South America.- Conquest of Peru.- Cieza De León (Pedro de) Parte primera de la chronica del Peru. Que tracta la demarcacion de sus provincias: la descripcion dellas. Las fundaciones de las nuevas ciudades. Los ritos y costumbres de los indios, y otras cosas estrañas dignas de ser sabidas, first edition, collation: ✠6 2✠4 a-q8 r6, largely double-column, title with large woodcut royal arms within woodcut border, 42 woodcuts in the text (some repetitions), and woodcut initials, author's signature to r6 verso, the odd ink note to margin in an early hand, title upper and inner margins restored and repaired tear to foot, title and first 2 gathering with repair and restorations to fore-margins and upper corner, a few other small marginal repairs and 1 or 2 neat repairs to text, light foxing and marginal damp-staining towards end, the odd patch of light staining and some light soiling or browning, but a crisp copy generally, contemporary vellum with manuscript lettering to spine, remains of ink inscriptions to lower cover, endpapers renewed, folio (292 x 200mm.), Seville, Martín de Montesdoca, 1553.⁂ The first edition of this excessively rare chronicle. We can trace only three copies offered either at auction or in dealer's catalogues, and no copy other than this since 1951."One of the most remarkable literary productions of the age of the Spanish Conquest in America. It is, in fact, the only book which exhibits the 'physical aspect of the country as it existed under the elaborate culture of the Incas'." - Sabin.The author of this history was one of the greatest authorities on Peru, where he spent 16 years. He started the work at Popayan in 1541 and finished it in Lima in 1550; the full chronicle consisted of four volumes, of which only the first was published, and deals with the geography, history and ethnology of Peru. Apart from the famous woodcut and description of the silver mines of Potosi, engraved after an original drawing made by the author, the woodcuts depict the everyday life of the conquistadors with the Indians, boats on Lake Titicaca, the building of a city, Quechua Indians dealing with the devil, a human sacrifice, a Spanish and an Indian in front of the city of Cuzco etc... It also contains the first extended description of the Peruvian guanaco, or llama, and of the pepper-tree, or mollé, and the commercial and medicinal uses of its fruits.Literature: Sabin, 13044; Medina (BHA), 157; Escudero (Séville), 555; Streit, II, 644; JCB (3) I:175; Field, 314;Johnson, The Book in the Americas, 32; Delgado-Gomez, Spanish Historical Writing about the New World, 26;Alden, 553/20; Maggs, Bibliotheca Americana (1926), p. 59, n° 3967; Quoted by Salvá, n° 3293, but never seen by him.
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Asia.- Polo (Marco) In cui si tratta le meravigliose cose del mondo per lui vedute, collation: A-G8, woodcut device to title, a few minor marginal brown crayon markings, some light marginal staining, modern vellum, yapp edges, preserved in fleece-lined blue calf drop-back box, box a little scratched, 8vo (149 x 96mm.), Venice, [Matteo Pagano], [1555].⁂ Rare edition of Marco Polo's great travel account, one of surprisingly few early versions published in his native tongue and in his native city. Marco Polo's book is undoubtedly the single greatest travel account of the medieval world. Its descriptions governed the majority of the Western world's perceptions of the Middle East and Asia until quite modern times.Marco Polo (c.1254-1324) joined his father and uncle on a journey to China, travelling along the Silk Road and reaching the court of Kublai Khan c.1274. The Polos remained in China for about 17 years, and the Mongol emperor sent Marco on several fact-finding missions to distant lands. Marco may also have governed the city of Yangzhou (1282-87). The Polos returned to Venice in 1295 after sailing from eastern China to Persia and then journeying overland through Turkey. Captured by the Genoese soon after his return, Marco Polo was imprisoned along with a writer, Rusticiano (or Rustichello) da Pisa, to whom he dictated the story of his travels, describing places he had visited and heard of and recounting the local customs. He covers much of Asia, including the Arab world, Persia, Japan, Sumatra, and the Andaman Islands, and also East Africa as far south as Zanzibar. He describes paper currency, asbestos, coal, and other phenomena virtually unknown in Europe as well as the precious stones of Asia. "The travels of Marco Polo in the East claim a place in an American collection in consequence of the remarks of distinguished geographers that they were perused by Columbus, and that the revelations made by him of the wonders of Cathay and Zipanga stimulated the great navigator to accomplish through the sea, what the Venetian traveller had by land" (Sabin). This is one of two issues or editions printed by Matteo Pagano, this containing the imprint with date in the colophon: 'In Venetia per Matthio Pagan, in Frezaria, al segno della Fede, 1555'. This is the fifth edition in the Italian (Venetian) vernacular, preceding editions appeared 1496, 1500, 1508 and 1533. All these editions, including the present and the undated edition by Matteo Pagano, are extremely rare, each surviving in only a few copies and seldom appearing on the antiquarian market. According to Worldcat, there are only 8 copies of this edition in European and American Public Libraries.Literature: Adams P1792; Sabin 44498; Cordier, Bibliotheca Sinica, online, Second edition, vol. III, col. 1970; Yule-Cordier, 18; PMM 39. EDIT 16 CNCE 66667.
Atlases.- Lizars (Daniel) Lizars' Edinburgh Geographical General Atlas, 68 double-page engraved maps, hand-coloured in outline, with 1 double-page 'Tables of Mountain Chains' map, all mounted on stubs, many with small tears at central fold, some with paper repairs (of which 1 affecting map), c.15 with staining at fold head (a few affecting map), gutter reinforced with tape at title, some light off-setting and spotting, contemporary cloth, rebacked in rexine, soiled and rubbed, folio, 1842.⁂ Including the two rare maps depicting the Republic of Texas between its secession from Mexico in 1836 and its annexation in 1845.
China.- Morrison (John Robert) A Chinese Commercial Guide. Consisting of a Collection of Details Respecting Foreign Trade with China, second edition, lacking folding plate, title with light soiling and 2 repairs to head, occasional light toning and the odd pencil note to margin, ink ownership inscription "C. Ryder, Canton" to head of title along with gift inscription in another hand "C. Francis Ryder in remembrance of Charles Ryder - August 1930", 19th century half calf, rubbed, [Goldsmiths 33727], 8vo, Macao, S. Williams, 1844.⁂ Rare, we can trace no examples of any edition at auction. Library Hub lists three copies of the first edition and four of the much-expanded second (Leeds, Manchester, Senate House and Warwick). Includes a lengthy section on the costal navigation on China followed by a discussion of the best articles of import and export for China. The section on opium provides a figure of $14 million for the annual trade with China at the point of publication, this figure has been updated by a pencil note to margin date 1856 to $30 million. Names are given in Chinese characters and even full import forms are supplied to be copied out.
India.- Indore.- Deen Dayal (Lala) An Album of 45 views and portraits, 'A Souvenir of Indore', c.272 x 209mm., 45 albumen prints mounted on 22ff. stiff card, with printed captions beneath, label 'Lala Deen Dayal, State Photographer' to final leaf, some light browning and damp-staining to mounts, a couple with small tears to mount edges, original cloth, rebacked in calf, upper hinge broken, some soiling to covers, oblong folio, [c.1880]⁂ An extensive collection of images of the city of Indore, its palaces and surroundings, including: two portraits of H. H. The Maharaja Holkar (one ?studio, one in carriage); his new palace, Inderbhawan; the Lalbaag Palace and environs; the Sookh-vilas Palace gardens; views of Indore city (e.g. Sharafa Street, Tazia procession and Fort Gate); the 'Great Elephant' belonging to the Maharaja, as well as the Shikaree Elephants at the Andheri Bagh River; landscape scenery (e.g. waterfalls at Patalpani and Mehdikund, railways and viaducts) and the Sheoratri fair on the holy ghats of Mahandata, as well as views of the Nebudda River. Lala Deen Dayal, the most celebrated nineteenth century Indian-born photographer, rose to prominence when, shortly after he was encouraged by the Maharaja of Indore to open a studio in the city, he was granted permission to photograph H.R.H. the Prince of Wales during his royal visit in 1875.
India.- Briggs (Henry George) The Cities of Gujarashtra: their Topography and History. Illustrated in the Journal of a Recent Tour, first edition, title with fore-edge repaired, occasional light spotting or damp-staining, some slight browning, small marginal worm holes throughout, heavier worming at beginning and end, affecting only a letter of the imprint "Bombay", final few leaves chipped and torn with repairs and restoration, affecting text with loss to a few words, later half calf, spine gilt, rubbed, lower joint starting, lge 4to, Bombay, for the Author, [1849].⁂ A rare account of "Gujarashtra" or present day Gujarat, covering the major cities of Surat, Ahmedabad, Bharuch etc, as well as the history of the Western colonial presence in the area.
Middle East.- Mecca.- Dumas (Tancrède) Depart de La Caravane pour Mekka, original albumen print, c.270 x 215mm (11 x 8 1/2 in), light handling-wear, [c.1870].⁂ Photograph depicting a caravan on its way to Mecca for the Hajj, after leaving Damascus. Soldiers and dignitaries stand next to the camel which carries the palanquin (Mahmal), the emblem of the Ottoman sultan. Dumas was an Italian photographer who was active in the Near East.
Polar.- Ponting (Herbert G.) The Great White South or with Scott in the Antarctic, ninth impression, signed by the author, half-title, frontispiece, 51 plates, occasional spotting, edges foxed, new endpapers, original light blue pictorial cloth, spine darkened, cloth of upper joint with partial split, some spotting, rubbed, 8vo, Duckworth, [1930].
Singapore, Ambon, Penang and Kuala Lumpur.- Album of views of Asia, 47 photographs and 1 water-colour drawing laid down to 25 ff., 1 to a page, 275 x 210 mm (11 x 8 1/2 in) or smaller, black & white or sepia, ruled with border and captioned in manuscript below, some light marks or foxing, hinge broken in places, contemporary ink ownership name to front free endpaper, original blind-stamped cloth, worn and stained, oblong 8vo, c.1890s.⁂ A very attractive and varied album with large photographs of Singapore, Penang and Kuala Lumpur. Including captioned views of ships H. M. Schroefstoomschip and H M Korvet van Galen, as well as views of Ambon (the governorate of the Dutch East India Company), Atjeh, Batavia, and Penang.
West Indies.- MacQueen (James) The West India Colonies; the Calumnies and Misrepresentations circulated against them... Examined and Refuted, second edition, half-title, errata slip, occasional light spotting, light browning to endpapers, original boards, paper label to spine (rubbed and chipped), spine ends and corners bumped and a little worn, some light soiling to covers, [cf. Sabin 43643], 8vo, 1825.⁂ Scarce defence of the institution of slavery in the West Indies. MacQueen (1778-1870) was one of the anti-slavery campaign's most outspoken critics. He co-owned and edited the Glasgow Courier and used this pulpit as means of defending the use of slavery in the sugar colonies.
World.- Vaugondy (Didier Robert de) Mappemonde ou Description du Globe Terrestre, double-hemisphere world map with the north-west of North America left unknown, outlines of parts of New Zealand and speculative coastal delineation of the west of Australia, and showing the tracks of the voyages of Bouvet de Lozier (1738-9) in the Antarctic and of Anson (1740-43) across the Pacific 1752, ornate cartouche designed by Cochin and engraved by Tardieu in the upper and lower sections, engraving with full early hand-colouring, on laid paper with watermark and countermark dated '1742', platemark 495 x 730 mm (19 1/2 x 23 3/4 in), sheet 530 x 840 mm (20 7/8 x 33 in), full margins, vertical folds with some minor repairs to splitting, minor nicks and tears to extremities, handling creases light spotting and surface dirt, unframed, Pairs, 1752
World.- Visscher (Claes Janszoon) Nova Totius Terrarum Orbis Geographica ac Hydrographica Tabula Auctore N. I. Piscator, magnificent carte-a-figures world map on Mercator's projection, an early edition with the dating of Columbus' voyage erroneously described as 1592 to 1599, decorated with panels surrounding the map that include twelve Roman emperors to the top and bottom, six groups of national figures and six vignettes of principal cities to the left and right borders, and each of the four corners with female allegorical representations of the continents, engraving with full hand-colouring heightened with touches of gum arabic, an excellent well inked and early impression, on laid paper without watermark, trimmed to the platemark at the lower edge but expertly re-margined, several small marginal losses and tears expertly restored, notably the upper corners, some minor rubbing and abrasion just off the coast of Florida with careful ink facsimile to some letters, and small repaired perforation to just below Guinea, both areas only really visible verso and under raking light, minor surface dirt, unframed, [Amsterdam, 1652] ⁂ An excellent impression of this scarce world map, known as The Twelve Caesars World Map, both richly decorated with fine engraved details and finished with full hand-colouring.
Oxford.- Ackermann (Rudolph, publisher) A History of the University of Oxford, 2 vol., first edition, large paper copies, engraved portrait of the Chancellor Lord Grenville (laid down and foxed), 81 hand-coloured plates comprising 64 aquatint views by Buck, Stadler, Hill & others after Pugin, Mackenzie, Westall & others and 17 stipple-engraved plates of academic costumes, without the 33 hand-coloured portraits of the Founders (as usual with early issues), plates bright and clean but offset, light finger-soiling marks to vol.2 half-title, very occasional spotting, contemporary red crushed morocco by Zaehnsdorf, panelled in gilt, wide inner gilt dentelles, t.e.g., others uncut, rebacked and neatly recornered, spines gilt in compartments, some rubbing or chipping to extremities but overall handsome copies, [Abbey, Scenery 280; Tooley 5], 4to, 1814.⁂ A very attractive set of one of the finest illustrated works on Oxford. Plates 1, 15, 39, 50, 78, 84, and 94 in first state, plate 74 in second state with overslips.
Pokémon TCG Base Set Collection. This lot contains a collection of over 120 cards primarily from the Base set, the first Pokémon set released in 1999. It features a partial complete set in numerical order and contains a number of holo cards, most notably a holo Charizard. The set features a holo Charizard, Gyarados, machamp and Ninetales alongside numerous rares and Holos from the Jungle and Fossil expansion. The collection comes in two vintage binders, one of them being the A5 size blue Wizards of the Coast 4-pocket binder. This is a perfect way for someone to start their Pokémon TCG collection. Condition Report: The overall condition of this collection is 'Excellent' with many of the commons, uncommons and rare being 'Excellent to Near Mint'. The Charizard is in Good to Light Played condition with slight edgeware, a small imperfection on the top left hand corner and minor scratches to the front. The remaining holos are in similar condition.
