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Auction Description for Auctionata: Antiques from Asia and Europe
Viewing Notes:
A preview at Auctionata on Aug 05/06 is only possible by appointment. Tel: +49 30 9832 0221, Email: sales@auctionata.com
Sale Notes:
The auction covers a wide spectrum across centuries and continents - from Antiquity to the 20th century, from Europe to Asia. Objects from ancient Rome are waiting for sophisticated collectors. High-quality porcelain from Europe, like the playfully Chinese Boys from the Meissen manufactory, serves as a reminder of the China-craze of the 18th century. Also to be auctioned are Chinese Qing Dynasty jade pieces as well as Japanese Meiji Period ivory carvings. Few other artists embody the German history of the 20th century like Arno Breker, whose strong worker from the 1950s is a reflection on the reconstruction period. Naturally we have other pieces for you as well, such as services by Rosenthal and Herend, a beautiful KPM mantelpiece clock and a few special curiosities for your own private cabinet of wonder...

Antiques from Asia and Europe

by Auctionata


75 lots with images

August 9, 2013

Live Auction
75 Lots
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Rare Mesopotamian Necklace with Gold and Carneols, 1000 BC

Lot 1: Rare Mesopotamian Necklace with Gold and Carneols, 1000 BC

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Description: Auction announcements 16 July 2013 Lot 1: The necklace was restrung. Mesopotamia, 1500-1000 BC 14 carneols and agates, 10 gold pearls, 12 gold spirals, one ceramic pearl with inclusions Gold hook clasp Unusual necklace Length: 43.5 cm Good state of conservation This beautiful necklace was made in Mesopotamia between 1500 and 1000 BC. It is composed of 14 carneols & agates, 10 gold pearls, 12 gold spirals and a ceramic pearl with inclusions in different colours (white and turquoise). The carneols are cylindrical and irregularly formed. The gold pearls are round and decorated with fine granulations in six circles. The gold spirals are tightly twisted and shape small cylinders, four hang down from one end in the middle and flank the large ceramic pearl. The ceramic pearl is unusually shaped of two cylindrical corpuses combined. The necklace runs through the small cylinder above, the larger lower cylinder is decorated with four turquoise inclusions. Both cylinders are embellished with symmetrical, ornamental white inclusions. The necklace is closed with a gold hook and is 43.5 cm long. The necklace is well-conserved with only few imperfections. Mesopotamian jewellery Jewellery was made of gold, siver, bronze and glass in Mesopotamia. The metals were decorated with colourful stones, for example lapis lazuli, carneol, jasper and agate. The colours and materials were often ascribed to certain gods. Jewellery was used in daily life as well as for the decoration of statues and idols. Different metal techniques were used in the workshops to create these wonderful, unusual pieces of jewellery.

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Five Etruscan Miniature Bronze Lions, 5th Century BC

Lot 2: Five Etruscan Miniature Bronze Lions, 5th Century BC

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Description: Etruscan (Etruria, today's Italy), 5th Century BC Bronze miniatures, malachite patina With tangs on the underside Finely modeled Incised details Dimensions: each 3.7 x 1 x 2 cm Very good condition These five Etruscan lions were cast in bronze in Etruria, today's Italy in the 5υth Century BC. The lying lions are finely modeled with incised detailing. They all have tangs on the underside. The lions are in very good condition with a delightful, original patina. The dimensions are each 3.7 x 1 x 2 cm. Etruscan art Wall paintings, urns and bronze figures are regarded as some of the most beautiful artifacts of European cultural history. Art was a means of expression for human emotions, rather than for the shaping of aesthetic ideals, this is still visible today in the magnificent, individual works. Etruscan bronzes were used in trade, their high quality and elegant works were sold to or swapped with the Alpine tribes so that the Etruscans could travel their empire. Bronze statuettes in all sizes and shapes also belonged to the production and today the Etruscans are famous above all for their metal workmanship.

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Ring-shaped Bronze Ornament with Birds, La Tène culture, 350 BC

Lot 3: Ring-shaped Bronze Ornament with Birds, La Tène culture, 350 BC

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Description: La Tène culture, Great Britain, around 400 to 300 BC Bronze with green patina Large ring-shaped ornament Stylized bird decoration Diameter: 10.5 cm Very good condition This ring-shaped bronze ornament is from Great Britain, where it was made in the La Tène culture around 400 to 300 BC. The large ornament shows a charming detail: on the one side there are two stylized birds who are looking at each other! The ring-shaped ornament was possibly an upper-arm bracelet, a doorknocker or part of a bridle - an object of daily use which is now a historical artwork! The beautifully green-patinated bronze is in very good condition. The diameter is 10.5 cm.

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Canosan Terracotta of 2 Standing Figures, Apulia, 3rd C. BC

Lot 4: Canosan Terracotta of 2 Standing Figures, Apulia, 3rd C. BC

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Description: Canosa, Apulia (Italy), ca. 3rd Century BC Terracotta with pale pink, yellow and blue pigments on a white ground Two females with draped clothes Dimensions: 22.5 x 12 x 5 cm This Canosan terracotta sculpture of two standing females with draped clothes was made in Apulia in the 3υrd Century BC. This beautiful example of the popular antiquity shows remnants of pale pink, yellow and blue pigments on a white ground. The figures are standing in contrapposto with their clothes elegantly draped around them. The faces are beautifully worked with fine features. The terracotta sculpture shows traces of age with some material and colour loss, as well as visible repairs with remainders of glue. Canosan pottery Canosa was an ancient Greek colony in Apulia (southern Italy) which produced unglazed pottery in the 4υth to 3υrd Century BC. The smooth ceramic forms left a white ground after being fired and were then embellished beautifully. They are decorated in subtle colours with pastel pigments.

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Etruscan Bronze Votive Figure of Hercule after Antique Model

Lot 5: Etruscan Bronze Votive Figure of Hercule after Antique Model

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Description: Bronze, malachite patina Votive figure Classical depiction of Hercules Atypical Archaic pose Dimensions: 7.5 x 4 x 13 cm This Etruscan votive figure was cast in bronze after an antique model, but a bit later. Hercules with a beard is standing facing the front in an archaic pose. His left arm is raised in a threatening gesture with his clenched fist. The figurine stands on a round plinth. The malachite patina shows notches. The dimensions are 7.5 x 4 x 13 cm. Etruscan art Wall paintings, urns and bronze figures are regarded as some of the most beautiful artifacts of European cultural history. Art was a means of expression for human emotions, rather than for the shaping of aesthetic ideals, this is still visible today in the magnificent, individual works. Etruscan bronzes were used in trade, their high quality and elegant works were sold to or swapped with the Alpine tribes so that the Etruscans could travel their empire. Bronze statuettes in all sizes and shapes also belonged to the production and today the Etruscans are famous above all for their metal workmanship.

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Feline Stalking Bronze, 100 BC - 100 AD

Lot 6: Feline Stalking Bronze, 100 BC - 100 AD

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Description: Later Hellenistic or early Imperial periods, ca. 1st Century BC - 1st Century AD Bronze, malachite patina Felien stalking Beautifully modeled with fine features Dimensions: 15 x 3.5 x 5.5 cm Very good condition This feline was cast in bronze in later Hellenistic or early Imperial periods, ca. 1st C. BC - 1st C. AD. The pacing lioness is beautifully modeled with fine feline features which appear incredibly naturalistic. The large feline - a lioness or panthress - (pantera being the Latin word for a large feline) moves slowly forward. Her body is rather thin; the rib-cage is outlined. The animal is slightly crouched, its right leg is advanced, the body is gently curved to the right, the head is lowered as if following a scent. The ears are at attention, the muzzle seems somewhat drawn back, some of the very fine details still shine through the patina. The eyes are large and deeply set as is customary with such animals. The long tail is curving slightly. The muscles are given in large by the artist, with compact details throughout, emphasizing the distinct segments of the body, for example the hollows in the haunches, the strand along the rib cage etc. The legs have been treated as rounded elements with relatively little detail, some sinews, and the paws with minimal anatomical correctness but conveying the power and strength. The bronze is complete and in good condition. Some minor abrasions are visible and there might be a possible loss of details at tip of tail. The green ' Malachite' patina is irregular in places, but overall in remarkably good condition. Surface details somewhat worn but still discernible (snout, surface of body, haunches etc.). The object seems to have been worked on AFTER its creation and at an unknown time. Then the underside of the belly has been flattened (filed?) which cut into the fringes of thick fur along the sides of the belly. The alteration is, however, minimal and does not diminish the impression of this powerful, small scale animal sculpture. The feline is in very good condition, the dimensions are 15 x 3.5 x 5.5 cm. Chronology and Technique The realistic impression that the lively surface-work conveys speak for a later period than conventional Etruscan. The object was created in the later Hellenistic or early Imperial periods, ca. 1st c. BC - 1st c. AD. The bronze has been solid cast, cold work. Originally fastened to a larger object such as a chair, box etc. Separation from ground visible underneath paws.

