A GILT-LACQUERED WOOD HEAD OF BUDAI, MINGChina, 1368-1644. Covered with a striking gilt-lacquer coating, the Laughing Buddha shows his characteristic cheerful expression, with gently arched eyebrows above the gleefully squinting eyes. The carving is of superb quality, leaving no doubt as to the dating of this work.Provenance: French private collection, by repute in the same family since the late 19th century. By descent to the present owner.Condition: The condition commensurate with age, extensive wear to gilding and lacquer, remnants of polychrome painting, chips, age cracks and losses.Weight: 3,957 g (total)Dimensions: Height 28 cm (incl. base)Further distinct features of this expressive sculpture are the broad nose, the slender lips lacquered in red, opening slightly and showing a white-lacquered row of teeth. The face is flanked by long ears with pronounced lobes.With a custom-fitted hardwood base dating to the late 19th – early 20th century. The base with minor chips, nicks, and light scratches here and there.Auction result comparison: Compare with a lacquered wood head of a luohan, sold by Christie’s London in Fine Chinese Ceramics and Works of Art on 13 May 2014, lot 423, for GBP 6,250.明代鎏金漆木雕布袋頭像中國，1368-1644年。笑佛覆蓋著醒目的鎏金漆面，表現出他獨特的開朗表情。長眉輕柔拱起，雙眼笑眯。雕刻質量極高，這件作品的年代毫無疑問。來源：法國私人收藏，據説自十九世紀末起保存在同一家族。直至現任藏家。 品相：狀況與其年齡相應，鎏金漆嚴重磨損，彩漆繪殘留，有碎屑、年齡裂縫和缺損。 重量：縂 3,957 克 尺寸：高 28 厘米 拍賣結果比較：比較一尊漆木羅漢頭像，於2014年5月13日倫敦佳士得Fine Chinese Ceramics and Works of Art拍場，拍號423，售價GBP 6,250。
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A LARGE AND MASSIVE BRONZE TRIAD OF AVALOKITESHVARA AND TWO ACOLYTES, MING TO EARLY QINGChina, 16th-18th century. Cast seated in dhyanasana on a double lotus base, dressed in loose, flowing robes and elaborate beaded jewelry, the hands held in vitarka mudra, each holding a leafy stem rising to the shoulders and surmounted by a bird on one side and a vase on the other.Provenance: French private collection.Condition: Good condition with some expected surface wear and a few scattered minor dents or occasional light scratches, all consistent with age. There seems to be an old repair in the cast on the main figure's left billowing ribbon. The base is unsealed.Weight: 5.8 kgDimensions: Height 39.3 cmThe face shows a serene expression with downcast eyes, an urna above gently arched eyebrows, and slender lips forming a benevolent smile, flanked by long ear lobes with circular earrings. The hair is fashioned into a high chignon behind an elaborate five-pointed crown centered by a figure of Buddha Amitabha.The bodhisattva is flanked by two worshippers standing on lotus bases issuing from the base, the girl on the left holding a lotus bud and the boy on the right clasping his hands together in prayer, both with calm, smiling expressions.Auction result comparison: A related bronze, though slightly larger and without acolytes, was sold by Christie’s Paris in Art d’Asie on 10 June 2009, lot 223, for EUR 229,000. Another related bronze, without the acolytes and considerably smaller, was sold by Tajan in Asian Art on 21 July 2020, lot 76, for EUR 54,600.明末清初大型觀音菩薩坐像 中國，十六至十八世紀。觀音菩薩盤腿坐於雙層蓮花座上，穿著寬鬆，長袍飄逸，精美的串珠珠寶，一手持净瓶。 來源：法國私人收藏 品相：品相良好，表面有磨損和一些局部少量小凹痕和輕微划痕，均與年代相符。 左側飄帶上的鑄件似乎有舊修。 底座未密封。 重量：5.8 公斤 尺寸：高39.3 厘米 拍賣結果比較：一座相近觀音銅像，無左右尊者，曾售于巴黎佳士得《亞洲藝術》拍 場，2009年6月10日，lot 223，售價EUR 229,000。另一座相近銅像，無左右尊者， 稍小，曾售于Tajan《亞洲藝術》拍場，2020年7月21日，lot 76，售價EUR 54,600.