A LARGE SILVER REPOUSSE FIGURE OF UMA, CHAM PERIODVietnam, former kingdoms of Champa, 13th-16th century. Standing in samabhanga atop a double lotus base with beaded edges, holding in her hands a jewel and a small vessel, wearing a finely incised pleated sampot with pendent ornaments repeated on the necklace above her voluptuous breasts, the wide face with almond-shaped eyes, the pupils inlaid with amethyst, flanked by elongated earlobes, the hair secured by a tiara centered by an inlaid garnet.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Very good condition with some old wear, small dents, possibly a minor loss to the attribute held in the right hand, the silver tarnished in some small areas, few minuscule nicks here and there, occasional light scratches, encrustations. Weight: 1,090 gDimensions: Height 47 cm
A 'TAOTIE' INCENSE STAND, XIANGJI, QING DYNASTYChina, 1644-1912. Of roughly oval, foliate-lobed form, the top carved to the sides with key-fret and inset with a conforming panel above the recessed waist carved with reticulated kui scroll panels, supported on an intricately carved apron decorated with taotie masks, pierced designs, and cloud scroll, the six elaborate cabriole legs carved with further archaistic scroll motifs, raised on a stretcher carved with key-fret to the sides.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Good condition with old wear, expected age cracks, small losses, minor chips, light scratches. There is a remote possibility that the apron and cabriole legs are of a significantly earlier date than the top, waist, and stretcher which date from the mid to late Qing dynasty. Fine, naturally grown patina overall.Dimensions: Height 69 cm, Width 60 cm (the tabletop)Incense stands, both in lacquer and hardwood, are seen in a variety of forms, including round, square, foliate, hexagonal and octagonal and are constructed with between three and six legs. Round lacquer incense stands appear to be the most commonly published examples and are depicted in woodblock prints from the Ming dynasty. The Palace Museum, Beijing has four examples ranging in date from the Xuande period (1426-1435) to the early Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties, 2002, nos. 162, 165, 166, and 169.Expert's note: The timber from which this incense stand was made is rosewood (Dalbergia). It has a lovely grain and fine patina. While some houses refer to this type of wood as huanghuali, in our opinion and due to some subtle differences, it may also be accurate to refer to it as hongmu. The stand has been created by a highly skilled craftsman and the quality of the carving is excellent, most remarkably around the apron and cabriole legs.Expert's note (continued): Since the printing of this catalogue, we have been informed that this lot was originally acquired by Anunt Hengtrakul in New York, USA, c. 1985. Furthermore, it was at the time inspected by the famous Manhattan-based Chinese art dealer Robert H. Ellsworth and his restorer, Paul Chow, and both confirmed that while the apron and feet of this Xiangji are carved from Zitan, the top, waist and stretcher are made from Hongmu. Ellsworth specifically mentioned that while this seems to be a rare combination, he had seen other examples before. One such table for example is found in the Soame Jenyns Collection of Japanese and Chinese Art, sold at Christies London, 6 November 2018, lot 43, for GBP 32,500, or EUR 44,500 (converted and adjusted for inflation). A Xiangji with the same combination was sold by Sotheby's on 7 November 2018, lot 130, for GBP 32,500 or EUR 44,500 as well.Literature comparison:Compare a related xiangji, also supported on six legs, in the Palace Museum, Beijing, illustrated in Wang Shixiang, Classic Chinese Furniture, London, 1986, pl. 76.Auction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 192 Price: GBP 18,750 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A huanghuali five-legged incense stand, xiangji, 18th century Expert remark: Compare the related openwork decoration to the apron. Note the smaller size (51.2 cm high)13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.清代饕餮紋香几中國，1644-1912年。六足香几，高束腰，造型優美典雅、線條高挑流暢，頂部刻有雷紋，並在束腰部上方嵌有一個面板，雕刻有網狀夔龍紋，牙條飾有饕餮面具，鏤空雕刻，捲雲紋，六條三彎腿上雕刻著卷葉紋，圓形托泥帶龜腳。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況良好，老化裂紋、小缺損、輕微碎屑、輕微劃痕。牙條和腿的年代可能早於其他部位。整體包漿細膩。 尺寸：高69 厘米，寬 60 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
AN INSCRIBED GILT BRONZE FIGURE OF A LAMA, 17TH-18TH CENTURYTibetan-Chinese. Seated on a rug over a double cushion, all with incised floral pattern, his left hand holding a vajra, his right lowered above his lap, dressed in heavy robes with foliate-patterned hems and short-tailed cloud designs. His serene face with almond-shaped eyes below thick arched brows and full lips forming a calm smile, below close-cropped hair. Note the remarkably fine incision work overall.Inscriptions: To back of base, 'Om Sawa Sati Drenchok Wang Gi Gyalpo Kudradi Sange Tenpa Yunring Ne Pe Tashi Shok'.Provenance: English trade. Condition: Very good condition with some old wear and casting irregularities, minuscule nicks, light scratches, small dents, some rubbing to gilt. The base unsealed.Weight: 1,616 g Dimensions: Height 18 cmThe large cushion upon which the lama sits indicates that the sculpture was made during his lifetime or shortly after his death, as it was the convention to portray living figures seated on a cushion rather than on a lotus throne.Auction result comparison: Type: Closely related Auction: Christie's, 10 May 2018, lot 984 Price: USD 18,750 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of a lama, China, 17th-18th century Expert remark: Compare the closely related pose, short-cropped hair, heavy robes with similar incised hems, and incised cushion. Note the size (16.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 1044 Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of a seated lama, 18th centuryExpert remark: Compare the closely related pose, short-cropped hair, and incised cushion. Note the size (15.2 cm).十七至十八世紀銅鎏金喇嘛坐像漢藏。喇嘛坐於雙層寶座上，右手持金剛杵，左手置於膝上。身著敞右肩僧服，衣紋整齊，褶皺聚攏至腳踝，面容安詳，帶有沉思的表情，眼睛微閉，眉毛微攏，嘴唇豐滿。 款識：底座背面刻字，'Om Sawa Sati Drenchok Wang Gi Gyalpo Kudradi Sange Tenpa Yunring Ne Pe Tashi Shok'. 來源：英國古玩交易市場。 品相：品相極好，有一些磨損和鑄造瑕疵，微小的刻痕，輕微的劃痕，小凹痕，鎏金有磨損。底座未密封。 重量：1,616 克 尺寸：高 18 厘米 喇嘛所坐的寶座表明該造像是在喇嘛生前或死後不久製作的，因為按照慣例，如還在世，應該坐在墊子上而不是蓮座上。 拍賣結果比較： 形制：非常相近 拍賣：佳士得2018年5月10日，lot 984 價格：USD 18,750（相當於今日EUR 21,500） 描述：十七至十八世紀銅鎏金喇嘛坐像 專家評論：比較非常相近的姿勢、短髮，厚重長袍下擺雕刻類似，以及雙層寶座。請注意尺寸 (16.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年3月23日，lot 1044 價格：USD 15,000（相當於今日EUR 17,500） 描述：十八世紀銅鎏金喇嘛坐像 專家評論：比較非常相近的姿勢、短髮，以及雙層寶座。請注意尺寸 (15.2 厘米)。
A YELLOW-GROUND BLUE AND WHITE 'GARDENIA' DISH, KANGXI PERIODChina, 1661-1722. Well potted with low rounded sides rising to slightly flaring rims, the dish finely painted in underglaze-blue with a central gardenia spray bearing two flowers and buds, the cavetto with evenly spaced sprays of nine grapes on a leafy vine, a beribboned Buddha's hand, a gnarled branch laden with two pomegranates and a persimmon branch with four fruits. The exterior is painted with eight rose blossoms on a continuous meander, all on a rich Imperial yellow ground within double-line borders. The recessed base with an apocryphal six-character mark Daqing Xuande nianzhi in underglaze blue and within a double circle.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. The base with an old paper label, inscribed in brown ink: 'Liddles No 2 collection'. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with some wear and manufacturing flaws, fritting, and light surface scratches.Weight: 710 g Dimensions: Diameter 26.3 cmThis design found much popularity in the mid-Ming period and similar dishes were produced in varying sizes with either a pomegranate or a stylized flower, often identified as gardenia, in the interior. The design was first produced during the Xuande period, and continued through the Jiajing reign, peaking in popularity during the Hongzhi and Zhengde periods.Literature comparison:Compare a related yellow ground blue and white dish, dated to the Kangxi period, 1700-1722, in the collection of the Victoria and Albert Museum, accession number C.373-1921.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 24 March 2018, lot 1559Price: USD 20,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A yellow-ground 'double vajra' dish, Qing dynasty, Kangxi periodExpert remark: Compare the closely related colors, the double line borders and the apocryphal Xuande mark. Note the smaller size (20.6 cm).康熙黃地青花梔子花果紋盤中國，1661-1722年。黃彩青花，侈口窄唇，淺斜壁，圓腹，矮圈足。盤內底繪折枝青花花卉，外圈以雙圈藍色弦紋，內壁畫有葡萄、石榴、櫻桃等花果，外壁繪轉枝梔子花七朵，四片葉如花開，與梔子花相隔。造型勻稱精美，形態端莊穩重。圈足内白釉，底中心青花雙圈内書“大明宣德年製”六字雙行楷款。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有一些磨損和製造缺陷和輕微的表面劃痕。 重量：710 克 尺寸：直徑26.3 厘米 此類紋飾在明代中期很受歡迎，類似的盤子有不同大小的，內部有石榴或折枝花卉，統稱爲梔子花紋。梔子花紋飾始見於宣德一朝，中有間斷，成化年間復燒，弘治、正德年間，梔子花紋盛極一時。 文獻比較： 比較一件相近的康熙時期1700年至1722年黃地青花紋盤，收藏於維多利亞與亞伯特博物館，編號 C.373-1921。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2018年3月24日，lot 1559 價格：USD 20,000（相當於今日EUR 22,500） 描述：清代康熙黃地雙金剛杵紋盤 專家評論：比較非常相近的顏色，雙圈開光，以及底部雙層偽款。請注意尺寸較小 (20.6 厘米)。
AN IMPORTANT AND RARE BLACK AND TURQUOISE 'CAT' PORCELAIN NIGHTLIGHT, KANGXIChina, 1661-1722. The crouched feline with the tail curled against its haunches, the fur with vivid tiger-like striping, the face neatly detailed with pierced alert eyes and pricked ears, the top of its back with a circular aperture, the interior hollow. The remarkably thin biscuit is superbly modeled overall.Provenance: Charlotte Horstmann & Gerald Godfrey, Ltd., Hong Kong, 7 April 2003. A private collector, acquired from the above, and thence by descent. The interior with three inventory labels. A copy of the previous owner's personal notes, detailing the purchase of the present lot, noting a date of 7 April 2003, and a purchase price of USD 26,000 or approx. EUR 39,600 (converted and adjusted for inflation at the time of writing), accompanies this lot. Charlotte Horstmann (1908-2003) was a legendary art dealer in Hong Kong, widely recognized as one of the three doyennes of the Asian art world, together with Helen Ling in Singapore and Connie Mangskau in Bangkok. She was born in Berlin to missionaries who moved with their daughter to Beijing shortly after her birth. In the 1920s and 1930s, she worked as an interpreter, meeting important art collectors and academics such as John D. Rockefeller Jr. and Lawrence Sickman. She became an antiques dealer in Beijing and in 1950 moved to Bangkok, taking her now-famous collection of Ming furniture with her. In 1955, she moved to Hong Kong and opened a small shop on Ice House Road. Over time, this shop became a destination for stars, politicians, business magnates, and high-ranking government officials from around the world. In 1981, she renamed the shop Charlotte Horstmann & Gerald Godfrey, Ltd., the younger, English-born Godfrey being a partner in the business since its move to Hong Kong in 1955. In 1987, they opened a subsidiary gallery in London, Mayfair.Condition: Excellent condition with only minor old wear, mostly originating from tender caressing over centuries, and minimal manufacturing flaws. The interior with traces of soot. Extremely rare in this magnificent state of preservation, especially when considering the fragility of this item.Weight: 332.5 gDimensions: Length 19.5 cmCat nightlights were made as early as the late Ming period. Two blue and white examples were found in the first Hatcher cargo (sold at Christie's Amsterdam, 14 March 1984, lots 279 and 280). The French Jesuit François Xavier d'Entrecolles (1664 in Lyon - 1741 in Beijing), Chinese name Yin Hongxu, was famously struck by the form on his Kangxi period visit to Jingdezhen, writing, “I have seen a cat painted after life, in the head of which a little lamp was put to illuminate the eyes, and was assured that in the night the rats were terrified by it.”Literature comparison:Compare two related cat nightlights in the collection of the Philadelphia Museum of Art, one with a turquoise glaze dated to the 18th century, accession number 1955-50-345, and the other decorated with famille verte enamels and dated to the Kangxi period, accession number 1955-50-346.Auction result comparison: Type: Related Auction: Christie's New York, 21 January 2009, lot 15 Price: USD 11,250 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A rare blue and white cat nightlight, Kangxi periodAuction result comparison: Type: Related Auction: Sotheby's New York, 24 January 2014, lot 31 Price: USD 8,750 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Chinese export aubergine and green-glazed biscuit 'cat' night light, circa 1800.康熙出口瓷貓夜燈中國，1661-1722年。貓形夜燈，尾巴蜷縮在一側，虎紋，雙眼警覺，耳朵豎起，背部的頂部有一個圓形的孔，內部是空洞的。非常薄的素胚，整體造型生動。 來源：香港Charlotte Horstmann & Gerald Godfrey 藝廊，2003年4月7日；私人收藏，購於上述藝廊，保存至今。燈内有三個標籤。隨附一份2003年4月7日出具的前任藏家個人注釋副本，買價USD $26,000 ，相當於現在的 EUR 39,600 。 品相：品相極好，只有輕微磨損，可能因爲幾個世紀以來一直小心愛護，缺陷極少。內部有煙灰的痕跡。 重量：332.5 克 尺寸：長 19.5 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A COPPER-INLAID BRASS FIGURE OF BUDDHA VAJRASANA, 12TH-13TH CENTURYTibet, circa 1100-1250. Superbly cast, seated in vajraparyankasana on a double lotus throne with remarkably thick-beaded rims, the right hand extended in bhumisparsha mudra and the left in dhyana mudra, the fingernails conspicuously inlaid with copper, his left palm and right sole incised with a floral design. Wearing a sanghati gathered on one shoulder, with distinct wavelike folds hidden in the gap between the body and the left arm, the robe gathering in elegant pleats just below his feet and above a vajra finely incised to the base.Provenance: Old Austrian private collection.Condition: Superb condition, commensurate with age. Some wear, casting irregularities, minor dents, few tiny losses, minuscule nicks, light scratches, remnants of ancient pigment and gilding to face, the eyebrows and other areas possibly inlaid with silver wire, which has over the centuries turned completely black and cannot be clearly identified. The base unsealed. Rich, naturally grown patina with an unctuous feel overall, showing signs of extensive worship and caress across the centuries.Weight: 1,249 gDimensions: Height 26 cmThe gilt face is sensitively modeled with a serene expression, the downcast eyes and arched brows seem to be inlaid with metal (possibly silver), the lips with faint remnants of copper inlay, flanked by long pierced pendulous earlobes, the blue hair arranged in tight curls surmounted by a tall ushnisha topped by a bud-shaped jewel.The bronze depicts Shakyamuni Buddha at the very moment of Enlightenment at Bodh Gaya. Touching the goddess, Earth, with his right hand, he called her to witness his imperturbability in front of the assault of the demon Mara. It is with reference to this condition of serene beatitude that Shakyamuni's epiphany was called Akshobhya, meaning 'Imperturbable'. The episode took place at the Vajrasana seat at Bodh Gaya, which by tradition was specially empowered to expedite his enlightenment. Later, the followers of Buddhist esoteric schools represented the epiphany with their most important emblem, the vajra, which they interpreted as a symbol of the adamantine purity, indestructibility, and perfection of the Buddhist doctrine. In the present bronze, the vajra is incised into the upper surface of the lotus base.This sculpture represents the early phase of Tibetan Buddhist art during the Chidar, the Later Diffusion of Faith, that took inspiration from eleventh and twelfth-century Pala-period sculptural traditions of eastern India. Various elements reflect Indian prototypes, including the tall ushnisha and particularly the base's lower rim, distinctively decorated with a single row of large beads. Meanwhile, the base's high-relief lotus petals with their characteristically incised design are an early Tibetan feature. This combination of stylistic elements exemplifies Tibetan artists' close apprenticeship of Pala art during and shortly after the Chidar.Literature comparison: Compare a closely related brass figure of Buddha Shakyamuni, dated 13th-14th century, supported on an altar of probably a later date, the base similarly cast with Pala-influenced beaded rims and Tibetan flattened lotus petals, illustrated in the Complete Collection of the Treasures of the Palace Museum, 60 Buddhist Statues of Tibet, Hong Kong, 1998, pages 160-161, no. 153. This type of base is also seen in three closely related brass figures dated circa 13th century, illustrated by von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, Volume II, pp. 1173, pls. 313C-E. For the Pala prototype depicting Buddha Vajrasana, dated 11th-12th century, see von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, Volume I, pp. 269, pl. 86C. Note also the elongated figure, narrow waist and tubular limbs, the distinctive double-tipped petal motif of each bulbous petal on the lotus throne, and the curled double-edges of the sanghati thrown over the proper left shoulder in the figure of Shakyamuni (313D), as well as the gently sloping hairline, ovoid facial shape, raised urna, and the upward-curving eyes inlaid with silver on the figure of Vajrasattva (313C).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3131Estimate: HKD 1,500,000 or approx. EUR 203,000 converted and adjusted for inflation at the time of writing Description: An inscribed early copper-inlaid bronze figure of Shakyamuni Buddha, Tibet, 12th-13th centuryExpert remark: Compare the alloy and patina, the pose, robe and hems, the face, and the tall ushnisha with the similarly bud-shaped jewel on top. Note the slightly larger size (29.8 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 2 December 2020, lot 1009Price: HKD 752,500 or approx. EUR 95,500 converted and adjusted for inflation at the time of writing Description: A silver and copper inlaid copper alloy figure of Buddha Shakyamuni, Tibet, 13th centuryExpert remark: Compare the alloy and patina, the pose, robe and hems, the face, and the tall ushnisha with the similarly bud-shaped jewel on top. Note the larger size (31.8 cm).十二至十三世紀錯紅銅金剛座佛陀銅像西藏，約 1100-1250年。由於字數限制，完整中文敘述請至www.zacke.at查看。