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Roman Bronze Votive Figure of a Draped Man, 2nd Century

Lot 7: Roman Bronze Votive Figure of a Draped Man, 2nd Century

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Description: Roman, 2nd to 3rd Century Bronze with a Malachite patina Fine votive figure Detailed decoration Dimensions: 9.5 x 5.5 x 2 cm This Roman votive figure was cast in bronze in the 2υnd to 3υrd Century in Ancient Rome, today's Italy. The draped man is finely depicted with a heavy drape and a Phrygian cap, holding a patera. The tang on the underside seems to have been broken off. The dimensions are 9.5 x 5.5 x 2 cm. Roman bronzes Bronze figures were extensively imported to Rome well into the 2nd Century before Christ and were part of the luxury good there, yet later, during the economic boom they were widespread. So far that there were no longer only workshops in Rome but in many of the other provinces, too, where bronze works were made. Religion and daily life were so intertwined that religious bronze figures became everyday companions to the Romans and protected them.

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Roman Bronze Votive Figure of a Draped Woman, 2nd Century

Lot 8: Roman Bronze Votive Figure of a Draped Woman, 2nd Century

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Description: Roman, 2nd to 3rd Century Bronze, malachite patina Stylized votive figure With tang on the underside Dimensions: 14 x 5.5 x 3 cm This Roman votive figure was cast in bronze in the 2υnd to 3υrd Century in Ancient Rome, today's Italy. The draped woman is depicted in a stylized manner, her robes, body and head are only delineated, the workmanship of details was abandoned. The tang on the underside is at the same time a plinth. The malachite patina shows notches. The dimensions are 14 x 5.5 x 3 cm. Roman bronzes Bronze figures were extensively imported to Rome well into the 2nd Century before Christ and were part of the luxury good there, yet later, during the economic boom they were widespread. So far that there were no longer only workshops in Rome but in many of the other provinces, too, where bronze works were made. Religion and daily life were so intertwined that religious bronze figures became everyday companions to the Romans and protected them.

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Chimu Copper Tumi Sacrificial Knife, pre-Columbian, 900-1200 AD

Lot 9: Chimu Copper Tumi Sacrificial Knife, pre-Columbian, 900-1200 AD

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Description: Auction announcements 09 August 2013 Lot 9: Correct estimate price: 1600 Euro. Copper Chimu-Labayeque culture, 900-1200 AD Tumi (sacrificial knife) Dimensions: 29.5 x 15 cm Very good conservation Beautiful Malachite Patina This wide tumi sacrificial knife of copper is from the pre-Columbian Chimu-Labayeque culture. The blade of this tumi, too, shows the typical semi-circular shape, the handle runs down vertically from the middle. The herring-bone patterned textile remnants on the tumi indicate the usual use of the knife: in these cultures they were laid on the corpse's chest. The tumi shows a beautiful, age-related patina (with textile remnants) and is in very well conserved.

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Fine Ceramic Urn, China, Tang Dynasty, 7th/8th Century

Lot 10: Fine Ceramic Urn, China, Tang Dynasty, 7th/8th Century

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Description: Partly glazed ceramic urn China, Tang dynasty (618-907) Two small handles on the shoulder Original lid Very good condition Rarity! Dimensions: 22 cm (height with lid), 19 cm (max. diameter), 11.3 cm (base diameter) This rare ceramic urn is a fine example of ceramic art during the Tang dynasty. The craquelure of the monochrome, chamois-coloured glaze in the upper section of the urn, which is also glazed inside, is particularly fine. Besides the partial glazing, two small handles on the shoulder are the only embellishment of this bulbous urn with original lid.The urn is in very good condition. It displays minor repairs on the handles and the knob of the lid. The glaze is cracked on one side as well as on the lid, possibly production-related. This beautiful ceramic work from the Tang dynasty is 22 cm high with the lid, has a maximum diameter of 19 cm and a base diameter of 11.3 cm.

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Carved Ivory Okimono,

Lot 11: Carved Ivory Okimono, "Tiger", Japan, Meiji Period

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Description: Japan - Meiji period (1868-1912) Ivory Okimono Fine chiseling and carving Craved from one piece Length: 7.5 cm This Japanese ivory Okimono dates to the Meiji period (1868-1912). The figural depiction shows a lying tiger about to rise. The powerful animal is portrayed in an archaic style with a wide-open mouth, bulging nose and pronounced eyes. The teeth, the tongue and the claws are tangibly sharply carved. The long tail is elaborately swung.The Okimono is in good condition with thin age hairlines and minor chips to the ears. The dimensions are 5.9 cm (height) and 7.5 cm (length).Okimono The literal translation of the word "Okimono" is "put thing", meaning "object for display". The term denotes Japanese art carvings, which developed in the 19υth century out of Netsuke craft. The reason for this was an incisive change in Asian everyday fashion. European clothing became chic and invariably superseded the Kimono, to which Netsuke were worn. The now unemployed Netsuke artists began to make larger objects, which were very popular abroad as well.

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Lidded Ivory Box

Lot 12: Lidded Ivory Box "Monkeys", Japan, Meiji Period

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Description: Japan, Meiji period (1868-1912) Ivory Lid carved in high relief Beautiful, honey and amber patina Cartouche with artist signature on the lid Dimensions: 10 x 6.8 cm This elegant box made of ivory originates from Japan and dates to the Meiji period (1868-1912). The piece is rectangular, flat, with rounded edges and features a folding lid, on which we see the extremely finely carved motif of two monkeys with a tortoise. In addition, the lid features a sublime cartouche with the artist's signature.The lidded box is of appealing optical appearance with usual signs of wear and few age hairlines. Yet the lid shows two repaired breakages. The ivory has a beautiful, honey and amber-coloured patina. The dimensions are 10 cm (width) x 6.8 cm (depth).

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Cylindrical Lidded Ivory Box,

Lot 13: Cylindrical Lidded Ivory Box, "Fu Dogs", China, Qing Dynasty

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Description: China - Qing dynasty, 19th century Ivory with horn and carnelian inserts Cylinder with figural ornamented screw lid Fine carving Partly reticulated Beautiful honey patina With crossed carving mark Height: 5.6 cm This beautiful ivory carving dates to the Chinese Qing dynasty in the 19υth century. It is a cylinder-shaped container that was used to store snuff tobacco. It features a figural screw lid with two Fu dogs lying next to each other. An ornamentally reticulated and hollowly carved sphere is located between their heads. It is attached to a cord, which the larger dog is holding in its open mouth that has sharp teeth and a moveable tongue. While the larger Fu dog has black horn inserts as eyes, the smaller one's eyes consist of brown carnelian inserts.The ivory is in good condition with usual traces of wear and minor age hairlines. The lid itself displays a small opening to pour out the snuff tobacco. This opening is sealed off when the miniature plate is in place, additionally there is a second inner lid. On the base of the cylinder, the inside of the lid and the inner lid plate, there is one crossed, carved mark each. The ivory has a beautiful, honey patina full of character. The dimensions are 5.6 cm (height) and 3.1 cm (base diameter).Fu dogs Fu dogs, also known as guardian lions, are miracle-working, mystical beings with protective powers in Chinese mythology. The male dogs are depicted with a sphere, the female ones with a whelp. There are different interpretative approaches to the sphere: it presumably symbolises the earth, but is also described as the sun, a treasure or simply a ball of wool.

