather was tooled and ornamented. Depending on how much money a person could or wanted to spend, the covers could be fairly simple or very complex. The cost would increase with better quality of materials, more ornamentation and decoration, etc. We were able to determine that 20 different editions of the October Minei were published in Russia between 1704 and 1799. Of these, 16 different editions were published between 1747 and 1795 and in years that an impress ruled Russia. And so, it is safest to date your book the "second half of the 18th century" and the only way to more precisely date it might be to know exactly how many pages it was supposed to have. We write "supposed to have",- because pages would often be lost in these books and so counting the actual number of pages does not always give the accurate number usually listed in most good catalogs of early printed editions. Assessment of this old foliant book was kindly done by Predrag Matejic, Curator, from Hilandar Research Library in USA.
Condition Hard cover was lost. Some water damage to some pages. Some pages were lost.
Low Estimate: 4000;
High Estimate: 10000;
Condition: Good to Very Good;
Orignal: Yes;
Medium: Paper;
Circa: 1750;

Pastel drawing "Head of a Child", Pisemsky, Russia, c 1890

Lot #394 (Sale Order 388 of 490)

Pastel drawing "Head of a Child", by Russian artist A.A. Pisemsky (1859-1913) Amazing pastel and charcoal drawing "Head of a Child", by Russian artist Aleksey Alexandrovitch Pisemsky (1859-1913) Medium: colored pastel, carton, covered with glass for protection Size of the carton: 41 x 31 cm = 16 x 13 inches; Size of the frame: 57 x 46 cm = 22.5 x 18 inches; Weight with a frame and glass: 6 lb. = 3 kg; Condition: perfect, pastel was kept framed, under glass; Highest price for Pisemskys oil on canvas "Autumn landscape with a lake" was sold on Christie's, London, in 2007 for $258,788 USD Biography The son of a landowner, Alexei Pisemsky grew up in the densely wooded province of Kostroma, north-east of Yaroslavl. His uncle was a famous writer, Alexei Feofilaktovich Pisemsky, regarded as an equal of Ivan Turgenev in his time. Alexei Alexandrovich began his studies at secondary school in the regional town of Kostroma, but at the insistence of his patron he left before finishing the course in order to enroll at the Imperial Academy of Arts in St Petersburg (1878-1890). He studied landscape painting under Mikhail Klodt and Yuli Klever and exhibited with the Itinerants from 1887-1889. He is best known for his oils, which were immensely popular among collectors including Pavel Tretyakov and the Imperial family, but he was also a stalwart member of the Society of Russian Watercolourists and celebrated illustrator. Remarkably for the period, he traveled to North Africa in the 1890s.
Condition: perfect, pastel was kept framed, under glass;
Low Estimate: 10000;
High Estimate: 20000;
Original: Yes;
Medium: Pastel, Charcoal;
Circa: 1890;

Portrait of Shirley Jane Smith, 1935, by Elena Krylenko

Lot #395 (Sale Order 389 of 490)

Portrait of Shirley Jane Smith, 1935, by Elena Krylenko Artist: Elena Krylenko; Stretcher: 21 x 17 inches = 52.5 cm x 42.5 cm (original 1935); Frame: 26.5 x 22.5 inches = 66 x 56 cm (new); Biography: EASTMAN (Krylenko), Eliena Mss. The Eastman, E. Mss., 1923-1958, consist primarily of the correspondence and writings of Eliena Vassilyenva (Krylenko) Eastman, (Mrs. Max Eastman), 1895-1956, artist, and Max Eastman, 1883-1969, author. Miss Krylenko, born in Lublin, Poland, was the daughter of a Russian government official. Her brother Nikolai was a lawyer who joined the Bolshevik Party. In 1918 she graduated from the Leningrad University law school but did not join the Party. Employed as a private secretary to Maxim Litvinov in spite of her non-Party status, Miss Krylenko and Max Eastman met at the Genoa Conference in 1922 where Eastman was a special correspondent for the New York World. They renewed their acquaintance in Russia and were married in 1924. After a sojourn in Europe among other American expatriates they returned to the United States to live in 1927. Miss Krylenko was interested in teaching dancing to children on Martha's Vineyard Island, in painting- she held several shows in New York and others in Paris and Boston--and in writing poetry which was published in The Freeman and Novy Zhurnal. In addition she taught for two years at the Walden School in New York and did translating work. The correspondence was conducted during intervals in Russia--when Miss Krylenko commented on the death of Lenin, during Eastman's lecture tours in the United States, and during trips to Europe for Reader's Digest editorial projects--when Miss Krylenko heard Alcide de Gasperi give a campaign speech in 1951. In 1929 Eastman was in England to fulfill his obligations as guardian for the children of his sister Crystal (Eastman) Fuller. At this same time he furthered the gathering of pictures for his movie in preparation entitled Tzar to Lenin, which Miss Krylenko assisted in editing, by traveling to Paris and Berlin. Some of the letters are in Russian and a few telegrams are in French, German, and Spanish. Occasionally drawings are appended to Miss Krylenko's letters: a dog, 1926, Mar. 20; cats, 1920, Feb., and 1930; a woman and dog, 1942. The writings consist chiefly of sketches derived from her personal experiences in Russia and a few poems. In 1958 Max Eastman reread the letters, made notes about them and about Eliena, and compiled a chronology of their stay in Europe for 1924-1927.
Condition Perfect condition.
Low Estimate: 3000;
High Estimate: 6000;
Style: Impressionism;
Orignal: Yes;
Signed: Yes;
Medium: Oil Paint;
Year: 1935;

Russian Iwan Garikow 1968, Oil canvas: Nude on River

Lot #396 (Sale Order 390 of 490)

Iwan Garikow 1968, Oil on canvas: Nude on the river. Artist: Iwan Garikow, Iwan Garikow was born in Russia in 1918; Moved to USA; Died in 1982, USA; Oil on canvas: Nude on the river, painted in 1968; unframed; Height of the stretcher: 36 inches = 3 feet = 90 cm Width of the stretcher: 30 3/8 inches = 76 cm It has to be said Garikow was one of the most important Russian artists of the 20th century as he was the last formally trained artist at Repin Academy in 1941. One Garikow's painting sold at a charity auction in Alabama for $10,000 in 2008 Iwan Garikow painted about 250 works in his lifetime, 200 are owned by the Garikow's collection and a further 25 in private collections, leaving only about 25 on the open market of which you could own this one. Please, visit a website for Garikow's collection in USA www.garikow.com Ivan Garikow: A Russian Artist's Unique Perspective Ivan Garikow, born in Belaya Glina, a small town in the Russian Empire, in 1918 spent the better portion of his addled twentieth-century life making paintings. Though Garikow's career spanned from his early teens in Russia to the end of his life in 1982 in Philadelphia, PA, his style always remained distinctly, traditionally Russian. At first glance one may dismiss the collection as amateurish or uneven, but when digested as a whole and viewed through the lens of the brand of Nationalism apparent in Garikow's biography, the true art historian's eye acknowledges a valuable and worthwhile collection. Garikow grew up in a small town in the Soviet Union while his family valued religion during the time in Russia when the modus operandi of Communism was just beginning. He had one brother and his family lived in virtual poverty, but they maintained a relatively peaceful family life during a politically tumultuous, transitional period in Russian history. His early exposure to rural and small town settings and the firsthand experience of peasant life surely influenced not only his choice of subject matter in his future paintings, but also his naive personal style. One sees the delightful combination of his childhood environment and the future study of great masters like Vincent van Gogh (notice the thick, dark outlines) in the painting #0103 Belaya Glina. In fact, the setting of Garikow's childhood home and the period of history in which he lived, with its limited outlets for community socializing and lack of technology - there were no McDonald's or Nintendo's, after all - probably gave the child Garikow a better opportunity to hone his interests in drawing and painting. Teachers noticed Garikow's inclinations and his artistic talent during his early primary school years, and eventually Garikow received his training as a painter at The Arts Academy, or what is formally known today as Ilya Repin St. Petersburg State Academic Institute of Fine Arts in St. Petersburg, Russia. The Academy, founded in 1757 by Ivan Shuvalov, the first Russian minister of the Arts, was later renamed after the artist Ilya Repin whose style embodied the teachings of The Academy. When he was 18 years old Garikow submitted his work to The Academy for consideration. After he received his acceptance, Garikow left his home for the school and matriculated at Repin Academy from 1937-41 under pretty dire circumstances. As recounted by Ivan's sister-in-law to biographer Steven M. Nesbit, Garikow often ate little or no food and he had to sneak back into the academy's classroom in order to sleep with a roof over his head. He slept on a classroom floor with six or eight other students most evenings. Although many students enrolled came from families who were wealthy, many were not. To learn and study what they loved, many Repin Academy students endured many hardships.
Condition Fine, no defects, unframed;
Low Estimate: 2000;
High Estimate: 8000;
Style: Impressionism;
Signed: Yes;
Medium: Oil Paint;
Year: 1968;

Antique British engraved sword, metal scabbard, 19c

Lot #397 (Sale Order 391 of 490)

Antique British sword with metal scabbard and engravings on the blade; Handle was reconditioned in France in the beginning of XX c; Length of the blade: 32 3/8 inches = 81 cm; Total length of the sword with a handle: 38 inches = 95 cm; Total length with scabbard: 39.5 inches = 99 cm; Weight with scabbard: 3 lb. = 1350 g;
Condition: Very fine condition for the age. Handle was reconditioned in France in the beginning of XX c;
Low Estimate: 2000;
High Estimate: 5000;

Civill War? Antique St. Augustine canon ball?

Lot #398 (Sale Order 392 of 490)

Authentic St. Augustine canon ball, 500 years old, American history; Four pieces of canon ball; Total weight: 2 lb. 12 oz. = 1,280 g = 1 kg 280 g; Size of each piece: 2.5 x 2.5 inches; Provenance: Bought not far from St. Augustine, Florida, USA; Other opinion: it could be a canon ball from Civil War period. Postcard is not available for sale, sorry.
Condition: the canon is broken into 4 pieces, covered with rust;
Low Estimate: 500;
High Estimate: 1200;

19TH C KLINGENSCHMIDT GERMAN CARVED SPORTING RIFLE

Lot #399 (Sale Order 393 of 490)

19TH CENTURY KLINGENSCHMIDT GERMAN CARVED SPORTING RIFLE: 29.5 inches octagon barrel, engraved - I Klingenschmidt in Scheinfeld. Carved and shaped wood stock with scroll carved decoration off trigger guard. Lock plate unmarked. Action works. Length: 46 inches overall.
Condition Dark age patina on barrel, age discoloration on lockplate, numerous nicks & scratches, missing front pin on stock, rod appears to be a replacement.
Condition: Very Good to Excellent;
Low Estimate: 3000;
High Estimate: 10000;

Bronze archer statue, 250 lb., Roman(?)

Lot #400 (Sale Order 394 of 490)

Bronze archer statue, 250 lb., Roman(?) Similar archer was carved out of stone for Greek temple of Aphaia at Aegina Island, circa 490-480 BC. Possibly this was a later copy in bronze, made by Romans or other cultures. Height: 31 in. = 78 cm; Base: 23 in. x 14.5 in. = 57.5 cm x 36 cm; Weight: 250 lb. - 300 lb. = 110 -135 kg; Shipping in USA by UPS or FEDEX Freight: $1000-$1500 Shipping internationally overseas: $2000-$3000 Local pick up is available in Florida, USA. References: Archer from the East Pediment of the Temple of Aphaia at Aegina Island, c. 490-480 B.C. 1).http://webpages.charter.net/yager/prague_munich/glypto_antiken/pages/herakles_aegina.html 2) http://www.khanacademy.org/humanities/art-history/art-history-400-c-e--ancient-cultures-1/ancient-greece/v/east-and-west-pediments-from-the-temple-of-aphaia--aegina--c--490-480-b-c-e
Condition Natural green patina all over. No foundry marks were found. No defects.
Low Estimate: 10000;
High Estimate: 100000;
Condition: Excellent;

AE Bronze Roman coin sextans, Mercury, Galley 217-215BC

Lot #401 (Sale Order 395 of 490)

AE Bronze Roman coin sextans, Mercury, Galley 217-215 BC; Obverse: Head of Mercury right, two pellets above, in petasos. Reverse: Prow of galley right, ROMA above, two pellets below. Weight: 18.73 g; Diameter: 30 mm; Ref: CR 38/5, Syd 85, R 2075, Sear-85, Sear M-610
Condition Fine/VG, used in circulation
Circulation: Circulated;
Low Estimate: 300;
High Estimate: 700;

Roman bronze coin sestertius- Diva Faustina Senior, 146AD, 30mm

Lot #402 (Sale Order 396 of 490)

Roman bronze coin sestertius- Diva Faustina Senior, AD 146-161, thick and heavy. Weight: 26.45 g Diameter: 30 mm Thickness: 4 mm; Obverse: Draped bust right with inscription around: DIVA FAUSTINA Reverse: Juno, standing, raising arm and holding scepter Struck under Antonius Pius, circa AD 146/7-161 Beautiful tan-brown patina, Fine/ EF Description: The Roman Empire, Diva Faustina I, wife of Antoninus Pius, Diva Faustina. Sestertius after 141 AD, Draped bust r. Rev. Juno standing l., holding patera and sceptre. C 210. BMC A. Pius 1532. RIC A. Pius 1143. Ex Lanz 125, 2005, 775 and NAC 51, 2009, 1014 sales. References: Faustina the Elder Annia Galeria Faustina, more familiarly referred to as Faustina I (Latin: Faustina Major; born on September 21, in about 100; died in October or November of 140[1]), was a Roman Empress and wife of Roman Emperor Antonius Pius. Early life Faustina was the only known daughter of consul and prefect Marcus Annius Verus and Rupilia Faustina. Her brothers were consul Marcus Annius Libo and praetor Marcus Annius Verus. Her maternal aunts were Roman Empress Vibia Sabina and Matidia Minor. Her paternal grandfather had the same name as her father and her maternal grandparents were Salonina Matidia (niece of Roman Emperor Trajan) and suffect consul Lucius Scribonius Libo Rupilius Frugi Bonus. Faustina was born and raised in Rome. As a private citizen, she married Antoninus Pius between 110 and 115. Faustina and Antoninus had a very happy marriage. Faustina bore Antoninus four children, two sons and two daughters. They were: Marcus Aurelius Fulvius Antoninus (died before 138); his sepulchral inscription has been found at the Mausoleum of Hadrian in Rome. Marcus Galerius Aurelius Antoninus (died before 138); his sepulchral inscription has been found at the Mausoleum of Hadrian in Rome. His name appears on a Greek Imperial coin. Aurelia Fadilla (died in 135); she married Aelius Lamia Silvanus or Syllanus. She appears to have had no children with her husband and her sepulchral inscription has been found in Italy. Annia Galeria Faustina Minor or Faustina the Younger (between 125-130-175), a future Roman Empress; she married her maternal cousin, future Roman Emperor Marcus Aurelius. She was the only child who survived to adulthood. Empress On July 10, 138, her uncle, Emperor Hadrian, died and her husband became the new emperor, as Antoninus was Hadrian's adopted son and heir. Faustina became Roman Empress and the Senate accorded her the title of Augusta. As empress, Faustina was well respected and was renowned for her beauty and wisdom. The Augustan History criticized her as having "excessive frankness" and "levity". Throughout her life, as a private citizen and as empress, Faustina was involved in assisting charities for the poor and sponsoring and assisting in the education of Roman children, particularly girls. She can be viewed as one of the most moral, stable and respected empresses in the history of the Roman Empire. When Faustina died, Antoninus was in complete mourning for Faustina. Legacy Antoninus did the following in memory of his wife: Deified her as a goddess (her apotheosis was portrayed on an honorary column) Had the Temple of Faustina built in the Roman Forum, with priestesses in the temple. Had various coins with her portrait struck in her honor. These coins were inscribed DIVA FAVSTINA ("Divine Faustina") and were elaborately decorated. Founded a charity called Puellae Faustinianae or Girls of Faustina, which assisted orphaned girls. Created a new alimenta (see Grain supply to the city of Rome). In 2008, archaeologists digging at the ancient site of Sagalassos in Turkey discovered a colossal marble head which is believed to be that of Faustina. Roman Imperial Diva Faustina Senior. Died AD 140/1. Æ Sestertius (31mm, 21.97 g, 12h). Rome mint. Struck under Antoninus Pius, circa AD 146/7-161. Draped bust right / Juno standing facing, head left, raising arm and holding sceptre. RIC III 1102 (Antoninus Pius); Banti 14. VF, brown patina, even...
Condition EF, genuine patina;
Circulation: Circulated;
Low Estimate: 1500;
High Estimate: 3000;
Year: 146;