A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF GREEN TARA, QIANLONG PERIODTibetan-Chinese, 1736-1795. Seated in lalitasana atop a double-lotus base with beaded edges, her raised left hand held in vitarka mudra and holding a lotus stem, her left lowered in prithvi mudra. Wearing a fine dhoti cascading in voluminous folds and neatly incised with foliate and diapered designs at the hems. Richly adorned with beaded, floral, and inlaid jewelry. The finely incised hair pulled up into a tall double-topknot falling elegantly in long segments down the sides of the shoulders and surmounted by a jewel.Provenance: From the collection of Gustave Fayet (1865-1925), thence by descent in the family. Gustave Fayet was a French painter and art collector, who owned works by Degas, Manet, Pissarro and above all Paul Gauguin. Fayet was a man with a universal curiosity, an eminent patron of the arts, and a discerning collector in all fields.Condition: Overall fine condition commensurate with age and presenting remarkably well and attractive. With old wear, traces of use and some minor casting flaws, occasional light scratches, tiny nicks, few small dents. Losses to inlays, some of the remaining inlays may be later replacements. Well-preserved ancient pigments. The separately cast lotus flowers at the shoulders are missing. The lacquer gilt sections with scattered stains. The fire gilt sections with minor areas of malachite encrustation. The base lid is bent and indented.Weight: 3,166 gDimensions: Height 37.7 cmThe serene face with heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a benevolent smile, flanked by long pendulous earlobes.The impressive statue is made from a solid cast of copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, strands of hair, and the lotus foot support are executed in copper repousse. The statue is gilt overall, partially in lacquer and partially with a superb fire-gilt, exactly as expected from a statue of the Qianlong period.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and feminine treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2016, lot 1231 Price: USD 35,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a bodhisattva, Qianlong period Expert remark: The bronze belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of near-identical size (37.1 cm) and also dated to the Qianlong period.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 674 Price: USD 112,500 or approx. EUR 122,500 converted and adjusted for inflation at the time of writingDescription: A large cast and repousse gilt-bronze figure of Green Tara, Inner Mongolia, Dolonnor style, late 18th century Expert remark: The bronze also depicts Green Tara and belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of considerably larger size (58.1 cm high) and dated to the late 18th century.乾隆銅鎏金錘鍱綠度母漢藏, 1736-1795年。本尊綠度母坐像，通身以錘鍱工藝製作，半跏趺舒坐於蓮花寶座上，為典型的三折姿勢。葫蘆形髮髻高聳，雙耳垂肩，耳懸花鐺，披肩長辮優美。面容飽滿，嘴角上揚微笑，雙眉之間有白毫，端莊靜穆，給人以悲憫之感。上軀袒露，佩掛項圈及連珠長鏈，手、臂、踝均飾有釧環。左腿橫盤，右腳下應踏小蓮台，左手於胸前施三寶印，右手置膝前作予願印。其下蓮座為雙層束腰仰覆式，台座規矩，蓮瓣舒展精細。 來源：Gustave Fayet (1865-1925) 收藏，保存在同一家族至今。Gustave Fayet 曾是一位法國畫家和藝術收藏家。他的收藏中可見德加、莫奈、畢加索和高更。Fayet是一個特別有好奇心的傑出的藝術贊助人，也是一個在各個領域都獨具慧眼的收藏家。 品相：整體狀況良好，與年齡相稱。有磨損，使用痕跡和一些輕微的鑄造缺陷，局部輕微的劃痕和刻痕，少量小凹痕。鑲嵌物的遺失，一些剩餘的鑲嵌物可能在後期更換過。顏料保存完好。肩部分鑄的蓮花遺失。漆面鎏金部分有散落的污漬，少量綠色結殼。底蓋彎曲。由於字數限制，完整中文敘述請至www.zacke.at查看。
A LARGE GOLD-SPLASHED BRONZE 'ELEPHANT' TRIPOD CENSER AND COVER, QING DYNASTYChina, 18th-19th century. Supported on three elaborately cast elephant-head feet and with a pair of similar elephant-head handles, the rounded sides rising to an everted rim. The domed cover with pierced cartouches showing confronting dragons below a caparisoned elephant supporting a finial on its back.Provenance: From a private collection in Atlanta, Georgia, USA, mostly acquired in New York, Europe, and Hong Kong between the 1940s and 1970s. Thence by descent to the last owner. Old inventory label to inside of cover. A copy of the anonymized provenance statement signed by the previous owner accompanies this lot.Condition: Very good condition with minor old wear and some casting flaws, few small nicks, occasional light scratches, a faint impression from an old label to the base. The finial slightly leaning. The wood base with traces of use and age. All three pieces with a fine, naturally grown patina overall.Weight: 5,211 g (excl. base) and 6,281 g (incl. base)Dimensions: Height 42.6 cm (overall) and 35 cm (excl. base)With a finely carved matching wood petal-lobed tripod base, carved with a central lotus design, dating to the Qing dynasty. (2)Literature comparison: Compare a related bronze censer, also with elephant feet, handles, and cover but lacking the gold splash, in the collection of the Palace Museum, Beijing, accession number 00095770.Auction result comparison: Type: Closely related Auction: Christie's New York, 17 September 2010, lot 1022 Price: USD 74,500 or approx. EUR 94,000 converted and adjusted for inflation at the time of writing Description: A large and finely cast gold-splashed bronze tripod censer and cover, 18th/19th century Expert remark: Compare the similar elephant handles and feet, the pierced cover surmounted by an elephant, and the gold splash. Note the larger size (57.8 cm).清代大型灑金象耳三足熏爐中國，十八至十九世紀。整器工藝繁複，直口，與器蓋子母口相合。爐蓋上有大象背托寶瓶，腹部灑金，兩側出天象耳，卷鼻上揚，肌肉感、皮膚褶皺，表現淋漓。底承三象首形足，葉形象耳後揚，眉眼細長，鋒牙斜出，卷鼻著地，頭頂漩渦圖案。 來源：美國亞特蘭大私人收藏，其藏品多在上世紀四十至七十年代購於紐約、歐洲以及香港，保存至今。爐蓋内有舊標籤。隨附一份由前任所有者簽署的匿名出處聲明的複本。 品相：品相非常好，有輕微磨損和一些鑄造缺陷，少量小刻痕，輕微的劃痕，舊標籤在底座上有微弱印跡。寶瓶微微傾斜。木質底座有使用痕跡和年代感。整體都帶有自然包漿。 重量：5,211 克 (不含底座) 和 6,281 克 (含底座) 尺寸：高42.6 厘米 (總) and 35 厘米 (不含底座) 清代蓮花圖案木質底足。文獻比較： 比較一件相近的宣德款銅纏枝花卉紋象耳足蓋爐，同樣的形制，但無灑金，見北京故宮博物院館藏，編號00095770。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得, 2010年9月17日, lot 1022 價格：USD 74,500（相當於今日EUR 94,000） 描述：十八或十九世紀大型灑金三足銅蓋爐 專家評論：比較相似的象耳把手和足，鏤空的爐蓋以大象為飾，灑金分布在均勻整爐。請注意尺寸較大 (57.8 厘米)。
A JIADING SCHOOL BAMBOO BRUSHPOT, BITONG, SIGNED ZHOU E, 18TH CENTURYOpinion: Finely carved and incised with openwork and undercutting, most cleverly combining high and low reliefs of different colors with a multitude of depth grades and variations of polishes to enhance both contrast and perspectives for the viewer, all exactly as expected from the best of the Jiading school of bamboo carving.China. Carved to one side with two sages seated under a tall gnarled pine tree, wearing loose-fitting robes and short chignons, one pointing to the sky with two fingers, a craggy rockwork table with a potted lingzhi and a teapot with two cups next to them, further detailed with a standing attendant fanning a stove below a teapot. Carved to the other side with a groom and four horses in various poses, including one on its back with its legs in the air.Inscriptions: To one side, 'Zhou E', with seal 'Zhou'.Provenance: Jonathan Bennett, London, United Kingdom. A Hungarian private collector, acquired from the above via the UK auction market. The interior with an old paper label inscribed 'Equipment so when really set-up we […] plenty of recreation'. Jonathan Bennett is an English dealer of Chinese art, specializing in 18th century and earlier porcelain as well as works of art including jades, bronzes, bamboo, and lacquer. He began his career at Sotheby's on New Bond Street and has been an independent dealer for over three decades.Condition: Good condition with minor wear, expected age cracks, some with old fills, minuscule nicks, light scratches. Magnificent patina overall, testifying to how much this bitong was appreciated by scholars over the past centuries.Weight: 281.7 gDimensions: Height 14 cmZhou E (artist name Jiantang) was active during the mid-Qing dynasty and a member of the Jiading School of bamboo carving. During the late Ming dynasty, Jinling and Jiading, both located in Jiangsu Province, became the two key regions for the highest quality of bamboo carving. By the time of the mid-Qing dynasty, Jinling had slowly lost its edge, while Jiading continued on with the heritage of the Three Zhus (Zhu He, Zhu Ying and Zhu Zhizheng) for generation after generation. Around early-Qing, Jiading carvers of bamboo started to combine high and low reliefs of different color to enhance contrast, as can be seen in the present bitong. This specific skill grew more and more sophisticated over time and the levels of depths in protrusion increased from initially one or two to six different grades. After these improvements Jiading eventually became the leading region for the very best bamboo carvings.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 June 2011, lot 3865 Price: HKD 800,000 or approx. EUR 132,500 converted and adjusted for inflation at the time of writingDescription: A finely carved bamboo brushpot, late Ming / early Qing dynasty, 17th centuryExpert remark: Note that this brushpot is signed Sansong, which is the signature used by Zhu Zhizheng, a founding member of the Jiading School, and dated by inscription to the Jiacheng cyclical year. Note the striking resemblance of the scene, including the standing attendant fanning a stove below a teapot. Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 31 May 2010, lot 1943 Price: HKD 250,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writingDescription: An unusual carved and reticulated bamboo brushpot, Qing dynasty, 17th/18th centuryExpert remark: Note that the brushpot is signed Zhong Qian.十八世紀嘉定派周鍔款竹雕筆筒中國。一側雕刻著松下兩位聖人，衣著寬鬆，一個用手指指著天空，正在談笑風生。身旁一個的石桌，桌上一個盆栽靈芝，一個茶壺，旁邊有兩個杯子 ，一位站立的侍者茶壺旁煽著火。 另一面雕刻著一個馬夫和四匹馬，姿勢各異，其中一匹正仰臥著，雙腿懸空戲耍。專家注釋：精雕細刻，局部鏤空，巧妙雕刻，結合紋理和光澤，完全符合嘉定派的竹雕風格。 款識：周鍔；鈴印：周 來源：英國倫敦Jonathan Bennett; 匈牙利私人收藏，通過英國拍賣行購於上述收藏。筆筒內有一個舊紙標籤，上面寫著“Equipment so when really set-up we […] plenty of recreation“。 Jonathan Bennett 是一位來自英國的中國藝術品經銷商，專營十八世紀及更早的瓷器以及玉器、青銅器、竹雕和漆器等古玩。他的職業生涯始於新邦德街的蘇富比，三十多年來一直是一名獨立經銷商。 品相：狀況良好，有輕微磨損，老化裂縫，一些填充物，微小的刻痕和劃痕。整體有自然的包漿，説明了幾個世紀以來此筆筒一直受到原主的喜愛。重量：281.7 克 尺寸：高14 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
'A RELAXING DINNER', OIL ON CANVAS, CHINESE SCHOOL, QING DYNASTYOpinion: The remarkably fine detail and the moody character of the scene overall are both proof of the high level achieved by Chinese masters in the mastery of the European oil painting technique shortly after 1800.China, first half of 19th century. Finely painted with four men seated at a table with bowls and chopsticks before them, two conversing with each other and making gestures, one picking his teeth with the tip of his long pipe, the eldest looking on from the top of the table, a female servant outside the pavilion holding a tray with cups, the background with willows, pines, and buildings.Provenance: French trade. Condition: Craquelure and old wear, otherwise in good condition with only few minor scattered areas of inpainting (inspected under strong blue light). Laid down on a modern canvas backing.Dimensions: Size incl. frame 57 x 70.5 cm, Image size 50.5 x 64 cmWith a modern frame. (2)China trade paintings were created in Asia for export to the Western market. While such works have existed for centuries, the period between the 18th and 19th centuries saw a boom, producing the majority of existing works. This era coincided with a rapid increase in trade between China and the West, fueled by the commercial expansion in southern China and the growth of Hong Kong.Auction result comparison: Type: Closely related Auction: Christie's New York, 14 October 2020, lot 171 Price: USD 80,000 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: Chinese school, first half 19th century, An Official's Family at Leisure, a set of fourExpert remark: Note that the lot comprises four paintings of similar size (51.4 x 65.4 cm).清代油畫《亭中會友》中國，十九世紀上半葉，布面油畫。畫中四人圍坐一桌，桌上擺著酒菜碗筷，幾個人顯然正在暢談，一人抽著煙斗。庭外來了一位端著茶杯的侍女。繪畫精美細緻，近處亭臺棧欄，背景可見岸邊柳樹、松樹和房屋。 專家注釋：人物的著色已出現明暗對比和光影處理。畫中的人物，其五官與服飾，有著濃厚的東方情調。而遠景中景近景刻畫層次分明，可見中國畫家在1800年以後已能精準地掌握歐洲油畫精隨。 來源：法國古玩交易市場。 品相：油彩產生龜紋，有磨損，品相總體良好，只有少量輕微修補（在強藍光下檢查）。鋪設在現代帆布襯底上。 尺寸：總57 x 70.5 厘米，畫面50.5 x 64 厘米 現代木框。 在十八世紀下半葉到十九世紀中葉，由於外貿通商的環境和形勢，形成了以廣州十三行為代表的外銷畫現象，從廣州傳到香港、上海等地，然後這些外銷油畫則主要銷往歐洲，後也及至美國。這樣就使得清代外銷油畫目前主要被歐美的公私藏家收藏。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2020年10月14日，lot 171 價格：USD 80,000（相當於今日EUR 86,000） 描述：十九世紀上半葉中國油畫閒暇時的官員家庭 專家評論：請注意此組油畫有四幅，且尺寸相近 (51.4 x 65.4 厘米)。
A LARGE FULL-TIP RHINOCEROS HORN CUP, 19TH CENTURYChina, late Qing Dynasty. Using the full length of the horn, the intricate openwork carving depicts a lush panoply of squirrels on grapevines. The horn is of a warm golden honey-brown tone. With a massive carved and pierced wood stand, similarly decorated throughout with bunches of grapes on vines. (2)Provenance: Joseph Vallot (16 February 1854 – 11 April 1925). Maître Lair Dubreuil, Commissaire-Priseur, Paris, February 2nd, 1926. Gaston LAZARD (1878-1956), Paris, France. Jane LEVY (1886-1985), wife of the above, Paris France. Thence by descent to the present owner. A copy of an invoice from Maître Lair Dubreuil, dated February 2nd, 1926, confirming the sale of lot 160 "Corne de Rhinoceros Sculpté" to Monsieur Lazard, the grandfather of the present owner, is accompanying this lot. Joseph Vallot (16 February 1854 – 11 April 1925) was a French scientist, astronomer, botanist, geographer, cartographer and alpinist and "one of the founding fathers of scientific research on Mont Blanc". He is known mainly for his fascination with Mont Blanc and his work in funding and constructing a high-altitude observatory below its summit, and for the many years of study and research work that he and his wife conducted both there, and at their base in Chamonix. The observatory and adjacent refuge that he constructed for use by mountain guides and their clients attempting Mont Blanc summit both still bear his name today, despite being rebuilt in modern times. Condition: Excellent condition with some old wear, few natural age cracks, and minor chips or losses to exposed areas. The wood base with natural age cracks, minor chips and losses, and light surface scratches overall. The ensemble with a good, naturally grown patina.Weight: 1,738 g Dimensions: Height 62.2 cm (total), 49.8 cm (the horn cup)Lavishly decorated full-tip cups from this group were generally produced from the 19th century onwards, mainly in Canton where they were fashionable and in high demand, especially from Western collectors. The largest possible horns were selected and carved in an extravagant fashion, as clearly demonstrated by the present cup.Expert's note: A full-tip rhinoceros cup of this magnificent size, still retaining its matching wood base, and as well preserved as the present lot, is extremely rare, because due to their intricate openwork design these cups are prone to damage.Literature comparison: Compare a related rhinoceros cup on loan to the Durham University Oriental Museum, illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 38. Compare also a related rhinoceros cup, dated to the 19th century, in the collection of the Victoria & Albert Museum, accession number 243-1896.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 15 September 2011, lot 1231Price: USD 314,500 or approx. EUR 405,500 converted and adjusted for inflation at the time of writingDescription: A large full-tip rhinoceros horn cup, 19th centuryExpert remark: Compare the closely related form and manner of carving as well as the similar wood stand. Note the smaller size (55.3 cm) and the different subject.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.十九世紀大型鏤空滿雕犀角杯中國，清末。鏤空雕刻葡萄藤以及活潑的松鼠，葡萄顯得晶瑩剔透。犀角呈溫暖的金蜜色。有一個巨大木架，同樣裝飾著葡萄串。 來源：法國知名私人收藏，在第二次世界大戰之前或之後不久獲得，家族內部的傳承，直到現在的持有者。品相：狀況極佳，有一些磨損，輕微自然老化裂縫，有輕微碎裂。木底座有自然老化裂縫、輕微碎屑以及整體表面輕微劃痕。整體包漿瑩潤。 重量：1,738 克 尺寸：總高62.2 厘米，杯高 49.8 厘米 這樣華麗滿雕的犀角杯是從十九世紀開始生產，主要在廣州流行且需求量很大，尤其是西方收藏家。 專家注釋：如此巨大尺寸的滿雕犀牛杯，仍保留其配套的木底座，並與目前的拍品一樣保存完好，極為罕見。這些杯子由於其複雜的鏤空設計極其容易損壞。 文獻比較： 比較一件相近犀角杯，收藏於Durham 大學Oriental博物館，見Jan Chapman，《The Art of Rhinoceros Horn Carving in China》，倫敦，1999年，頁38。比較一件相近的十九世紀犀角杯，收藏於維多莉亞與亞伯特博物館，編號243-1896。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年9月15日，lot 1231 價格：USD 314,500（相當於今日EUR 405,500） 描述：清十九世紀巨型犀角鏤雕花果仙人盃 專家評論：比較非常相近的外型和雕刻風格，以及相似的木底座。請注意尺寸較小(55.3厘米) ，以及不同主題。
A SLIP-DECORATED AND ENAMELED 'DOVES AND PEKINGESE DOG' SNUFF BOTTLE, YIXING, 1820-1850Published:Hugh Moss, Chinese Snuff Bottles Four: A Magazine for the collector and student of Chinese Snuff-Bottles, London, 1966, p. 45, fig. 11Arts of Asia, September-October 1973, p. 45, fig. 11Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, no. 336JICSBS, December 1979 and March 1980, p. 13, fig. 4Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 126-127, no. 50Exhibited:Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 92.China. The stoneware bottle of rounded rectangular form, with a cylindrical neck, and tapering to a recessed oval foot, enameled in blue and reserved on each side with a recessed panel, finely carved and decorated in opaque colored slips, one side depicting a pair of Pekinese dogs, and on the other a pair of doves. The coral stopper finely carved with a bat.Provenance: From the collection of Bob C. Stevens, no. 336. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 69. Rachelle R. Holden, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Magnificent condition with minor old wear, light surface scratches, very few touched-up glaze flakes and microscopic pits.Stopper: Carved coral (minuscule age cracks and chips to stopper)Weight: 44.1 gDimensions: Height including stopper 71 mm. Diameter neck 16 mm and mouth 6 mm.The Daoguang Emperor and his consort were fond of doves and small dogs, respectively, as subjects of paired doves and Pekingese dogs became popular during this period. The symbolism imbued in the pairs of dogs and doves implies a wish for happy marriage.The dove-and-dog Yixing bottles were made in sets and in several different series. One of the finest versions of all is seen in the present lot, with its rounded rectangular shape, blue surround and multi-colored slip decoration. The slip is both painted with a brush and plastered on and carved, or at least manipulated with a blade of some sort. This is the same technique as that of the Slip Master (see for example Moss, Treasury 6, lots 1448-1451), but it is a quite different, more evolved style, with a number of different colors of slip used almost like enamels. This is typical of artistic evolution in the snuff-bottle arts, where a simple idea, drawn initially from the painting style of the literati with its predominance of monochrome ink painting, evolves to a more complex style as the possibilities of the medium are explored. These bottles with their more intriguing designs and multiple colors may be the later wares by the Slip Master, perhaps with a son taking over, or they may be from a different workshop, although we are inclined towards the first option. The bulk of the known examples probably date from the earlier part of the Daoguang reign, although the type may have remained popular throughout the reign. As a rule, however, it is not likely that an Imperial type remained fashionable for thirty years without noticeable changes in style.The dogs and doves on this series are always extremely well depicted, full of life, and the limited range of colors of slip available to the carvers are very thoughtfully and effectively used. While the form remains reasonably constant, and the subject matter is always the same, there are several different compositions within the series. Either each was made as an individual composition of the same theme, or each series was redesigned. Two more are illustrated in Stevens 1976, as nos. 334 and 336, both equally well worked. Between them, however, is a rare example (no. 335) with an enameled design of the same subject, still with the blue surround, that is quite poorly painted, even by the decorative standards of Yixing. The painted version may come from a time later in the reign when the enamel workshop responsible for so many earlier bottles was beginning to show signs of decline.Yixing in Jiangsu province gives its name to this distinctive stoneware. In production for nearly a thousand years in the same place, Yixing ware only came into artistic prominence in the later Ming dynasty, when it was adopted by the literati class as a suitable material for teapots and thence for other items for the scholar's studio. Slip-decorated snuff bottles constitute a considerable portion of the known output. Slip is simply liquid clay which can be applied like a thick paint or used for gluing segments together.Literature comparison: Compare a Yixing bottle decorated with landscape scenes set within a blue-enameled surround, and impressed with a cyclical date, jiyu (1849) is illustrated in An Imperial Qing Tradition, Chinese Snuff Bottles from the Collections of Humphrey K. F. Hui and Christopher C. H. Sin, no. 46. Others of the slip-decorated versions with a blue surround are in Sotheby Parke Bernet, New York, 17 March 1977, lot 44, and Jutheau 1980, p. 94, no. 4, and Robert Kleiner & Co. Ltd. 1994, no. 75 (the designs as a mirror image of the present example), and Parke-Bernet Galleries, New York, 2 December 1969, lot 43 (from the Claar Collection).Auction result comparison:Type: Near identicalAuction: Christie's New York, 22 March 2007, lot 38Price: USD 33,600 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: An unusual slip-decorated stoneware snuff bottle, Yixing, 1820-1850Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 16 March 2015, lot 1028Price: USD 37,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: An enameled and slip-decorated, Yixing snuff bottle, 1800-1880 1820-1850年宜興紫砂掛釉加彩雙犬鼻烟壺 由於字數限制，完整中文敘述請至www.zacke.at查看。