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Pair of Ivory Okimono

Lot 14: Pair of Ivory Okimono "Nursing Sheep", Japan, Meiji Period

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Description: Japan - Meiji period (1868-1912) Ivory Okimono with base Fine chiseling and carving Each carved from one single piece of ivory Height of each 5.1 cm This pair of Japanese ivory Okimono on an integrated oval base dates to the Meiji period (1868-1912). They show two groups of figures that were identically conceived, inverted and each carved from one single piece of ivory. The Okimono depict a nursing ewe with a rein and a string, turning its head towards its lamb. Her eyes have long lashes, giving her a humourous facial expression. The thick, diamond-shaped wool of the adult animal is distinctively different from the finely chiseled locks of the young.The Okimono display glued breakages on the legs of the ewes and mouths of the lambs, whereas the left hind leg of one of the ewes shows quite some material loss. The dimensions are 5.1 cm (height) and 6 cm (maximum diameter).Okimono The literal translation of the word "Okimono" is "put thing", meaning "object for display". The term denotes Japanese art carvings, which developed in the 19υth century out of Netsuke craft. The reason for this was an incisive change in Asian everyday fashion. European clothing became chic and invariably superseded the Kimono, to which Netsuke were worn. The now unemployed Netsuke artists began to make larger objects, which were very popular abroad as well.

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Ivory Toggle

Lot 15: Ivory Toggle "Monkey with Young", China, Qing Dynasty

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Description: China, Qing Dynasty -18th or 19th Century Ivory carving Partly reticulated Hand charmer with beautiful patina Dimensions: 3.5 x 3.2 cm This toggle carved of ivory dates back to the 18υth or 19υth century in Qing Dynasty China. The elaborate handicraft shows the humorous depiction of a seated mother monkey having her arms lovingly wrapped around her young and holding it close to her body. In the Buddhist doctrine the monkey embodies foolishness. Stupid at first, he learns from his mistakes and acquires adaptability, reliability and promise of salvation. On the front, there are three holes that form naturally from the shape of the motive. Only two of them serve as a cord hole and break through the ivory - one at the bottom, the other at the smooth worked rare surface. The ivory is in good condition with usual traces of use and significant age cracks. The hand charmer has gently rounded edges and features a beautiful, honey-coloured patina. The measures are 3.5 x 3.2 cm. Chinese Toggles Chinese toggles serve the same purpose as their equivalent, the Japanese Netsuke. As a counterweight to a carrying pouch the small carvings were attached with a cord to the belts of the pocketless Asian clothing. Thus, it was possible to carry smaller items such as pipes, tobacco, money or other personal belongings. Most often toggles were made ​​of wood, but many other materials like ivory, jade, agate, glass, metal, porcelain, shells or amber were used as well. The motifs were very varied including different Buddhist symbols and themes from Chinese mythology such as Lotus, monkeys, bamboo, falcons, bats, pumpkins, peaches, plums, or butterflies. Over time, the meaning of toggles transformed from an implement to an object of personality and status. They were worn as symbolic amulets, which when rubbed should help to longevity, fertility, happiness and health.

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Ivory Toggle

Lot 16: Ivory Toggle "Lotus Capsule", China, Qing Dynasty

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Description: China, Qing Dynasty - 18th or 19th Century Ivory carving Partly reticulated Hand charmer with beautiful patina Dimensions: 2.3 x 4.1 cm This toggle carved of ivory dates back to the 18th century in Qing Dynasty China. The elaborate handicraft displays a Lotus plant, which symbolizes purity, fertility and offspring. It clearly shows the stem, the leaf and the seed vessel. At the top there is a cord hole that forms naturally from the twine of the stem. The ivory is in good condition with usual traces of use and an age crack. The hand charmer has gently rounded edges and features a beautiful honey-coloured patina. The measures are 2.3 x 4.1 cm. Chinese Toggles Chinese toggles serve the same purpose as their equivalent, the Japanese Netsuke. As a counterweight to a carrying pouch the small carvings were attached with a cord to the belts of the pocketless Asian clothing. Thus, it was possible to carry smaller items such as pipes, tobacco, money or other personal belongings. Most often toggles were made ​​of wood, but many other materials like ivory, jade, agate, glass, metal, porcelain, shells or amber were used as well. The motifs were very varied including different Buddhist symbols and themes from Chinese mythology such as Lotus, monkeys, bamboo, falcons, bats, pumpkins, peaches, plums, or butterflies. Over time, the meaning of toggles transformed from an implement to an object of personality and status. They were worn as symbolic amulets, which when rubbed should help to longevity, fertility, happiness and health.

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Two Stag Horn Toggles

Lot 17: Two Stag Horn Toggles "Ginseng Root", China, Qing Dynasty

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Description: China, Qing Dynasty - 18th Century Ivory carving Partly reticulated Hand charmer with beautiful patina Length: 10 and 10.9 cm This pair of toggles is carved of stag horn and dates back to the 18th century in Qing Dynasty China. One of it showcases a smoothly crafted ginseng root with stylized leaves. The form of the second piece follows the pointed and curved shape of the stag horn with partly unworked surface and linear ornaments. The toggles are both provided with several cord holes and are partly hollow due to the nature of the material. They are in good condition with general traces of age and use. The horn features a beautiful, honey-coloured patina with gently rounded edges. The lengths are 10 and 10.9 cm. Chinese Toggles Chinese toggles serve the same purpose as their equivalent, the Japanese Netsuke. As a counterweight to a carrying pouch the small carvings were attached with a cord to the belts of the pocketless Asian clothing. Thus, it was possible to carry smaller items such as pipes, tobacco, money or other personal belongings. Most often toggles were made ​​of wood, but many other materials like ivory, jade, agate, glass, metal, porcelain, shells or amber were used as well. The motifs were very varied including different Buddhist symbols and themes from Chinese mythology such as Lotus, monkeys, bamboo, falcons, bats, pumpkins, peaches, plums, or butterflies. Over time, the meaning of toggles transformed from an implement to an object of personality and status. They were worn as symbolic amulets, which when rubbed should help to longevity, fertility, happiness and health.

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Ivory Toggle

Lot 18: Ivory Toggle "Plum Branch", China, Qing Dynasty

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Description: China, Qing Dynasty -18th Century Ivory carving Partly reticulated Hand charmer with beautiful patina Dimensions: 4.1 x 3.1 cm This toggle carved of ivory dates back to the 18υth century in Qing Dynasty China. The elaborate handicraft shows a blossoming plum branch on a rock. In Chinese imagination the five petals of plum symbolize the five blessings of life: old age, wealth, health, love of virtue and a natural death. As the first heralds of spring after winter, it also embodies new life and the power of nature. At the front there are two drilled holes, of which only one serves as a cord hole, breaking through the rare surface. The ivory shows usual traces of use, significant age cracks and two little, older chips, which touch the beautiful appearance by no means. The hand charmer has gently rounded edges and features a beautiful honey and amber-coloured patina. The measures are 4.1 x 3.1 cm. Chinese Toggles Chinese toggles serve the same purpose as their equivalent, the Japanese Netsuke. As a counterweight to a carrying pouch the small carvings were attached with a cord to the belts of the pocketless Asian clothing. Thus, it was possible to carry smaller items such as pipes, tobacco, money or other personal belongings. Most often toggles were made ​​of wood, but many other materials like ivory, jade, agate, glass, metal, porcelain, shells or amber were used as well. The motifs were very varied including different Buddhist symbols and themes from Chinese mythology such as Lotus, monkeys, bamboo, falcons, bats, pumpkins, peaches, plums, or butterflies. Over time, the meaning of toggles transformed from an implement to an object of personality and status. They were worn as symbolic amulets, which when rubbed should help to longevity, fertility, happiness and health.