Roman bronze coin Philip I, Moesia, 244 AD

Lot #403 (Sale Order 397 of 490)

Roman bronze coin Philip I, Moesia, 244 AD. Authentic ancient Roman provincial bronze coin Viminacium, Moesia Superior Philip I, 244-249 AD, AE27 mm. Obverse: IMP M IVL PHILIPPVS AVG, laureate and draped bust right Reverse: P M S COL VIM AN V, Moesia standing front, head left, between a bull and a lion Struck 244 AD. Weight: 16.70 g. Diameter: 28 mm. Obverse: Laureate bust right. Reverse: Moesia between bull and lion. Reference: R 2030
Year: 244;
Circulation: Circulated;
Low Estimate: 500;
High Estimate: 1000;

Roman bronze coin Emperor Diocletianus, 302-303 AD

Lot #404 (Sale Order 398 of 490)

Roman bronze (silver plated?) coin Emperor Diocletianus, 302-303 AD RB53550. Bronze follis, RIC VI 25a, Thessalonica mint, die axis 180o, 302 - 303 A.D.; Diocletian, 20 November 284 - 1 May 305 A.D., Roman Provincial Egypt In 303, Diocletian, Maximian, Galerius, and Constantius issued a series of edicts rescinding the legal rights of Christians and demanding that they comply with traditional religious practices. About 3,000 Christians died in the persecutions, many more were imprisoned and tortured, but most Christians avoided punishment. Obverse: Portrait of the Emperor laureate head right with inscription around: IMP C C VAL DIOCLETIANVS P F AVG Reverse: GENIO POPVLI ROMANI, Genius modius on head, naked except chlamys over shoulder, standing left holding cornucopia and pouring liquid from patera, G in right field, Diameter: 27 mm; Weight: 7.87g
Condition EF/VF, genuine patina;
Year: 302;
Circulation: Circulated;
Low Estimate: 400;
High Estimate: 1000;

Pope Pius IX, bronze medal, Vatican, 1872

Lot #405 (Sale Order 399 of 490)

Pope Pius IX, bronze medal, Vatican, 1872. Diameter: 35 mm. Weight: 18.61 g. Condition: EF or higher. References: Pope Pius IX (Latin: Pius IX; 13 May 1792 7 February 1878), born Giovanni Maria Mastai-Ferretti, reigned from 16 June 1846 to his death in 1878. He was the longest-reigning elected pope in the history of the Catholic Church over 31 years. During his pontificate, he convened the First Vatican Council (1869-1870), which decreed papal infallibility, but the council was cut short due to the loss of the Papal States.Pius IX defined the dogma of the Immaculate Conception of the Blessed Virgin Mary, meaning that Mary was conceived without original sin. Pius IX also conferred the Marian title of Our Mother of Perpetual Help, to a famous Byzantine icon from Crete entrusted to the Redemptorists.He was also the last pope to rule as the Sovereign of the Papal States, which fell completely to Italian nationalist armies in 1870 and were incorporated into the Kingdom of Italy. After this, he was referred to - chiefly by himself - as the "Prisoner of the Vatican".After his death in 1878, his canonization process was opened on 11 February 1907 by Pope Pius X and it drew considerable controversy over the years. It was closed on several occasions during the pontificates of Pope Benedict XV and Pope Pius XI. On 7 December 1954, Pope Pius XII re-opened the cause and Pope John Paul II proclaimed him Venerable on 6 July 1985. Together with Pope John XXIII he was beatified on 3 September 2000 after the recognition of a miracle and was assigned the liturgical feast day of February 7 which is the date of his death.
Condition EF or higher;
Year: 1872;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Ancient Islamic (?) bronze thimble in ring shape

Lot #406 (Sale Order 400 of 490)

Ancient Islamic(?), Near East(?), Middle East(?) bronze thimble in the shape of the ring. Weight: 19.38 g. Top diameter: 15 mm. Base Diameter: 20 mm.
Condition Natural patina all over, no defects
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;
Circa: 500;

Roman Terracotta oil lamp, 6x4cm, 46g

Lot #407 (Sale Order 401 of 490)

Roman Terracotta oil lamp. Weight: 46 g. Diameter: 6 cm. Height: 4 cm. Provenance: from private collection from Massachusetts
Condition excellent, the nose is burnt;
Low Estimate: 400;
High Estimate: 800;
Original: Yes;
Circa: 100;

Roman Lead Mirror with decorative ornament, 300 - 50 BC

Lot #408 (Sale Order 402 of 490)

Authentic Roman Lead Mirror with decorative ornament, 300 - 50 BC Diameter: 2 1/4" = 58 mm. Total length with handle: 4" = 100 mm. Weight: 33 g Approximate age: 2000 years old
Condition overall very good for the age, genuine patina all over, note rust, chips and holes (refer to photos)
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Roman bronze mirror from Britain, Metal detector find

Lot #409 (Sale Order 403 of 490)

Roman bronze mirror from Britain, 9 cm. Britain, Metal detector find. Diameter: 3.5 inches = 9 cm. Weight 6 oz. = 160.26g. Age: approximately 2000 years old. Provenance: Property of an English gentleman.
Condition Normal aging of metal: rust, oxidation and patina. No other defects
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;
Circa: 50;

Roman pleasant bronze young female bust, 91mm

Lot #410 (Sale Order 404 of 490)

Roman pleasant bronze young female bust, 91 mm. Approximate age: 100-1600 AD. A cast bust of a youthful female with carefully dressed hair on a columnar base with flange rim. Weight: 386 grams = 14 oz. Height: 91 mm = 3 in. Provenance: Property of a gentleman in UK; acquired 1985-1995. Condition: authentic patina;
Low Estimate: 500;
High Estimate: 1000;

Roman Style Bronze Medusa Phalera

Lot #411 (Sale Order 405 of 490)

Roman Style Bronze Medusa Phalera. An undated archaistic cast discoid phalera with raised head of Medusa. Weight: 35 grams, Diameter: 51 mm (2"). Provenance: Private collection, Buckinghamshire, UK; formed in the 1980s.
Condition green patina;
Low Estimate: 150;
High Estimate: 300;

Greek coin, Silver Didrachm, Lucania, Velia, 293-280 BC

Lot #412 (Sale Order 406 of 490)

Ancient Greek coin; Lucania, Velia, Silver Stater/Didrachm, c.293-280 BC Head of Athena Left, in crested Attic helmet, bowl adorned with griffin on neck guard, monogram behind / , lion advancing right, filleted caduceus above. Weight: 7.30 g Diameter: 20 mm. References: A port city along the Tyrrhenian Sea, Velia issued a varied and artistic coinage. The earliest coins were struck on thick, narrow planchets, and later issues were struck on increasingly broad, round flans. A few unusual issues aside, most Velian staters show on their obverse the head of Athena wearing a helmet with a great variety of decorations, including a laurel wreath, a wing, a chariot, a dolphin, a griffin and the creature Scylla. The reverse usually shows a lion in a variety of poses; typically he is prowling, but other times he stands with his head more erect. Major varieties of the reverse design include a lion attacking a stag, gnawing on prey, or walking before a palm tree.
Condition Fine, natural wear;
Circulation: Circulated;
Low Estimate: 3000;
High Estimate: 6000;

Masterpiece Greek coin Syracuse, Sicily, Pegasus 317 BC

Lot #413 (Sale Order 407 of 490)

Masterpiece Greek coin from Syracuse, Sicily, Pegasus flying, 317-289 BC This listing is for an Ancient Greek coin from Sicily Syracuse Obverse:.Laureat Head of Apollo left. Reverse: Pegasus Flying left Type: AE19 (19 mm); Date- 317 to 289 BC; Weight-4.15 grams. Comments...........................Original green patina; Grade.................................Please see scans for grade.
Condition Very good, Please see scans for grade.

Bronze Greek coin Pontus Amisos, 200 BC

Lot #414 (Sale Order 408 of 490)

Bronze Greek coin Pontus Amisos, 200 BC. AMISOS Asia Minor 200 BC, Ares God Cult Zodiac Sword, Ancient Greek Coin. Greek city of Amisos in Asia Minor. Struck in 200-150 B.C. Reference: Sear 3643; B.M.C. 13.17, 40-41. Head of young Ares right, wearing crested helmet. Sword in sheath; AMI - OY across field.Size: 21 mm. Weight: 7.38g. Amisos was a flourishing Greek city on the Black Sea coast commanding an important trade route to the south, Amisos was founded in the 6th century B.C. It was re-settled by Athenians in the following century and they renamed the place Peiraeus. You are bidding on the exact item pictured, provided with a Certificate of Authenticity and Lifetime Guarantee of Authenticity. Ares is the Greek god of war. He is one of the Twelve Olympians, and the son of Zeus and Hera. In Greek literature, he often represents the physical or violent aspect of war, in contrast to the armored Athena, whose functions as a goddess of intelligence include military strategy and generalship.
Condition fine;
Circa: -200;
Circulation: Circulated;
Low Estimate: 500;
High Estimate: 1000;

Cyrenaica, Cyrene, AR didrachm Greek silver coin, 308-277BC

Lot #415 (Sale Order 409 of 490)

Cyrenaica, Cyrene, AR didrachm Greek silver coin, 308-277 BC. Weight: 7.20g; Diameter: 20 x 22 mm; Obverse: Apollo-Cameius; Reverse: Silphium plant, cornucopia; History of Greek cities: During the Ramesside period (thirteenth century BC), the Libu and the Meshwesh were tribes of the area of Cyrenaica which are mentioned in Egyptian records as making frequent incursions into the New Kingdom of Egypt. Cyrenaica was colonized by the Greeks beginning in the 7th century B.C. The first and most important colony was that of Cyrene, established in about 631 BCE by colonists from the Greek island of Thera. They had left their island because of a severe famine. Their commander Aristoteles took the Libyan name Battos. His dynasty, the Battaid, persisted in spite of heavy resistance by the Greeks in neighboring cities. The east of the province was called Marmarica (no major city), but the important part was in the west, comprising five cities, hence known as the Pentapolis: Cyrene (near the modern village of Shahat) with its port of Apollonia (Marsa Susa), Arsinoe or Taucheira (Tocra), Euesperides or Berenice (near modern Benghazi), Balagrae (Bayda) and Barce (Marj) of which the chief was the eponymous Cyrene. The term "Pentapolis" continued to be used as a synonym for Cyrenaica. In the south the Pentapolis faded into the Saharan tribal areas, including the pharaonic oracle of Ammonium. The region produced barley, wheat, olive oil, wine, figs, apples, wool, sheep, cattle, and silphium, an herb that grew only in Cyrenaica and was regarded as a medicinal cure and aphrodisiac. Cyrene became one of the greatest intellectual and artistic centers of the Greek world, famous for its medical school, learned academies, and architecture, which included some of the finest examples of the Hellenistic style. The Cyrenaics, a school of thinkers who expounded a doctrine of moral cheerfulness that defined happiness as the sum of human pleasures, were founded by Aristippus of Cyrene Other notable natives of Cyrene were the poet Callimachus and the mathematicians Theodorus and Eratosthenes. In 525 BCE, after taking Egypt, the Persians took the Pentapolis. They were followed by Alexander the Great in 332 BCE, who received tribute from these cities after he took Egypt. The Pentapolis was formally annexed by Ptolemy I Soter and it passed to the diadoch dynasty of the Lagids, better known as the Ptolemaic dynasty. It briefly gained independence under Magas of Cyrene, stepson of Ptolemy I, but was reabsorbed into the Ptolemaic empire after his death. It was separated from the main kingdom by Ptolemy VIII and given to his son Ptolemy Apion, who, dying without heirs in 96 BCE, bequeathed it to the Roman Republic.
Condition Very Good, Naturally worn, genuine patina;
Low Estimate: 2500;
High Estimate: 5000;
Circa: -300;

Cyrenaica, Ancient Greece (631-525BC), miniature coin

Lot #416 (Sale Order 410 of 490)

Cyrenaica, Ancient Greece (BC 631-525), miniature coin trihemiobol, 1.12g, with silphium plant. Weight: 1.12g; Diameter: 7-9 mm; References: Greek cities: During the Ramesside period (thirteenth century BC), the Libu and the Meshwesh were tribes of the area of Cyrenaica which are mentioned in Egyptian records as making frequent incursions into the New Kingdom of Egypt. Cyrenaica was colonized by the Greeks beginning in the 7th century B.C. The first and most important colony was that of Cyrene, established in about 631 BCE by colonists from the Greek island of Thera. They had left their island because of a severe famine. Their commander Aristoteles took the Libyan name Battos. His dynasty, the Battaid, persisted in spite of heavy resistance by the Greeks in neighboring cities. The east of the province was called Marmarica (no major city), but the important part was in the west, comprising five cities, hence known as the Pentapolis: Cyrene (near the modern village of Shahat) with its port of Apollonia (Marsa Susa), Arsinoe or Taucheira (Tocra), Euesperides or Berenice (near modern Benghazi), Balagrae (Bayda) and Barce (Marj) of which the chief was the eponymous Cyrene. The term "Pentapolis" continued to be used as a synonym for Cyrenaica. In the south the Pentapolis faded into the Saharan tribal areas, including the pharaonic oracle of Ammonium. The region produced barley, wheat, olive oil, wine, figs, apples, wool, sheep, cattle, and silphium, an herb that grew only in Cyrenaica and was regarded as a medicinal cure and aphrodisiac. Cyrene became one of the greatest intellectual and artistic centers of the Greek world, famous for its medical school, learned academies, and architecture, which included some of the finest examples of the Hellenistic style. The Cyrenaics, a school of thinkers who expounded a doctrine of moral cheerfulness that defined happiness as the sum of human pleasures, were founded by Aristippus of Cyrene[17] Other notable natives of Cyrene were the poet Callimachus and the mathematicians Theodorus and Eratosthenes.[16] In 525 BCE, after taking Egypt, the Persians took the Pentapolis. They were followed by Alexander the Great in 332 BCE, who received tribute from these cities after he took Egypt.[14] The Pentapolis was formally annexed by Ptolemy I Soter and it passed to the diadoch dynasty of the Lagids, better known as the Ptolemaic dynasty. It briefly gained independence under Magas of Cyrene, stepson of Ptolemy I, but was reabsorbed into the Ptolemaic empire after his death. It was separated from the main kingdom by Ptolemy VIII and given to his son Ptolemy Apion, who, dying without heirs in 96 BCE, bequeathed it to the Roman Republic.
Circulation: Circulated;
Low Estimate: 1500;
High Estimate: 3000;
Circa: -600;