AN EXCEPTIONALLY LARGE PAIR OF FAMILLE ROSE PALACE VASES, 19TH CENTURYChina. Of baluster form, rising from a splayed foot to a bamboo growth neck with wavy rim, the necks decorated with handles in the form of Buddhist lions and their cubs playing with a brocade ball, the neck with four sinuous chilong. Finely painted in the famille rose palette and gilt, with court scenes in oval reserves, below a scroll-shaped frame depicting a monumental figural scene, the neck with two jar shaped reserves showing court scenes. The everted rim with a band consisting of six panels each with floral decorations, separated by a blue border.Provenance: From an old Austrian private collection. Condition: Remarkably well preserved, especially when considering the age and fragility of these vases. Old wear, some firing flaws and flaking to enamels. Minor chips and losses, some hairlines, all hardly visible. A minute firing crack to the shoulder of one, the other with a minuscule repair. Please request our detailed video shot under strong blue light for full information about the condition of this lot.Weight: 23.8 kg and 23.1 kg Dimensions: Height 86.4 cm (each)Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 September 2015, lot 1028Price: USD 26,250 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: A pair of large famille-verte baluster vases, Qing dynasty, 19th centuryAuction result comparison:Type: Closely relatedAuction: Christie's New York, 28 January 2013, lot 425Price: USD 25,000 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: A very large pair of Chinese export 'Canton famille rose' vases, second quarter 19th centuryExpert remark: Note the similar size (90 cm)十九世紀一對大型開光人物場景粉彩瓶中國。瓶為花邊口，折沿，束頸，頸上兩耳，溜肩，肩上貼塑四隻上爬蜥蜴，弧腹，略收足，底足外撇。頸部和瓶身開光，紋飾以貴族觀戲圖為主題，旁以無數花葉紋及連方格為輔。花紋繁縟，顏色繽紛。 來源：奧地利私人舊藏。 品相：保存得極好。有磨損和一些燒製缺陷和琺瑯剝落，輕微的磕損和一些冲線。一個人物的肩膀有輕微裂縫。請聯繫我們索取在藍光下拍攝的詳細視頻，以獲取有關該拍品狀況的完整信息。 重量：分別重23.8 公斤與23.1 公斤 尺寸：各高86.4 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年9月19日，lot 1028 價格：USD 26,250（相當於今日EUR 33,000） 描述：清十九世紀一對五彩百花地開光「三國演義」圖獅耳瓶 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年1月28日，lot 425 價格：USD 25,000（相當於今日EUR 31,500） 描述：十九世紀第二季一對大型開光出口廣東粉彩瓶 專家評論：請注意尺寸相似 (90 厘米)。
'TWO GALLOPING HORSES', BY XU BEIHONG (1895-1953), DATED 1948China. Masterfully painted in a highly expressive manner with bold and vivid brushstrokes, characteristic for the artist, using exclusively black ink against a pure white background. Note the scattered remnants of preliminary sketch work below the final painting, and the distinct horizontal imprints from the edges of the supporting board - both peculiarities occasionally found on works from this artist.Inscriptions: on the upper left, “in the 37th year” (of the Republic of China, corresponding to 1948), and signed “Beihong”.Provenance: From the collection of Dr. Ivan Vodopija, acquired in China during a work trip for the WHO, according to a source familiar with the collection, and thence by descent to the last owner. Dr. Ivan Janko Vodopija (1925-2021) was a noted Croatian physician and expert in tropical medicine and vaccines. He worked for the World Health Organization (WHO) and conducted ground-breaking clinical research on vaccines in many countries. From 1995 to 2002, he was the President of the National Health Council of Croatia and in 2004, he was credited by the WHO for his significant contribution to eradicating polio. Dr. Vodopija was a passionate and eclectic collector of fine art, particularly paintings, and would frequently acquire works during his lengthy stays in foreign countries. Condition: Very good condition with minor wear, minimal soiling, little creasing. The silk brocade mounting with significant losses, possibly due to insect activity.Dimensions: Image size 109 x 40.5 cm, Size incl. mounting 165 x 51.5 cmWith a silk brocade frame and mounted as a hanging scroll with wooden handles.Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings to become one of the most sought-after, admired and influential painters of China. One of his well-known works, the “Cultivation of the peaceful Land”, sold for 27.4 million euro in 2011 and therefore ranks among the most expensive paintings in the world. After the founding of the People's Republic of China in 1949, Xu became President of the Central Academy of Fine Arts and chairman of the China Artists Association. Xu Beihong, together with Zhang Shuqi and Liu Zigu, were called the "Three Masters of Jinling (Nanjing)." Xu Beihong was a master of both oil and ink paintings. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasized the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one most responsible for the direction taken in the modern Chinese Art World.During his career Xu Beihong painted many pictures of horses in various postures. During the Sino-Japanese War (1937-1945) these images became particularly important, both as symbolic representations of China's strength and perseverance as well as for fund raising to support the war effort. While Xu's equines are characteristically powerful, vibrant, and rendered with anatomical precision, only his best examples have such detailed musculature and brushstrokes that suggest a play of light across the horse's torso, as seen on the anterior horse of the present work. It is quite exceptional to find an example where Xu took the time to paint two galloping horses in a rather small format as opposed to just a single horse. The close attention to modeling that is particularly visible in the heads reveals Xu's skill as a draughtsman and his interest in using Western techniques to enhance Chinese traditional paintings.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2019, lot 1136 Price: USD 375,000 or approx. EUR 421,000 converted and adjusted for inflation at the time of writing Description: Xu Beihong 1895-1953, Galloping Horse Expert remark: Note the significantly larger size (93.7 x 152.7 cm) and that the painting depicts a single horseAuction result comparison: Type: Related Auction: Sotheby's New York, 17 March 2016, lot 1187Price: USD 47,500 or approx. EUR 57,500 converted and adjusted for inflation at the time of writing Description: Xu Beihong, Galloping Horse Expert remark: Note the significantly smaller size (25.5 x 45.5 cm) and that the painting depicts a single horse徐悲鴻款《奔馬圖》，1948年中國，紙本水墨，掛軸。 款識：三十七年始寒，悲鴻 來源：Dr. Ivan Vodopija收藏，被世衛組織派去中國公務之時購買，據熟悉該系列的消息人士稱，此畫一直被保存至最後一位繼承人。Dr. Ivan Janko Vodopija (1925-2021年) 是克羅地亞著名的醫生，也是熱帶醫學和疫苗方面的專家。他曾在世界衛生組織 (WHO) 工作，並在多個國家開展了開創性的疫苗臨床研究。從 1995 年到 2002 年，他擔任克羅地亞國家衛生委員會主席，並於 2004年因在根除脊髓灰質炎方面做出的重大貢獻而被世界衛生組織稱讚。Vodopija 醫生是一位美術收藏家，尤其是繪畫，他在國外逗留期間經常會收藏作品。品相：狀況極好，小磨損，輕微污漬和摺痕。錦地裝幀上有大損失，可能是蟲咬所致。 尺寸：畫面109 x 40.5 厘米，總165 x 51.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A GILT COPPER-ALLOY FIGURE OF VAJRADHARA, 15th-16TH CENTURY OR EARLIERTibet. The primordial Buddha seated in dhyanasana on a double lotus base, his arms crossed in front, holding a vajra in his right hand and a ghanta in his left, wearing a tight-fitting robe and richly adorned with beaded and floral jewelry. His serene face with heavy-lidded eyes below gently arched brows centered by an urna, framed by his hair falling elegantly in curled strands over the shoulders and piled up into a topknot surmounted by a vajra behind the elaborate foliate crown.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: Excellent condition, commensurate with age. Some wear and casting irregularities. Small nicks, minor dents and losses, and light surface scratches. The base unsealed. Fine, naturally grown patina overall.Weight: 750.1 gDimensions: Height 18 cmLiterature comparison: Compare a related bronze of Vajradhara, dated 15th-16th century, in the collection of the British Museum, museum number 1979,0514.1.Auction result comparison: Type: Related Auction: Sotheby's New York, 21 September 2007, lot 40Price: USD 40,000 or approx. EUR 56,000 converted and adjusted for inflation at the time of writingDescription: A silver and copper inlaid bronze figure of Vajradhara, Western Tibet, 15th centuryAuction result comparison: Type: Related Auction: Christie's Paris, 12 June 2012, lot 415Price: EUR 20,000 or approx. EUR 24,000 adjusted for inflation at the time of writingDescription: A copper and silver inlaid bronze figure of Vajradhara, Tibet, 15th century十五至十六世紀或更早銅鎏金金剛總持西藏。金剛總持結跏趺坐在雙層蓮座上。上身挺直，左右手臂戴釧，雙手當胸交叉，左手在內持鈴，右手在外持金剛杵，胸前的鈴與杵代表智慧與善巧的結合。造像頭戴五葉寶冠，眼眉細長，雙眉之間有白毫。耳垂戴圓鐺，頸戴瓔珞。 來源：維也納私人舊藏，整個收藏構建與1910-1975年間，歷經幾代人，保存在同一家族至今。 品相：品相極佳，與年代相符，一些磨損和鑄造不規則。小刻痕、輕微的凹痕和缺損，表面有輕微的劃痕。底座開封。 整體包漿細膩。 重量：750.1 克 尺寸：高18 厘米 文獻比較： 比較一件相近的十五至十六世紀青銅金剛總持 ，收藏於大英博物館，編號1979,0514.1。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2007年9月21日，lot 40 價格：USD 40,000（相當於今日EUR 56,000） 描述：十五世紀西藏西部銅銀鑲嵌青銅金剛總持 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2012年6月12日，lot 415 價格：EUR 20,000（相當於今日EUR 24,000） 描述：十五世紀西藏銅銀鑲嵌青銅金剛總持
A GILT COPPER REPOUSSE FIGURE OF GREEN TARA, 17TH-18TH CENTURYTibetan-Chinese. Well modeled seated in lalitasana, the right hand in varada mudra and the left in vitarka mudra, holding a lotus stem coming to full bloom at the shoulder, wearing elaborate jewelry and an incised robe falling in drapes, the face with a benevolent expression flanked by pendulous earlobes, crowned with a five-leaf tiara enclosing the hair coiled into an elaborate chignon. The seal plate with a punched double vajra.Provenance: From an old British private collection, acquired in the 1970s. A Belgian private collection, acquired from the above. Old label to base with manual inscription: “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (Nepal Tibet, gilt bronze, acquired in the 1970ies, collection of A + JP Mc Donald, UK) Condition: Good condition commensurate with age and still presenting remarkably well. Some wear and manufacturing flaws, minor dings and dents, small tears and losses, light scratches, minuscule old repairs. The base sealed and possibly still filled with sacred contents. Good, naturally grown patina overall.Weight: 1,055 gDimensions: Height 27 cmThis elegant seated figure of Tara exhibits many characteristics common to Buddhist imagery from the Qianlong period (1736-1795), made in the lamaist workshops in and around Beijing. In the latter half of Qianlong's reign, when the construction of Buddhist temples and the associated Buddhist images reached its apogee, the use of repousse, where thin metals are beaten rather than cast, became more prevalent in an effort to save materials and time. The artisans of the period quickly mastered the process, and details such as the ornately worked crown and flowers at the shoulders in the present figure demonstrate the mastery of the technique.Green Tara, also known as Shyamatara, is venerated as a savior and liberator from samsara, the earthly realm of birth and rebirth. According to Buddhist mythology, Green Tara emerged from a lotus bud rising from a lake of the tears of Avalokiteshvara, shed for the suffering of all sentient beings. She embodies compassion in a dynamic form, hence the usual depiction of the goddess with right leg outstretched, ready to leap out to ease suffering. Her right hand is always held out in varada mudra, a gesture of compassion and charity, and the left hand in vitarka mudra, a gesture of teaching.Auction result comparison: Type: Closely related Auction: Galerie Zacke, 27 September 2019, lot 68 Price: EUR 10,744 or approx. EUR 12,000 adjusted for inflation at the time of writing Description: A gilt copper statue of Manjusri, Tibetan-Chinese, 17th-18th century Expert remark: Compare the closely related repousse work, gilding, incision work, inlays, and double lotus base with similar petals and beaded edge. Note the related size (29.8 cm)Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 673 Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A repousse gilt-bronze figure of Tara, Inner Mongolia or China, late 18th century Expert remark: Compare the closely related repousse work and lotus base with similar petals and beaded edge. Note the size (39.4 cm).Auction result comparison: Type: Related Auction: Bonhams London, 16 May 2019, lot 171Price: GBP 15,062 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A large gilt-copper repousse figure of Green Tara, Tibet, 16th centuryExpert remark: Compare the closely related expression, pose, and jewelry. Note the size (40.4 cm) and that this statue is of an earlier date. 十七至十八世紀銅鎏金錘鍱綠度母坐蓮像漢藏。綠度母頭戴花冠，面相方圓，慈眉善目，神態沉靜。耳垂花璫，胸戴瓔珞，袒露上身，下著錦褲，雙肩豎出蓮花法器，單腿伸出自然坐於單層覆蓮座上。底座密封雙金剛杵印。 來源：英國私人舊藏，購於上世紀七十年代；一個比利時私人收藏，購於上述收藏。底部有舊標籤 “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (尼泊爾或西藏，銅鎏金，購於1970年代，英國 A + JP Mc Donald收藏) 品相：品相良好，與年齡相稱。一些磨損和製造缺陷、輕微的凹痕、小撕裂和缺損、輕微的劃痕與維修。底座密封，造像内可能還裝了聖物。 整體良好，自然包漿。 重量：1,055 克 尺寸：高 27 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A GILT BRONZE FIGURE OF VAJRADHARA, 16TH CENTURYTibet. Well cast as the primordial Buddha seated in vajraparyankasana on a double-lotus pedestal with beaded edges, his hands depicted crossed at the wrist in prajnalinganabhinaya and holding vajras. Clad in a dhoti with neatly incised folds gathering below his feet, richly adorned with ornamental beaded jewelry including a crown, necklaces, armbands and anklets, all inset with turquoises.Provenance: From a private collection in London, United Kingdom, acquired before 2000, and thence by descent.Condition: Very good condition with minor old wear and casting irregularities, few minuscule nicks, occasional light scratches, minor dents, little rubbing to gilt. Some inlays possibly later replacements. The base sealed and possibly still filled with sacred contents. The gilt in magnificent preservation overall.Weight: 561.8 gDimensions: Height 15.7 cmHis serene face with downcast eyes, sinuous upper lids, gently arched brows, square urna, and full lips pursed to form a subtle smile. The hair arranged in a high chignon, surmounted by a jewel, two strands falling elegantly over the shoulders.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 22 March 2018, lot 1038 Price: USD 23,750 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Vajradhara inlaid with semi-precious stones, Tibet, circa 16th centuryExpert remark: Compare the closely related expression with similar pursed lips and sinuous upper lids, jewelry with similar inlays, hair with similar strands at the shoulders and also surmounted by a jewel, hand pose with vajras, and size (15.3 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 December 2015, lot 450 Price: HKD 200,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze Vajradhara, Tibet, 16th century Expert remark: Compare the closely related expression with similar slightly tilted head and sinuous upper lids, jewelry with similar inlays, hair with similar strands at the shoulders and also surmounted by a jewel, hand pose (though lacking the vajras), and size (15.4 cm). 十六世紀銅鎏金金剛總持西藏。金剛總持，藏語「多傑羌」，意為總持統攝一切金剛，是原始的報身佛，為佛教各宗派傳承的本源。本件造像金水燦然。造像頭戴寶冠，面相俊朗秀雅，眼眉細長，雙眉之間有白毫。耳垂戴圓鐺，頸戴瓔珞，瓔珞中央嵌寶，以示莊嚴。上身挺直，左右手臂戴釧，雙手當胸交叉，左手在內持鈴，右手在外持金剛杵，胸前的鈴與杵代表智慧與善巧的結合。雙足金剛跏趺坐，座下雙層蓮座蓮瓣寬大，底部裝藏封蓋。來源：英國倫敦私人舊藏，購於2000年之前，保存至今。 品相：品相極好，有輕微磨損和鑄造瑕疵，輕微劃痕、凹痕，鎏金磨損。一些嵌寳可能曾在後期更換過。底座密封，造像内可能還裝了聖物。鎏金整體保存完好。 重量：561.8 克 尺寸：高 15.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2018年3月22日，lot 1038 價格：USD 23,750（相當於今日EUR 27,500） 描述：約十六世紀西藏鑲嵌寶石銅鎏金金剛總持 專家評論：比較非常相近的嘴唇緊閉、上眼瞼蜿蜒的表情，類似的鑲嵌珠寶、肩部髮絲也有珠寶，手部握有金剛杵，以及尺寸 (15.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2015年12月3日，lot 450 價格：HKD 200,000（相當於今日EUR 28,500） 描述：十六世紀西藏銅鎏金金剛總持 專家評論：比較非常相近的表情、頭部略微傾斜、上眼瞼蜿蜒，珠寶鑲嵌，肩部髮絲也有珠寶，手的姿勢（但没有金剛杵），以及尺寸 (15.4 厘米)。
A SILVER AND COPPER-INLAID GILT BRASS FIGURE OF BUDDHA VAJRASANA, TIBET, 15TH - 16TH CENTURYSeated in vajrasana on a double lotus base with beaded edges, a vajra before him, his right hand lowered in bhumisparsa mudra and the left in avakasha mudra, wearing a loose-fitting monastic robe opening at the chest, the beaded hems neatly incised with foliate scroll. The serene face with heavy-lidded almond-shaped eyes finely inlaid with silver and copper below arched eyebrows centered by a turquoise-inlaid urna. The sealed base incised with a double vajra.Provenance: From a noted English private collection. Condition: Good condition with some old wear and traces of use, minor casting flaws, minuscule nicks, light scratches and dents, small losses, extensive wear to gilt. Warm, smooth patina. Sealed.Weight: 915.7 g Dimensions: Height 18.5 cmExpert's note: This cheerful bronze recalls the moment of Buddha's enlightenment at Bodh Gaya. Gazing at the viewer, he has a particularly amiable countenance. His slender eyes, often seen in art of the Guge Kingdom in Western Tibet, are made more captivating by the use of silver and copper inlay. A bronze Akshobhya from Guge in the Museum Rietberg has similar facial features and rippled pleats above the base (Uhlig, On the Path to Enlightenment, Zurich, 1995, pp. 70-1, no. 29). Yet, similar lotus petals and the exact shape of the mouth are also represented on a standing Avalokiteshvara, suggesting Tsang in Central Tibet as an alternative place of production (see von Schroeder, Buddhist Sculptures in Tibet, Vol. II, Hong Kong, 2001, p. 1192, no. 323A).Most important of the Buddhist pilgrimage sites is the location of Shakyamuni's enlightenment at the Mahabodhi Temple in Bodh Gaya. Here, it is believed a descendant of the bodhi tree, which Shakyamuni sat under, still stands. His enshrined seat at the Mahabodhi Temple, known as the vajrasana ('vajra seat'), is referenced in this bronze's small vajra placed on top of the lotus pedestal. Unlike many other Buddha images, these 'Buddha Vajrasana' emphasize Shakyamuni's historicity. Recalling a specific spiritual achievement associated with a specific site, its mnemonic vajra no doubt promoted pilgrimage to Bodh Gaya as well.Auction result comparison:Type: Near-identicalAuction: Bonhams Hong Kong, 7 October 2019, lot 934Price: HKD 425,625 or approx. EUR 56,500 converted and adjusted for inflation at the time of writingDescription: A Silver and Copper Inlaid Brass Figure of Buddha Vajrasana, Tibet, 15th/16th CenturyExpert remark: Compare the near-identical subject, pose, robe, vajra, and inlaid eyes. Note the identical size (18.5 cm).十五至十六世紀西藏錯銀錯紅銅金剛座佛陀銅像佛陀成金剛座坐於雙層蓮座上，面前有一個金剛杵。右手施觸地印，左手禪定印，身著長袍，袒露右肩，面容歡愉，再現佛陀於菩提伽耶悟道之瞬間。雙目含笑，以和藹可親之態凝視觀者，眼睛細長，與紅銅的鑲嵌令其眼目更富神采。雙眉之間綠松石鑲嵌白毫。底部雙金剛杵印封印。 來源：英國知名私人收藏。 品相：品相良好，有一些磨損和使用痕跡，輕微的鑄造缺陷、微小的刻痕、劃痕和凹痕，少量缺損，鎏金廣泛磨損。包漿細膩光滑。底部密封。 重量：915.7 克 尺寸：高18.5 厘米 專家注釋：這尊面容歡愉的佛像再現佛陀於菩提伽耶悟道之瞬間，其細長的眼睛時常可見於藏西古格王朝的造像或壁畫中。瑞特堡博物館現藏一尊古格阿閦佛銅像則帶有相似面部特徵以及蓮花座上橫向堆疊的衣褶（Uhlig，《On the Path to Enlightenment》，蘇黎世，1995年，頁70-1，編號29）。然而，另一尊觀音菩薩立像帶有與其十分類似的蓮花瓣與完全一致的嘴形，或許本拍品可能來自藏中地區（馮·施羅德，《西藏佛教造像》，卷二，香港，2001年，頁1192，編號323A）。釋迦牟尼在菩提伽耶摩訶菩提寺開悟之處是最重要的佛教朝聖地。據說，釋迦牟尼所坐的菩提樹的後裔仍然屹立於此。他在摩訶菩提寺供奉的座位，被稱為金剛座，這個放置在蓮花座頂部的銅小金剛杵是其象徵。與許多其他佛像不同，“金剛座佛陀” 強調釋迦牟尼的歷史性。由於字數限制，完整中文敘述請至www.zacke.at查看。