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Ivory Toggle

Lot 19: Ivory Toggle "Monkey and its Young", China, Qing Dynasty

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Description: China, Qing Dynasty -18th Century Ivory carving Partly reticulated Hand charmer with beautiful patina Dimensions: 4 x 2.7 cm This toggle carved of ivory dates back to the 18υth century in Qing Dynasty China. The elaborate handicraft shows the humorous depiction of a seated mother monkey having her arms lovingly wrapped around her young and holding it close to her body. In the Buddhist doctrine the monkey embodies foolishness. Stupid at first, he learns from his mistakes and acquires adaptability, reliability and promise of salvation. On the front, there are four holes that form naturally from the shape of the motive. Only two of them serve as a cord hole and break through the ivory - one at the bottom, the other at the smooth worked rare surface. The ivory is in good condition with usual traces of use and little age cracks. The hand charmer has gently rounded edges and features a beautiful, honey-coloured patina. The measures are 4 x 2.7 cm. Chinese Toggles Chinese toggles serve the same purpose as their equivalent, the Japanese Netsuke. As a counterweight to a carrying pouch the small carvings were attached with a cord to the belts of the pocketless Asian clothing. Thus, it was possible to carry smaller items such as pipes, tobacco, money or other personal belongings. Most often toggles were made ​​of wood, but many other materials like ivory, jade, agate, glass, metal, porcelain, shells or amber were used as well. The motifs were very varied including different Buddhist symbols and themes from Chinese mythology such as Lotus, monkeys, bamboo, falcons, bats, pumpkins, peaches, plums, or butterflies. Over time, the meaning of toggles transformed from an implement to an object of personality and status. They were worn as symbolic amulets, which when rubbed should help to longevity, fertility, happiness and health.

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Ensemble of Two Asian Ivory Bracelets, around 1900

Lot 20: Ensemble of Two Asian Ivory Bracelets, around 1900

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Description: Japan and China, around 1900 Ivory with beautiful patina Fine relief carving Outer diameter: 8.5 and 7 cm This ensemble consists of two Asian bracelets, both dating to around 1900. The larger one shows two finely carved treading tigers and originates from Japan. The smaller one displays an indented pattern and is of Chinese origin.The bracelets are in good condition with usual signs of age and wear. The tiger relief of the Japanese bracelet is rubbed off in parts while the ivory has a beautiful, honey patina. The diameters are 8.5 and 7 cm (outer) and 7 and 5.5 cm (inner).

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Jade Pendant with Peony and Characters, China, Qing Dynasty

Lot 21: Jade Pendant with Peony and Characters, China, Qing Dynasty

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Description: China, Qing dynasty - 19th Century Celadon coloured Jade Fine chiselling and relief carving With reticulation for suspension Fine polishing and oily surface Length 6.8 cm, height 5 cm This Chinese Jade pendant of the Qing Dynasty is carved as a ruyi-shaped lock and provides a reticulation for suspension. On one side there is a blooming peony, the other shows the Chinese characters "yu tang fu gui", which is a wish for success, wealth and honour. The Jade shows a beautiful celadon colour and is of translucent quality. The piece shows a reattached breakage. The surface has a gleaming, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The length is 6.8 cm, the height 5 cm.

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Jade Pendant with Characters and Bats, China, Qing Dynasty

Lot 22: Jade Pendant with Characters and Bats, China, Qing Dynasty

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Description: China, Qing dynasty -19th Century Celadon coloured Jade Fine chiselling and relief carving Partly reticulated Fine polishing and oily surface Good condition Diameter: 5.5 cm This circular, partly reticulated pendant is carved of celadon coloured Jade and dates back to the 19υth century in Qing Dynasty China. It shows the character "shou", which is surrounded by five bats. The pendant shall give longevity to its wearer. The Jade shows a beautiful celadon colour and is of translucent quality. The Jade shows a chip to one side. The surface has a gleaming, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The diameter is 5.5 cm.

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Beautiful Celadon Coloured Jade Bi Disk, Qing Dynasty

Lot 23: Beautiful Celadon Coloured Jade Bi Disk, Qing Dynasty

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Description: China, Qing dynasty - 18th/19th century Celadon coloured Jade ring Fine carving Fine polishing and oily surface Diameters: 5.1 cm (outer edge), 3 cm (inner edge) This beautiful Bi from celadon coloured Jade with delicate rust brown speckles dates back to the 18υth/19υth century in Qing Dynasty China. The plain disc is carved round and has a hole in the middle. Bi discs served as badges of rank and were used for ceremonial purposes. The Jade is of translucent quality. The piece shows two reattached breakages, one crack and little material loss along the breakage lines. The surface has a gleaming, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The diameters are 5.1 cm (outer edge) and 3 cm (inner edge).

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Jade Plaque with Bat and Fish, China, late 19th Century

Lot 24: Jade Plaque with Bat and Fish, China, late 19th Century

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Description: China, late 19th Century White Jade with slight Celadon hue Fine chiselling and relief carving Fine polishing and oily surface Excellent condition Dimensions: 6 x 4 cm This Chinese plaque carved from white Jade is dated to the late 19th Century. The beautiful piece shows the relief of a bat with outstretched wings, a curved ornament with a symbol of longevity and two fish. The Jade shows a beautiful white colour with a slight celadon hue and is of translucent quality. The piece is in excellent condition with only minor traces of wear. The surface has a gleaming, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The dimensions are 6 x 4 cm.

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Finely Gold Painted Porcelain Snuff Bottle with Dragon, Guangxu

Lot 25: Finely Gold Painted Porcelain Snuff Bottle with Dragon, Guangxu

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Description: China, Guangxu period (1875 - 1908) Porcelain with hand painting in gold Fine dragon decoration Accentuated foot rim Height is 6,5 cm This snuffbottle was manufactured during the Guangxu period (1875 - 1908) in China. The bottle is made of white porcelain and hand painted in gold color. To both sides we find the ornamental decoration of a five-clawed, imperial dragon holding the Magical Pearl. The ovoid body shows an archaic border at the upper and lower end. Originally there was a red 4-character reign mark of the Guangxu period on the underside - nowadays only tiny traces are still visible. In the literature an identical snuffbottle is shown with the mark in place - "The Imperial Connection - The Humphrey K.F. Hui Collection - The Chinese University of Hong-Kong- 1998", No.123. At the mouth the bottle shows small chips, the gold decoration is in very good condition. The height is 6,5 cm.

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Bronze Singing Bowl,

Lot 26: Bronze Singing Bowl, "Carps", with Clapper, Japan 1900-1920

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Description: Japan, 1900-1920 Bronze Singing bowl with clapper Diameter: 39.7 cm Very good condition This Japanese singing bowl with enclosed clapper is to be dated to the period between 1900 and 1920. The semispherical body is reddishly patinated and displays an etched, cut decor that shows two large, contoured carps with stylised waves and sea spray, along with leaves on the upper side while the lower border is decorated with a meander bordure. The bowl is hit with a leather-bound, wooden clapper just below the edge and creates a big, space-filling sound.The singing bowl is in very good condition with slight abrasion on the lower edge and minor surface marks. The clapper is in a good, often-used condition with according signs of wear. The dimensions are 39.7 cm (diameter) and 24 cm (height incl. handle).

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Large Palm Leaf Manuscript in Sanskrit, Sri Lanka, 18th C

Lot 27: Large Palm Leaf Manuscript in Sanskrit, Sri Lanka, 18th C

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Description: Sri Lanka, 18th century Wood and palm leaves Manuscript written in Sanskrit 50 sheets Dimensions, bound: 44.8 x 5.6 x 3.5 cm Very good condition This Sanskrit palm leaf manuscript from Sri Lanka dates to the 18υth century. The overall 50 leaves, inscribed on both sides, feature a protective wooden panel on the top and bottom. The manuscript is held together by a leather band that is led through two perforated holes on the individual pages.The manuscript is in very good, age-related condition with minor loss of material and slight discolouration and tears on the edges of individual sheets. When bound, the overall dimensions are 44.8 cm (length) x 5.6 cm (width) x 3.5 cm (height).Palm leaf manuscripts Until the 5th century BC, knowledge was predominantly passed on verbally in South Asia. With the invention of the alphabet, the first manuscripts, accounts of real and mystical stories, came into being. Among other things, dried palm leaves were used as paper in Asian antiquity. They were cut and treated with a Ragi paste. The script was carved with a needle and blackened with a soot paste. These manuscripts, due to their vulnerability to decay and silverfish damage, have a limited durability with the result that they had to be newly copied again and again. After the emergence of the printing press in the early 19th century, this kind of writing was almost forgotten.