Greek silver coin Alexander the Great Tetradrachm 16.9g, 298-281BC

Lot #417 (Sale Order 411 of 490)

Certified Masterpiece Greek silver coin Alexander the Great Tetradrachm 16.92 g, Lysimachus, 298-281 BC. Silver tetradrachm minted at Lampsacus by Lysimachus between 298-281 BC, Obverse: Alexander the Great.rndeified with the rams horns of Zeus-Ammon and wearing the royal diadem, Reverse: Athena seated and bearing Nike (Victory), who pours a libation over the name of Lysimachus. Weight: 16.92 g; Diameter: 26.5 mm; Authenticity: Genuine, certificate of authenticity will be issued
Condition VF, genuine patina;
Circulation: Circulated;
Low Estimate: 10000;
High Estimate: 25000;
Circa: -290;

Alexander the Great, Silver coin Greek tetradrachm, 356

Lot #418 (Sale Order 412 of 490)

Alexander the Great, Silver coin Greek tetradrachm, 356-323 BC. Head of Heracles Zeus seated on the throne. Weight: 16.88 g; Diameter: 31 mm x 27 mm. We are not sure about the mint.
Condition EF, genuine patina;
Circulation: Circulated;
Low Estimate: 2000;
High Estimate: 4000;
Circa: -340;

Greek silver tetradrachm coin 190-133BC Mysia, Pergamon

Lot #419 (Sale Order 413 of 490)

Ancient Greek silver coin 190-133 B.C. Mysia, Pergamon Silver Cistaphoric Tetradrachm Weight: 12.52 g; Diameter: 28 mm; Now you can own a 2,100-year-old silver coin from ancient Pergamon (southern Turkey). As one of the great cultural centers of the ancient world, Pergamon`s library rivaled Alexandria`s. It was the contents from this library that Marc Antony gave to his beloved Cleopatra. These Cistaphoric Tetradrachms were hand selected for eye appeal and all are nicely struck in nearly pure silver. Each displays a Cista Mystica (mystic basket) with serpents emerging on the obverse. The Pergamon mint mark is on the reverse with slight design differences. Another option: the mark is Parygia from the Apameia mint, circa 189 - 133 BC.
Condition EF, genuine patina;
Circulation: Circulated;
Low Estimate: 3000;
High Estimate: 6000;
Circa: 160 BC

MAKEDONIAN PROTHE, Silver Tetradrachm coin 150 BC

Lot #420 (Sale Order 414 of 490)

MAKEONIN / PTH, Silver Greek tetradrachm coin, 158-150 BC. Weight: 16.29 g; Diameter: 31 mm; Country/Region: Macedonia; Type/Nominal Value: Tetradrachm; Mint: Amphipolis; Year/Age: 158-150 BC Obverse: Macedonian shield, diademed, draped bust of Artemis at center. Reverse: MAKEONIN / PTH Club within oak wreath, thunderbolt. Rarity: Rare; Bibliography: SNG Cop. 1314. A growing power in the west, Rome, would soon become involved in the affairs of Greece and Macedonia. The First Macedonian-Roman war occurred between 214 BC and 205 BC. This coincided with the Second Punic War, when Hannibal of Carthage and Philip V of Macedon made an alliance against Rome. Rome, weary of war with Carthage, ended the Macedonian conflict with favorable terms to Macedon, but Roman interests secured in Illyrium, to the north. The Second Macedonian-Roman War began in 200 BC and ended in 196 BC. This war, erupting so soon after the after the first, and the exhausting Carthaginian war, was unpopular with Rome, but the Roman Legions, under Flaminius were veterans and prepared. The Greeks asked for Roman help against Macedonian incursions and Rome made an alliance against them. They launched an attack on the armies of King Philip who refused to guarantee to make no hostile moves against the states of Greece, and Philip V was defeated. He lost all his territories outside of Macedonia and had to recognize the independence and autonomy or the southern Greek city-states.
Condition EF+ great luster,
Circulation: Circulated;
Low Estimate: 4000;
High Estimate: 8000;
Circa: 150 BC;

Huge bronze Greek coin Ptolemy III of Egypt, 246-221 BC

Lot #421 (Sale Order 415 of 490)

Huge bronze Greek coin Ptolemy III of Egypt, 246-221 BC Egypt, Ptolemy III Euergetes, 246-221 BC. AE41. Head of Zeus Ammon right. Eagle standing left on thunderbolt looking right.. BMC 39. Weight: 43.71 g. Diameter: 38 mm
Condition Fine, amazing genuine patina;
Circulation: Circulated;
Low Estimate: 1500;
High Estimate: 3000;
Circa: 230 BC;

PHILIP II 359BC OLYMPIC GAMES Ancient Greek Coin APOLLO

Lot #422 (Sale Order 416 of 490)

PHILIP II 359BC OLYMPIC GAMES Ancient Greek Coin APOLLO Nude Athlete Horse Rare Greek King Philip II of Macedon 359-336 B.C. Metal: Bronze; Diameter: 16 mm; Weight: 6.08 grams; Struck 359-336 B.C. in the Kingdom of Macedonia, commemorating his Olympic Games Victory. Head of Apollo right, hair bound with tainia. Nude athlete on horse prancing right, II above, E below. Condition: VG, original patina
Condition VG, original patina;
Circulation: Circulated;
Low Estimate: 800;
High Estimate: 2000;
Circa: 359 BC:

Ancient Cypriote Greek stoneware 33cm plate 100BC-100AD

Lot #423 (Sale Order 417 of 490)

Large ancient Cypriote Greek footed stoneware plate decorated with animals, 100 BC-100 AD. Large Ancient Classical Antiquity Artifact Cypriote Greek Or Early Roman Footed Stoneware Coarse Ware Pottery Bowl With Oxide Painted Swans & Tigers or Lions Decoration This is a beautiful and intact example of thick, heavy Mediterranean earthenware pottery antiquity, with painted rings, and a band of stylized animal forms in a repeated pattern. Faintly visible are swans and wild cats. Age: Circa 100 BC to 100 AD Provenance: The provenance of this piece is an Italian gallery owner, who owned an antique shop near the Spanish Steps in Rome, and is now deceased. An American translator and vocal performing arts artist brokered items in the US for him in the 1960s, and this was among the remaining pieces she either purchased from him or had gifted to her for her personal collection. Approximate Dimensions: Diameter: 13.1 in. = 33 cm Height: 3.1 in. = 8 cm Weight: 8 lb. = 3.6 kg Condition: Excellent for the age, some fading of the original paint
Condition Excellent for the age, some fading of the original paint;
Low Estimate: 3000;
High Estimate: 6000;
Orignal: Yes;
Circa: 50 BC;

Genuine Coptic textile, 19x8cm, 400-80AD

Lot #424 (Sale Order 418 of 490)

Genuine Coptic textile. Age: 400 - 800 AD.(?) Size: 19 x 8 cm. Weight: 10.5 g.The Copts are the native Christians of Egypt (Coptic: ou.Remenkmi en.Ekhristianos; Egyptian Arabic: , IPA: [bt]), a major ethno-religious group in Egypt and the largest Christian group there. Christianity was the religion of the vast majority of Egyptians from 400-800 A.D. and the majority after the Muslim conquest until the mid-10th century [13] and remains the faith of a significant minority population. Historically they spoke the Coptic language, a direct descendant of the Demotic Egyptian spoken in the Roman era, but it has been near-extinct and mostly limited to liturgical use since the 18th century. They now speak Arabic.Copts in Egypt constitute the largest Christian community in the Middle East, as well as the largest religious minority in the region, accounting for an estimated 10% of the Egyptian population.[14] Most Copts adhere to the Coptic Orthodox Church of Alexandria.[15][16][17] The remainder of around 800,000[citation needed] are divided between the Coptic Catholic and various Coptic Protestant churches.
Condition Normal age wear for over 2000 years old;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;
Circa: 250;

Stone Canopic Jar with Pharaonic head style, Egypt

Lot #426 (Sale Order 419 of 490)

Carved stone Canopic Jar with Pharaonic head lid, Egypt, Height of both pieces: 57 mm. Weight of 2 pieces: 57.96 g. A miniature stone canopic jar with pharaonic head to the lid; Provenance: Acquired on the London art market in the 1980's.Age could be judged by the style, carved surface outside and inside the jar. References:In ancient Egyptian funerary ritual, a covered vessel of wood, stone, pottery, or faience containing the embalmed viscera removed from a body during mummification. First used during the Old Kingdom (c. 2575 - 2130 BCE), the jars became more elaborate during the Middle Kingdom (c. 1938 -. 1630 BCE), when their lids were decorated with sculpted human heads (probably representations of the deceased). From the 19th dynasty until the end of the New Kingdom (15391075 BCE), the heads represented the four sons of Horus. During the 20th dynasty (1190-1075 BCE), the practice began of returning the viscera to the body, and the art of canopic jars declined.
Low Estimate: 200;
High Estimate: 2000;

Phoenician(?) Miniature group of three glass beads

Lot #427 (Sale Order 420 of 490)

Phoenician (?) Miniature group of three glass . mixed group of decorative items comprising: Two glazed composition jug beads with applied trail detailing black with a hole through and red bead with one opening. A blue and yellow fish bead with applied trail mouth, tail and fins with one opening. Weight of the fish: 11.69 g. Weight of the red & blue bead: 3.75 g. Weight of the black and green bead: 2.48 g. Height of the fish: 45 mm. Provenance: Acquired on the London art market in the 1980's.
Low Estimate: 100;
High Estimate: 400;

Phoenician marble sculpture of BA'AL HAMMON & TANIT

Lot #428 (Sale Order 421 of 490)

Certified Genuine Phoenician carved marble sculpture of BA'AL HAMMON & TANIT: 400-500 BC Figure of Phoenician god Tanit and Ba'al Hammon, chief god of Carthage. Measures: 7'' h. x 2 1/2 x 1 3/8 inches; Weight: lb. 3oz. = 1000 g = 1 kg; Age: 400-500 BC; References: Baal-hamon. Ba'al-Hamon ("Ruler of a Crowd or Multitude") was the chief god of Carthage. He was a deity of sky and vegetation, depicted as a bearded older man with curling ram's horns.[1] Baal Hammon's female cult partner was Tanit. Cult and attributes: The worship of Baal Hammon flourished in the Phoenician colony of Carthage. His supremacy among the Carthaginian gods is believed to date to the 5th century BC, after relations between Carthage and Tyre were broken off at the time of the Punic defeat in Himera. Modern scholars identify him variously with the Northwest Semitic god El or with Dagon. In Carthage and North Africa Baal Hammon was especially associated with the ram and was worshiped also as Baal Qarnaim ("Lord of Two Horns") in an open-air sanctuary at Jebel Bu Kornein ("the two-horned hill") across the bay from Carthage. He was probably never identified with Baal Melqart, although one finds this equation in older scholarship. Ancient Greek writers identified him with the Titan Cronus. In ancient Rome, he was identified with Saturn, and the cultural exchange between Rome and Carthage as a result of the Second Punic War may have influenced the development of the Roman religious festival Saturnalia.[5] Greco-Roman sources report that the Carthaginians burned their children as offerings to Baal Hammon. (See Moloch for a discussion of these traditions and conflicting thoughts on the matter.) Attributes of his Romanized form as an African Saturn indicate that Hammon was a fertility god. Name and functions: The meaning of Hammon or Hamon is unclear. In the 19th century when Ernest Renan excavated the ruins of Hammon (ammon), the modern Umm al-Awamid between Tyre and Acre, he found two Phoenician inscriptions dedicated to El-Hammon. Since El was normally identified with Cronus and Baal Hammon was also identified with Cronus, it seemed possible they could be equated. More often a connection with Hebrew/Phoenician ammn 'brazier' has been proposed, in the sense of "Baal (lord) of the brazier". He has been therefore identified with a solar deity. Yigael Yadin thought him to be a moon god. Edward Lipinski identifies him with the god Dagon. Frank Moore Cross argued for a connection to Khamn, the Ugaritic and Akkadian name for Mount Amanus, the great mountain separating Syria from Cilicia based on the occurrence of an Ugaritic description of El as the one of the Mountain Haman. Tanit: Tanit was a Phoenician lunar goddess, worshiped as the patron goddess at Carthage and Numidia.[2] Tanit might have an origin from Berber mythology in North Africa. Worship: Tanit was worshiped in Punic contexts in the Western Mediterranean, from Malta to Gades into Hellenistic times. From the fifth century BCE onwards Tanit's worship is associated with that of Ba`al Hammon. She is given the epithet pene baal ("face of Baal") and the title rabat, the female form of rab (chief). In North Africa, where the inscriptions and material remains are more plentiful, she was, as well as a consort of Baal Hammon, a heavenly goddess of war, a virginal (not married) mother goddess and nurse, and, less specifically, a symbol of fertility, as are most female forms. Several of the major Greek goddesses were identified with Tanit by the syncretic interpretatio graeca, which recognized as Greek deities in foreign guise the gods of most of the surrounding non-Hellene cultures. Her shrine excavated at Sarepta in southern Phoenicia revealed an inscription that identified her for the first time in her homeland and related her securely to the Phoenician goddess Astarte (Ishtar).[4] One site where Tanit is uncovered is at Kerkouane, in the Cap Bon peninsula in Tunisia. The origins of Tanit are to be found in the pantheon of Ugarit, especially in the Ugaritic goddess Anat (Hvidberg-Hansen 1982), a consumer of blood and flesh. There is significant, albeit disputed, evidence, both archaeological and within ancient written sources, pointing towards child sacrifice forming part of the worship of Tanit and Baal Hammon.[5] Tanit is also a goddess among the ancient Berber people. Her symbol, found on many ancient stone carvings, appears as a trapezium (trapezoid) closed by a horizontal line at the top and surmounted in the middle by a circle: the horizontal arm is often terminated either by two short upright lines at right angles to it or by hooks. Later, the trapezium is frequently replaced by an isosceles triangle. The symbol is interpreted by Hvidberg-Hansen as a woman raising her hands. In Egyptian, her name means Land of Neith, Neith being a war goddess. Long after the fall of Carthage, Tanit was still venerated in North Africa under the Latin n