A GILT COPPER ALLOY FIGURE OF CHAKRASAMVARA AND VAJRAVARAHINepal, 17th-18th century. Chakrasamvara striding in alidhasana on two prostrate figures over a lotus base, dressed in a tiger skin and adorned with a garland of severed heads, holding a damaru and khatvanga in his primary hands and other attributes including the head of Brahma, trident, kartika, and kapala in the radiating hands. Vajravarahi with both legs wrapped around his waist and holding a kartika and kapala in her raised hands, dressed in a festooned belt and adorned with beaded jewelry. His hair pulled up into a high chignon adorned with sun and crescent moon symbols above the foliate crowns.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: Good condition with some wear, particularly to gilt, and minor casting flaws. Small nicks, losses and light scratches, some bending and dents, primarily to attributes. The base sealed with a double vajra plate.Weight: 915.1 gDimensions: Height 15.3 cmChakrasamvara's four heads are cast separately and inserted with an attachment tang at the bottom. (2)Chakrasamvara, embodying the most important transcendental ideals in Buddhist art, couples with Vajravarahi symbolizing a perfect union of wisdom and compassion. From Chakrasamvara's neck hangs a garland of severed heads strung on a length of human intestine and the hair of a corpse, signifying the purification of speech and the mental factors according to the Chittamatra or Mind-Only School as described by Asanga.Being so complex, only the best artists were fit to undertake the challenge of casting Chakrasamvara. The task most often fell to Newari master craftsmen from Nepal who produced such sculptures for domestic and Tibetan worship. The stylistic preferences of each of those two audiences are somewhat slight. But, while many contemporaneous Tibetan examples emphasize the ferociousness of Chakrasamvara's facial expressions, here instead, a benign intimacy is shared between the deities gazing into each other's eyes. This sentiment betrays a preference in Nepal for showing divine couples in harmony, as representatives of ideal matrimony.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 356 Price: USD 20,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of Chakrasamvara and Vajravarahi, Nepal, 17th centuryExpert remark: Compare the similar benign expression, the two in embrace gazing into each other's eyes, as well as the beaded jewelry and high chignons. If the base is discounted on the present figure, this bronze is of similar height (12.7 cm). Note that Chakrasamvara has only one head, the figures are wearing skull crowns, and there is no lotus base.鎏金銅勝樂金剛像尼泊爾，十七至十八世紀。勝樂金剛勝四頭，十二臂，兩足，弓步。主尊頭戴五葉冠，上有太陽和新月符。主臂兩手分別持金剛杵和金剛鈴，擁抱明妃金剛亥母。其餘各手分別持不同的法器，如三叉戟、匕首、卡巴拉碗等。脖子上掛人首做成的項鍊，雙足奮力踩踏兩個魔鬼，威力無比。金剛亥母雙腿盤在勝樂金剛腰間，手持鋮刀和卡巴拉碗，穿著花飾腰帶，佩戴著珠飾。 來源：維也納私人老收藏，在1910 年與1975年期間，經過幾代人的共同努力建立，在同一家族保存至今。 品相：品相良好，有一些磨損，特別是鎏金和輕微的鑄造缺陷。小刻痕和輕微劃痕，一些彎曲和凹痕，主要是法器。底座密封，有雙金剛杵印密封。 重量：915.1 克 尺寸：高15.3 厘米 勝樂金剛的四首獨立鑄造，在底部插入連接柄。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得, 2011年9月13日, lot 356 價格：USD 20,000 （相當於今日EUR 24,000） 描述：17世紀尼泊爾鎏金銅勝樂金剛像 專家評論：比較相近的溫和神情，兩人擁抱在一起，凝視著對方的眼睛，還有串珠首飾和高高的髮髻。含底座的尺寸相近（12.7厘米）。請注意此尊勝樂金剛僅有一顆頭，頭戴頭骨皇冠，無蓮座。
A COPPER INLAID BRONZE RITUAL WINE VESSEL, HU, WESTERN HAN DYNASTYChina, 206 BC to 8 AD. Heavily cast, the globular body supported on a spreading foot and rising to a flared galleried mouth, encircled by three raised bands below a copper-inlaid sawtooth band on the waisted neck. The shoulder is flanked by a pair of crisply cast and finely incised taotie masks suspending loose rings.Provenance: From a noted private estate in Paris, France. Condition: Excellent and absolutely original condition, fully commensurate with age and significantly better than normally expected from a Han dynasty bronze. Minor old wear, few small nicks, dents and losses, some encrustations as well as signs of weathering and corrosion, light scratches. The bronze with a sublime, naturally grown patina overall, showing vivid patches of malachite and cuprite.Weight: 3,936 g Dimensions: Height 31.2 cm Expert's note: The remarkably well detailed and finely incised mask handles to each side are exceedingly rare to find on this type of bronze, as is the copper-inlaid sawtooth band on the waisted neck. Literature comparison:A similar copper-inlaid bronze hu in the Sen'oku Hakkokan, dated to the 4th century BC, is illustrated by J. So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1995, p. 281, fig. 50.1, where the author notes that the copper inlay was applied to the clay molds before the bronze was poured. Compare a related hu, excavated in 1968 from the tomb of Prince Liu Sheng who was the king of Zhongshan from 154 BC and died in 113 BC in Mancheng, Hebei province, illustrated in Zhongguo Wenwu Jinghua Daguan, Qingtongjuan, Hong Kong, 1994, no. 1100, p. 306.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2013, lot 1115Price: USD 15,000 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A copper-inlaid bronze ritual wine vessel, hu, Western Han dynasty (206 BC-AD 8)Expert remark: Compare the similar form and decorations, as well as the near-identical size (30.5 cm) and the copper-inlaid sawtooth band on the waisted neck.西漢蕉葉弦紋壺中國，公元前206年至公元 8年。壺口外撇，頸微束，下方鏨刻變體蕉葉紋，溜肩，肩部兩側分鑄一對獸面紋銜環舖首，腹部下收，肩腹飾三匝凹弦紋，圈足高企而外撇，嵌紅銅，皮色暗沉古穆。 來源：法國巴黎私人收藏。 品相：完美且絕對原始的狀態，與年齡完全相稱。輕微的磨損，少量小刻痕、凹痕和缺損，一些結殼以及風化和腐蝕的跡象，輕微的劃痕。青銅整體古銅色包漿，綠色和紅銅色斑塊。 重量：3,936 克 尺寸：高31.2 厘米 專家注釋：青銅壺上，每一側都有非常細緻的獸面紋銜環極為罕見，束頸上的銅鑲弦紋也是如此。 文獻比較： 一件相似的公元前四世紀的鑲嵌銅青銅壺，收藏於泉屋博古館，見J. So，《Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collection》，Arthur M. Sackler基金會，1995年，頁281，圖50.1。書中指出，銅的鑲嵌是在澆築青銅器之前塗在黏土模具上。比較一件於 1968年在河北滿城縣中山王劉勝墓中出土的壺，見《中國文物精華大全—青銅器卷》，香港，1994年，編號1100，頁306。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月19日，lot 1115 價格：USD 15,000（相當於今日EUR 18,000） 描述：西漢蕉葉弦紋壺 專家評論：比較一下相似的形式和裝飾，以及近乎相同的尺寸（30.5厘米）和腰頸上的銅嵌變體蕉葉紋。
A LARGE AND MASSIVE SPINACH-GREEN KHOTAN JADE FIGURE OF GUANYIN, PROBABLY TAKEN FROM THE OLD SUMMER PALACE IN BEIJING IN 1861China, ca. mid-18th to mid-19th century. Finely carved standing, cradling a lingzhi sprig and ruyi scepter in her delicate hands, wearing a long flowing robe cascading in voluminous folds, her serene face with heavy-lidded eyes, the neatly incised hair tied up into a high chignon secured by a ruyi-head hairpin. The stone of a deep spinach-green tone with creamy, russet, and cloudy inclusions.Provenance: Eugenie de Montijo (1826-1920), Empress of the French from her marriage to Emperor Napoleon III, and thence by descent in the family. Christie's London, 12 October 1950, lot 121. The Graham Collection, London, acquired from the above and thence by descent in the 1970s to a private English collector. A copy of the lot entry in the Christie's London auction catalog from 12 October 1950, stating the present lot was “Formerly the Property of the Empress Eugenie” and with handwritten notes by a previous owner, accompanies this lot.It is probable that the present statue was originally located at the Old Summer Palace, Yuanmingyuan, in Beijing and subsequently part of the loot of several hundred pieces sent to Empress Eugenie directly by General Charles Cousin-Montauban (1796-1878).In the morning of 21 September 1860 General Cousin-Montauban was the commanding officer of the Anglo-French troops, fighting the battle at the bridge of Palikao against the Qing Imperial forces, a decisive event of the Second Opium War. Their victory allowed the Western forces to take the Chinese capital Beijing and eventually defeat the Qing Empire. On 6 October 1860, French and British troops captured the Old Summer Palace, looting the Imperial collections over the next few days, again under the command of General Cousin-Montauban.In 1861, General Charles Cousin-Montauban sent numerous crates of the enormous French loot of the Summer Palace to Empress Eugenie in France as a personal gift to the Imperial French household, with the first shipment arriving in February 1861. The inventory of this shipment numbers some 800 objects, with over 300 coming directly from the sack of the Summer Palace. As a reward, the general eventually received the title of Comte de Palikao by Emperor Napoleon III in 1862.In 1863, the Empress established a museum of Chinese art called the Musee Chinois (Chinese Museum) at the Palace of Fontainebleau. She carefully curated the collections and displays of this museum, at the time almost exclusively consisting of the objects taken from the Old Summer Palace in 1860. In later years, Eugenie combined the Chinese collection with gifts originating from the French embassies in Siam, Cambodia, Japan, Korea, and Tibet to collectively form the core of the Asian art collection in Fontainebleau, which she later complemented with objects confiscated by the state during the French Revolution and kept since then at the National Library, some diplomatic and non-diplomatic gifts, and acquisitions she made on the French art market using the Imperial household's personal budget. The museum has been preserved in a layout largely similar to that of the 1860s and is one of the world's oldest museums specifically dedicated to Asian art. It is unknown which and how many of the pieces from the museum went with Empress Eugenie to England after her husband was overthrown in 1870, but there are speculations that the amount was quite substantial.Empress Eugenie of France was born MarÃa Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 19th Countess of Teba, 16th Marchioness of Ardales, in Granada, Spain. She was Empress of the French from her marriage to Emperor Napoleon III on 30 January 1853 until the Emperor was overthrown on 4 September 1870. Napoleon and Eugenie had one child together, Napoleon, Prince Imperial (1856-79). After the fall of the Empire, the three lived in exile in England. Eugenie outlived both her husband and son and spent the remainder of her life working to commemorate the Second French Empire. After World War I, Eugenie lived long enough to see the collapse of other European monarchies, such as those of Russia, Germany and Austria-Hungary. She left her house in Farnborough with all her collections to the heir of her son, Prince Victor Bonaparte.Published: The Times, London, 13 October 1950, a column in the paper relating to various jades in the Christie's sale including this figure of Guanyin from Princess Eugenie which sold at 250 Guineas (at the time, the cost of house in London averaged at ca. 1.500 Guineas). A copy of a newspaper clipping with this column accompanies this lot.Condition: Very good condition with some old wear, natural inclusions and imperfections of the stone, few minuscule nicks here and there, light scratches. The wood base with minor losses, natural age cracks and a fine naturally grown patina.Weight: c. 24 kg (without the base) Dimensions: Height 75 cmWith a matching wood base dating from the same period, finely carved with lotus petals. (2)Literature comparison: Compare the movement of the robes, expression, high chignon with hairpin, and wood stand on a closely related jade figure of Guanyin, dated 19th century, 72.4 cm high, in the collection of the Metropolitan Museum of Art, accession number 39.65.24a, b.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1515 Price: USD 290,500 or approx. EUR 378,000 converted and adjusted for inflation at the time of writing Description: A large mottled jadeite figure of Guanyin Expert remark: Note the much smaller size (39.4 cm) 大型和田碧玉觀音立像，可能來自1861年圓明園之劫中國，約十八世紀中期至十九世紀中期。 來源：Eugenie de Montijo歐珍妮·德·蒙提荷(1826-1920)，是法蘭西第二帝國皇帝拿破崙三世的妻子和法國最後一位皇后，保存在同一家族；倫敦佳士得，1950年10月12日，lot 121；倫敦 Graham Collection，購於拍賣，一直保存至上世紀七十年代被一英國私人收藏家收藏。隨附倫敦佳士得拍賣目錄文字副本，上描述 “Formerly the Property of the Empress Eugenie” （歐珍妮皇后財產）與上任藏家手寫注釋。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A FINELY CARVED 'HAIR-CRYSTAL' BRUSH WASHER, 1750-1850China. Of signified peach form, with thick walls and an uneven, wavy rim allowing for use as a brush rest. The clear rock crystal with an attractive sparse pattern of tourmaline needles.Provenance: Dutch trade. Condition: Excellent condition with traces of use, old wear and possibly microscopic nicks. The stone with natural flaws and fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 826.9 g Dimensions: Length 14.5 cmExpert's note: With the random distribution of differently colored needles of varying thickness and length, scholarly objects made from hair crystal provide an infinite variety of exciting patterns. The needle-like crystalline inclusions can be black (tourmaline), green (actinolite) and coppery red or silvery gold (rutile). The inclusions in this remarkable example are tourmaline. The artist has set the natural scene by giving the vessel a distinct form remnant of a peach, with a wavy rim ideally suited for several brushes to rest. The 'hairs' are concentrated in the lower portion of the washer, around the well, rising up from there and thinning as they go. The effect is suggestive of reeds or long grass and the dramatic image is further enhanced by the small flaws in the stone which reflect light in brilliant, iridescent bursts.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 20 March 2012, lot 178Price: USD 4,375 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A hair-crystal brush washer, Qing dynasty, 19th centuryExpert remark: Compare the related material and similar size (12 cm). Note the elaborate carving.Auction result comparison:Type: RelatedAuction: Bonhams London, 7 November 2011, lot 45Price: GBP 12,500 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A hair-crystal brush washer, 18th centuryExpert remark: Compare the related material and form. Note the elaborate carving and smaller size (7 cm). 1750-1850年發晶桃形筆洗中國 。筆洗呈桃形，厚壁，不規則波浪形邊緣，可用做筆架。晶瑩剔透的水晶内含有黑色針狀電氣石。 來源：荷蘭古玩交易市場 品相：品相極好，有使用痕跡, 舊磨損和輕微刻痕。晶石具有天然瑕疵和裂紋，隨著時間的推移，其中一些可能已經發展成髮際線裂縫。 重量：826.9 克 尺寸：長14.5 厘米 專家注釋：排列組合不同的毛髮針狀礦物質分佈在水晶的內部，整體看起來就像是水晶裏麵包含住了髮絲一樣。而包含各種不同礦物質的發晶就會形成不同的顏色發晶，進而形成不同的圖案。這件水晶内含有黑色電氣石。筆洗呈桃狀，彎曲的邊緣非常適合擱置毛筆。“毛髮“集中在筆洗下部，讓人聯想到蘆葦或青草，晶石上的小瑕疵進一步增強了戲劇性效果，可以折射出明亮的彩虹色。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比, 20 March 2012, lot 178 價格：USD 4,375 （相當於今日EUR 5,100） 描述：十九世紀清代發晶筆洗 專家評論：比較相近的材質、精心雕琢，但尺寸較小 (12 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰思, 2011年11月7日, lot 45 價格：GBP 12,500（相當於今日EUR 19,000） 描述：十八世紀發晶筆洗 專家評論：比較相近的材質和形制。請注意精心雕琢、尺寸較小 (7 厘米)。
A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTYChina, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國，六世紀。立佛左右臂貼身，從肘部起殘缺，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：義大利私人舊藏，1971年購於香港Wing Tat Hong 藝廊；貝加莫Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況良好，與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸：高92 厘米 (不含底座)，總101.5 厘米 現代金屬底座。由於字數限制，完整中文敘述請至www.zacke.at查看。
A GILT BRONZE FIGURE OF GUANYIN, MING DYNASTYChina, 1368-1644. Heavily cast, seated in dhyanasana with hands lowered in dhyana mudra, wearing crisply cast robes with neatly incised lotus scroll hems and cascading in elegant folds, worn over a beaded necklace and a dhoti tied above the waist. The serene face with downcast eyes and full lips, the hair falling elegantly in strands over the shoulders and secured by a diadem decorated with the Amitabha Buddha below the cowl.Provenance: From a Czech private collection.Condition: Very good condition with some old wear, mostly to gilt, traces of use and casting flaws, minor nicks, light scratches, remnants of pigment, the interior with malachite and cuprite encrustations.Weight: 4,250 gDimensions: Height 28 cmThe statue shows several meticulously inlaid miniature bronze plaques of rectangular shape, one to the front and several to the back (see detail images online). These plaques have a ritual purpose and are frequently found in Buddhist sculpture.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 15 September 2011, lot 1371Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze figure of Guanyin, Ming dynasty, 17th century Expert remark: Note the size of 24.5 cmAuction result comparison:Type: Closely relatedAuction: Christie's New York, 22 March 2019, lot 1779Price: USD 32,500 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze figure of Guanyin, Ming dynasty (1368-1644) Expert remark: Note the size of 33.7 cm.Auction result comparison:Type: RelatedAuction: Sotheby's London, 3 November 2021, lot 173Price: GBP 40,320 or approx. EUR 47,810Description: A gilt-bronze figure of Avalokiteshvara, Ming dynasty, 16th/17th century Expert remark: Note the size of 32.2 cm. 明代鎏金銅觀音坐像中國，1368-1644年。觀音菩薩結跏趺坐，雙手結禪定印。頭戴花冠，内坐阿彌陀佛。面相豐頤圓潤，曲眉似彎月，眼瞼較寬，神態慈和寧靜，雙眼微合，俯視前方。彷彿正在冥想之中，袈裟自頭頂披下，衣緣處飾以精美的花朵紋飾，胸前飾瓔珞，下身著高束腰及胸長裙。 來源：捷克私人收藏。 品相：品相極好，一些磨損，主要是鎏金部分，有使用痕跡和鑄造缺陷，輕微的劃痕，顏料殘留，內部有結殼。 重量：4,250 克 尺寸：高28 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年9月15日，lot 1371 價格：USD 25,000（相當於今日EUR 31,000） 描述：十七世紀明代鎏金銅觀音坐像 專家評論：請注意尺寸24.5 厘米。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年3月22日，lot 1779 價格：USD 32,500（相當於今日EUR 40,500） 描述：明代(1368-1644)鎏金銅觀音坐像 專家評論：請注意尺寸33.7 厘米。拍賣結果比較：形制：相近拍賣：倫敦蘇富比，2021年11月3日，lot 173價格：GBP 40,320（相當於今日EUR 47,810）描述：明十六至十七世紀鎏金銅觀音坐像專家評論：請注意尺寸32.2厘米。
A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTYPublished: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
'RHAPSODY ON THE GODDESS' BY LU XIAOMAN, DATED 1940China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Superbly painted with a beautiful lady dressed in elegant robes tied at the waist, a pink flower in her hair, the face with delicate features displaying a gentle 'Mona Lisa' smile.Inscriptions: The upper right inscribed with a section of the poem 'Rhapsody on the Goddess' by Song Yu, dated 'February in the Spring of the Year of Gengchen' (1940), signed 'Xiaoman Lu Mei painted in Shanghai', two seals, 'Lu Mei' and 'Xiaoman'Provenance: British trade. Condition: Very good condition with minor wear, few creases, and foxing. Dimensions: Image size 94.5 x 28.9 cm, Size incl. mounting 199.2 x 44.1 cm'Rhapsody on the Goddess', traditionally attributed to Song Yu (c. 290-223 BC), is one of the most famous and likely the earliest work that describes encounters between a mortal and a goddess, exerting great influence over various genres of Chinese literature in later times.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2016, lot 1629Price: HKD 118,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: Lu Xiaoman (1903-1965), Lady holding flowerExpert remark: Note the size (53.5 x 29.5 cm)陸小曼款《神女圖》，1940年中國，紙本設色，掛軸。兩手置於身後，一手持書卷，衣帶隨風飄舉，華貴高雅。宋玉《神女賦》節選。 款識：夫何神女之姣麗兮，含陰陽之渥飾。披華藻之可好兮，若翡翠之奮翼。其象無雙，其美無極；毛嬙鄣袂，不足程式；西施掩面，比之無色。近之既妖，遠之有望，骨法多奇，應君之相，視之盈目，孰者克尚。私心獨悅，樂之無量；交希恩疏，不可盡暢。他人莫睹，玉覽其狀。其狀峨峨，何可極言。貌豐盈以莊姝兮，苞溫潤之玉顏。眸子炯其精朗兮，瞭多美而可視。眉聯娟以蛾揚兮，朱唇的其若丹。素質乾之實兮，志解泰而體閑。既姽嫿於幽靜兮，又婆娑乎人間。宜高殿以廣意兮，翼故縱而綽寬。動霧以徐步兮，拂聲之珊珊。望餘帷而延視兮，若流波之將瀾。奮長袖以正衽兮，立躑躅而不安。澹清靜其兮，性沉詳而不煩。時容與以微動兮，志未可乎得原。庚辰春二月小曼陸眉畫于海上曼盧。鈴印：陸眉，小曼 來源：英國古玩交易。 品相：狀況極好，輕微磨損和摺痕、褐變。 尺寸：畫面94.5 x 28.9 厘米，總199.2 x 44.1 厘米 《神女賦》是戰國時期辭賦家宋玉創作的一篇描寫神女的賦，詞句優美形象，在中國文學史上留下了極深的影響。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2016年5月30日，lot 1629 價格：HKD 118,750（相當於今日EUR 16,500） 描述：陸小曼執花仕女設色絹本鏡框 專家評論：請注意尺寸(53.5 x 29.5 厘米)。