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Three Palm Leaf Manuscripts in Sanskrit, India

Lot 28: Three Palm Leaf Manuscripts in Sanskrit, India

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Description: Wood palm leaves India/Orissa (Odisha), probably 18th/19th century Three Sanskrit manuscripts Maximum dimensions: 47.5 x 4 x 7.5 cm Good, age-related condition This ensemble of three palm leaf manuscripts was written in Sanskrit. The scripts originate from the Indian state of Orissa (Odisha) and probably date towards the 18υth or 19υth century. Each manuscript has a protective wooden panel on the top and undersides to hold the sheets in place. In the centre of each panel and sheet is a perforated hole for a cord to hold the manuscript together.The manuscripts are in good, age-related condition with loss of material in some places. Some sheets are torn on the edges or display insect holes. Loose, smaller sheet parts are included. When bound, the overall dimensions are 47.5 x 4 x 7.5 cm, 41 x 3.5 x 10 cm and 30 x 4 x 8 cm (length x width x depth).Palm leaf manuscripts Until the 5th century BC, knowledge was predominantly passed on verbally in South Asia. With the invention of the alphabet, the first manuscripts, accounts of real and mystical stories, came into being. Among other things, dried palm leaves were used as paper in Asian antiquity. They were cut and treated with a Ragi paste. The script was carved with a needle and blackened with a soot paste. These manuscripts, due to their vulnerability to decay and silverfish damage, have a limited durability with the result that they had to be newly copied again and again. After the emergence of the printing press in the early 19th century, this kind of writing was almost forgotten.

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Palm Leaf Manuscript in Sanskrit, Sri Lanka, 18th/19th Century

Lot 29: Palm Leaf Manuscript in Sanskrit, Sri Lanka, 18th/19th Century

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Description: Sri Lanka, late 18th or early 19th century Wood and palm leaves Manuscript written in Sanskrit 23 sheets Dimensions, bound: 21.2 x 3.6 cm Very good condition This Sanskrit palm leaf manuscript from Sri Lanka dates to the late 18th century. The overall 23 leaves, inscribed on both sides, feature a protective wooden panel on the top and bottom. The manuscript is held together by a cord that is led through a perforated hole on the individual pages. Merely three of the sheets have a second hole, which indicated that they belong to a different manuscript.The manuscript is in very good, age-related condition with minor loss of material. Individual sheets are minimally torn on the edges or display woodworm or silverfish holes. When bound, the overall dimensions are 21.2 cm (length) x 3.6 cm (width) x 3 cm (height).Palm leaf manuscripts Until the 5th century BC, knowledge was predominantly passed on verbally in South Asia. With the invention of the alphabet, the first manuscripts, accounts of real and mystical stories, came into being. Among other things, dried palm leaves were used as paper in Asian antiquity. They were cut and treated with a Ragi paste. The script was carved with a needle and blackened with a soot paste. These manuscripts, due to their vulnerability to decay and silverfish damage, have a limited durability with the result that they had to be newly copied again and again. After the emergence of the printing press in the early 19th century, this kind of writing was almost forgotten.

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Lovely Indian Painting with Krishna and Gopis, 19th Century

Lot 30: Lovely Indian Painting with Krishna and Gopis, 19th Century

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Description: Gouache and water colour on fabric India, 19th century Vivid painting in fine execution Large format Dimensions 118 x 91 cm This decorative painting of unusual large size shows a popular scene of Vaishnavism. Depicted is Krishna, surrounding by his Gopi cow-herding girls who enchant him with music and dance. Flanked is the scene by two mesmerizing peacocks and in the foreground magnificent lotus flowers are to be seen in a pond. Especially amusing is the border surrounding the scenery, featuring prancing, white cows showcasing hilarious facial expressions.The colors of the painting are fresh and hardly abraded, the fabric is somewhat soiled and shows small holes as well as few short rips. The dimensions are 118 x 91 cm.

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Protoceratidae Depiction of Bronze, Italy, around 1650

Lot 31: Protoceratidae Depiction of Bronze, Italy, around 1650

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Description: Italy, around 1650 Bronze cast with a beautiful patina Elk similar hoofed animal of the mid-Eocene to early Pliocene period In the style of Mannerism Dimensions: 4.5 x 1.5 x 6 cm (length x width x height) Very good condition This naturalistic depiction of a Protoceratidae is from Italy where it was cast of bronze around 1650. The elk similar hoofed animal of the mid-Eocene to early Pliocene period is in the style of Mannerism. He is standing proudly with his legs apart, looking to the side in an animated manner, thus the conspicuous feature of the bony horn behind the nostrils is shown off. The bronze cast shows a beautiful patina and is in very good condition. The dimensions are 4.5 x 1.5 x 6 cm (length x width x height).

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Elegant Louis XVI Lady's Chair, late 18th Century

Lot 32: Elegant Louis XVI Lady's Chair, late 18th Century

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Description: Auction announcements 08 August 2013 Lot 32: The chair has a rattan wickerwork, no straw wickerwork. Wood, straw France, late 18th Century Rattan seat and back Fine golden and red varnish Dimensions: w 39 cm x h 84 cm d 39 cm Very good condition This fine lady's chair of the Louis XVI period combines the aesthetical ideals and the technical skills of this period. Its front legs are grooved and the back legs that proceed into the back rest are rectangular. The fine apron is repeatedly profiled and decorated with a relief of fine leaves. A small rectangular field, filled with two patera, brakes up the relief above the two front legs. The oval back rest is decorated with a curved ribbon décor.The chair is in good condition with a bit of fissure formation between the back wall and the seat area. The dimensions measure w 39 cm x h 84 cm d 39 cm.

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Curved Louis-XV Armchair, Walnut, mid-18th Century

Lot 33: Curved Louis-XV Armchair, Walnut, mid-18th Century

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Description: Auction announcements 08 August 2013 Lot 33: The chair has a rattan wickerwork, no straw wickerwork. The backrest wickerwork is broken, the seat wickerwork was renewed.br> Walnut and straw Europe, mid-18th Century Hand woven cane inset Dimensions: w 59 cm x h 90 cm x d 51.5 cm Very good condition This delicately curved armchair stands on four fine cabriole legs that end in cuffed feet. All surfaces, on the legs, the armrests, the apron and the backrest are profiled with finger molding. The transitions between the two front legs and the apron are adorned with carved floral ornaments. Floral carvings also crown the backrest and the apron in its center. The seating surface and the back rest are filled with hand woven cane inset.The chair is in very good condition. The seating surface has been renewed. The feet show visible traces of age and use. 