Phoenician Goddess Terracotta Head, 400-200BC

Lot #429 (Sale Order 422 of 490)

Phoenician Goddess Terracotta Head on wooden stand, 400-200 BC. An interesting Phoenician/Graeco-Egyptian clay or terracotta head, together with a wood stand, the pottery with traces of pink and white decoration, circa 4th-2nd century BC (according to Christies). Size: The head itself is 4.3 in. = 11 cm high. The head on its stand is 6.5 in. = 16.5 cm high overall.
Condition: There is a re-glued section to the reverse (see photos); obviously there is age wear to the pigmentation etc. Possibly, the head was originally part of a larger piece. There is also a small chip to one corner of the wood stand; no further damage or restoration.
Low Estimate: 3000;
High Estimate: 6000;
Original: Yes;
Circa: -300 BC;

Phoenician(?) bronze plate inscriptions & images 1500 BC

Lot #430 (Sale Order 423 of 490)

Phoenician (?) bronze plate with images of people, animals and inscriptions on both sides We have done a lot of research on archaic languages. We suggest that the inscriptions are made in old Phoenician language. Opinion of the experts will be highly appreciated. If it is so, this item has a high historical value, because Phoenician alphabet was the first in the history of Europe and Middle East and gave rise to alphabets of many European languages. Provenance: from the old collection of American gentleman, originally purchased in Mediterranean area. Condition: Authentic patina, one side of the plate with several letters inscription is separated. Size: 25.5 cm x 13.5 cm = 10.5" inches x 5.5" inches; Weight: 350 g = 13 oz. Phoenicia was an ancient civilization in Canaan which covered most of the western, coastal part of the fertile Crescent. Several major Phoenician cities were built on the coastline of the Mediterranean. It was an enterprising maritime trading culture that spread across the Mediterranean from 1550 BC to 300 BC. The Phoenicians used the galley, a man-powered sailing vessel, and are credited with the invention of the Bireme. They were famed in Classical Greece and Rome as 'traders in purple', referring to their monopoly on the precious purple dye of the Murex snail, used, among other things, for royal clothing, and for their spread of the alphabet (or abjad), upon which all major modern alphabets are derived. In the Amarna tablets of the 14th century BC, people from the region called themselves Kenaani or Kinaani (Canaanites), although these letters predate the invasion of the Sea Peoples by over a century. Much later, in the 6th century BC, Hecataeus of Miletus writes that Phoenicia was formerly called a name Philo of Byblos later adopted into his mythology as his eponym for the Phoenicians: "Khna who was afterwards called Phoinix". Egyptian seafaring expeditions had already been made to Byblos to bring back "cedars of Lebanon" as early as the third millennium BC. "Phoenicia" is really a Classical Greek term used to refer to the region of the major Canaanite port towns, and does not correspond exactly to a cultural identity that would have been recognized by the Phoenicians themselves. It is uncertain to what extent the Phoenicians viewed themselves as a single ethnicity. Their civilization was organized in city-states, similar to ancient Greece. However, in terms of archaeology, language, life style and religion, there is little to set the Phoenicians apart as markedly different from other cultures of Canaan. As Canaanites, they were unique in their remarkable seafaring achievements. Each of their cities was a city-state which was politically an independent unit and they could come into conflict and one city could be dominated by another city-state, although they would collaborate in leagues or alliances. Though ancient boundaries of such city-centered cultures fluctuated, the city of Tyre seems to have been the southernmost. Sarepta (modern day Sarafand) between Sidon and Tyre is the most thoroughly excavated city of the Phoenician homeland. The Phoenicians were the first state-level society to make extensive use of the alphabet. The Phoenician phonetic alphabet is generally believed to be the ancestor of almost all modern alphabets, although it did not contain any vowels (these were added later by the Greeks). From a traditional linguistic perspective, they spoke Phoenician, a Canaanite dialect. However, due to the very slight differences in language, and the insufficient records of the time, whether Phoenician formed a separate and united dialect, or was merely a superficially defined part of a broader language continuum, is unclear. Through their maritime trade, the Phoenicians spread the use of the alphabet to North Africa and Europe, where it was adopted by the Greeks, who later passed it on to the Etruscans, who in turn transmitted it to the Romans. In addition to their many inscriptions, the Phoenicians were believed to have left numerous other types of written sources, but most have not survived. Evangelical Preparation by Eusebius of Caesarea quotes extensively from Philo of Byblos and Sanchuniathon.
Condition Authentic patina, one side of the plate with several letters inscription is separated.
Low Estimate: 20000;
High Estimate: 100000;
Original: Yes;
Circa: 1500 BC

Mycenaean(?) Phoenix carved stone oil lamp, 1600-1100 BC(?)

Lot #431 (Sale Order 424 of 490)

Mysterious Mycenaean(?) Phoenix carved stone oil lamp. Mysterious winged human face bird vessel has wings and Babylonian or Mycenaean style figures.Two opening are connected. Supposedly the big opening was for the pouring of the oil and the small opening - for the burning fuse. Age: attributed to Mycenaean culture (1600-1100 BC)Height: 6.25 in. = 16 cm. Weight: 1 lb. 14 oz. = 850 g. Condition: some age wear at the bottom, no defects Provenance: It came from a gentleman, who said his Greek grandfather had brought it from Greece.ReferencesMycenaean Greece refers to the last phase of the Bronze Age in Ancient Greece (ca. 16001100 BC). It takes its name from the archaeological site of Mycenae in Argolis, Peloponnese, southern Greece. Other major sites included Tiryns in Argolis, Pylos in Messenia, Athens in Attica, Thebes and Orchomenus in Boeotia, and Iolkos in Thessaly, while Crete and the site of Knossos also became a part of the Mycenaean world. Mycenaean settlement sites also appeared in Epirus,[1][2] Macedonia,[3][4] on islands in the Aegean Sea, on the coast of Asia Minor, the Levant,[5] Cyprus,[6] and Italy.[7] Mycenaean civilization perished with the collapse of Bronze-Age civilization in the eastern Mediterranean, which is commonly attributed to the Dorian invasion, although alternative theories propose also natural disasters and climatic changes. This period of Greek history is the historical setting of much ancient Greek literature and myth, including the epics of Homer.[8. ]VesselsThe Mycenaeans made a great deal of pottery. Archaeologists have found a great quantity of pottery from the Mycenaean age, of widely diverse styles stirrup jars, pitchers, kraters, chalices sometimes called "champagne coupes" after their shape, etc. The vessels vary in size. Their conformations remained quite consistent throughout the Mycenaean period, up through LHIIIB, when production increased considerably, notably in Argolis whence came great numbers exported outside Greece. The products destined for export were generally more luxurious and featured heavily worked painted decorations incorporating mythic, warrior, or animal motifs. Another type of vessel, in metal (normally bronze), has been found in sizeable quantities at Mycenaean sites. The forms of these were tripods, basins, or lamps. A few examples of vessels in faience and ivory are also known.Figures and figurinesThe Mycenaean period has not yielded sculpture of any great size. The statuary of the period consists for the most part of small terracotta figurines found at almost every Mycenaean site in mainland Greece, in tombs, in settlement debris, and occasionally in cult contexts (Tiryns, Agios Konstantinos on Methana). The majority of these figurines are female and anthropomorphic or zoomorphic. The female figurines can be subdivided into three groups which were popular at different periods: the earliest are the Phi-type, which look like the Greek letter phi and their arms give the upper body of the figurine a rounded shape. The Psi-type looks like the letter Greek psi: these have outstretched upraised arms. The latest (12th century BC) are the Tau-type: these figurines look like the Greek letter tau with folded(?) arms at right angles to the body. Most figurines wear a large 'polos' hat.[76] They are painted with stripes or zigzags in the same manner as the contemporary pottery and presumably made by the same potters. Their purpose is uncertain, but they may have served as both votive objects and toys: some are found in children's graves but the vast majority of fragments are from domestic rubbish deposits.[77] The presence of many these figurines on sites where worship took place in the Archaic and Classical periods (circa 200 below the sanctuary of Athena at Delphi, others at the temple of Aphaia on Aegina, at the sanctuary of Apollo Maleatas above Epidauros and at Amyklae near Sparta), suggests both that many were indeed religious in nature, perhaps as votives, but also that later places of worship may well have first been used in the Mycenaean period.[78]Larger male, female or bovine terracotta wheel made figures are much rarer. An important group was found in the Temple at Mycenae together with coiled clay snakes,[79] while others have been found at Tiryns and in the East and West Shrines at Phylakopi on the island of Melos.[80]
Condition: some age wear at the bottom, no defects;
Low Estimate: 5000;
High Estimate: 100000;
Circa: 1300 BC;

Middle/Near Eastern Luristan Style Bronzel Mirror

Lot #432 (Sale Order 425 of 490)

Middle/Near Eastern Luristan Style Figural Mirror. An undated archaistic cast mirror comprising a discoid plaque with one flat face and high-relief 'Master of Animals' figure to the reverse, tubular handle with dog-head finial. Weight: 483 grams, Length: 25.5 cm (10"). Provenance: Property of a London collector, acquired before 1980.
Condition normal age wear and patina;
Low Estimate: 1000;
High Estimate: 10000;

Carved semi-transparent onyx stone cup, D= 163 mm

Lot #433 (Sale Order 426 of 490)

Carved semi-transparent onyx stone cup, D= 163 mm. Upper Diameter: 6.5 inches = 163 mm. Height: 2.8 inches = 75 mm. Weight: 560 g = 1lb. 4 oz. Material: Onyx or alabaster.
Age: unknown
Condition Perfect, no defects;
Low Estimate: 500;
High Estimate: 1000;

Antique Islamic Syrian Enamel copper bowl, 20 x 11cm

Lot #434 (Sale Order 427 of 490)

Antique Islamic Syrian Enamel bowl. Upper opening = 4.5 inches = 11 cm. Base diameter: 8 inches = 20 cm. Height: 4.5 inches = 11 cm.
Condition Very good condition, some enamel losses, but considering the age of the vase, it has survived remarkably well.
Low Estimate: 1500;
High Estimate: 3000;
Original: Yes;
Circa: 1500;

Antique Islamic heavy copper plate with gold and silver

Lot #435 (Sale Order 428 of 490)

Antique Islamic heavy copper plate with gold and silver inlays. Weight: 2 lb. = 900 g. Diameter: 12 inches = 30 cm Condition: almost perfect, one out of eleven golden inlay is slightly damaged. There is on small spot of discoloration. Metals were not tested on purity. Origin: Oriental Islamic, possibly from India or Near East
Condition almost perfect, one out of eleven golden inlay is slightly damaged. There is on small spot of discoloration Metals were not tested on purity;
Low Estimate: 500;
High Estimate: 2000;
Original: Yes;
Circa: 1850;

Mysterious, genuine, Islamic glazed bowl, 1300-1400 AD

Lot #436 (Sale Order 429 of 490)

Mysterious, genuine, Islamic glazed bowl, 1300-1400 AD. The inside shape is very unusual - with partial, not symmetrical, inclined surface, which was glazed with colorful ornaments.Possible purposes of the bowl:1) Water drop or brush washer for the artist. 2) Religious vessel. 3) Cosmetic bowl for women. 4) Extraterrestrial origin. Diameter: 9 cm = 3.5 inches. Height: 2 cm = 0.7 inches. Weight: 109 g. Condition: Glaze is partially lost, bottom was not glazed, 100% authentic. Origin: Middle East (Afghanistan?);
Low Estimate: 1500;
High Estimate: 3000;
Condition: Good to Very Good;
Original: Yes;
Circa: 1350;

Early Islamic Bronze Peacock Finial, 12th c AD

Lot #437 (Sale Order 430 of 490)

Early Islamic Bronze Peacock Finial, 148 g, 11 cm. Age: Circa 12-th century AD A cast bronze finial comprising a waisted tubular socket surmounted by a stylized bird with raised openwork looped tail; hatched detailing to the tail, wing and neck. Weight: 148 grams; Diameter: 11 cm = 4 in. Provenance: From United Kingdom; property of a London Gentleman; acquired before 1990.
Condition: Fine condition, natural patina outside, a lot of oxidation inside;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;
Circa: 1150;

Islamic Bronze Scale pan, Kufic script, 18-19th c AD

Lot #438 (Sale Order 431 of 490)

Islamic Bronze Scale pan with Epigraphic Kufic script, 18th-19th century AD Circa 18th-19th century AD; A bronze hand-made scale pan with three attachment loops; concentric ring detailing to the interior; to the underside three lobed carrier plates for the loops and a band of Kufic script. Weight: 189 grams = 6 oz. Diameter: 15.5 cm = 6 in. Provenance: Bought in United Kingdom, property of a London Gentleman; acquired before 1975. Condition report: Fine condition, complete.
Condition Fine condition, complete.
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;
Circa: 1750;

Islamic bronze mirror, Kufic inscriptions, 12-13th c

Lot #439 (Sale Order 432 of 490)

Antique early Islamic bronze mirror, Eastern Anatolia, 12-13 c CE. Antique early Islamic bronze mirror with 2 symmetrical sphinxes and inscriptions around Weight: 8 oz. = 220 g; Diameter: 4.25 inches = 10.6 cm = 106 mm; Knob: 7 mm with hole, open all the way through; Provenance: Ex Gibbons collection by inheritance in UK; acquired before 1990; Condition: old natural patina all over; Language: Kufic language; References: http://www.antiques.com/classified/1065041/Antique-Seljuk-Bronze-Mirror---FZ-289; $6,000; Seljuk Bronze Mirror - FZ.289, Origin: Central Asia, Circa: 11 th Century AD to 12 th Century AD, Dimensions: 4.375" (11.1cm) high, Collection: Islamic Art, Style: Seljuk, Medium: Bronze. In the 9th century, hordes of nomadic Turkic horseman living on the outskirts of the Muslim world began to migrate westward into the heart of Central Asia. By the 10 century, a branch known as the House of Seljuk had broken off from the Oghuz confederation of Turkomen tribesmen, arrived into mainland Persia, and settled in the province of Khurasan. Overtime, the Seljuks converted to Islam and began to adopt the Persian language and culture. In the 11th century, the Seljuks set up an independent state under their leader Tugrul Bey with its capital in Isfahan, initially under the auspices of the Abbasid Caliph in Baghdad. The arts thrived during the Seljuk period as the Turkic rulers patronized Persian culture, arts, and literature.
Condition old natural patina and some wear all over; no defects.
Low Estimate: 8000;
High Estimate: 15000;
Original: Yes;
Circa: 1200;