A CLOISONNE ENAMEL 'TAOTIE' ARCHAISTIC BEAKER VASE, GU, 17TH-18TH CENTURYChina. The vase is enameled on the mid-section with a pair of taotie masks divided by gilt flanges, framed by gilt bowstrings enclosing key-fret and diaper bands, between upright petals on the trumpet neck with further taotie as well as archaistic scroll, surrounded by lotus blossoms and scrolling vines, and further taotie masks and archaistic scroll on the spreading foot.Provenance: Sotheby's London, 16 May 2007, lot 389. The MacLean Collection of Asian Art Museum, acquired from the above, and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Condition: Excellent condition with old wear and small manufacturing flaws, as well as minor nicks and losses and associated old fills (inspected under strong blue light). The base with small structural fissures. All exactly as expected from authentic 18th-century cloisonne wares of this size. For a detailed video of the vase taken under strong blue light, please refer to the department.Weight: 1,059 gDimensions: Height 25 cmExpert's note: The present cloisonne gu is exceptional for its refined design of taotie masks, which are highly expressive and comparable to some of the most valuable cloisonne wares of the 18th century ever to come up for auction. Compare a cloisonne zun, with a Qianlong mark and of the period, at Sotheby's Hong Kong, 2 April 2019, lot 3517, sold for HKD 4,495,000; a cloisonne hu, dated Yongzheng to Qianlong period, at Christie's Hong Kong, 30 November 2020, lot 2905, sold for HKD 8,650,000; and a cloisonne fang gu, dated Yongzheng to Qianlong period, sold in these rooms, 15 October 2021, lot 4, sold for EUR 48,000.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 6 April 2015, lot 176Price: HKD 250,000 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A cloisonne enamel vase, gu, Qing dynasty, 18th century Expert remark: Compare the near identical form and closely related decoration with taotie masks, archaistic and lotus scroll as well as gilt flanges and bowstrings. Note the size (34 cm). Auction result comparison: Type: Closely related Auction: Bonhams London, 7 June 2021, lot 671 Price: GBP 16,500 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel and gilt-bronze archaistic beaker vase, gu, Qianlong Expert remark: Compare the related form and decoration with taotie and archaistic scroll, as well as the similar size (24.7 cm). Note the absence of bowstrings and flanges.十七至十八世紀掐絲琺瑯饕餮紋觚中國。銅胎鍍金，圓觚，弧腹，口及底外撇。通體藍釉地，圖案層次分明，繁密工細。頸部飾仰覆蕉葉紋，蕉葉紋内飾獸面紋，腹部與底邊飾獸面紋，紋飾對稱分佈。口沿外裝飾勾蓮紋。口內鎏金無紋飾。造型渾厚凝重，裝飾富麗堂皇。 來源：2007年5月16日倫敦蘇富比，lot 389。The MacLean Collection of Asian Art Museum收藏，購於上述拍賣，2022年出售。The MacLean Collection由來自芝加哥的商人 Barry MacLean 在50 年前創立，他於 1970 年代初開始收藏。 他曾多次前往亞洲從商，並開始將注意力集中在來自中國的古代青銅器和後世的仿古青銅器上。The MacLean Collection由Larry Booth設計並於 2003 年完工。自 2004 年以來，該博物館已出版了七本書，舉辦了十三次展覽，將藏品借給許多其他博物館，並用十幾個獎學金來培訓未來的專家和愛好者。 品相：狀況極好，有磨損和小的製造缺陷，以及輕微的劃痕和缺損以及相應的填補（在強藍光下檢查）。底部有小結構裂隙。與這種尺寸的十八世紀景泰藍器皿完全一致。有關在強藍光下拍攝的花瓶的詳細視頻，歡迎聯係我們。 重量：1,059 克 尺寸：高25 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE AND SIGNED GILT-SPLASHED ARCHAISTIC WINE VESSEL, JUE, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Superbly cast, with a characteristic pair of short posts on the mouth rim dividing the elongated pouring mouth and an exaggerated lip, decorated around the exterior of the cylindrical receptacle with taotie-masks against leiwen-ground and divided by vertical flanges, one side with a loop-handle emerging from an animal-head, all raised on three long tapered legs, decorated overall with characteristic gilt splashes. The base carved with a six-character seal script mark.Inscriptions: To base, 'Boshen zuo Baoyi' (Boshen made this precious yi).Provenance: The Property of a Gentleman. Christie's Hong Kong, 30 April 2001, lot 771. The Collection of Hedda and Lutz Franz, Hong Kong, acquired from the above. The silk box with an old label from the Christie's sale. Hedda and Lutz Franz, who met in Hong Kong in 1979, have spent over forty years assembling a spectacular collection of Chinese art, at first focusing on snuff bottles and eventually branching out into scholar's objects and paintings, as well as Japanese inro and Kilim carpets. The couple has worked closely together with their friend and advisor, Hugh Moss, and have published five books on their collection, entitled Franz Art, with one book, Franz Art Jade, winning a Silver award at the 2011 Gold Ink Awards in Chicago.Condition: Excellent condition with minor old wear and casting irregularities, few minuscule nicks, occasional light scratches. Fine natural patina overall.Weight: 948.7 g Dimensions: Height 21.5 cmWith a fine velvet-padded silk storage box. (2)The base is inscribed in archaic script with Boshen zuo Baoyi, 'Boshen made this precious yi'. Yi may be translated as a cup or libation vessel. It is interesting to note that not only the form and decoration were copied in reverence to archaism, but the inscription had been taken directly from characters inscribed on late Shang/early Zhou dynasty vessels. The name Boshen appears to be unrecorded.Bronze vessels of this type were valued by the literati class in China for their reverence to archaism, and those bearing an epigraphic inscription were considered even more precious. Gerard Tsang and Hugh Moss in Arts from the Scholar's Studio, Hong Kong, 1986, page 184, quote Ulrich Hausmann saying, “Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable; so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. ...what could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.”Literature comparison: Compare a near identical gold-splashed censer, bearing the same five-character archaic inscription, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161. A further gold-splashed jue is illustrated in Egan Mews, 'Gold-splashed Bronzes in the collection of Mr. Randolph Berens', Connoisseur, November, 1915, p. 144, and a pair, bearing the same inscription as the present example, was included in the exhibition The Minor Arts of China, Spink & Son, London, 1987, cat. no. 77.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 4 April 2012, lot 139 Price: HKD 524,000 or approx. EUR 85,500 converted and adjusted for inflation at the time of writing Description: A gilt-splashed bronze censer, jue, signed Boshen, Qing dynasty, 18th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (21 cm). This jue is also the one illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 27 November 2013, lot 3591 Price: HKD 600,000 or approx. EUR 94,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-splashed archaistic wine vessel, jue, late Ming dynasty, 17th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (22 cm).明末清初罕見灑金饕餮紋銅爵中國，十七至十八世紀。灑金地，爵杯仿先秦禮器爵所製，作圜底杯式，流部扁寬，角略長而尖，流角相對，處於同一高度；口沿設一對扁柱狀帽頭，腹中部弦紋圍成的帶狀開光內，以雲雷紋為地，飾饕餮紋，器物雄渾莊重。底承三棱狀足，踞地沉穩。整器包漿均潤厚潤。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A MASSIVE BRONZE 'DRAGON' FOUNTAIN, RATTANAKOSIN KINGDOMOpinion: This imposing dragon fountain, nearly two meters high, boasts an impressive quality of casting and naturally grown, solid patina, two clear indicators of age, and is extremely rare to find - especially in Europe, where the previous owner, a noted London dealer with an eye for unusual and impressive objects, acquired it at a French auction.Thailand, 1782-1932. Boldly cast as a fierce dragon with sinuous body emerging from a base of crashing waves, the scales crisply cast, the beast's face detailed with a tall flaming crest, large bulging eyes, sharp teeth, and protruding tongue.Provenance: From the collection of a noted London dealer of antique interiors, by repute acquired at auction in France.Condition: Very good condition with minor wear and casting flaws. Some nicks, small dents and losses, and light scratches. Naturally grown patina overall with distinct malachite encrustation. Dimensions: Height 195 cm
A FALANGCAI 'PEONIES AND WUFU' CORAL-GROUND DISH, QIANLONG MARK AND PERIODThe falangcai color palette of the present dish first appeared on Kangxi period yuzhi bowls, such as an example in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, page 4, number 2.China, 1736-1795. Delicately potted, the shallow sides supported on a short tapered foot and rising to an everted rim. The exterior finely painted against a coral ground in rich and vibrant enamels to depict four different peony blossoms interlinked by leafy scrolls and divided by dots and flowerheads. The interior glazed white and neatly decorated in shades of iron-red above the glaze with five bats (wufu), each painted in a slightly different manner and position. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Captain Charles Oswald Liddell, acquired in China before 1914 and thence by descent. Born in Edinburgh, Scotland, Captain Charles Oswald Liddell (1854-1941) worked in China from 1877 to 1913. He married Elizabeth Birt in 1880 in Shanghai and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin, and Harbin. Liddell collaborated with A. W. Bahr in an exhibition in Shanghai in 1908, as Chairman of the North China branch of the Royal Asiatic Society and in writing descriptions for it, which were printed by A. W. Bahr in “Old Chinese Porcelain and Works of Art in China” in 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: Prince Chun, the last Regent of the Qing Dynasty, and the private secretary and adviser to Li Hong Zhang. In May 1929, Bluett offered a part of the collection, publishing a catalog of “The Liddell Collection of Old Chinese Porcelain” with 229 entries. One of two Guyuexuan bowls in this exhibition was sold to the Hon. Mountstuart Elphinstone for GBP 150 and was part of the Elphinstone gift to the Percival David Foundation. The second of the two bowls was acquired by Charles Russell, and was subsequently in the collections of Barbara Hutton and Robert Chang, eventually selling in Hong Kong in 2006 for GBP 10,000,000. Condition: Good condition with minor old wear and minimal firing irregularities, the exterior rim with four small and shallow glaze chips and associated touchups. No hidden damages whatsoever (inspected under strong blue light). For a detailed video of the dish taken under blue light, please refer department.Weight: 161.9 g Dimensions: Diameter 15.9 cmAuction result comparison: Type: Related Auction: Christie's Hong Kong, 1 June 2011, lot 4014 Price: HKD 400,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A rare famille rose ruby-ground 'bats' dish, Qianlong iron-red six-character seal mark and of the period Expert remark: Compare the similar bat decoration to the interior of the dish, also painted in iron-red, the five bats however more formalized than on the present dish and encircling a shou character. Note the ruby ground, iron-red mark, and smaller size (10.6 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2022, lot 2727 Price: HKD 2,016,000 or approx. EUR 252,500 converted at the time of writing Description: A fine and very rare enameled coral-ground famille rose 'peony' bowl, Qianlong six-character seal mark in underglaze blue and of the period Expert remark: Compare the closely related coral ground and falangcai enamels, more specifically the near-identical leaves, also neatly painted in two distinct shades of green. Compare also the related peony blossoms and the underglaze-blue six-character seal mark. Note the different form and smaller size (11.1 cm).乾隆款與年代珊瑚紅地粉彩牡丹五福紋盤中國，1736-1795年。盤敞口，弧壁，淺腹，圈足。盤內施白釉。外壁珊瑚紅地，粉彩描繪纏枝盛開的牡丹四朵，色澤不一。盤内珊瑚紅色釉蝙蝠五隻。足內施白釉，青花書“大清乾隆年製”篆書款。 本盤的琺瑯彩最早運用在康熙時期的御製碗上，如北京故宮博物院收藏的一個例子，《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，頁4，編號2。由於字數限制，完整中文敘述請至www.zacke.at查看。
A LARGE GILT-LACQUERED WOOD FIGURE OF A BODHISATTVA, VIETNAM, 17TH-18TH CENTURYFinely carved seated in dhyanasana on a large separately carved lotus base, his hands held in prana mudra, wearing loose-fitting robes draped over both shoulders and tied at the waist, his serene face with heavy-lidded eyes, gently arched brows, and full lips, flanked by long pendulous earlobes, the head surmounted by an ornate foliate-decorated cap with beaded edges. The figure is covered overall with lacquer gilding of yellow and orange tones as well as red lacquer with black details.Provenance: Belgian trade.Condition: Good condition with expected age cracks, losses, and associated old repairs and touchups, further with some nicks and chips as well as light scratches, minor wear and flaking to lacquer and gilt.Dimensions: Height 70 cm (excl. base) and 87 cm (incl. base)Literature comparison: Compare a related gilt-lacquered wood figure of a standing monk, dated c. 1600, in the Pacific Asia Museum, University of Southern California, accession number 1996.28.1. Compare a related gilt-lacquered wood figure of Avalokiteshvara, dated to the 19th century, wearing a similar cap, in the Pacific Asia Museum, University of Southern California, accession number 1988.5.1.
A CINNABAR LACQUER 'LUOHAN' BOX AND COVER, YUAN TO EARLY MING DYNASTYOpinion: Recent research into the dating of carved lacquer has put forward the suggestion that boxes of this type with double key-fret decoration on the rim and relatively large figures or landscape scenes with rock formations on the cover can be dated as early as the Yuan dynasty (1279-1368). The strongest argument in favor of this early dating is the relatively recent discovery of a similar, somewhat larger box in a group of tombs near Shanghai that belonged to the Ren family, of which the latest was datable to 1351 and the earliest to 1338. Another feature of the present lot that points toward an early Ming date is the distinct lotus petal borders encircling the central depiction and the foot, which compare favorably to a number of cinnabar lacquer boxes dated to the late 14th or 15th century, including one sold at Sotheby's New York in 2018 (see auction result comparison).China, mid-14th-16th century. Of circular form, supported on a short tapered foot encircled by a band of overlapping lotus petals, the cover similarly designed with rather prominent lotus petals enclosing a circular panel carved in high relief with a luohan carrying a large double-gourd on his back, wearing a loose-fitting monastic robe with wide sleeves, below the moon and swirling clouds, against a diapered ground. The straight sides of the box and cover very neatly carved with a key-fret band. The recessed base and interior lacquered black.Provenance: UK trade. Condition: Overall excellent good condition, commensurate with age, and as expected for a cinnabar lacquer box of such high age. Old wear, cracks, nicks and losses, shallow surface light scratches.Weight: 30.0 gDimensions: Diameter 6.3 cmAuction result comparison: Type: Related Auction: Sotheby's New York, 12 September 2018, lot 253 Price: USD 75,000 or approx. EUR 85,000 converted and adjusted for inflation at the time of writing Description: A carved circular cinnabar lacquer 'lotus' box and cover, Ming dynasty, late 14th / 15th century Expert remark: Compare the related bands of lotus petals around the foot and top. Note the lack of figures and different size (8 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 2 October 2017, lot 215 Price: HKD 125,000 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A cinnabar lacquer 'scholar on horseback' circular box and cover, Ming dynasty, 16th century Expert remark: Compare the similar size, form, key-fret borders, two-tiered diapered ground, and manner of carving. Note the lack of overlapping lotus petals.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2007, lot 1559 Price: HKD 96,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A Rare Finely Carved Cinnabar Lacquer Square Incense Box and Cover, Ming Dynasty, 16th Century Expert remark: Compare the similar size, key-fret borders, two-tiered diapered ground, and manner of carving. Note the different form and lack of overlapping lotus petals.元至明初剔紅羅漢紋蓋盒中國，十四世紀中期至十六世紀。圓盒，短圈足。盒蓋和底足都環疊蓮瓣紋，蓮瓣線條飽滿，頗為顯眼。盒蓋上開光内錦地浮雕一個背著大葫蘆的羅漢，身著寬鬆的廣袖僧袍 ，頭頂有雲朵與月亮。外壁雷紋，盒内黑地。 根據近年對雕漆年代的研究，此類盒沿上的格紋，以及封蓋上人物或岩層較大的山水圖，最早可追溯到元代（1279-1368）。支持這種早期年代測定的最有力論據是最近在上海附近的元代任氏家族墓葬中發現了一個類似的、稍大的盒子，其中最晚的可追溯到 1351 年，最早可追溯到 1338 年。 來源：英國古玩交易。 品相：整體品相極佳，磨損、裂紋、刻痕和缺損，表面淺劃痕。 重量：30.0 克 尺寸：直徑 6.3 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年9月12日，lot 253 價格：USD 75,000（相當於今日EUR 85,000） 描述：明十四世紀至十五世紀剔紅蓮花式蓋盒 專家評論：比較相近的盒蓋和底足環狀蓮瓣紋。請注意盒蓋中間沒有人物，尺寸不同 (8厘米)。由於字數限制，完整中文敘述請至www.zacke.at查看。
A LARGE COPPER ALLOY FIGURE OF MANIKKAVACAKAR, TAMIL NADU, 14TH-15TH CENTURYSouth India. Boldly cast standing in tribhanga atop a double lotus pedestal supported on a stepped base decorated with beaded edges, incised lotus and geometric designs. He is holding prayer beads in his right hand, a manuscript in his left, wears a tight-fitting dhoti and is adorned with beaded jewelry. The serene face with large almond-shaped eyes with incised pupils below elegantly arched brows, the full lips forming a calm smile, flanked by pendulous pierced earlobes. Provenance: From a private collection in London, United Kingdom, acquired prior to 2000. Thence by descent.Condition: Very good condition with minor wear and casting flaws, small nicks, light scratches, minor dents. The back of the legs with remnants of an old label which have left marks on the patina.Weight: 7,856 gDimensions: Height 38.5 cmManikkavacakar (Tamil: 'One whose words are like gems') was a 9th-century Tamil saint and poet who wrote Tiruvasakam, a book of Shaiva hymns. Speculated to have been a minister to the Pandya king Varagunavarman II (c. 862-885), he lived in Madurai and is revered as one of the Nalvar, a set of four prominent Tamil saints alongside Appar, Sundarar, and Sambandar. The other three contributed to the first seven volumes (Tevaram) of the twelve-volume Shaivite work Tirumurai, the key devotional text of Shaiva Siddhanta. Manikkavacakar's Tiruvasakam and Thirukkovaiyar form the eighth volume. These eight are considered to be the Tamil Vedas by the Shaivites, and the four saints are revered as Samaya Kuravar (religious preceptors). Manikkavacakar's works are celebrated for their poetic expression of the anguish of being separated from God, and the joy of God-experience, with his ecstatic religious fervor drawing comparisons with those of Western saints like St. Francis of Assisi. Manikkavackar's stone image is worshiped in almost all Shiva temples of Tamil Nadu.Expert's note: There is a remote possibility that the present figure dates from the 12th-13th century, especially when comparing the metallurgy and some physical characteristics with the statue of Yashoda at the Metropolitan Museum. If this were the case, however, it would also mean that the lower two-thirds of the base would have been replaced or at least re-decorated at a later point in time, probably between the 15th and 17th centuries.Literature comparison: Compare a closely related bronze of the Shaiva saint Sambandar, dated to the 15th century, 52.1 cm high, in the collection of the Norton Simon Museum, accession number F.1972.25.3.S. Compare also a related bronze depicting Yashoda with the infant Krishna, dated early 12th century, the cast of similar copper-brown patina and with similar wear and casting flaws, in the collection of the Metropolitan Museum of Art, accession number 1982.220.8.Auction result comparison: Type: Related Auction: Nagel, Stuttgart, 11 December 2020, lot 1656 Price: EUR 57,600 or approx. EUR 59,500 adjusted for inflation at the time of writing Description: A fine bronze figure of Sambhandar, South-India, Vijayanagar period, ca. 13th ct.Expert remark: Compare the closely related pose and coppery tone of the bronze. Note the similar size (37 cm).