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Important Pair of Meissen Candelabras with Chinese Boys, 1750s

Lot 34: Important Pair of Meissen Candelabras with Chinese Boys, 1750s

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Description: Porcelain and fire gilt bronze Germany / Meissen, around 1750 Bronze mounting also dating back to the 18th century Models by Johann Joachim Kaendler and Friedrich Elias Meyer Numerous Vincennes flowers Three candle sleeves on each candle holder A similar pair can be found in the Metropolitan Museum of Art in New York Overall dimensions (for both): 38 cm high; 18 cm wide; 15 cm deep Height of each Chinese boy: 22 cm With an expertise from the Historical Collection of the manufactory in MeissenThis pair of figural candle holders with charming Chinese boys is an outstanding example of Meissen porcelain art. Both holders have a rectangular, fire gilded bronze period base with a skipping Chinese boy standing in front of a bronze tree with ascending, widespread branches. The trees hold three bronze candle sleeves which are richly embellished with leaves and fine, brightly decorated porcelain 'Vincennes' blossoms. The bronze mounting has presumably been done in France.One of the two boys is a so-called 'nodding pagoda': the head of the boy is attached through an interior construction in a way that allows it to move. He wears a hat made of green leaves on his head and a violet garment with contrasting gold underneath a white scarf with floral decor. This repeats itself with the white garment of the second boy. He too wears a white scarf, which he has thrown over his shoulders. On his head is a green hat made of cabbage leaves. Both lads wear little yellow slippers on their feet. While one has raised his left foot, the other prepares to jump with his right foot. The candle holders date from around 1750 and are the works of Johann Joachim Kaendler (1706-1775) and Friedrich Elias Meyer (1723-1785), two of Meissen's most famous modeling masters. Kaendler was working at Meissen since 1731, whereas Meyer began working at the manufactory in 1745. The candle holders are in excellent optical appearance. They display minor manufacturing imperfections as well as minimal chips on the flowers and some minor, professionally done restorations to exposed areas such as the leaves on the head or the collars of the garments. They have recently been professionally cleaned. The bronze mounting and gilding are also in very good condition for their age with minor material loss and one soldered branch. In order to see the Meissen sword mark on the underside of the boys, they have to be removed from the brass mounting. The flowers are individually detachable. The dimensions of the candle holders are 38 (height) x 18 (width) x 15 (depth) cm and the Chinese lads are each 22 cm high. Details The figures of the Chinese boys are not noted down in the Meissen pattern books. But since they appeared in several auctions over the time, they are mentioned in some of the relevant literature. An expertise from the manufactory in Meissen with informations about the form number, the decorations and other details is at hand. The term Vincennes-flowers comes from a porcelain manufactory close to Paris that specialized in the production of this kind of small, naturalistic porcelain buds. The seventeen year old wife of the French Dauphin Louis XV was absolutely amazed by the sight of the flowers and sent a bouquet of these flowers in 1749 to her father August III, king of Poland and elector of Saxony. This bouquet can nowadays be seen in the Dresdner Zwinger and has a total height of around 1.15 meters. It has been attributed to Kaendler for over 100 years until it was rightly attributed to the French manufactory. The bronze mounting has been done in Dresden (see Ehert, Gloria, Battenberg Antiquitäten-Kataloge. Porzellan, p. 172, tab. 380). Johann Joachim Kaendler (1706-1775) Kaendler was born to a clergy man and received a classical education. He began his education as a sculptor in Dresden with Johann Benjamin Thomae (1682-1751) where his talents were soon recognized. He joined Meissen in 1731 where he first worked as model master and later as the head of the plastic department. He was especially honoured in 1749 when he was named „Court Commissioner". He first began creating naturalistic animal figures, later courtly and pastoral scenes, and is mostly known for his famous swan service. He is worldwide acknowledged as a genial creator of European porcelain figures. Friedrich Elias Meyer the Elder (1723-1785) Meyer, son of a sculptor, learned in Gotha with the court sculptor. He was named one himself and worked at the courts in Weimar and Sondershausen. He joined Meissen in 1745 and led the model and design development department. Due to the anxious times during the Seven Years' War, he went to Berlin to work at the Royal Porcelain Manufactory (KPM). Some of the best-known porcelain service designs have been created by him and are still produced by KPM. Meissen Porcelain was known in Europe since the 13υth Century, but always had to be imported from China and was thus mostly of lower quality - the Chinese seldom gave their best ware to foreigners - and extremely expensive. Europeans tried to copy the Chinese porcelain for centuries but only in 1708 managed to create real porcelain - in Meissen. The manufacturer's brand, the crossed swords in blue, has been in use since 1722 and is still a guarantee for the high quality of the porcelain. Meissen celebrated its 300 years of existence in 2008. Quality has always been the number one criteria for Meissen and they go as far as to have their own mine to win the needed kaolin, also known as china clay, for the production. It takes several years to reach the degree of a "master painter" in Meissen but judging by the quality of the painting, it is definitely worth it. Comparable pieces: The Metropolitan Museum of Art, New York, The Wrightsman Collection, Inventory No. 1973.315.13 and No. 1973.315.12.

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115-piece KPM Dinner Service with Flowers, 18th/19th Century

Lot 35: 115-piece KPM Dinner Service with Flowers, 18th/19th Century

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Description: Hand-painted porcelain KPM, Berlin, 18th/19th Century Altogether 115 pieces Form: "Antique glatt" (Modell 1054) Several serving plates and bowls Many dishes, partially with a perforated rim All items marked verso Very good condition This 115-piece ensemble of fine traditional KPM porcelain dates from the 18th and 19υth century and is absolutely great for large family gatherings, where the festive table must be prepared for all kind of tasty dishes. The service consists of eight fruit plates (17 cm), eleven soup bowls (23.5 cm), 34 dinner plates (24 cm), 15 dessert plates and four saucers (15.5 cm). The 23 dessert plates have a beautiful perforated rim (21 cm). The highlight of this large ensemble is the numerous serving pieces: Three sauceboats avoid the annoying dispute over the sauce, and the freshly caught fish has enough room on its large plate (63 cm). In addition, ten serving bowls and plates guarantee a fancy variety of dishes. A beautiful vegetable platter and the soup tureen guarantee the hot serving. A small pot with lid and a spoon is for mustard or confiture to flavour meat. An eye-catcher is the small oval bowl with feet, which is for salt. Two stylized leaf-shaped bowls are perfect for sweet to finish the dainty dish. All 115 pieces are in very good condition and only show minor traces of age and wear. The plates are slightly chipped here and there. One serving bowl with a perforated rim has two small chips. The two leaf-shaped bowls and the angular shaped bowl are minimally chipped as well. All items are marked verso with the manufacturer's mark. All dimensions indicate the diameter or length. KPM - Königliche Porzellan-Manufaktur Berlin The manufactory that was founded in 1763 by Frederick the Great was based on three private companies that had tried for some time to produce porcelain in Berlin. The manufactory has been located near the Tiergarten in Berlin since 1871. It took up the production of painted porcelain tiles under the direction of Professor Alexander Kips and made a huge profit. After the destruction of the manufactory during the Second World War the Land of Berlin took over the company in 1988. Since 2006 the company is owned by the private banker Jörg Woltmann.

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Early Meissen-Porcelain Relief Plate, Germany, around 1840

Lot 36: Early Meissen-Porcelain Relief Plate, Germany, around 1840

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Description: Painted and glazed relief plate Meissen, Germany, around 1840 Gold plated Blue crossed swords under glaze First choice Several pattern numbers Diameter: 26 cm This blue painted and white glazed relief plate (first choice) of the traditional Meissen porcelain manufactory was produced around 1840. The elegantly curved edge reminds of the charming Rococo ornamentation. The cobalt blue face is decorated with a relief-shaped wreath of flowers which was formerly gold plated. The rim also has a very nice raised surface whose geometric structure provides an attractive contrast to floral decor. The plate is in good condition but shows some traces of age and wear. It has minor manufacturing flaws (fire cracks). The floral wreath shows some traces of the former gilding. The blue painted face has a very nice age patina. The plate measures 26 cm (diameter). Meissen Porcelain has been known in Europe since the 13th Century, but always had to be imported from China. Thus it was mostly of lower quality - the Chinese rarely gave their best ware to the foreigners - and extremely expensive. Europeans tried to copy Chinese the Chinese porcelain for centuries but only in 1708 managed to create real porcelain - in Meissen. The manufacturer's brand, the crossed swords in blue, has been in use since 1722 and is still a guarantee for the high quality of the porcelain. Meissen celebrated its 300 years of existence in 2008. Quality has always been the number one criteria for Meissen and they go as far as having their own mine to win the needed kaolin, also known as china clay, for the production. It takes several years to reach the degree of a "master painter" in Meissen but judging by the quality of the painting, it is definitely worth it.

