Japanese Sterling Silver Centerpiece Pedestal Bowl by Hattori Kintaro

A large sterling silver vessel in an asymmetrical hour-glass vase form with a larger upper conical body balanced on a much smaller base. Crafted by Graziella Laffi (1923-2009), Lima, Peru, Circa 1965. Marked on the rim: G. Laffi, PERU. The vessel was designed as a modern rendition of ancient pre-Columbina drinking vessel used in ceremony. The piece projects a regal and substantial aura due to its thick double wall construction with seamless craftmanship. The exterior surface was decorated with high relief roundels with concentric rings, arranged in geometrical pattern in two difference sizes. It is an impressive presence with its unique form and ornamentation that is modern and ancient at the same time. The vessel weights about 2012 grams. Graziella Laffi was born in 1923 in Florence, Italy to Gino Laffi, a silversmith and artist. Following her family tradition, Graziella enrolled in master classes after elementary school, focusing on design and painting. She next attended Escuela de Bellas Artes de Puerta Romana for three years, where Gino taught, and then to the Accademia di Belle Arti di Firenze, where she concentrated in architecture until the start of World War II. In 1947, Graziella, then twenty-four, immigrated with her parents to Peru. Gino later created a silversmith studio and showroom called Fabrica Laffi on Avenue Mexico, where Graziella initially learned her Craft. The Pre-Columbian culture in her adopted country inspired Graziella to travel and collect, which ultimately influence her design in the silver pieces. Graziella learned the metalworking techniques of the ancient Peruvian civilizations and rejected the current technology. She mostly used hammering, rolling and creating joints as the ancients do. As an ambassador of Peruvian culture, her work promoted the indigenous Peruvian art and rekindled the interest in its ancient heritage throughout South America, the United States and Europe. She exhibited her growing collection of Peruvian artifacts...

A small Chinese cloisonne enamel bowl made with the technique of Plique-a-jour (means "letting in daylight" in French), a challenging method similar to small scale stained windows...

A bronze bowl shape vessel with fitted lid from Korean dated to 15-16th century (early Joseon Dynasty). In an elegant minimalistic form with thin wall and supported by a high foot ri...

A beautiful ceramic vessel in the form of Bo, the so-called monk's alms bowl from the studio of Japanese Potter Makuzu Kozan, also known as Miyagawa Kozan (1842–1916), one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama circa 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Of a relatively large size, this piece was made as a decorative center piece for display. It was brilliantly decorated with underglaze paint of a green-on-green bamboo motif, using the novel technique developed by Kozan called Fuki-e (the blow painting). As a result, the bamboos appear took on a three-dimensional quality as if appearing in a mist. Known as one of the most creative ceramists, circa 1887, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze. New colors allowed him to create underglaze design that appeared bright, smooth and glossy. To create design that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama Taikan...

A SILVER OFFERING BOWL WITH SCENES FROM THE VIDHURA-PANDITA JATAKA, LOWER BURMA (MYANMAR), DATED 1901. A hammered repoussé Buddhist beggar’s bowl form with high relief  design depicting scenes from the Vidhura-Pandita Jataka on the upper row of cartouches and beneath neat rows of semicircular lappets each depicting various auspicious human and animal forms with scrolling acanthus leaf backgrounds. The overall concept is similar to the layered effect of a Burmese court costume. The circular etched design on the base is of Punnaka astride his magical horse mid-stride holding the white umbrella and Vidhura pleading behind. All surrounded by an inscription, translated as, "Mr Saw Marn's silver bowl. Year 1263 [1901 CE]". Excellent condition. 11 3/4 in. (30 cm) diameter x 5 7/8 in. (15 cm) high. 38 troy oz., 2lbs. 10 oz. (1175 grams). Provenance: The Noble Silver Collection. Bonhams New York, 24 March 2022, The Noble Silver Collection Treasures from the Burmese Silver Age, lot 942. Published: David Owens, Burmese Silver Art: Masterpieces Illuminating Buddhist, Hindu and Mythological Stories of Purpose and Wisdom, 2020, p. 76, no. S81, fig. 3.57. Bonham’s Footnotes: In the Vidhura-Pandita Jataka, the bodhisattva that will later become Gautama Buddha perfects the virtue of truthfulness (sacca), at once a keen perception of the true reality of things and an unwavering commitment to imparting this truth. Reborn as a renowned advisor to a virtuous king, the bodhisattva uses undivided speech throughout the story—even when it puts him in harm's way—thereby preventing disputes among rulers, offering amnesty, and ultimately saving the antagonists who initially conspired to kill him. Burmese Silver Ceremonial Offering Bowls were produced in great numbers, the finely decorated ceremonial offering bowl is the quintessential Burmese silver artwork...

Elegant round centerpiece bowl crafted in 800 silver by the artisan Fani, Italy, dated 1900. The piece features an ornate corded border and intricate repoussé floral designs that enc...

A bold and well crafted Indonesian Yogya (Jogja, Djokja) silver bowl by Tom's Silver, Yogyakarta, Java, Indonesia, circa 1960's. The elegant bowl features a striking design of a Kala face, a protective monster often found above temple doors, and representative of time, death, and rebirth. A pair of makara flank the wide open, smiling mouth. A stylized foliate design surrounds the Kala. Kala are analogous with the Kirtimukha, or face of glory, originating in India and associated with Shiva. Both beings are devourers of evil and tasked with protection The bowl features two beaded borders, and a scalloped rim. The bowl set on three short out-swept feet. Stamped mark to the underside reading "TOM" "800" "DELUX". TOM stands for Tom's Silver, perhaps the most famous silver workshop in Yogyakarta. 800 is the purity of the silver (80%). DELUX is a common mark on Yogya silver...

Jean Despres important French designer, known for original jewelry designs, champagne buckets, cocktail shakers, and many fine objects of art. This spectacular bowl may be one-off, w...