Null A LARGE BRONZE RITUAL FOOD VESSEL AND COVER, DING, SPRING AND AUTUMN TO WAR…

Description

A LARGE BRONZE RITUAL FOOD VESSEL AND COVER, DING, SPRING AND AUTUMN TO WARRING STATES PERIOD China, c. 5th century BC. Superbly cast, the body supported on three tall legs, flanked by slightly curving U-shaped handles, the domed cover surmounted with three circular upright rings still filled with soil from a prolonged time of burial. The sides and cover of the deep vessel cast with concentric bands of interlacing dragons. The handles and cover ringlets similarly decorated with key-fret designs and a coiling dragon motif. Provenance: From a private estate in Austria. Condition: Good condition, commensurate with age, with extensive wear. Signs of weathering and erosion, soil encrustations, small nicks, minor chips, and small losses. The bronze is covered in a superb, naturally grown patina with bright malachite, azurite, and cuprite encrustations, especially remarkable on the interior. Weight: 2,190 g Dimensions: Length 26.8 cm (across handles) Literature comparison: Compare a closely related bronze ding cast in the same form with concentric bands of interlacing dragons, 34.1 cm in diameter, dated to the Warring States period, in the Shanghai Museum, illustrated in Chen Peifen’s Ancient Bronzes in the Shanghai Museum, 1995, p. 94-95, no. 60. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 30 November 2022, lot 14 Price: HKD 985,800 or approx. EUR 121,000 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual food vessel and cover, Ding, Spring and Autumn period Expert remark: Compare the closely related form and dragon motif. Note the larger size (42 cm). Auction result comparison: Type: Related Auction: Lempertz Cologne, 8 June 2019, lot 647 Price: EUR 52,080 or approx. EUR 56,000 adjusted for inflation at the time of writing Description: A very large bronze tripod ritual food vessel (ding) and cover. North-centra China, Shanxi/Henan provinces. Eastern Zhou/late Spring and Autumn period, early 5th century Expert remark: Compare the related form and concentric bands of interlacing dragons motif. Note the larger size (45 cm).

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A LARGE BRONZE RITUAL FOOD VESSEL AND COVER, DING, SPRING AND AUTUMN TO WARRING STATES PERIOD China, c. 5th century BC. Superbly cast, the body supported on three tall legs, flanked by slightly curving U-shaped handles, the domed cover surmounted with three circular upright rings still filled with soil from a prolonged time of burial. The sides and cover of the deep vessel cast with concentric bands of interlacing dragons. The handles and cover ringlets similarly decorated with key-fret designs and a coiling dragon motif. Provenance: From a private estate in Austria. Condition: Good condition, commensurate with age, with extensive wear. Signs of weathering and erosion, soil encrustations, small nicks, minor chips, and small losses. The bronze is covered in a superb, naturally grown patina with bright malachite, azurite, and cuprite encrustations, especially remarkable on the interior. Weight: 2,190 g Dimensions: Length 26.8 cm (across handles) Literature comparison: Compare a closely related bronze ding cast in the same form with concentric bands of interlacing dragons, 34.1 cm in diameter, dated to the Warring States period, in the Shanghai Museum, illustrated in Chen Peifen’s Ancient Bronzes in the Shanghai Museum, 1995, p. 94-95, no. 60. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 30 November 2022, lot 14 Price: HKD 985,800 or approx. EUR 121,000 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual food vessel and cover, Ding, Spring and Autumn period Expert remark: Compare the closely related form and dragon motif. Note the larger size (42 cm). Auction result comparison: Type: Related Auction: Lempertz Cologne, 8 June 2019, lot 647 Price: EUR 52,080 or approx. EUR 56,000 adjusted for inflation at the time of writing Description: A very large bronze tripod ritual food vessel (ding) and cover. North-centra China, Shanxi/Henan provinces. Eastern Zhou/late Spring and Autumn period, early 5th century Expert remark: Compare the related form and concentric bands of interlacing dragons motif. Note the larger size (45 cm).

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Estim. 9 500 - 10 500 EUR

Cratera of Campana; Apulia, Magna Grecia, 4th century BC. Ceramic with the technique of red figures. Attached thermoluminescence certificate. It presents reconstruction in the part of the foot and restorations on fracture lines of the original fragments. Measurements: 35 x 34 cm (diameter). Apulian crater of red figures with two lateral handles. Flared body, upturned twin handles and flared rim, all on a concave, stepped and rounded foot. Red designs on a black background, with white and yellow accessories. Above the designs, a laurel wreath; below each, a wavy band. Large palmettes under the handles. Obverse with a young male figure seated left on vegetation, with embroidered fillet, long hair, himation bordered over lower limbs and offering a circle of withe, perhaps a phiale. Opposite, a standing youth holding a tirsos and a mantle over the left arm. On the reverse, two young men facing each other, dressed in himation, are engaged in conversation, one of them holding a staff. The type known by its shape as "bell-shaped" has small horizontal handles, protruding and directed upwards, and with an inverted bell-shaped vessel; it is a late-use type. The chalice krater is a more modern type than the columnar and scroll type, though earlier than the bell krater, and its shape, with an almost inverted trapezoid profile, is reminiscent of the flower chalice. Red-figure pottery was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 B.C., and was used until the 3rd century B.C. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the coloring is inverted, the figures being highlighted on a dark background, as if they were illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. In contrast, the red-figure technique allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with more accuracy and variety. The technique consisted of painting the motifs on the still wet piece, using a transparent varnish that, when fired, acquired an intense black hue. Therefore, the motifs were invisible before firing, which meant that the painters had to work entirely from memory, without being able to see their previous work. Once the piece was fired, the areas not covered by the glaze remained with the reddish tone of the clay, while the glazed areas, the "painted" ones, took on a dense and shiny black color. Attached thermoluminescence certificate. It presents reconstruction in the part of the foot and restorations on fracture lines of the original fragments.