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Meissen Plates with Rose Garlands & Ornamentation, ca. 1850

Lot 37: Meissen Plates with Rose Garlands & Ornamentation, ca. 1850

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Description: Porcelain Manufacturer Meissen, Germany around 1850 Hand-paining and gold decoration Flower garlands with gold and cobalt blue framing All pieces with manufacture marks Diameter: 25 cm Very good condition These three decorative plates were made around 1850 by the Porcelain Manufacturer Meissen. They all show the same décor with rose garlands and an ornamental framing in gold and cobalt blue. A beautiful ensemble with fine hand-painting! The three plates are all in very good condition. All pieces are marked on the underside with the Meissen swords and impressed marks. The diameter is 25 cm. On reverse side with glued mounting.

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Figurative Candlestick, Fürstenberg Porcelain, 19th Century

Lot 38: Figurative Candlestick, Fürstenberg Porcelain, 19th Century

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Description: Fürstenberg Porcelain Germany, 19th Century Gilded rocaille décor Extremely fine work Dimensions: height approx. 31 cm, base plate 20 x 15 cm This extremely delicately worked candlestick is an absolute unique piece. The beau in courtly dress holds close to the tree like candle arm that grows upwards in volutes and rocailles. He looks dreamily up in the air. He is especially delicately made, the creases of his wide shirt and the ruffles of his collar are three-dimensionally formed and very realistic. Especially the little bouquet of flowers that he has attached to his hat fascinates through the detailed, handmade little buds. The candlestick is in used condition. It has a few fine fire cracks inside the stick and on the transition of the holder to the leaves surrounding it. Other fire cracks can be found in the base plate. Craquelé in some areas. Minimal material losses. Marked with "F" on the underside. Dimensions: height approx. 31 cm, base plate 20 x 15 cm. Fürstenberg Porcelain The manufacture was founded in 1747 Johann Georg von Langen after an order of the Duke Carl I. of Brunswick-Wolfenbüttel. Since 1753 the porcelain is branded with the blue F. Already in 1888 became the manufacture a stock company. Its porcelain is one of the most popular in Germany and its products are being requested worldwide.

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French Mantelpiece Clock with Fine Marquetry, around 1855

Lot 39: French Mantelpiece Clock with Fine Marquetry, around 1855

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Description: Very nice wood inlays 4 twisted wood columns Solid brass bezel Enamel dial with blue Roman numerals Solid ornamental brass hands French eight day movement with half hour strike on bell Peridot pendant with a cupid-representation Temperature compensation with fine adjustment on the pendulum fork Dimensions: 48 (h) x 24.5 (w) x 13 (d) What makes this beautiful mantel clock so special is its fine marquetry. In conjunction with the wood grain of the four twisted Bernini columns, their brass bases and capitals, and the brass pendulum and bezel results in a very harmonious picture. The cast bezel and peridot pendant is richly decorated with flowers and cupids. The pendulum armed with a temperature compensation with fine adjustment on its fork. The ornamental hands are made ​​of solid brass and fit very nicely with the white enamel dial with Roman numerals its royal blue. Behind it is a French eight day movement with half hour strike on bell.The case is in very good condition. A hairline crack in the dial and the slightly dark tarnished brass reflect of age of this beautiful mantelpiece clock. The movement works in the short-term test though it is in need of revision. Bell and keys are posterior. Dimensions: 48 (h) x 24.5 (w) x 13 (d).

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Pair of KPM Plates with Flower Décor & Gold Painting, ca. 1860

Lot 40: Pair of KPM Plates with Flower Décor & Gold Painting, ca. 1860

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Description: Royal Porcelain Manufacturer (KPM), Germany, around 1860 Later hand-painting Flower and gold decoration Marked on the undersides Diameters: each 21.5 cm Good condition These two KPM plates were made around 1860, the painting followed later. In the middle a large, summery flower bouquet is framed by gold and the rim of the plate has a relief with gold decoration.The two plates are in good condition with some gold abrasion. On undersides with KPM mark and further numberings. The diameters are each 21.5 cm. On reverse sides with glued mounting.

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Skeleton Clock with Glass Dome on Wood Base, England, 1870s

Lot 41: Skeleton Clock with Glass Dome on Wood Base, England, 1870s

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Description: England, around 1870 Original glass dome on ebonised wooden base Clockwork of a Bracket clock Helical mount 8 day movement Hack speed Polished brass Brass dial with Roman numerals Function short-term tested Decorative key Diameter: 28 cm, height: 28 cm Very good condition This elegant skeleton clock, made ​​in England around 1870, offers through the glass dome a nice look at the movement which is made of polished brass. The movement itself is reduced to the extent that it allows a view into the interior of the clockwork. It is constructed like a Bracket clock with a helical mount, speed hack and 8 day movement. The dial is made ​​of brass and shows the hours in Roman numerals. With the original glass dome and ebonized wooden base this clock is an extraordinary testimony of English watchmaking, with captivates by its simplistic elegance.Movement and case are in very good condition. Glass dome and ornate keys are original. The Roman numerals on the dial are worn. With the original decorative key. Diameter: 28 cm, height: 28 cm.

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Meissen Blue Onion Plate, pre-1880 & Vista Alegre Plate

Lot 42: Meissen Blue Onion Plate, pre-1880 & Vista Alegre Plate

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Description: Porcelain Manufacturer Meissen, Germany around 1880 Added plate by Vista Alegre, Portugal Colourful Blue Onion pattern Underglaze and hand-painting Pieces marked Diameter: 24.5 cm Very good condition This beautiful plate with the classic Blue Onion pattern was made before 1880 by the porcelain manufacturer Meissen. The Blue Onion pattern was hand-painted over the blue underglaze in iron red and gold. This wonderful, characteristic plate by Meissen is accompanied by a second plate with an onion pattern in the same colours by the Portuguese porcelain manufacturer Vista Alegre.Both plates are in very good condition. The Meissen plate is marked on the underside with the blue sword marks, as well as impressed and painted numberings. The Vista Alegre plate is also marked "VA Portugal, Made in Portugal". The diameters are 24.5 and 22 cm. With glued mounting on the reverse sides.

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Wonderful KPM Mantelpiece Clock of Seger Porcelain, after 1882

Lot 43: Wonderful KPM Mantelpiece Clock of Seger Porcelain, after 1882

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Description: "Seger" Porcelain, bronze, enamel and glass Germany, after 1882 Royal Porcelain Manufacturer Berlin Gilt-bronze and very fine ornamental painting KPM mark with the Seger stamp Clockwork by Gustav Becker (1819-1885) With a separate base Overall height (with base): 50 cm Perfect condition This beautiful and very elegant mantel clock is decorated in the delightful rococo style and impresses thanks to its delicate white glaze and its rich decoration of gilded bronze fittings and fine ornamental paintings. The enamel clock-face features black and blue numerals and the movement comes from the Silesian clockmaker Gustav Becker (1819-1885). This mantel clock with its cheerful rocaille ornaments is a good example for the lightness of the jolly rococo style and transfers it into your drawing room. This artifact is an absolutely exceptional piece because it is made of the rare Seger-porcelain. The mantelpiece clock is in perfect condition. The bronze fittings are partially corroded and the gilding is slightly rubbed off. It is marked and numbered underneath and on the back. The overall height measures 50 cm (with base). The mantelpiece clock comes with a base, a lid for the movement and a pendulum. It has worked in a short time test (no guarantee of drift accuracy); key is attached. Hermann Seger (1839 - 1893) The chemist Hermann Seger worked with KPM in Berlin, they experimented in a chemical/technical research institute. The Seger's soft paste china, also called "Seger porcelain" was burnt at low temperatures, thus allowing new, special techniques to be developed. His pieces rank among the artistically best of the time. Königliche Porzellan-Manufaktur Berlin The manufactory was founded in 1763 by Friedrich the Great. It was based on three private companies that had tried for a while to produce porcelain in Berlin. The manufactory is located near the Tiergarten in Berlin since 1871. It took up the production o up the production of painted porcelain tiles under the direction of Professor Alexander Kips and made a huge profit. After the destruction of the manufactory during the Second World War the land Berlin took over the company in 1988. Since 2006 the company is owned by Jörg Woltmann.