Early Islamic bronze fish, beautiful patina, 63 mm

Lot #440 (Sale Order 433 of 490)

Early Islamic bronze fish, beautiful patina. Weight: 53.94 g; Height: 2.5 in. = 63 mm; Authenticity report: genuine antique;
Condition genuine antique patina, the arc of the base is broken long time ago (the edges are smooth);
Low Estimate: 500:
High Estimate: 1500:
Original: Yes;
Circa: 1000;

Antique bronze medieval Islamic/Chinese? gild peacock

Lot #441 (Sale Order 434 of 490)

Antique gilded bronze medieval Islamic or Chinese(?) peacock, 10 cm, Weight: 94.70 g; Length: 4.2 in. = 11 cm; Height: 4 in. = 10 cm; ; Age: 500-1500 AD. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's
Condition fine, used, beautiful multicolored patina, some rust, no defects;
Low Estimate: 5000;
High Estimate: 10000;
Original: Yes;
Circa: 1000;

Authentic Medieval carved stone oil lamp, Afghanistan

Lot #442 (Sale Order 435 of 490)

Authentic antique carved stone oil lamp from Afghanistan, middle ages. Weight: 4 lb. 6 oz. = 2 kg. Diameter: 9 inches = 23 cm. Material: hard stone- marble or alabaster. Age: Presumably, it was carved several hundred years ago, as an oil lamp without hanging hook. Around 100-150 years later it was broken and fixed, by skillful artisan, with wires; and the new hook was attached to prevent another fall.
Condition: Well preserved for the age. There is a repaired crack 20 cm long. The crack was repaired long time ago (several hundred years ago). Presumably, it was carved several hundred years ago, as an oil lamp without hanging hook. Around 100-150 years later it was broken and fixed, by skillful artisan, with wires; and the new hook was attached to prevent another fall.
Low Estimate: 2000;
High Estimate: 5000;
Original: Yes;
Circa: 1000;

Genuine Early Islamic bronze spoon; great patina

Lot #443 (Sale Order 436 of 490)

Genuine Early Islamic bronze spoon; great patina Weight: 16.59 g; Length: 2.75 in. = 72 mm; Authenticity report: genuine, thick patina all over, the curvature of the spoon is flattened, probably, because of intensive usage.
Condition genuine, thick patina all over, the curvature of the spoon is flattened, probably, because of intensive usage.
Low Estimate: 700;
High Estimate: 1500;
Original: Yes;
Circa: 800;

Middle Eastern antique bronze goat- 10 warriors & tiger

Lot #444 (Sale Order 437 of 490)

Middle Eastern antique bronze goat with 10 warriors fighting with 2 tigers. Length: 6.5 in. = 17 cm. Height 6.5 in. = 16 cm. Weight: 1 lb. 70z = 630 g
Condition: Normal age wear and patina:
Low Estimate: 2000;
High Estimate: 10000;
Original: Yes;
Circa: 200;

Islamic Qajar dynasty, Persian glazed porcelain vase

Lot #445 (Sale Order 438 of 490)

Islamic Qajar dynasty (1785-1925), Persian polychrome glazed ceramic vase with hunting scene. Beautiful hand-made ceramic vase, circa 18-19th century. Height: 11.5 in. = 28 cm Mouth: 4.25 in. = 10.5cm. Width: 9 in. = 23 cm. Weight: 4 lb. 10 oz. = 2100g. Condition: old uneven hole, drilled in the bottom, beautiful natural crackles, otherwise excellent condition. Similar vases sold on Christies': http://www.christies.com/lotfinder/lot/three-decorative-qajar-pottery-vessels-iran-19th-5723570-details.aspx. References: Qajar art refers to the art, architecture, and art-forms of the Qajar dynasty of the late Persian Empire, which lasted from 1781 to 1925. The boom in artistic expression that occurred during the Qajar era was the fortunate side effect of the period of relative peace that accompanied the rule of Agha Muhammad Khan and his descendants. With his ascension, the bloody turmoil that had been the eighteenth century in Persia came to a close, and made it possible for the peacetime arts to again flourish. The Qajar dynasty ( Qajar (helpinfo)) (Persian: or ; also romanised as Ghajar, Kadjar, Qachar etc.) is a Persianized Persian royal family of Turkic origin, which ruled Persia from 1785 to 1925. [ The Qajar family took full control of Iran in 1794, deposing Lotf 'Ali Khan, the last of the Zand dynasty, and re-asserted Persian sovereignty over parts of the Caucasus. In 1796, Mohammad Khan Qajar seized Mashhad which was under Durrani suzerainty,[ putting an end to the Afsharid dynasty, and Mohammad Khan was formally crowned as shah. In Persia, the Qajar dynasty lost many of its controlled areas to the Russians.
Low Estimate: 3000;
High Estimate: 6000;
Original: Yes;
Circa: 1800;

Middle Eastern carved Lapis Lazuli stamp pendant

Lot #446 (Sale Order 439 of 490)

Antique Middle Eastern carved Lapis Lazuli stamp pendant; Diameter: 34 mm; Weight: 18.77g; Condition: used, insignificant scratches, no defects. Lapis lazuli /lps lzuli/ or /lula/ (sometimes abbreviated to lapis) is a deep blue semi-precious stone that has been prized since antiquity for its intense color.Lapis lazuli was being mined in the Sar-i Sang mines[1] and in other mines in the Badakhshan province in northeast Afghanistan as early as the 7th millennium BC,[2] Lapis beads have been found at neolithic burials in Mehrgarh, the Caucasus, and even as far from Afghanistan as Mauritania.[3] It was used for the eyebrows on the funeral mask of King Tutankhamun (1341-1323 BC).[4] At the end of the Middle Ages, lapis lazuli began to be exported to Europe, where it was ground into powder and made into ultramarine, the finest and most expensive of all blue pigments. It was used by the most important artists of the Renaissance and Baroque, including Masaccio, Perugino, Titian and Vermeer, and was often reserved for the clothing of the central figure of the painting, especially the Virgin Mary.[1] Today mines in northeast Afghanistan are still the major source of lapis lazuli. Important amounts are also produced from mines west of Lake Baikal in Russia, and in the Andes mountains in Chile. Smaller quantities are mined in Italy, Mongolia, the United States and Canada
Condition used, insignificant scratches, no defects
Low Estimate: 1000;
High Estimate: 4000;
Original: Yes;
Circa: 500;

Pair of antique temple oil lamps from Eastern India

Lot #448 (Sale Order 440 of 490)

Pair of antique temple oil lamps from Eastern India; Height: 33 mm and 35 mm; Upper diameter 37 & 37 mm; Weight: 45.93g + 50.08g;
Condition Normal age wear and signs of heavy usage in the temple as oil lamps;
Low Estimate: 200;
High Estimate: 400;
Original: Yes;
Circa: 1000 AD:

Bronze Antique Oil Lamp from Indian Temple;

Lot #449 (Sale Order 441 of 490)

Bronze Antique Oil Lamp from Indian Temple;Weight: 1 lb. = 450 g; Height: 7 inches = 17 cm;
Condition: used, great natural patina, oxidation;
Low Estimate: 400;
High Estimate: 1000;
Orignal: Yes;
Circa: 1800;

Coin necklace from India, 20th century

Lot #450 (Sale Order 442 of 490)

Coin necklace from India, 20th century. There 37 coins attached to a necklace.Some coins has 1975 and 1986 year. Denomination: 25 paise. Age: 1986 or older. Total length; 29 inches = 72.5 cm. Total weight: 5 oz. = 130 gram
Condition coins are used in circulation;
Circulation: Circulated;
Low Estimate: 200;
High Estimate: 400;
Circa: 1986;

4 genuine fossil trilobites, 6-8 in., 520-250 million years

Lot #451 (Sale Order 443 of 490)

4 genuine fossil trilobites, 6-8 inches, in cement matrix 520-250 million years. Size of the cement matrix: 16 in. x 16 in. Weight of the display matrix: 15 lb. = 6.75 kg. Length of trilobites: 8 in, 7 in., 7 in. and 6 in. History: Trilobites (/tralbat/, /trlbat/; meaning "three lobes") are a well-known fossil group of extinct marine arthropods that form the class Trilobita. Trilobites form one of the earliest known groups of arthropods. The first appearance of trilobites in the fossil record defines the base of the Atdabanian stage of the Early Cambrian period (521 million years ago), and they flourished throughout the lower Paleozoic era before beginning a drawn-out decline to extinction when, during the Devonian, all trilobite orders except Proetida died out. Trilobites finally disappeared in the mass extinction at the end of the Permian about 250 million years ago. The trilobites were among the most successful of all early animals, roaming the oceans for over 270 million years.[2] When trilobites first appeared in the fossil record they were already highly diverse and geographically dispersed. Because trilobites had wide diversity and an easily fossilized exoskeleton an extensive fossil record was left behind, with some 17,000 known species spanning Paleozoic time. The study of these fossils has facilitated important contributions to biostratigraphy, paleontology, evolutionary biology and plate tectonics. Trilobites are often placed within the arthropod subphylum Schizoramia within the superclass Arachnomorpha (equivalent to the Arachnata), although several alternative taxonomies are found in the literature. Trilobites had many life styles; some moved over the sea-bed as predators, scavengers or filter feeders and some swam, feeding on plankton. Most life styles expected of modern marine arthropods are seen in trilobites, with the possible exception of parasitism (where there are still scientific debates).[4] Some trilobites
Condition Well preserved and skillfully embedded into cement matrix
Low Estimate: 1500;
High Estimate: 3000;
Original: Yes;

Fossil Petrified Gomphotherium black molar teeth, 10cm, 13-3 million y

Lot #452 (Sale Order 444 of 490)

Fossil Petrified Gomphotherium black molar teeth, 10.6 cm, 13-3 million years Weight: 1 lb. 2oz = 500g; Size: 4.25 x 3 x 2.5 inches = 10.6 cm; Age: 13-3 millions of years BC; Gomphotherium ( "Welded Beast") is an extinct genus of proboscid which evolved in the Early Miocene of North America from 13.6503.6 Ma, living about 10 million years. The genus immigrated into Asia, Europe and Africa after a drop in sea level (probably during the Tortonian epoch) allowed them to cross over. It survived into the Pliocene, and its remains have been found in Chile, France, Germany, Austria, Kansas, Tennessee, Pakistan, Kenya and Bosnia and Herzegovina. Gomphotherium stood around 3 meters (9.8 ft.) high with an estimated weight of 4-5 tons, and bore a strong resemblance to a modern elephant. However, it had four tusks; two on the upper jaw and two on the elongated lower jaw. The lower tusks are parallel and shaped like a shovel and were probably used for digging up food from mud. Unlike modern elephants, the upper tusks were covered by a layer of enamel. Compared to elephants, the skull was more elongated and low, indicating that the animal had a short trunk, rather like a tapir's. These animals probably lived in swamps or near lakes, using their tusks to dig or scrape up aquatic vegetation. In comparison to earlier proboscids, Gomphotherium had far fewer molars; the remaining ones had high ridges to expand their grinding surface. Gomphotherium inhabited dry wooded regions near lakes. A complete skeleton of Gomphotherium has been found at Mühldorf, Germany, in 1971.
Condition very good preservation, considering the age of millions of years;
Low Estimate: 1500;
High Estimate: 3000;
Original: Yes;

Fossil Petrified white molar teeth of Gomphotherium

Lot #453 (Sale Order 445 of 490)

Fossil Petrified white molar teeth of Gomphotherium, 6 in.=15 cm. Weight: 1 lb. 9oz = 700g; Size: 6 x 3 x 2.5 inches = 15 x 7.5 x 6.2 cm; Age: 13.6 - 3.6 million years; Gomphotherium (/mfrim/; "Welded Beast") is an extinct genus of proboscid which evolved in the Early Miocene of North America from 13.6503.6 Ma, living about 10 million years. The genus emigrated into Asia, Europe and Africa after a drop in sea level (probably during the Tortonian epoch) allowed them to cross over. It survived into the Pliocene, and its remains have been found in Chile, France, Germany, Austria, Kansas, Tennessee, Pakistan, Kenya and Bosnia and Herzegovina.[3] Gomphotherium stood around 3 meters (9.8 ft) high with an estimated weight of 4-5 tons, and bore a strong resemblance to a modern elephant. However, it had four tusks; two on the upper jaw and two on the elongated lower jaw. The lower tusks are parallel and shaped like a shovel and were probably used for digging up food from mud. Unlike modern elephants, the upper tusks were covered by a layer of enamel. Compared to elephants, the skull was more elongated and low, indicating that the animal had a short trunk, rather like a tapir's. These animals probably lived in swamps or near lakes, using their tusks to dig or scrape up aquatic vegetation. In comparison to earlier proboscids, Gomphotherium had far fewer molars; the remaining ones had high ridges to expand their grinding surface. Gomphotherium inhabited dry wooded regions near lakes. A complete skeleton of Gomphotherium has been found at Mühldorf, Germany, in 1971.
Condition Very good for the age, good preservation.
Low Estimate: 1500;
High Estimate: 5000;
Original: Yes;

Fossil petrified mammoth molar tooth, 14.4 cm

Lot #454 (Sale Order 446 of 490)

Fossil petrified mammoth molar tooth. Height: 5.7 in. = 14.4 cm; Weight: 2 lb 15 oz.= 1330g; A mammoth is any species of the extinct genus Mammuthus, proboscideans commonly equipped with long, curved tusks and, in northern species, a covering of long hair. They lived from the Pliocene epoch (from around 5 million years ago) into the Holocene at about 4,500 years ago in Europe, Asia, and America as far south as Mexico. They were members of the family Elephantidae which contains, along with mammoths, the two genera of modern elephants and their ancestors. Like their modern relatives, mammoths were quite large. The largest known species reached heights in the region of 4 m (13 ft) at the shoulder and weights up to 8 tonnes (9 short tons), while exceptionally large males may have exceeded 12 tonnes (13 short tons). However, most species of mammoth were only about as large as a modern Asian elephant (which are about 2.5m to 3m high at the shoulder, and rarely exceeding 5.4 tonnes). Both sexes bore tusks. A first, small set appeared at about the age of six months and these were replaced at about 18 months by the permanent set. Growth of the permanent set was at a rate of about 1 to 6 inches (2.5 to 15 cm) per year.[9] Based on studies of their close relatives, the modern elephants, mammoths probably had a gestation period of 22 months, resulting in a single calf being born. Their social structure was probably the same as that of African and Asian elephants, with females living in herds headed by a matriarch, whilst bulls lived solitary lives or formed loose groups after sexual maturity.
Condition very good for the age, no cracks;
Low Estimate: 1000;
High Estimate: 3000;
Orignal: Yes;

Stegodon fossil molar teeth, 225 g

Lot #455 (Sale Order 447 of 490)

Stegodon fossil molar teeth, 225 g. Weight: 225 g = 8 oz. Height: 4 cm = 1.5 in. Width: 5.8 cm = 2.25 in. Length: 7.3 cm = 3 in. Provenance: dig out in Borneo, Indonesia; Age: 11.6 million years to 4,100 years BC; Condition: Perfect for the age, fossilized into rock all the ways around; References: Stegodon (meaning "roofed tooth" from the Greek words stegein 'to cover' and odous 'tooth'), is a genus of the extinct subfamily Stegodontinae of the order Proboscidea. It was assigned to the family Elephantidae (Abel, 1919), but has also been placed in Stegodontidae (R. L. Carroll, 1988).[1] Stegodonts were present from 11.6 mya to 4,100 years ago. They lived in large parts of Asia during the Pliocene and Pleistocene, and locally in Indonesia into the Holocene epoch.
Condition Perfect for the age, fossilized into rock;
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes;

Exceptionally preserved Stegodon fossil mo teeth, 590 g

Lot #456 (Sale Order 448 of 490)

Exceptionally preserved Stegodon fossil molar teeth, 590 g. Weight: 590 g = 1 lb. 5oz. Height: 8 cm = 3 in. Width: 9 cm = 3.5 in. Provenance: dig out in Borneo, Indonesia Age: 11.6 million years 4,100 years BC Condition: Perfect for the age, fossilized into rock all the ways around. Stegodon (meaning "roofed tooth" from the Greek words stegein 'to cover' and odous 'tooth'), is a genus of the extinct subfamily Stegodontinae of the order Proboscidea. It was assigned to the family Elephantidae (Abel, 1919), but has also been placed in Stegodontidae (R. L. Carroll, 1988).[1] Stegodonts were present from 11.6 mya to 4,100 years ago. They lived in large parts of Asia during the Pliocene and Pleistocene, and locally in Indonesia into the Holocene epoch
Condition: Perfect for the age of millions years;
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;

Marine Mammal black petrified vertebra fossil, 4 lb.