A PAIR OF RARE MUGHAL-STYLE JADEITE MARRIAGE BOWLS, LATE QING DYNASTYChina, 19th century. The bowls well carved with elegantly rounded sides rising from short circular feet to incurved rims, each flanked by a pair of double loose-ring handles pendent from reticulated designs of blossoming chrysanthemums issuing from foliage. The translucent stone of a pale lavender tone with pale green shadings and bright emerald-green and russet streaks.Provenance: From a private collection in New York, USA.Condition: Very good condition with minor wear, possibly few minuscule smoothened losses to exposed areas. Natural inclusions to the stone. The wood stands with some wear and light scratches, some of the separately carved feet are loose.Weight: 231.6 g and 211.2 g (each excl. stand)Dimensions: Width 18 cm (each)Each bowl with a matching wood stand. (4)Expert's note: Mughal-style marriage bowls carved from jadeite are extremely rare and this particular pair is exquisitely made from a superb material of beautiful color. The exceptional quality of the stone and the carving, showing a relatively restrained form of decoration, indicate a rather early dating for jadeite carvings, no later than the mid/end of the 19th century.Auction result comparison: Type: Related Auction: Christie's London, 14 May 2013, lot 18 Price: GBP 25,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writing Description: A Mughal-style celadon jade marriage bowl, 19th century Expert remark: Note the size (24 cm)Auction result comparison: Type: Related Auction: Bonhams San Francisco, 17 December 2014, lot 9132 Price: USD 25,000 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A Mughal-style carved jade marriage bowl, Qianlong mark Expert remark: Note the apocryphal Qianlong mark and size (28.5 cm)晚清一對罕見蒙兀兒風格菊花紋活環翡翠洗中國，十九世紀。翡翠，器薄，雕刻精美，圓邊，淺腹，圈足。翡翠洗雙耳成菊花紋，活環。淡紫色半透明石料，帶有淡綠色紋理和明亮的翠綠色和赤褐色條紋。 來源：美國紐約私人收藏。 品相：品相極好，有輕微磨損。石料天然內沁。木底座有一些磨損和輕微劃痕，單獨雕刻的足部鬆動。 重量：不含底座分別為231.6 克與211.2克 尺寸：寬18 厘米 分別配置木底座。 專家注釋：蒙兀兒風格的翡翠玉洗極爲罕見，這對玉洗色彩精美，雕刻品質卓越，紋飾簡潔，説明年代較早，19 世紀中葉之前。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年5月14日，lot 18 價格：GBP 25,000（相當於今日EUR 37,500） 描述：十九世紀蒙兀兒風格青玉洗 專家評論：請注意尺寸(24 厘米) 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2014年12月17日，lot 9132 價格：USD 25,000（相當於今日EUR 30,500） 描述：乾隆款蒙兀兒風格玉洗 專家評論：請注意乾隆款識和尺寸 (28.5 厘米)
A YELLOW AND RUSSET JADE 'RABBIT' INKSTONE, EARLY QING DYNASTYOpinion: Inkstones depicting various animals were made during the Qing dynasty, including pieces of the highest quality made for the Qing court. The present inkstone, being of an abstracted form that still clearly shows the silhouette of a rabbit, with a circular recess (perhaps reminiscent of the moon, with which the rabbit is frequently associated in China) placed exactly where the hare's eye would be, is a unique and rare example of this group.China, late 17th - 18th century. Well carved as the silhouette of a rabbit with distinct nose and ears, a circular recess carved in place of the animal's eye serving as the inkwell. The translucent stone is of a fine and distinct yellow tone with russet and black patches as well as cloudy white inclusions.Provenance: French trade. Condition: Very good condition with expected old wear and signs of use including small nicks, light surface scratches, remnants of ink inside the inkwell. Natural fissures and inclusions.Weight: 231.1 gDimensions: Length 12.3 cmThe rabbit is the fourth animal in the Chinese zodiac and considered the luckiest out of all the twelve animals. It symbolizes mercy, elegance, and beauty. Rabbits are also associated with longevity by way of the Moon Hare. In Chinese folklore, the rabbit often is portrayed as a companion of the Moon goddess Chang'e, constantly pounding the elixir of life for her.Literature comparison: Compare an imperially inscribed zisha chengni inkstone molded with a rabbit gazing at the moon, with a Qianlong Yuming mark and of the period, at Christie's Hong Kong, 30 November 2020, lot 2837. Compare an inscribed inkstone in the form of a goose, dated to the Qianlong period, at Sotheby's Hong Kong, 4 October 2011, lot 1915. Compare an inkstone in the form of a buffalo, dated Ming or Qing dynasty, at Sotheby's Hong Kong, 7 April 2010, lot 1980.清初黃玉留皮兔形硯臺中國，十七世紀末至十八世紀。兔形硯臺，線條清晰分明，在眼睛的地方有一個圓形凹槽。這顆半透明石料呈溫潤的黃色，帶有赤褐色和黑色斑塊以及白色絮狀物。 專家注釋：動物形狀的硯台出現在清代，其中包括御製硯台。這件硯台以簡潔的形式清晰地顯示出兔子的輪廓，在兔子眼睛所在的位置有一個圓形的凹槽（讓人想起月亮，兔子經常與月亮聯繫在一起）。 來源：法國古玩交易。 品相：品相極好，有磨損和使用跡象，包括小刻痕、輕微的劃痕，有墨水殘留。自然裂縫和内沁。 重量：231.1 克 尺寸：長12.3 厘米 兔子在中國十二生肖中排行第四，它象徵著慈悲和優雅。兔子因爲月兔神話，同時也寓意著長壽。在中國民間傳說中，兔子是月神嫦娥的伴侶，為她搗長生不老藥。 文獻比較： 比較一件乾隆御銘的紫砂澄泥硯，飾有兔凝月，見香港佳士得，2020年11月30日，lot 2837。比較一件乾隆時期鵝形硯臺，見香港蘇富比，2011年10月4日，lot 1915。比較一件明或清代水牛形硯臺，見香港蘇富比，2010年4月7日，lot 1980。
A COPPER ALLOY FIGURE OF PADMAPANI, LICCHAVI PERIOD OR SLIGHTLY LATERNepal, 9th-11th century. Standing in tribhanga on a circular lotus base, his right hand lowered in varada mudra and the left holding a lotus stem coming to full bloom at the shoulder, wearing a long flowing dhoti secured with a billowing sash, sacred thread, and foliate tiara centered by a small image of the Amitabha Buddha, his serene face with almond-shaped eyes and full lips, with a smooth deep brown patina overall and traces of gilding.Provenance: From a Swiss private collection, acquired in Nepal from a Tibetan family. Condition: Very good condition, commensurate with age. Extensive wear, minor casting flaws, small losses, minuscule nicks, light scratches, dents. Fine, naturally grown patina.Weight: 452.1 gDimensions: Height 17.4 cmThe present lot is stylistically related to the copper alloy and bronze figures of the Licchavi period dating from the 9th century. Well cast, the figure displays the elegance of post-Gupta sculpture, the dhoti finely incised with textile patterns of the period. The rounded facial features still show a close relationship to the Sarnath style. The flaming halo is most effectively executed and the foliate crown displays a remarkable feature as it bears an image of a standing Amitabha, the spiritual father of Avalokiteshvara. As is typical for the period, the original fire gilding is relatively thin and now mostly worn off, yet the fluidity of form and the warm copper tone are thus even more enhanced.Literature comparison: This bronze favorably compares with the famous eighth-century figure of Vajrapani from the Nasli and Alice Heeramaneck Collection. The dhoti is similarly secured with a diagonally bound billowing sash and finely incised with linear bands, see P. Pal, Art of Nepal, 1985, fig. S6, p. 90. Compare also with a figure of Avalokiteshvara with a similarly integrated flaming halo, in P. Pal, The Arts of Nepal, 1974, fig. 190, and a further figure bearing a seated figure in the crown, fig. 295.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 503 Price: USD 313,000 or approx. EUR 425,000 converted and adjusted for inflation at the time of writing Description: An important gilt copper figure of Avalokiteshvara, Nepal, Licchavi period, 8th/9th centuryExpert remark: Compare the closely related pose and dress, the related mandorla and copper patina with traces of gilding. Note that the figure is considerably larger (29.2 cm) and likely earlier than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 600 Price: USD 241,000 or approx. EUR 327,500 converted and adjusted for inflation at the time of writing Description: A rare gilt copper figure of Padmapani, Nepal, 10th century Expert remark: Compare the closely related pose, dress, lotus base, and copper patina with traces of gilding. Note that the figure is considerably larger (34.8 cm) and possibly earlier than the present lot 利察維王朝或之後罕見銅鎏金蓮華手菩薩尼泊爾，九至十一世紀。蓮華手菩薩呈三曲式站在蓮花座上，右手下垂，左手持蓮花莖，蓮花靠在肩上，身著百褶褲，佩戴五葉冠，中坐阿彌陀佛小像。面容平靜，杏仁狀的眼睛，豐滿的嘴唇。整體有光滑的深棕色包漿和鎏金痕跡。 來源：瑞士私人收藏，從尼泊爾一個藏人處購得。 品相：品相極好，大面積磨損、輕微的鑄造缺陷、小缺損、微小的刻痕、輕微的劃痕、凹痕。包漿細膩自然。 重量：452.1 克 尺寸：高 17.4 厘米 本拍品在風格上與九世紀的利察維時期的銅合金造像相似。鑄工精美，人物展示了後笈多雕塑的優雅，多褶褲上可見當時的紡織圖案。圓潤的五官與鹿野苑風格相似。五葉冠上特徵明顯，可見阿彌陀佛立像。與這一時期的典型情況一樣，原來的鎏金相對較薄，現在大部分已經磨損，更增强了其溫暖的銅色。 文獻比較：此金蓮華手菩薩像與一件收藏於Nasli and Alice Heeramaneck Collection的知名的八世紀金剛手菩薩像相比，更有優勢。斗篷也是用對角線捆綁的波浪形腰帶固定，並有精細的線狀刻痕，見P. Pal，《Art of Nepal》，1985年，圖S6，頁90。比較一件觀世音菩薩像，有相似的火焰光背，見P. Pal，《Art of Nepal》，1974年，圖190；另一件有王冠的觀音菩薩坐像，圖295。由於字數限制，完整中文敘述請至www.zacke.at查看。
A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTYExpert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。
A CLOISONNE ENAMEL RUYI SCEPTER, EARLY QING DYNASTYOpinion: Cloisonne ruyi scepters from the 17th century are rare. But finding one that presents so nicely after more than 350 years, and coming from one of the finest art collections in the world, is a truly nice surprise!China, second half of the 17th century. The ruyi head is decorated with a pair of blue dragons confronted on a shou medallion. The handle has two sections of archaistic hooked scrolls. One section incorporates the head of a dragon, the other the head of a phoenix, all above a rocky outcrop emerging from crashing waves at the pointed tip. The reverse of both the head and the handle is decorated with lotus scroll.Provenance: The Bernheimer Collection, no. 3/55554 (according to label). A noted South German private collection, built during the 1970s and 1980s, probably acquired from the above. The Bernheimer business was started by Lehmann Bernheimer (1841-1918) in 1864 with a tiny market stall in Munich, Germany, and swiftly grew into the most illustrious antique and interior decoration emporium in the world. Lehmann's son Otto (1877-1960) took over after his father's death in 1918. With his two brothers, Max and Ernst, Otto traveled to many European countries in search of fine art. Bernheimer's customers were European aristocrats, financiers, diplomats, and artists. They included the Krupp family and William Randolph Hearst. During the Nazi regime, the Bernheimer family emigrated across the whole world. In 1945, Otto Bernheimer returned to Munich, rebuilt his company and fought for the restitution of the family property. Konrad Bernheimer took over in 1977, aged 26, and has moved the business to Old Master Paintings. The Bernheimer Collection counts among the finest art collections in the world, reflecting the erudite quest of four generations to discover the very best of ancient art. Condition: Old wear, traces of use and manufacturing flaws. Expected pitting and losses to enamel overall with associated old fills and touchups. Please request a video shot under strong blue light for further details on the condition. The colors are still very strong and the gilt is nicely preserved. The scepter presents remarkably well overall, and the condition must be regarded as exceptionally good, commensurate with age, especially when compared with other large cloisonne scepters from the period that this author has handled over the past decades.Weight: 678.8 gDimensions: Length 38.6 cmLiterature comparison: Compare a similar scepter illustrated by H. Brinker and A. Lutz, in Chinese Cloisonne: The Pierre Uldry Collection, The Asia Society Galleries, New York, 1989, no. 163, which is also dated to the second half of the 17th century.Auction result comparison:Type: Closely related Auction: Christie's New York, 21 March 2014, lot 2328Price: USD 43,750 or approx. EUR 51,000 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel ruyi scepter, second half 17th centuryExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm). 清初掐絲琺瑯“雙龍捧壽”如意中國，十七世紀下半葉。孔雀藍色地，如意頭部可見雙龍捧壽紋。手柄有仿古夔龍紋，底部五彩祥雲江崖紋。如意背面纏枝蓮紋。專家注釋：十七世紀掐絲琺瑯如意十分珍貴。在 350 多年後找到一件呈現如此精美的珍品，並且來自世界上最好的藝術收藏之一，真是一個驚喜！ 來源：Bernheimer 收藏，編號 3/55554 (根據標籤)；德國南部私人收藏，建立於上世紀七十至八十年代，可能購於上述收藏。 品相：磨損、使用痕跡和製造缺陷。預期的點蝕和琺瑯缺損以及相關的填充和修飾。請聯繫藝廊獲得在強藍光下拍攝的視頻，以了解有關情況的更多詳細信息。琺瑯色彩仍然艷麗，鎏金保存完好。如意整體狀況極好，與年代相符。重量：678.8 克 尺寸：長38.6 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
AN IMPERIAL SCROLL-SHAPED ZITAN BOX AND COVER, QIANLONGChina, 1736-1795. Naturalistically carved as three stacked scrolls, the upper scroll with a neatly incised lozenge diaper pattern in deep relief, the lower two with similarly executed floral and wan-symbol patterns, respectively. Each of the three with a bone-inlaid plaque imitating a label, meticulously engraved with gilt inscriptions identifying the paintings once contained in the box, all framed by a remarkably fine silver-inlaid T-scroll border, and cleverly decorated with further inlays to imitate the clasps and scroll handles. The sides again meticulously carved and painted to imitate the scroll ends. The interiors delicately padded with lozenge-diapered Imperial yellow silk.Inscriptions: The upper scroll box, 'Poetic Ideas from the Imperial Jiguang Temple, painted by Qian Weicheng, calligraphy by Liang Shizheng'. The lower left scroll, 'Poetic Ideas of the Imperial Jade Belt Bridge, painted by Xu Yang, calligraphy by Wang Yudun'. The lower right scroll, 'Poetic Ideas on the Boat Journey to Spring, painted by Dong Bangda, calligraphy by Liang Shizheng'.Provenance: British trade. Condition: Very good condition with some old wear and traces of usage, also to the interior, light surface scratches, minuscule age cracks, nicks and losses. The gilt to the incised inscriptions slightly worn off. The textiles to the inside slightly faded, with loose thread and minor creases.Weight: 1,194 g Dimensions: Length 27.8 cm This exquisitely conceived box is remarkable for the combination of zitan wood, gilt bone inlays, and silk textiles which all have been carefully assembled resulting in a harmonious design overall. Skillfully modeled to simulate three scrolls, such elaborate curiosity pieces are rare and would have enjoyed a place of prestige in an elegant scholar's studio or even an Imperial palace.The Qianlong Emperor's love of painting and calligraphy fueled the development of boxes for such treasured items. The characteristics of these containers included the use of choice materials, the preferences being zitan, carved lacquer, cloisonne, and bamboo, due to their durability and fine quality which would complement the painting and calligraphy. The shape and decoration of these containers were also carefully considered to reflect both their contents and the imperial authority. Scroll boxes in the form of either three or five stacked scrolls were made in a variety of materials and demonstrate the importance given to packaging during the Qianlong reign.The paintings contained in such scroll boxes were usually made by well-known court painters and the boxes usually depict the title on the cover. The present box is decorated with three meticulously carved inlaid plaques imitating labels, each inscribed with the title of a famous painting, all three by court painters known to be active during the reign of Qianlong. One is a landscape depicting the Yudai bridge by Xu Yang, another a landscape painting of the Jiguang temple by Qian Weicheng, the last a painting of a boat by Dong Bangda.Literature comparison:Boxes made to imitate scrolls were popular in the Qianlong period and were made in various materials and designs. Compare the near-identical scroll-form box made of zitan and inlaid ivory, and the one in carved red lacquer, both in the Palace Museum, Beijing, and illustrated in The Sumptuous Art of Imperial Packaging, Macau, 2000, pp. 30-31, nos. 2 and 3.Compare an imperial carved cinnabar lacquer scroll box and cover, dated to the Qianlong period (1736-1795), at Christie's New York, 19 March 2009, lot 589. Compare a gilt-bronze and cloisonne enamel covered box, dated to the Qianlong period, at Sotheby's Paris, 16 June 2022, lot 141. Compare a hardwood scroll shaped box and cover, dated to the Qing dynasty, at Sotheby's London, 6 November 2013, lot 73.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2018, lot 3413 Estimate: HKD 500,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writingDescription: A pair of ivory-inlaid zitan scroll-shaped boxes and covers, Qing dynasty, 18th centuryExpert remark: Compare the closely related form, inlays, and decorations. Note that this lot comprises two boxes.乾隆御製紫檀卷軸蓋盒中國，1736-1795年。紫檀卷軸刻雷紋、團花紋與萬字紋，嵌象牙，象牙上刻所裝書畫名稱等畫名。可開啓。此包裝的造型采用卷軸冊頁式，製作精美。盒内襯雷紋黃地絲綿。 款識：御制玉帶橋詩意，徐揚畫，汪由敦書；御制積廣詩意，錢維城畫，梁詩正書；御制舟行春興詩意，梁詩正書，董邦達畫。 來源：英國古玩交易。 品相：狀況極好，有一些磨損和使用痕跡，內部也有輕微的劃痕，微小的老化裂縫、刻痕和缺損。鎏金略有磨損，内襯略微褪色，線鬆散，有輕微摺痕。 重量：1,194 克 尺寸：長 27.8 厘米 紫檀木、鎏金象牙以及絲綢紡織品的組合使盒子顯得尤爲珍貴，整體設計和諧，深受文人雅士甚至皇宮之中所推崇。由於字數限制，完整中文敘述請至www.zacke.at查看。