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Thun Majolica Ceramic Wall Plate with Landscape Painting, 1890s

Lot 44: Thun Majolica Ceramic Wall Plate with Landscape Painting, 1890s

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Description: Thun, Switzerland, around 1890 Majolica ceramic wall plate Floral decorative painting Lake Thun landscape Diameter: 33,5 cm Good condition This beautifully painted Thun majolica ceramic wall plate was made in Switzerland in around 1890. The floral decorative painting is colourfully glazed on the wide rim with, among others, the typical Swiss Edelweiss flowers. In the middle Lake Thun is finely hand-painted with the Eiger, Mönch and Jungfraujoch in the background. The majolica plate is characteristic for the region and their craftwork. It is in good condition, with minor chipping on the rim and few paint flakes. The diameter is 33.5 cm. The reverse side is marked "Thun" and with the label "Schoch-Laederbach Thun, WB II". With mounting.

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Decorative English Plate from the 19th Century

Lot 45: Decorative English Plate from the 19th Century

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Description: England, 19th Century Print and hand-painting Flower medallion and garlands Ornamental and floral framing Diameter: 26 cm Very good condition This decorative plate was made in the 19υth Century in England. It was hand-painted over a print. In the middle a summery flower bouquet is visible which is framed by five flower garlands with bows. The wavy rim is decorated with an ornamental and floral relief with gold decoration. The plate is in very good condition with minimal manufacture flaws. Marked on the underside "IV, A, Rd, 27, 5, C". The diameter is 26 cm. On reverse side with glued mounting.

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Flowery Royal Copenhagen Plate, late 19th Century

Lot 46: Flowery Royal Copenhagen Plate, late 19th Century

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Description: Royal Copenhagen, Denmark in late 19th Century Hand-painted with gold rim Basket pattern in relief and swung porcelain Flower décor Marked on underside Diameter: 20 cm Very good condition This fine plate by Royal Copenhagen was made in the late 19υth Century in Denmark. It shows a delicate, hand-painted flower décor with summery blossoms in the middle and on the rim, a subtle gold rim frames the plate. The porcelain is finely swung and shows a relief in basket pattern on the rim. A beautiful, decorative plate in high quality! The small plate is in very good condition. Manufacture mark on the underside. The diameter is 20 cm.

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KPM Porcelain „Neuosier

Lot 47: KPM Porcelain „Neuosier" Plates, Coffee & Tea Cups, 19th C.

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Description: Fine, hand-painted porcelain KPM, Berlin, 19th century 4 tea cups 9 coffee cups 7 small plates Form: Neuosier Bouquet of flowers and scattered flowers Marked verso With a fine gold rim Very good condition These 20 pieces come from the traditional Berlin porcelain manufactory KPM and have the classic form "Neuosier" and are characterized by their fine, floral decoration and gold accents at the rim. The nine coffee cups had been manufactured between 1832 and 1870; the seven small plates between 1870 and 1900. It is not a complete set, but additional pieces. Top KPM-quality, as usual! All pieces are in very good condition with only slight traces of age and wear. The gold rim is partially rubbed off. All items are marked verso with the manufacturer's mark. The coffee cups have a diameter of 6 cm, the plates 13.5 cm and the tea cups have a diameter of 8 cm. KPM - Königliche Porzellan-Manufaktur Berlin The manufactory that was founded in 1763 by Frederick the Great was based on three private companies that had tried for some time to produce porcelain in Berlin. The manufactory has been located near the Tiergarten in Berlin since 1871. It took up the production of painted porcelain tiles under the direction of Professor Alexander Kips and made a huge profit. After the destruction of the manufactory during the Second World War the Land of Berlin took over the company in 1988. Since 2006 the company is owned by the private banker Jörg Woltmann.

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20 Florally Decorated Dessert Plates with Gold Rim

Lot 48: 20 Florally Decorated Dessert Plates with Gold Rim

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Description: Porcelain Germany, end of the 19th century Flat face with wavy rim White with overglaze painting by hand Colourful floral decor with gold rim Diameter: roughly 20 cm This lot comprises overall 20 dessert plates that date towards the end of the 19υth century. The flat faces are differently decorated with gorgeous flower bouquets, while the wavy rims are decorated on the inside and outside with a gold rim.The plates are overall in good condition with minor traces of age and wear. Three of the rims display bumping, while some of the gold rim is considerably abraded. The diameter of each plate is roughly 20 cm.

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Gallant Porcelain Family Group, Germany, around 1900

Lot 49: Gallant Porcelain Family Group, Germany, around 1900

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Description: Painted Porcelain Germany, around 1900 Aelteste Volkstedter Porzellanmanufaktur (since 1762) Hand painted Not available any more Modeller: probably Carl Fuchs (1867-1951) or Andreas Klötzer Height: approx. 14cm, max. width: approx. 19,2cm Good condition This gallant family from the Aelteste Volkstedter Porzellanmanufaktur (oldest porcelain manufactory in Volkstedt, Thuringia, Germany) is a very fine demonstration for why these figures are so popular all around the world. Graceful figures in harmonic poses, with fine details and exquisite painting make these group a special piece. The mother is sitting in a very elegant robe with hooped skirt and flowery painting and a white bonnet on an historical chair. Her daughter is sitting on her lap, dressed in a fine white and blue striped children's dress and wearing a red-gold-black cap on her hair. The father bends himself lovingly over his family, giving his wife a kiss on the cheek and offering his left hand to his daughter. He wears a fine violet frock with golden embroideries and black buckled shoes. The scene seems to take place outside, as the porcelain base is overgrown with delicate little flowers. The group is in good condition; unfortunately three leaves of the flowers on the base are broken off. Aelteste Volkstedter Porzellanmanufaktur The Aelteste Volkstedter Porzellanmanufaktur is, as the name suggests, the oldest porcelain manufactory in Thuringia, Germany, and dates back as far as 1760 when Georg Heinrich Macheleid discovered the right formula for creating porcelain mass. The porcelain manufactory was founded by order of the court and existed successfully for 100 years when it had to be sold in order to avoid bankruptcy. The manufactory has changed owners many times ever since, but it has always kept the name Aelteste Volkstedter Porzellanmanufaktur. In 2006/2007, the manufactory was bought by Seltmann Weiden and is now named Gläserne Manufaktur (= Vitreous manufactory) and still produces high quality porcelain. The artful figures have always been manufactured by hand and still are. They still meet the highest standards. Their liveliness, elegance and the high quality painting speak for themselves and enjoy the highest reputation.

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2 Venetian Glass Cups with Allegoric Scenes, Italy, around 1900

Lot 50: 2 Venetian Glass Cups with Allegoric Scenes, Italy, around 1900

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Description: Two cups of Venetian glass Italy, around 1900 Hand-painted enamel and gold plated Dimensions: 20,5 cm and 26 cm (height) Very good condition These two very elegant cups both come from the country of fine glass culture - Italy. The cobalt blue glass cup is decorated with a gold plated allegoric scene where small putti are stealing grapes from a vine and doing their tricks. The smaller cup, made ​​of thin pink glass is adorned with a hand-painted scene of two lovers walking in a romantic landscape. The setting is framed by an arabesque ornament surrounding the corpus. A very appealing detail of this cup is the golden dusty powder strewed on the handle's knob, which is a typical quality feature of the refinement of Italian glass art. The small spots of white enamel at the rim provide an attractive contrast to the smooth surface. Both cups made of Venetian glass are in very good condition and show only minimal traces of age and wear. The gilt plated parts are still very good shape and have a nice shine. The cobalt blue cup has a very low weight, which refers to the high quality of the thin glass. It measures 26 cm (height) and has a diameter of 14 cm. The smaller one measures 20.5 cm (height) and 9.5 cm in diameter.

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