Lot #457 (Sale Order 449 of 490)

Marine Mammal black petrified vertebra fossil, 4 lb. Millions years old. Weight: 4 lb. = 1,900 g. Height = 5 in. x 4.5 in. x 3 inches
Condition: very good for the age, no cracks.
Low Estimate: 400;
High Estimate: 2000;
Original: Yes;

Black petrified vertebra fossil, 64.7g

Lot #458 (Sale Order 450 of 490)

Black petrified vertebra fossil, 64.7g Age: Millions years old Weight: 64.7 g. Height = 2.25 in. = 58 mm.
Condition: Genuine fossil bone, the edges of the articular joints for the ribs are partially damaged;
Low Estimate: 200;
High Estimate: 800;
Original: Yes;

Mysterious flat petrified fossil vertebra, 2 lb., 9 in.

Lot #459 (Sale Order 451 of 490)

Mysterious flat petrified fossil vertebra; Size: 9 x 3.5 x 2 in. = 22 x 9 x 5 cm; Weight: 2 lb. = 900 g; Species: huge prehistoric vertebrata. Bidders opinion will be highly appreciated. Thank you! Age: millions of years old.
Condition One of the transverse lateral processes is broken
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Fossil Whale Vertebrae and Megalodon shark tooth composition

Lot #460 (Sale Order 452 of 490)

Fossil Whale Vertebrae and Megalodon shark tooth composition. Total weight: 5 lb. = 2 kg 300 g. Total height: 8 inches = 20 cm. Height of the vertebrae: 6 inches = 15 cm. Age: Cenozoic Era (28 million - 1.5 million years ago) Megalodon (/mldn/ MEG--l-don; meaning "big tooth", from Ancient Greek: (megas) "big, mighty" + (odon) (from (odous) "tooth"),[1] is an extinct species of shark that lived approximately 28 to 1.5 million years ago, during the Cenozoic Era (late Oligocene to early Pleistocene). The taxonomic assignment of C. megalodon has been debated for nearly a century, and is still under dispute. The two major interpretations are Carcharodon megalodon (under family Lamnidae) or Carcharocles megalodon (under family Otodontidae). Consequently, the scientific name of this species is commonly abbreviated C. megalodon in the literature. C. megalodon is regarded as one of the largest and most powerful predators in vertebrate history, and likely had a profound impact on the structure of marine communities. Fossil remains suggest that this giant shark reached a maximum length of 1418 meters (4659 ft), and also affirm that it had a cosmopolitan distribution. Scientists suggest that C. megalodon looked like a stockier version of the great white shark, Carcharodon carcharias.
Condition Genuine fossils. We did not put any glue on purpose, in order to preserve genuine fossils. It is up to the buyer - how to attach Megalodon shark tooth to the vertebrae of the whale.
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;

Black Giant Megalodon shark fossil tooth, 144 mm=5.75 in.

Lot #461 (Sale Order 453 of 490)

Black Giant Megalodon fossil tooth, Length: 144 mm = 5.75 in. Weight 200 g = 7 oz. Age: 28-1.5 million years old; Megalodon (/mldn/ MEG--l-don; meaning "big tooth", from Ancient Greek: (megas) "big, mighty" + (odon) (from (odous) "tooth"),[1] is an extinct species of shark that lived approximately 28 to 1.5 million years ago, during the Cenozoic Era (late Oligocene to early Pleistocene). The taxonomic assignment of C. megalodon has been debated for nearly a century, and is still under dispute. The two major interpretations are Carcharodon megalodon (under family Lamnidae) or Carcharocles megalodon (under family Otodontidae).[2] Consequently, the scientific name of this species is commonly abbreviated C. megalodon in the literature. C. megalodon is regarded as one of the largest and most powerful predators in vertebrate history,[3] and likely had a profound impact on the structure of marine communities.[4] Fossil remains suggest that this giant shark reached a maximum length of 1418 metres (4659 ft),[3] and also affirm that it had a cosmopolitan distribution.[2] Scientists suggest that C. megalodon looked like a stockier version of the great white shark, Carcharodon carcharias.
Condition Partial damage of the root part of the tooth;
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;

Giant Megalodon shark tooth petrified fossil

Lot #462 (Sale Order 454 of 490)

Giant Megalodon shark tooth petrified fossil. Age: 28-1.5 million years old; Condition: natural aging; References: Megalodon (/mldn/ MEG--l-don; meaning "big tooth", from Ancient Greek: (megas) "big, mighty" + (odon) (from (odous) "tooth"),[1] is an extinct species of shark that lived approximately 28 to 1.5 million years ago, during the Cenozoic Era (late Oligocene to early Pleistocene). The taxonomic assignment of C. megalodon has been debated for nearly a century, and is still under dispute. The two major interpretations are Carcharodon megalodon (under family Lamnidae) or Carcharocles megalodon (under family Otodontidae).[2] Consequently, the scientific name of this species is commonly abbreviated C. megalodon in the literature. C. megalodon is regarded as one of the largest and most powerful predators in vertebrate history,[3] and likely had a profound impact on the structure of marine communities.[4] Fossil remains suggest that this giant shark reached a maximum length of 1418 metres (4659 ft),[3] and also affirm that it had a cosmopolitan distribution.[2] Scientists suggest that C. megalodon looked like a stockier version of the great white shark, Carcharodon carcharias.
Condition natural aging;
Low Estimate: 2000;
High Estimate: 5000;
Original: Yes;

Prehistoric cool turtle bone fossil, 55mm, 200-5 million years

Lot #463 (Sale Order 455 of 490)

Prehistoric turtle bone fossil, 55 mm, 200-5 million years old, Rare! Age: 200 - 5 million years old. Length: 2.25 in. = 55 mm; Weight: 39.03 g;
Condition: Excellent for the age, pleasant to handle;
Low Estimate: 500;
High Estimate: 1500;
Original: Yes;

Fossil Stigmaria plant root, 1.5kg, 360 million years

Lot #464 (Sale Order 456 of 490)

Fossil Stigmaria plant root, 1500 g, 360 million years old Weight: 3 lb. 5 oz. = 1500 g; Length: 10 inches = 25 cm; Diameter: 2.5 x 2 = 6 cm x 5 cm; Condition: black fossilized wood, no cracks; Age: 360 million of years Stigmaria are a type of branching tree root fossil found in Carboniferous rocks. They were the roots of coal forest lycopsid trees such as Sigillaria and Lepidodendron. Each trunk tended to have four of those roots. Stigmaria is a form taxon, as the genus and species of the plant bearing the root is not identified. The Carboniferous is a geologic period and system that extends from the end of the Devonian Period, about 359.2 ± 2.5 Ma (million years ago), to the beginning of the Permian Period, about 299.0 ± 0.8 Ma. The name Carboniferous means "coal-bearing" and derives from the Latin words carbo (coal) and ferre (to carry), and was coined by geologists William Conybeare and William Phillips in 1822. Based on a study of the British rock succession, it was the first of the modern 'system' names to be employed, and reflects the fact that many coal beds were formed globally during this time.[6] The Carboniferous is often treated in North America as two geological periods, the earlier Mississippian and the later Pennsylvanian.
Condition Genuine black fossilized wood, no cracks;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;

Petrified ferns plant fossil

Lot #465 (Sale Order 457 of 490)

Petrified Ferns Plant Fossil 75 mm
Weight of both pieces: 69.01g
Length: 75 mm
Condition: very good for the age

Evolution and classification of ferns
Ferns first appear in the fossil record in the early-Carboniferous period. By the Triassic, the first evidence of ferns related to several modern families appeared. The "great fern radiation" occurred in the late-Cretaceous, when many modern families of ferns first appeared.
One problem with fern classification is the problem of cryptic species. A cryptic species is a species that is morphologically similar to another species, but differs genetically in ways that prevent fertile interbreeding. A good example of this is the currently designated species Asplenium trichomanes, the maidenhair spleenwort. This is actually a species complex that includes distinct diploid and tetraploid races. There are minor but unclear morphological differences between the two groups, which prefer distinctly differing habitats. In many cases such as this, the species complexes have been separated into separate species, thus raising the number of overall fern species. Possibly many more cryptic species are yet to be discovered and designated.
Ferns have traditionally been grouped in the Class Filices, but modern classifications assign them their own phylum or division in the plant kingdom, called Pteridophyta, also known as Filicophyta. The group is also referred to as Polypodiophyta, (or Polypodiopsida when treated as a subdivision of tracheophyta (vascular plants), although Polypodiopsida sometimes refers to only the leptosporangiate ferns). The term "pteridophyte" has traditionally been used to describe all seedless vascular plants, making it synonymous with "ferns and fern allies". This can be confusing since members of the fern phylum Pteridophyta are also sometimes referred to as pteridophytes.
Traditionally, three discrete groups of plants have been considered ferns: two groups of eusporangiate fernsfamilies Ophioglossaceae (adders-tongues, moonworts, and grape-ferns) and Marattiaceaeand the leptosporangiate ferns. The Marattiaceae are a primitive group of tropical ferns with a large, fleshy rhizome, and are now thought to be a sibling taxon to the main group of ferns, the leptosporangiate ferns. Several other groups of plants were considered "fern allies": the clubmosses, spikemosses, and quillworts in the Lycopodiophyta, the whisk ferns in Psilotaceae, and the horsetails in the Equisetaceae. More recent genetic studies have shown that the Lycopodiophyta are more distantly related to other vascular plants, having radiated evolutionarily at the base of the vascular plant clade, while both the whisk ferns and horsetails are as much "true" ferns as are the Ophioglossoids and Marattiaceae. In fact, the whisk ferns and Ophioglossoids are demonstrably a clade, and the horsetails and Marattiaceae are arguably another clade. Molecular datawhich remain poorly constrained for many parts of the plants' phylogeny have been supplemented by recent morphological observations supporting the inclusion of Equisetaceae within the ferns, notably relating to the construction of their sperm, and peculiarities of their roots.[2] However, there are still differences of opinion about the placement of the Equisetum species (see Equisetopsida for further discussion). One possible means of treating this situation is to consider only the leptosporangiate ferns as "true" ferns, while considering the other three groups as "fern allies". In practice, numerous classification schemes have been proposed for ferns and fern allies, and there has been little consensus among them.
A 2006 classification by Smith et al. is based on recent molecular systematic studies, in addition to morphological data. Their phylogeny is a consensus of a number of studies. This phylogeny has been refined in more recent years,[8][9] and is shown below (to the level of orders).[2][10]

Low Estimate: 400;
High Estimate: 800;
Original: Yes;

Petrified horse tooth 2.8 in.=7.6cm

Lot #466 (Sale Order 458 of 490)

Petrified Horse tooth fossil
Height: 2.8 in. = 7.6 cm
Weight: 84.09 g

Low Estimate: 300;
High Estimate: 1200;
Original: Yes;

Genuine dried Shoe crab taxidermy from Florida beach;

Lot #467 (Sale Order 459 of 490)

Genuine dried Shoe crab taxidermy from Florida beach; Length: 18 in. = 45 cm;Weight: 4 oz.
Condition: Very well preserved, although fragile, needs careful attention while handling;
Low Estimate: 200;
High Estimate: 400;
Original: Yes;

Pre-Columbian Terracotta Fertility Goddess, Colima, Mex

Lot #468 (Sale Order 460 of 490)

Pre-Columbian Terracotta Fertility Goddess, Colima, West Mexico, 200 BC-200 AD. This is a female Colima flat figure, which wears a head-wrap, ear ornaments and a necklace along with other regalia. It is made of buff terracotta clay, well made with fine details and light deposits. Weight of the terracotta and metal holder: 4 oz. = 110 g; Total weight of the box & terracotta: 12 oz. = 360g; Height: 6 in. = 15.5 cm; Size of the box: 8 ¼ x 6 ¼ x 2 in. = 21 cm x 15.7 cm x 5 cm; Age: 200 BC - 200 AD; Origin: Colima, West Mexico; Condition: Very good, no defects.
Condition: Very good, no defects.
Low Estimate: 800;
High Estimate: 2000;
Original: Yes;
Circa: 100 BC;

Pre-Columbian zoomorphic ceramic jar, Colima, Mexico 100 BC

Lot #469 (Sale Order 461 of 490)

Pre-Columbian pottery ceramic jar, with bird handle, Colima, Mexico 100 BC-250 AD. Weight: 3.1 kg = 7 lb. Height: 32 cm = 12.8 in. Provenance: from a collection of gentleman from UK, acquired before 1976
Condition used, there are three chips on the upper rim, no cracks or other major defects.
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Circa: 50 AD;

Pre-Columbian terracotta jar -Priest & heart",

Lot #470 (Sale Order 462 of 490)

Pre-Columbian terracotta jar - Priest holding a sacrificed heart, 18 cm, Bahia, Ecuador There is an opening in the head, so the true purpose is a mystery, may be - for the sacrificed blood?! Vessel may contain/hold 360 ml of water. Weight: 12 oz. = 335 g; Height: 7 ¼ in. = 18 cm; Diameter: 3 ¾ in. = 9.5 cm; Origin: Bahia, Ecuador; Date: 100AD - 500AD; Condition: no cracks or chips, polished surface, very good condition for the age
Condition no cracks or chips, polished surface, very good condition for the age
Low Estimate: 800
High Estimate: 1500
Original: Yes