A GRAY AND BLACK NEPHRITE JADE FIGURE OF A HORSE, MING DYNASTYChina, 17th century. Well carved as a recumbent horse with the legs tucked in. The head is turned backwards with the mane falling on either side of the arched neck, and the tail is flicked onto the left rear haunch. The semi-translucent stone is of a pale gray tone with cloudy inclusions, dark veins, and black patches and shadings.Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco, 23 August 2004. A private collection in Bethesda, Maryland, USA, acquired from the above. A copy of a description document from S. Bernstein & Co., signed and sealed by Sam Bernstein and confirming the dating above, as well as a copy of the original invoice, dated 23 August 2004 and stating a purchase price of USD 14,000 or approx. EUR 20,500 (converted and adjusted for inflation at the time of writing), accompany this lot. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including The Emperor's Jade Suit and Chinese Jade: The Immortal Stone. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout Europe and the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Very good condition with minor old wear, few light surface scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 197.2 g (excl. base) and 245.7 g (incl. base)Dimensions: Length 8.5 cm (the jade) and 9.1 cm (the base)With a fitted wood base and a padded box. (3)The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: Related Auction: Christie's New York, 20 September 2013, lot 1683 Price: USD 56,250 or approx. EUR 67,000 converted and adjusted for inflation at the time of writing Description: A well-carved grey-green jade figure of a recumbent horse, 17th/18th century Expert remark: Compare the closely related pose and incision work. Note the different color and larger size (15.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 3056 Price: HKD 500,000 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A jade recumbent horse, Ming dynasty Expert remark: Compare the closely related eyes, mane, tail, and ears, as well as the similar size (9.4 cm). Note the slightly different pose and mostly russet color.明代灰黑玉臥馬中國，十七世紀。臥馬表滿佈絲霧狀黑褐色沁，玉質溫潤，觸手細膩，包漿潤潤。玉馬倒地嬉戲，臥馬兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。 來源：2004年8月23日舊金山S. Bernstein & Co.玉器與東亞藝術藝廊；美國馬里蘭州貝塞斯達私人收藏，購於上述藝廊。隨附一份藝廊Sam Bernstein親筆簽署並蓋章的描述文件，以及一份原始發票複印件，時間爲2004年8月23日，價格爲USD 14,000，相當於現在的EUR 20,500。Sam Bernstein是國際公認的中國古物專業經銷商。他撰寫了十三卷有關中國藝術的著作，包括《The Emperor's Jade Suit》和《Chinese Jade: The Immortal Stone》。在過去的二十五年裡，Bernstein先生積累了豐富的亞洲藝術收藏的經驗。他的父母都是亞洲藝術的熱情收藏家，並在歐洲和遠東多次旅行。1991 年，Bernstein先生在舊金山歷史悠久的Fairmont酒店創立了 S. Bernstein & Co., 玉器與東亞藝術藝廊，專門研究博物館品質的中國玉器及相關藝術品。 品相：狀況非常好，有輕微的磨損，輕微的表面劃痕和刻痕，有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 重量：197.2 克 (不含底座) 與245.7 克(含底座) 尺寸：長 8.5 厘米 (玉) 與9.1 厘米 (底座) 配有合身的木質底座和帶襯墊的盒子。(3)由於字數限制，完整中文敘述請至www.zacke.at查看。
A JUNYAO PURPLE-SPLASHED TRIPOD CENSER, JIN TO YUAN DYNASTYChina, 12th-14th century. The compressed body is raised on three cabriole legs, surmounted by a tubular neck rising to a canted flat lip with raised edge, covered overall in a thick, finely crackled turquoise-blue glaze, thinning to mushroom at the rim, with light splashes of purple, part of the feet unglazed revealing the gray body burnt to orange at the edges.Provenance: North American trade. Condition: Very good condition with minor wear and firing flaws, including pitting, and glaze recesses, a minuscule glaze chip to the interior.Weight: 173.6 g Dimensions: Diameter 8 cmExpert's note: This censer is notable for its remarkably luscious and thick glaze, which dramatically pools over the feet and base, thereby forming big drops, the color interspersed with splashes of purple and oxidized green. Please go through all our detail images online at www.zacke.at to study the depth, variety and splendor of this inimitable glaze.Literature comparison:A similar Junyao tripod censer of comparable size is illustrated by J. Ayers, The Baur Collection, vol. I, Geneva, 1968, A 38.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 15 September 2016, lot 802Price: USD 16,250 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A small purple-splashed Junyao tripod censer, Jin-Yuan dynasty, 12th-14th centuryExpert remark: Compare the closely related glaze, form, and size (8 cm)金至元鈞窯紫斑三足爐中國，十二至十四世紀。香爐口沿平出，直頸，鼓腹，下出三足。器身施淺青色釉，腹部局部紫斑，外部泛著孔雀石綠色的色調。足部邊緣露出灰色胎，燒成橘黃色。 來源：北美古玩交易市場。 品相：狀況極好，有輕微磨損和燒製缺陷，包括點蝕和釉面凹陷，內部有微小的釉屑。 重量：173.6 克 尺寸：直徑8 厘米 專家注釋：此香爐釉色釉色濃艷，在足底形成釉滴，顏色中夾雜著紫色和綠色。 請在線瀏覽所有的詳細圖片，欣賞這種無與倫比的釉料的深度、多樣性和光彩。 文獻比較： 一件相近的鈞窯紫斑三足爐，見J. Ayers，《The Baur Collection》，卷一，日內瓦，1968年，編號A 38。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2016年9月15日，lot 802 價格：USD 16,250（相當於今日EUR 20,000） 描述：金至元鈞窯藍釉紫斑爐 專家評論：比較非常相近的釉面、外型和尺寸(8 厘米)。
A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTYExpert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request)China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A FAMILLE VERTE 'DRAGON' SWEETMEAT SET, KANGXI PERIODChina, 1662-1722. The central dish of six-lobed form enameled in green, yellow, aubergine, black, and white with three fierce sinuous dragons chasing flaming pearls amid wispy flames, the rim with a diapered pattern interrupted by plum blossoms, the exterior with stylized bamboo sprays. The six surrounding fan-shaped dishes with foliate upper rims similarly decorated with a single dragon each. (7)Expert's note: It is extremely rare to find a complete seven-piece set from the Kangxi period with both the biscuit porcelain and the enamels in such pristine condition.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Each dish with an old printed and handwritten label 'No. 4603' to base. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Superb condition with only minor old wear, some expected firing flaws, and light surface scratches.Weight: 389.6 g (the central dish) and 1,252 g (the six surrounding dishes in total) Dimensions: Diameter 39.5 cm (total) and 19 cm (the central dish), length 19 cm (each of the six surrounding dishes)Auction result comparison: Type: Closely related Auction: Aguttes, Paris, 31 May 2022, lot 66 Price: EUR 20,150Description: Ensemble de sept raviers en biscuit et emaux de la famille verte, XVIIIe Siècle, periode Kangxi Expert remark: Compare the closely related form, diapered band with plum blossoms, and famille verte decoration on the biscuit porcelain. Note the similar size (40 cm).康熙素三彩龍紋攢盤中國，1662-1722年。此攢盤是由一個內盤和六個外盤共同組成葵花式，造型優美，設色雅緻明麗，構圖疏朗有致；綠地龍紋，線條挺拔，畫工精良。如此完好的康熙龍紋攢盤，實屬難得。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。每一個盤底都有一個打印並手寫的標籤No. 4603。 Stefanos Lagonico是富有的亞歷山大希臘社區的成員，他的家人在十九世紀後期定居在埃及。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後建立的，主要包括古典時期（1570 年後）的盤子和水壺。該系列中至少有六件作品曾在 1925 年亞歷山大港藝術博覽會中展覽。後來，Lagonico 離開埃及前往瑞士，就在 1937 年 5 月民族主義興起和投降條約廢除之前。他的兒子 Jean 是黎凡特干果和堅果的進口商，他繼承了大部分藏品，並一直默默無聞地保存在他法國南部的房子裏，直到 1991 年開始被拍賣。 品相：狀況極佳，只有輕微的磨損、一些燒製缺陷和輕微的表面劃痕。 重量：内盤389.6克，六個外盤1,252 克 尺寸：直徑 39.5 厘米(總)，内盤19 厘米，外盤分別19 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎Agutte，2022年5月31日，lot 66 價格：EUR 20,150 描述：康熙素三彩攢盤 專家評論：比較非常相近的外型、梅花邊裝飾、素三彩。請注意相似的尺寸(40厘米)。
A SOAPSTONE FIGURE OF A LUOHAN WITH A BUDDHIST LION, 18TH CENTURYChina. Seated with his right knee raised, wearing long flowing robes with finely incised hems, holding a flywhisk (fuchen) in his right hand, beside him a majestic lion, his left hand holding one strand of the lion's mane. The facial features, beard, and hair finely incised and picked out in black pigment, the hems painted in gilt and deep green. The base fitted and carved as a craggy rock with pierced holes. The figure of an attractive honey-brown tone, the stand of elegant burgundy red color with white and gray veining.Provenance: From the collection of Gerard Hawthorn, London, United Kingdom. In 1963, Gerard Hawthorn joined Sydney L. Moss Ltd. He later became an independent art dealer, assisting the world's leading collectors and museums in acquiring rare Chinese antiques. Additionally, he formed his own collection of Chinese art, especially bamboo and Yixing wares. Gerard Hawthorn is also the author of the catalog series 'Oriental Works of Art', which features fine works of art from China, Japan, and Korea. Condition: Very good condition with some old wear, mostly to gilt and pigment, few light surface scratches and minor nicks here and there. The left hand of the luohan and the head of the lion with minuscule old fills. Fine naturally grown patina with an unctuous feel overall.Weight: 418.2 g Dimensions: Height 9.1 cmLiterature comparison:Compare the related soapstone figure of a luohan seated beside a similarly carved lion in the collection of the Palace Museum, Beijing, illustrated in Zhongguo meishu quanji, diaosu bian - 6 - Yuan Ming Qing diaosu, Beijing, 1988, page 145, pl. 157. Compare also a related soapstone figure of luohan with mythical beast, dated to the 17th century, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 161, cat. no. 135.Auction result comparison:Type: Closely relatedAuction: Christie's London, 8 June 2021, lot 290Price: GBP 16,250 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A Chinese soapstone figure of a luohan, 18th centuryExpert remark: Compare the pose of the luohan, the detail work of the hem, and the rocky base. Note the larger size (16 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 10 May 2011, lot 45Price: GBP 10,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A small carved soapstone figure of a luohan, 18th centuryExpert remark: Compare the closely related posture of the luohan, the detail work of the hem, as well as the honey color of the stone. Note the smaller size (4 cm) and lack of a base.十八世紀笑獅羅漢皂石擺件中國。羅漢身體魁梧健壯，儀容莊嚴凜然，手持拂塵，身著僧袍。身側臥著一隻獅子。獅子的鬃毛用黑色顏料刻畫，下半身描金以及深綠色顔料。底座為鏤空雕刻的岩石，蜜褐色包漿，優雅的紅色與白色和灰色紋理。 來源：英國倫敦Gerard Hawthorn收藏；1963年他加入悉尼L. Moss Ltd藝廊，成為一名獨立的藝術品經銷商，協助世界重要收藏家和博物館購買稀有的中國古董。此外，他還見了了自己的中國藝術品收藏，尤其是竹子和宜興瓷器。Hawthorn 也是“Oriental Works of Art”系列畫冊的作者，該畫冊收錄了來自中國、日本和韓國的精美藝術作品。 品相：狀況極好，有一些磨損，主要是描金和顏料部分，表面有輕微的劃痕。羅漢的左手和獅子的頭上有微小的填充物。細膩的包漿，整體感覺光滑瑩潤。 重量：418.2 克 尺寸：高9.1 厘米 文獻比較： 比較一件非常相近的笑獅羅漢皂石擺件，收藏於北京故宮博物院，見《中國美術全集‧雕塑篇‧6元明清雕塑》，北京，1988年，頁145，圖157。比較一件相近的十七世紀羅漢神獸皂石擺件，見Gerard Tsang and Hugh Moss，《Arts from the Scholar's Studio》，香港大學美術館，香港，1986年，頁161，圖錄編號135。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2021年6月8日，lot 290 價格：GBP 16,250（相當於今日EUR 16,500） 描述：十八世紀皂石羅漢擺件 專家評論：比較羅漢的姿勢，衣袍下擺的細節雕刻，以及岩石底座。注意尺寸較大(16 厘米)。由於字數限制，完整中文敘述請至www.zacke.at查看。
A FAMILLE ROSE MODEL OF A PAIR OF QUAILS, QING DYNASTYChina, 19th century. The birds perched side by side, their heads slightly turned towards one another, their wings finely molded and plumage neatly painted in pale shades of blue, green, and black, the eyes detailed with red dots, all supported on an oval base painted in bright enamels with leafy peony sprays against a red-dotted ground, the interior glazed turquoise.Provenance: A French private estate. Christie's Paris, 8 December 2021, lot 196 (label to base), unsold.Condition: Very good condition with minor wear and firing irregularities, a shallow minor chip to the top of the base, occasional light scratches.Weight: 1,338 g (excl. stand) and 1,958 g (incl. stand)Dimensions: Length 28.5 cm (the model) and 29.5 cm (the stand)With a well carved and fitted wood stand dating from the same period. (2)Quails are known for their courage, while the word for quail in Chinese ('an') provides a homophone for the word for peace. Two quails can be read as shuang an, or 'double peace', and thus, these birds appear as a pair on paintings, porcelains, and textiles from as early as the Song dynasty.Literature comparison: Compare a related, slightly later porcelain figure of a quail, dated ca. 1910-1930, in the collection of the Victoria & Albert Museum, accession number C.36-1962.清代一對粉彩鵪鶉中國，十九世紀。鵪鶉一對並排而坐，很親暱地頭對頭，翅膀造型精巧，細節精緻，使用淺藍色、綠色和黑色描繪；眼睛上點綴著紅色的圓點，底座呈橢圓形，紅點為地，飾琺瑯彩綠葉牡丹。底足內綠松石色釉。 來源：法國私人收藏；巴黎佳士得，2021年12月8日，見底部標籤，流拍。 品相：狀況極好，有輕微磨損和燒製不規則，底座頂部有輕微的磕損，局部有輕微劃痕。 重量：不含底座1,338 克，含底座1,958 克 尺寸：長 28.5 厘米(鵪鶉) ，底座29.5 厘米 匹配木製底座，來自同一時期。 在古代“鵪”和“鶉”本是兩種鳥。鵪鶉之“鵪”與安全、安康、安居、安詳之“安”的諧音，因此又具有“事事平安”和“安居樂業”的象徵意義。一對鵪鶉早在宋代就經常出現在繪畫、陶瓷以及織物上。 文獻比較： 比較一件相近的1910-1930年琺瑯彩鵪鶉，收藏於維多利亞與亞伯特博物館，編號C.36-1962。
A COPPER-RED GLAZED TAZZA, YONGZHENG MARK AND PERIODOpinion: Copper-red wares were a fixture of the Imperial household during the Yongzheng era, with dishes, bowls and cups of various sizes appearing much more frequently than stem cups let alone tazzas. On top of that, the present lot comes in pristine condition and with immaculate provenance, making it even rarer, and a notable highlight in even the most advanced collection of monochrome wares. Dating from the early heyday of Imperial production, around the time of Tang Ying's arrival at Jingdezhen in 1728, where he was appointed by the Yongzheng Emperor to supervise the porcelain manufacture, the present lot is a powerful testimonial as to why monochrome wares became so popular among the most sophisticated scholars of modern day China.China, 1723-1735. Superbly potted, the shallow rounded sides rising from a splayed hollow foot encircled by a molded bamboo node. The exterior glazed in a rich and warm red, the interior and base glazed white. The base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi and of the period.Provenance: Sotheby's London, 25 May 1965, lot 168. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum (1968-2022), collection number Q.8.08. A copy of the sale result list for the Sotheby's auction on 25 May 1965, stating the buyer as 'Wou', accompanies this lot. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Some old wear and firing irregularities, such as dark spots, a glaze bubble to the well, small firing cracks, and minimal fritting. A minuscule chip to the rim with associated fill and hairline. The glaze with a splendid, unctuous feel. Refer department for or a video shot under strong blue light, confirming the overall fine condition.Weight: 752.8 gDimensions: Diameter 20.9 cmAuction result comparison: Type: Closely relatedAuction: Sotheby's New York, 11 September 2019, lot 635Price: USD 40,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A copper-red glazed stembowl, Yongzheng seal mark and periodAuction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2013, lot 1554 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A copper-red-glazed stem bowl, Yongzheng six-character mark in underglaze blue in a line and of the periodAuction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 May 2021, lot 2991 Price: HKD 500,000 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A sacrificial-red glazed stem bowl, Yongzheng six-character mark in a line in underglaze blue and of the period雍正款及年代霽紅釉高足碗中國，1723-1735年。碗敞口，淺弧腹，下承中空高足，圈足外撇，圈足外壁起凸棱一道，形似竹節。碗內與圈足內部施白釉，色澤瑩潤，光亮潔淨；外施紅釉，釉面均勻。高圈足內近底處用青花“大清雍正年製”六字款。 專家注釋：雍正年間，霽紅器多為皇室用品，各種大小的盤、碗、杯比高腳杯出現的頻率要高得多，更不用說高足碗。 最重要的是，本拍品完好無損，來源可循，因此顯得更加稀有，同時也是單色釉器皿收藏中的一個亮點。 此拍品應該是1728年唐瑛到景德鎮受雍正皇帝之命督製瓷器之時的產品，那時為御制瓷器盛世之初，這件拍品有力地證明了單色瓷器為何如此盛行。 來源：1965年5月25日倫敦蘇富比，lot 165。吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。由於字數限制，完整中文敘述請至www.zacke.at查看。
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