Estim. 35 000 - 40 000 EUR

The priest Padiamonnebgutauy's sign for his father Minnusensebeur. Ancient Egypt, Lower Epoch, 664 - 332 BC. Bronze. Provenance: - Private collection, Annie Trotter, London. - Private collection, Ingrid McAlpine (1939 - 2018), London and Epsom, acquired from the above on October 22, 1993. - Art Market, England, 2019. - Lady Meux (1847-1910). - Sotheby's 5 July 2022, lot 146. Good condition, excellent patina of the bronze, retains original handle. Presents a blow and lack on the right side of the stipule. Attached a study on the antiquity of the piece issued by the Egyptologist and architect Fernando Estrada Laza. Author of "Los Obreros de la Muerte" and "Entender y Amar el Arte Egipcio". Advisor to the architectural team Lamela, for the project of the future Grand Egyptian Museum in Cairo (GEM). Advisor to the architectural team of Arata Isozaki (Tokyo), for the organization and selection of pieces for the new National Museum of Egyptian Civilization (NMEC) and the Grand Egyptian Museum in Cairo (GEM). Measurements: 15 cm (height) and 25 cm (height with handle raised); 31 cm (height with pedestal). The tendered situla features fourteen vertical registers of writing, between two figures engraved at the ends of the text, all framed by a rectangle drawn by a thin incised line. A priest dressed in a tunic is the only character in this scene. Both the animal skin covering him and his shaved head indicate that he is a funeral priest of the wab, pure, and sem groups, prestigious grades of the clergy whose acolytes practice the posthumous funeral rites to the dead, mainly that of the "opening of the mouth". While with his right hand he pours water (libation), on a container vessel, by means of a glass that, his other hand makes a fumigation of incense with a wooden censer whose front tip is a small container, lined internally with bronze, where the combustion of the grains of incense takes place. The grains are stored in the intermediate cylindrical area and finally the rear part ends with the design of a falcon's head, probably of the god Horus. The four registers of writing on his head, are translated: "Made by his brother to live his name. The director, the son of the god." After the priest, his proper name: Padiamónnebgutauy. Name that can be translated as: "He who makes (an offering) to Amun, Lord of the Crowns of the Two Lands". Next, following the scheme of vertical registers is the text: "Make a libation of fresh water to this Osiris who presides over the West. Make a libation of fresh water to this Osiris. The priest of Amun in Ipet Setu (the harem of the South of Amun), the scribe of the temple, to fulfill the office of his half-month in this temple, he who is at the head of the congregation of priests of this liturgical office of the half-month in the confraternity of Ipet Setu, Desefmer, Son of the priest of Amon in the temple of Ipet Setu, the scribe bearer of the seal of Amon in the temple, the head of the priestly congregation for the office of his half month in the temple, the one who is in the knowledge (the secrets?) of the temple, the one who is at the head of the confraternity of the pure priests of Ammonet (Goddess wall of Amon, is the version of this god in Karnak. Later, it will be Mut the first wife of the god), director in the heart of the Ipet Setu, the one who is at the head of the congregation of the priests of Amonet (Goddess wall of Amon, it is the version of this god at Karnak. Make a libation of fresh water to this Osiris. The priest of Amun in Ipet Setu (the harem of the South of Amun), the scribe of the temple, to fulfill the office of his half-month in this temple, he who is at the head of the congregation of priests of this liturgical office of the half-month in the confraternity of Ipet Setu, Desefmer, Son of the priest of Amon in the temple of Ipet Setu, the scribe bearer of the seal of Amon in the temple, the head of the priestly congregation for the office of his half month in the temple, the one who is in the knowledge (the secrets?) of the temple, the one who is at the head of the confraternity of the pure priests of Ammonet (Goddess wall of Amon, is the version of this god in Karnak. Later, it will be Mut the first wife of the god), director in the heart of the Ipet Setu, the one who is at the head of the congregation of the pure priests of Amon, the director of the confraternity of the pure priests. This one, the one who is important in the priestly congregation: Padiamonnebgutauy, son of Minnusensebeur, fair of voice. Born of the singer of Amon Ra, Dity. Your son appears, Horus appears. You bring freshness to your heart and you put the Two Lands (Egypt) under your plants (?) for you, to be called to the embalming room without any danger (or without any risk) for your heart, besides your name appears...". Desefmer, is the son of Padiamónnebgutauy, who in turn is the son of the late Minnusensebeur, now deceased. In the Lower Epoch, very long proper names abou

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