Pre-Columbian Lambayeque 750 AD black terracotta jar w handle

Lot #471 (Sale Order 463 of 490)

Pre-Columbian Lambayeque black terracotta jar with a handle. Weight: 1 lb. = 440 g; Height: 8 inches = 21 cm; Diameter: 5.25 inches = 12.5 cm; Diameter with handle: 5.5 in. = 13.5 cm; Origin: Peru; Date: 700 AD - 1350 AD; Lambayeque "Naymlap" Vessel Peru; A black ware Naymlap libation vessel from the North Coast of Peru. "Lord Naymlap" is the mythological founder of the pre-Chimu dynasty of the Sican-Lambayeque culture of Northern Peru. He is identified as having a human face with slanted eyes and tattoos. He is often surrounded by other figures representing his descendants - the "children of Naymlap". Incised lines and dots under his eyes are tears; symbolic of rain as he is the provider of (precious) water for his peoples and their crops. The vessel sits atop footed bases and has wide strap handles, typical of the type. It has a nicely burnished black ware surface and light deposits. Fine example!
The Sican (also Sicán) culture is the name that archaeologist Izumi Shimada gave to the culture that inhabited what is now the north coast of Peru between about AD 750 and 1375. According to Shimada, Sican means "temple of the moon".[1] The Sican culture is also referred to as Lambayeque culture, after the name of the region in Peru. It succeeded the Moche culture. There is still controversy among archeologists and anthropologists over whether the two are separate cultures. The Sican culture is divided into three major periods based on cultural changes as evidenced in archeological artifacts
Condition Several chips at the base and on the body (refer to the pictures), no cracks, very good condition for the age;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;
Circa: 950 AD;

Pre-Columbian potterry Monkey Vessel, Chimu 900-1470 AD

Lot #472 (Sale Order 464 of 490)

Pre-Columbian pottery Vessel, decorated with monkey, Chimu 900-1470 AD, Height: 7 inches = 17.5 cm; Width: 5.75 inches = 14.5 cm; Weight: 1lb. 2 oz. = 500 g; Provenance: Bought at reputable art gallery in Florida, USA. Chimú culture The Chimú were the residents of Chimor, with its capital at the city of Chan Chan, a large adobe city in the Moche Valley of present-day Trujillo city. The culture arose about 900 AD. The Inca ruler Tupac Inca Yupanqui led a campaign which conquered the Chimú around 1470 AD.[2] This was just fifty years before the arrival of the Spanish in the region. Consequently, Spanish chroniclers were able to record accounts of Chimú culture from individuals who had lived before the Inca conquest. Similarly, Archaeological evidence suggest Chimor grew out of the remnants of Moche culture; early Chimú pottery had some resemblance to that of the Moche. Their ceramics are all black, and their work in precious metals is very detailed and intricate. The Chimú resided on the north coast of Peru: "It consists of a narrow strip of desert, 20 to 100 miles wide, between the Pacific and the western slopes of the Andes, crossed here and there by short rivers which start in the rainier mountains and provide a series of green and fertile oases." The valley plains are very flat and well-suited to irrigation, which is probably as old as agriculture here. Fishing was also very important and was almost considered as important as agriculture. The Chimú were known to have worshipped the moon, unlike the Inca, who worshiped the sun. The Chimu viewed the sun as a destroyer. This is likely due to the harshness of the sun in their desert environment. Offerings played an important role in religious rites. A common object for offerings, as well as one used by artisans, was the shell of the Spondylus shellfish, which live only in the warm coastal waters off present-day Ecuador. It was associated with the sea, rainfall, and fertility. Spondylus shells were also highly valued and traded by the Chimú. The Chimú are best known for their distinctive monochromatic pottery and fine metal working of copper, gold, silver, bronze, and tumbago (copper and gold). The pottery is often in the shape of a creature, or has a human figure sitting or standing on a cuboid bottle. The shiny black finish of most Chimú pottery was achieved by firing the pottery at high temperatures in a closed kiln, which prevented oxygen from reacting with the clay.
Condition overall a good condition, except for a 13 mm chip at the edge of the upper opening
Low Estimate: 1500;
High Estimate: 3000;
Original: Yes;
Circa: 1100 AD

Pre-Columbian Chimu (900-1470) terracotta jar 6 animals

Lot #473 (Sale Order 465 of 490)

Pre-Columbian Chimu (900-1470) terracotta jar with 6 animals design, Peru Weight: 9 oz. = 340 g; Height: 7 inches = 17 cm; Diameter: 4.25 inches = 11 cm; Origin: Peru; Date: 700 AD - 1350 AD; References: Chimu culture. The Chimú were the residents of Chimor, with its capital at the city of Chan Chan, a large adobe city in the Moche Valley of present-day Trujillo city. The culture arose about 900 AD. The Inca ruler Tupac Inca Yupanqui led a campaign which conquered the Chimú around 1470 AD. This was just fifty years before the arrival of the Spanish in the region. Consequently, Spanish chroniclers were able to record accounts of Chimú culture from individuals who had lived before the Inca conquest. Similarly, Archaeological evidence suggest Chimor grew out of the remnants of Moche culture; early Chimú pottery had some resemblance to that of the Moche. Their ceramics are all black, and their work in precious metals is very detailed and intricate. The Chimú resided on the north coast of Peru: "It consists of a narrow strip of desert, 20 to 100 miles wide, between the Pacific and the western slopes of the Andes, crossed here and there by short rivers which start in the rainier mountains and provide a series of green and fertile oases." The valley plains are very flat and well-suited to irrigation, which is probably as old as agriculture here. Fishing was also very important and was almost considered as important as agriculture. The Chimú were known to have worshipped the moon, unlike the Inca, who worshiped the sun. The Chimu viewed the sun as a destroyer. This is likely due to the harshness of the sun in their desert environment. Offerings played an important role in religious rites. A common object for offerings, as well as one used by artisans, was the shell of the Spondylus shellfish, which live only in the warm coastal waters off present-day Ecuador. It was associated with the sea, rainfall, and fertility. Spondylus shells were also highly valued and traded by the Chimú. The Chimú are best known for their distinctive monochromatic pottery and fine metal working of copper, gold, silver, bronze, and tumbaga (copper and gold). The pottery is often in the shape of a creature, or has a human figure sitting or standing on a cuboid bottle. The shiny black finish of most Chimú pottery was achieved by firing the pottery at high temperatures in a closed kiln, which prevented oxygen from reacting with the clay.
Condition there is a hairline crack about 10 cm long along the widest part of the jar
Low Estimate: 700;
High Estimate: 1500;
Original: Yes;
Circa: 1100;

Pre-Columbian Peruvian pottery jar w human face, Chimu 900AD

Lot #474 (Sale Order 466 of 490)

Pre-Columbian Peruvian pottery jar with human face, Chimu 900-1470 AD Height: 4.6" inches = 11.5 cm; Width: 3.25" x 3.75" = 8 cm x 9 cm; Age: 900-1470; Origin: Peru; Condition: very good; no chips, cracks or repairs. Provenance: When acquired it had a certificate inside saying it is Chimu, Peru circa 1200 AD, signed by Mendel Peterson. References: Chimu culture The Chimú were the residents of Chimor, with its capital at the city of Chan Chan, a large adobe city in the Moche Valley of present-day Trujillo city. The culture arose about 900 AD. The Inca ruler Tupac Inca Yupanqui led a campaign which conquered the Chimú around 1470 AD. This was just fifty years before the arrival of the Spanish in the region. Consequently, Spanish chroniclers were able to record accounts of Chimú culture from individuals who had lived before the Inca conquest. Similarly, Archaeological evidence suggest Chimor grew out of the remnants of Moche culture; early Chimú pottery had some resemblance to that of the Moche. Their ceramics are all black, and their work in precious metals is very detailed and intricate. The Chimú resided on the north coast of Peru: "It consists of a narrow strip of desert, 20 to 100 miles wide, between the Pacific and the western slopes of the Andes, crossed here and there by short rivers which start in the rainier mountains and provide a series of green and fertile oases." The valley plains are very flat and well-suited to irrigation, which is probably as old as agriculture here. Fishing was also very important and was almost considered as important as agriculture. The Chimú were known to have worshipped the moon, unlike the Inca, who worshiped the sun. The Chimu viewed the sun as a destroyer. This is likely due to the harshness of the sun in their desert environment. Offerings played an important role in religious rites. A common object for offerings, as well as one used by artisans, was the shell of the Spondylus shellfish, which live only in the warm coastal waters off present-day Ecuador. It was associated with the sea, rainfall, and fertility. Spondylus shells were also highly valued and traded by the Chimú. The Chimú are best known for their distinctive monochromatic pottery and fine metal working of copper, gold, silver, bronze, and tumbaga (copper and gold). The pottery is often in the shape of a creature, or has a human figure sitting or standing on a cuboid bottle. The shiny black finish of most Chimú pottery was achieved by firing the pottery at high temperatures in a closed kiln, which prevented oxygen from reacting with the clay.
Condition very good; no chips, cracks or repairs
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;
Circa: 1100 AD;

Pre-Columbian Nicoya Clay Jar from Costa Rica 500-800AD

Lot #475 (Sale Order 467 of 490)

Pre-Columbian Nicoya hand-crafted Clay Jar from Costa Rica, circa 500-800AD; Height: 2.5 inches = 55 mm; Diameter:2.75 inches = 65 mm; Weight: 102 g; Description: The bowl has nice form, and an excellent rich complex patina. Condition: There are accretions, mineralization, and root marks. No visible repairs; Provenance This jar was purchased from Jerry Weisberg Tribal Antiques, East San Francisco Bay, trading in Native American, tribal and ethnographic art, crafts and artifacts since 1973. Jerry bought it from the collector, Daniel Mejia, from Northern California, who is an advanced collector of Costa Rican Antiquities, and sold him a part of his immense collection. The collection was accumulated from major auction houses and galleries. The pot is guaranteed to be Pre-Columbian. This is based upon style, condition, accretions and patina
Condition: There are accretions, mineralization, and root marks. No visible repairs;
Low Estimate: 800;
High Estimate: 2000;
Original: Yes;
Circa: 600;

Pre-Columbian Moche Huaco terracotta jar double humanoid, 100-800AD

Lot #476 (Sale Order 468 of 490)

Pre-Columbian Moche Huaco terracotta jar, double humanoid, Peru. Weight: 220 g = 8 oz. Height: 14.5 cm = 6 in. Diameter of the base: 2 5 in. = 63mm x 55mm; Origin: Peru, I believe this was found in the old ruins of Chan-Chan. Date: Condition: 3 chips on the edge of the top opening (biggest - 1.2 cm long), no cracks, very good condition for the age Provenance: from collector of antiquities from Canada. It was brought by his parents from S. America. Full provenance is very interesting and is available on demand.
The Moche civilization (alternatively, the Mochica culture, Early Chimu, Pre-Chimu, Proto-Chimu, etc.) flourished in northern Peru with its capital near present-day Moche and Trujillo,[1] from about 100 AD to 800 AD, during the Regional Development Epoch. While this issue is the subject of some debate, many scholars contend that the Moche were not politically organized as a monolithic empire or state. Rather, they were likely a group of autonomous polities that shared a common elite culture, as seen in the rich iconography and monumental architecture that survive today.
The Moche cultural sphere is centered on several valleys on the north coast of Peru in regions La Libertad, Lambayeque, Jequetepeque, Chicama, Moche, Virú, Chao, Santa, and Nepena[4 ] and occupied 250 miles of desert coastline and up to 50 miles inland.
Condition 3 chips on the edge of the top opening (biggest - 1.2 cm long), no cracks, very good condition for the age.
Low Estimate: 1000;
High Estimate: 3000;
Original: Yes;
Circa: 400;

Pre-Columbian Llama carved Bone Flute Inca, Peru

Lot #477 (Sale Order 469 of 490)

Ancient Llama Bone Flute Inca, Peru. Length: 3 inches = 7.5 cm; Weight: 22.46 g;. Provenance: Bought at Prehistoric and Historic artifact Auction in Ohio, USA. References: The llama (Lama glama) is a domesticated South American camelid, widely used as a meat and pack animal by Andean cultures since pre-Hispanic times. The height of a full-grown, full-size llama is 1.7 to 1.8 m (5.5 to 6.0 ft) tall at the top of the head, and can weigh between 130 to 200 kilograms (280 to 450 lb). At birth, a baby llama (called a cria) can weigh between 9 and 14 kilograms (20 and 30 lb). Llamas can live for a period of about 2030 years depending on how well they are taken care of.[citation needed] Llamas are very social animals and live with other llamas as a herd. The wool produced by a llama is very soft and lanolin-free. Llamas are intelligent and can learn simple tasks after a few repetitions. When using a pack, llamas can carry about 25% to 30% of their body weight for 5-8 miles. The name llama (in the past also spelled 'lama' or 'glama') was adopted by European settlers from native Peruvians. Llamas appear to have originated from the central plains of North America about 40 million years ago. They migrated to South America about 3 million years ago. By the end of the last ice age (10,00012,000 years ago), camelids were extinct in North America.[1] As of 2007, there were over 7 million llamas and alpacas in South America and, due to importation from South America in the late 20th century, there are now over 158,000 llamas and 100,000 alpacas in the US and Canada.

The Inca Empire or Inka Empire[2] (Quechua: Tawantinsuyu[pronunciation?]) was the largest empire in pre-Columbian America.[3] The administrative, political and military center of the empire was located in Cusco in modern-day Peru. The Inca civilization arose from the highlands of Peru sometime in the early 13th century, and the last Inca stronghold was conquered by the Spanish in 1572.

From 1438 to 1533, the Incas used a variety of methods, from conquest to peaceful assimilation, to incorporate a large portion of western South America, centered on the Andean mountain ranges, including, besides Peru, large parts of modern Ecuador, western and south central Bolivia, northwest Argentina, north and central Chile, and a small part of southern Colombia into a state comparable to the historical empires of Eurasia.

Condition natural bone aging, no defects;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;
Circa: 1500;

Pre-Columbian Toltec (800-1000 AD) Mysterious Jade Man

Lot #478 (Sale Order 470 of 490)

Pre-Columbian Toltec (800-1000 AD) Mysterious carved Jade figurine, 20 cm. Height: 8 in. = 20 cm. Weight: 2 lb. 6 oz. = 1100 g = 1 kg 100g. Age: 800-1000 AD. Condition: Very good, partially translucent jade, old hand-made carving, small superficial 2-mm chip on the nose. No other defects. The Toltec culture is an archaeological Mesoamerican culture that dominated a state centered in Tula, in the early post-classic period of Mesoamerican chronology (ca 800-1000 CE). The later Aztec culture saw the Toltecs as their intellectual and cultural predecessors and described Toltec culture emanating from Tlln ['tolan] (Nahuatl for Tula) as the epitome of civilization; indeed in the Nahuatl language the word "Tltcatl" [tol'tekat] (singular) or "Tltcah" [tol'teka] (plural) came to take on the meaning "artisan". The Aztec oral and pictographic tradition also described the history of the Toltec Empire, giving lists of rulers and their exploits. Among modern scholars it is a matter of debate whether the Aztec narratives of Toltec history should be given credence as descriptions of actual historical events. While all scholars acknowledge that there is a large mythological part of the narrative, some maintain that by using a critical comparative method some level of historicity can be salvaged from the sources. Others maintain that continued analysis of the narratives as sources of actual history is futile and hinders access to actual knowledge of the culture of Tula, Hidalgo. Other controversies relating to the Toltecs include how best to understand the reasons behind the perceived similarities in architecture and iconography between the archaeological site of Tula and the Mayan site of Chichén Itzá. No consensus has yet emerged about the degree or direction of influence between these two sites.
Condition: Very good, partially translucent jade, ancient tools hand-made carving, small superficial 2-mm chip on the nose. No other defects.
Low Estimate: 30000;
High Estimate: 60000;
Original: Yes;
Circa: 900;

Pre-Columbian carved stone humanoid Peru, 200BC-600CE

Lot #479 (Sale Order 471 of 490)

Pre-Columbian carved stone humanoid Ancient Peru, Recuay culture, circa 200 BC-600 CE. A stone figure of an anthropomorphic figure in begging or kneeling position. Height: 5.5 inches = 14 cm. Width: 6 inches = 15 cm. Weight: 2 kg. Provenance: Property of a London gentleman, acquired through heritage. Recuay, pre-Columbian culture and site near present-day Recuay in the Callejón de Huaylas Valley of the northern highlands of Peru. Recuay culture dates to the Early Intermediate Period (c. 200 BC-AD 600) and was contemporaneous with the Moche culture of the neighbouring northern coast. Recuay is best known for its distinctive pottery, which features a type of decoration in three colours and a style of modeling in which small figures of men, jaguars, llamas, and other animals are affixed to the vessel. Recuay stone carving is related to that of the Pucará and Tiwanaku cultures.
Condition Genuine natural wear, no defects;
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Circa: 100;

Rare Pre-Columbian carved stone mortar Peru 200BC-600AD

Lot #480 (Sale Order 472 of 490)

Pre-Columbian carved stone mortar, Ancient Peru, Recuay culture circa 200 BC-600 AD. A large stone mortar with an anthropomorphic figure with bracelets-like in his wrists. Size: 9.5 inches x 7 inches = 24cm x 18cm. Weight: 5 kg. Provenance: Property of a London gentleman, acquired through heritage. Condition: Natural wear of stone, no defects. Recuay, pre-Columbian culture and site near present-day Recuay in the Callejón de Huaylas Valley of the northern highlands of Peru. Recuay culture dates to the Early Intermediate Period (c. 200 BC-AD 600) and was contemporaneous with the Moche culture of the neighbouring northern coast. Recuay is best known for its distinctive pottery, which features a type of decoration in three colours and a style of modeling in which small figures of men, jaguars, llamas, and other animals are affixed to the vessel. Recuay stone carving is related to that of the Pucará and Tiwanaku cultures.
Condition: Genuine natural wear of stone, no defects;
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Circa: 100;

Ancient American Carved Stone Bowl 3 eagle handles

Lot #481 (Sale Order 473 of 490)

Ancient American Carved Steatite Stone Bowl with 3 eagle handles; Height: 2 inches = 52 mm; Weight: 110 g; Condition: No defects, pleasant to touch; Provenance: Bought at Prehistoric and Historic artifact Auction in Ohio, USA. References: As with many American Indian arts, there were originally many different native sculpture traditions in North America. In the Southwest, Indian sculptors carved small stone figurines in animal, human, and supernatural shapes, usually known as "storytellers" or "fetishes." Further to the north, the Inuit ("Eskimos") carved ceremonial dance masks from wood and figurines from ivory and soapstone. Soapstone (also known as steatite or soaprock) is a metamorphic rock, a talc-schist. It is largely composed of the mineral talc and is thus rich in magnesium. It is produced by dynamothermal metamorphism and metasomatism, which occurs in the areas where tectonic plates are subducted, changing rocks by heat and pressure, with influx of fluids, but without melting. It has been a medium for carving for thousands of years. Historical Uses Soapstone is used for inlaid designs, sculpture, coasters, and kitchen countertops and sinks. The Inuit often use soapstone for traditional carvings. Some Native American tribes and bands make bowls, cooking slabs, and other objects from soapstone; historically, this was particularly common during the Late Archaic archaeological period.[2] Locally quarried soapstone was used for gravemarkers in 19th century northeast Georgia around Dahlonega and Cleveland, as simple field stone and "slot and tab" tombs. Vikings hewed soapstone directly from the stone face, shaped it into cooking-pots, and sold these at home and abroad.[3] Soapstone is sometimes used for fireplace surrounds and woodstoves, because it can absorb and evenly distribute heat while being easy to manufacture. It is also used for counter tops. A weathered or aged appearance will occur naturally over time as the patina is enhanced. Applying mineral oil simply darkens the appearance of the stone; it does not protect it in any way.
Condition No defects, pleasant to touch;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;
Circa: 500-1500 AD;

Antique American huge Iron Key, 18th-19th century

Lot #482 (Sale Order 474 of 490)

Antique American huge Iron Key, 18th-19th century Length: 163 mm; Weight: 157.24 g; Condition: natural rust and oxidation
Condition natural rust and oxidation
Low Estimate: 100;
High Estimate: 500;
Original: Yes;
Circa: 1800;

Cinese(?)Carved jade erotic figurine- Phallus Riding a Dog, 22cm

Lot #483 (Sale Order 475 of 490)

Chinese (?) Middle Eastern(?) Carved jade erotic figurine - Phallus riding a dog. An undated archaistic carved figurine depicting a phallus, riding a dog. Weight: 1.7 kg = 3.5 lb. Height: 22 cm = 8 ½ in. Provenance: Property of a London Gentleman; acquired before 1990. Condition report: Fine, normal age wear.
Condition: Fine, normal age wear, no defects;
Low Estimate: 1000;
High Estimate: 3000;

Antique Chinese erotic carved Jade statue Cicada

Lot #484 (Sale Order 476 of 490)

Antique Chinese erotic carved Jade statue Cicada, Length: 7.5 in. = 19 cm; Weight: 2 lb. = 950 g; Age: unknown;
Condition: Very good, no cracks, refer to all scratches;
Low Estimate: 1000;
High Estimate: 2000;

Erotic carved Chinese jade- Long Ears, 11.5 in= 28 cm

Lot #485 (Sale Order 477 of 490)

Erotic carved Chinese jade- Long Ears. Length: 11.5 inches = 28 cm. Diameter: 1.75 -2.5 inches = 4.5 - 6 cm. Weight: 1500 g = 3 lb. 4 oz. Age: unknown;
Condition Perfect, no cracks, refer to all scratches;
Low Estimate: 1000;
High Estimate: 3000;

Mediterranean carved stone 2-sided seal, people & goat

Lot #486 (Sale Order 478 of 490)

Mediterranean culture, carved stone 2-sided stamp seal, people and a goat. An undated archaistic stone stamp seal, pierced transversely; to one face a standing and a kneeling men figures with a goat in between; the other face similar with seated figures (man and woman) and a goat. Weight: 24 gram; Width: 48 mm = 2 inches; Provenance: from a Buckinghamshire gentleman; acquired in the early 1980s;
Condition: Fine, insignificant scratches.
Low Estimate: 1000;
High Estimate: 2000;

Near Eastern carved Stone Zoomorphic Duck cup figurine

Lot #487 (Sale Order 479 of 490)

Near Eastern carved Stone Zoomorphic figurine with a cup, 2.5 kg, 21 cm. An undated archaistic carved figurine depicting a crouching Duck quadruped with large, bulbous head; the tail re-curved to the rear, terminating in a stepped cup. Weight: 2.5 kg; Height: 21 cm = 8 ¼ in. Provenance: Property of a London (UK) Gentleman; acquired before 1990. Condition report: Fine condition.
Condition Fine condition, the edges of the cup are chipped (see photos);
Low Estimate: 1000;
High Estimate: 2000;

Mysterious NE Elephant stone carving libation cup

Lot #488 (Sale Order 480 of 490)

Mysterious Elephant stone carving libation cup, 18.5 cm Near Eastern Style Stone Zoomorphic Figurine An undated archaistic carved figurine depicting a standing elephantoid beast with tusks and curled trunk; to the rear an upright tail, terminating in a stepped cup. Weight: 2.2 kg, Height: 18.5 cm = 7 ¼ in. Provenance: Property of a London (UK) Gentleman; acquired before 1990. Condition report: Fine condition
Condition Fine condition, age wear;
Low Estimate: 1000;
High Estimate: 2000;

Chinese archaistic steatite stone Stork carving

Lot #489 (Sale Order 481 of 490)

Chinese archaistic steatite stone Stork carving, 30 cm. An undated archaistic carved figurine of a stork standing with vegetation. Weight: 4 lb. 4 oz. = 2 kg. Height: 30 cm = 11 ¾ in. Provenance: Property of a London Gentleman; acquired before 1990.
Condition Fine condition, chipped.
Low Estimate: 400;
High Estimate: 800;

Dreamy camel, - Asian stone figurine, 1.4 kg, 18.5cm

Lot #490 (Sale Order 482 of 490)

Dreamy camel, - Asian stone figurine, 1.4 kg, 18.5cm. An undated carved figurine of a beast's head with blunt snout, lentoid eyes, small ears and expanded cheeks, the neck long, tapering and D-section. Weight: 3 lb. = 1.4 kg, Height: 7 ¼ in. = 18.5 cm. Provenance: Property of a London Gentleman; acquired before 1990.
Condition: normal age wear;
Low Estimate: 500;
High Estimate: 2000;

Tanzania TREE OF LIFE Ebony wood carving MPINGA, 44cm

Lot #491 (Sale Order 483 of 490)

TREE OF LIFE WOOD CARVING MPINGA BLACKWOOD /EBONY FROM TANZANIA 17 1/2" MADE OF AFRICAN BLACKWOOD EBONY STUNNING POLISHED FINISH THE DETAILED CARVING ON THIS PIECE INCLUDES MEN/WOMEN INTERTWINED AND SITTING ON TOP OF EACH OTHER. SOME ARE CARRYING BASKETS, TOOLS, THE VERY TOP IS A BASKET OF FULL OF COAL (?) CARVING IS HOLLOW BETWEEN THE FIGURES, TO HOLLOW CENTER, MANY HOURS MUST HAVE BEEN SPENT ON THIS STUNNING SCULPTURE! WEIGHT: 1300g = 2 lb. 13 oz. HEIGHT: 17 " TALL THE BASE IS: 4" D FROM THE MAKONDE, - A TRIBE FROM SOUTHERN TANZANIA KNOWN FOR THEIR EXCEPTIONAL WOOD CARVING VERY GOOD CONDITION
Condition: excellent, refer to the photos;
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;
Circa: 1950

Genuine carved Ebony wood Head of Girl, Africa, 23 cm

Lot #492 (Sale Order 484 of 490)

Ebony wood carved statue Head of girl, Africa, Weight: 1 lb. 5 oz. = 600 g. Height: 9 inches = 23 cm
Condition: used, insignificant scratches, but no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;
Circa: 1930;

Miraculous carved wooden Fertility Goddess talisman, Africa

Lot #493 (Sale Order 485 of 490)

It works!!!! Amulet, which helps to protect fertility and promotes healthy pregnancy; Height: 27.5" = 68 cm. Weight netto: 8 lb.= 3.6 kg. Weight with packing: 15 lb. = 7 kg.
Condition: used, normal age wear of the wood;
Low Estimate: 2000;
High Estimate: 6000;
Original: Yes;
Circa: 1900;

Carved teak wood Rhinoceros, Africa, Kenya, 26cm,

Lot #494 (Sale Order 486 of 490)

Genuine carved teak wood Rhinoceros, from Africa, Kenya, 720 g, 11 inches = 26 cm. Hand-made carved and polished real teak wood, Weight: 720 g = 1 lb. 10 oz. Length: 26.5 cm = 11 inches
Condition Excellent, no defects;
Low Estimate: 800;
High Estimate: 1500;
Original: Yes;
Medium: Wood;
Circa: 2000;

Carved drifted wood Fantasy Tropical Big Fish, Wood Hawk

Lot #495 (Sale Order 487 of 490)

Carved heavy drifted wood Fantasy Tropical Big Fish, signed by Wood Hawk. Approximate weight: 15-20 lb. Approximate length: 10 feet. Signed by artist: Wood Hawk, Florida, USA. Shipping in USA: FEDEX or UPS ground International shipping is available, ask for shipping rates, please.
Condition very good, covered with lacquer to protect wood;
Low Estimate: 600;
High Estimate: 1500;
Original: Yes;
Medium: Wood;
Circa: 2000;

Carved drifted wood Tropical Small Fish, by Wood Hawk

Lot #496 (Sale Order 488 of 490)

Carved heavy drifted wood Fantasy Tropical Small Fish, signed by Wood Hawk Approximate weight: 10-15 lb. Approximate length: 8-10 feet Signed by artist: Wood Hawk, Florida, USA Condition: very good, covered with lacquer to protect wood Shipping in USA: FEDEX or UPS ground International shipping is available; ask for shipping rates, please.
Condition: very good, covered with lacquer to protect wood;
Low Estimate: 500;
High Estimate: 1500;
Original: Yes;
Medium: Wood;
Circa: 2000;

Mongolian Leather Shamans Prayer wheel, Shamanism

Lot #497 (Sale Order 489 of 490)

Mongolian Leather Shamans Prayer wheel, Shamanism. Size: 12 in. = 30 cm. Weight: 200 g = 8 oz. Age: 75-250 years old. Provenance: bought in Mongolia.
Condition heavily used in religious practice, good for the age, sold as is.
Low Estimate: 400;
High Estimate: 1200;
Original: Yes;
Circa: 1900;

Mongolian Red Cloth Shamans Prayer wheel, Shamanism

Lot #498 (Sale Order 490 of 490)

Mongolian Red Cloth Shamans Prayer wheel, Shamanism. Size: 15.5 in. = 39 cm. Weight: 450 g = 1 lb. Age: 75-250 years old. Provenance: bought in Mongolia.
Condition heavily used in religious practice;
Low Estimate: 400;
High Estimate: 1200;
Original: Yes;
Circa: 1900;


Eternity Masterpieces - November 2014
Fine Art & Rare Memorabilia > Eternity Gallery > Eternity Masterpieces - November 2014
Eternity Masterpieces - November 2014
by Eternity Gallery Event Begins: Friday, October 24, 9:00 AM Eastern First lots ends Sunday, November 23, 1:00 PM Eastern Last lot ends Sunday, November 23, 3:45 PM Eastern Fine Art & Antiques from all over the world including paintings, porcelain, bronzes, coins, wood carvings, etc.