A GILT BRONZE FIGURE OF AMITAYUS, KANGXIChina, 1661-1722. Cast seated in dhyanasana on a double lotus base, a billowing shawl falling neatly over the base, the hands lowered in dhyanamudra, richly adorned in beaded jewelry with turquoise and coral inlays, wearing a long flowing robe, the hems finely incised with scrolling vines.Provenance: Art of the Past, New York, 8 November 1998. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, stating the land of origin as ‘Sino-Tibet’ and erroneously dating the piece to the 19th century, accompanies this lot.Condition: Good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, few losses, wear to gilt. The base has been resealed at some point after casting.Weight: 658.4 gDimensions: Height 19.2 cmThe deity is skillfully portrayed with a serene expression below an urna and framed by an elaborate headdress and a pair of pendulous earlobes adorned with ornamental earrings. The hair is arranged in an elaborately knotted chignon surmounted by a lotus bud finial, several locks of hair gently falling over the shoulders.This finely cast figure of Amitayus belongs to a small group of sculptures produced during the reign of the Kangxi Emperor who was a devout follower of Tibetan Buddhism. Figures in this group are of varying sizes and depict Amitayus seated on a double-lotus petal pedestal with a serene facial expression and draped in jewelry embellished with colorful semi-precious stones. Such portrayals are characteristic of imagery used by Tibetans.Amitayus, the Buddha of Infinite Life, is the deity associated with the rites that ensure long life. He is especially worshipped by Tibetans, who believe that life can be extended through long lineages, faith, and compassion. It is also believed that one can achieve self-enlightenment and cater to the welfare of others with the help of Amitayus.Literature comparison: Compare with a Kangxi figure of Amitayus from the Qing court collection, preserved in the Palace Museum, Beijing, illustrated in Buddhist Statues of Tibet: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2003, p. 238, cat. no. 227. Compare also with a figure of Avalokiteshvara from the Yuan dynasty, which served as the model for the present type of Kangxi figure, at Bonhams Hong Kong in Images of Devotion on 5 October 2020, lot 117.Auction result comparison: Compare with a related figure at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II on 3 October 2018, lot 3415, bought-in at an estimate of HKD 500,000-800,000.康熙銅鎏金嵌寳無量壽佛坐像 中國，1661-1722年。無量壽佛手結禪定印平行曡放在雙膝上，趺坐於雙層蓮座上，頭戴寶冠，髮髻高聳，項戴纓絡項鍊，鑲嵌綠松石與珊瑚，飄帶陰刻團花，裝飾華麗 。雙層蓮花座，大蓮瓣。其銅質緻密，鎏金厚重。來源：紐約Art of the Past, 1998年11月8日。 法國斯特拉斯堡J. L. Sharpe夫婦收藏, 購於上述出處。隨附原始發票複印件，顯示“漢藏”來源並注明十九世紀。品相：狀況良好，磨損小，鑄件不規則，偶爾有輕微的划痕，到處都有微小的刻痕，幾乎沒有損失，鎏金磨損。 鑄造後底座被重新密封。重量：658.4 克 尺寸：高19.2 厘米 無量佛表情寧靜安詳，頭戴枝葉繁密的寶冠。髮髻上方作頂嚴，耳垂圓璫，繒帶於耳後揚起，精緻的頭飾，兩束頭髮垂于兩肩。 這座精美的阿彌陀佛雕像，屬於康熙皇帝（他是虔誠的藏傳佛教徒）在位期間所製的一系列造像之一。這一組中的造像大小各異，塑造的是蓮座上的無量壽佛，表情寧靜，身披華麗珠寶。這種刻畫是藏族使用的圖像的特徵。無量壽佛是藏傳佛教信仰中極為重要的神明，他能滿足現世人間眾生對於福壽綿長的追求，特別受到藏人的崇拜，因爲他們相信生命可以通過血統、信仰和惻隱之心而延長。人們還相信，在無量佛的幫助下，在死後超脫輪迴之苦，前往美好的西方極樂世界。 文獻比較：一件康熙無量壽佛造像可見於北京故宮博物院，Buddhist Statues of Tibet: The Complete Collection of Treasures of the Palace Museum, 香港, 2003, p. 238, cat. no. 227. 一件元代觀音造像可見於香港邦翰思 Images of Devotion，2020年10月5日，lot 117。 拍賣結果比較：一件相近造像見於香港蘇富比Gems of Chinese Art – The Speelman Collection II 拍場，2018年10月 3日，lot 3415, 估價HKD 500,000-800,000。
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, EARLY QINGChina, 18th century. Cast seated in dhyanasana on a sealed double-lotus base, the hands in bhumisparsa mudra, wearing a kasaya robe with dense floral scrollwork marking each patchwork border and hem, the face with a serene expression below the urna with downcast eyes and slender lips forming a subtle smile, flanked by long earlobes, the hair in curls surmounted by an ushnisha.Provenance: From the collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920.Condition: Good condition with minor wear and casting irregularities, minuscule nicks here and there, light scratches, small losses.Weight: 671.6 gDimensions: Height 15.3 cmLiterature comparison: A related bronze figure, with the hands in dhyanamudra, from the Munsterberg collection, is illustrated in Hugo Munsterberg, Chinese Buddhist Bronzes, Japan, 1967, pls 18a-b.Auction result comparison: Compare with a related, though slightly older figure at Sotheby’s New York in Bodies of Infinite Light Featuring an Important Collection of Buddhist Figures Formerly in the Collection of the Chang Foundation on 10 September 2019, lot 301, sold for USD 25,000.清代早期銅鎏金釋迦牟尼中國，十八世紀。釋迦牟尼結迦趺坐于雙層蓮座上，手結觸地印，身披袈裟，袈裟上有濃密的花卉圖案，面部表情寧靜，低垂的眼睛和纖細的嘴唇形成微妙的笑容，兩側是長長的耳垂，肉髻。來源：塞爾比亞諾維薩德Alexander Popov 收藏，購於1900-1920年間。 圖片：Alexander Popov 品相：狀況良好，磨損小，鑄件不規則，到處有小刻痕，輕微划痕，小缺損。重量：671.6 克 尺寸：高15.3 厘米 拍賣結果比較：一件相近但更老一些的造像售于紐約蘇富比Bodies of Infinite Light Featuring an Important Collection of Buddhist Figures Formerly in the Collection of the Chang Foundation拍場，2019年9月10日，lot 301, 售價USD 25,000。
A GILT BRONZE FIGURE OF PADMAPANI, 17TH-18TH CENTURYTibetan-Chinese. Cast standing on a rectangular lotus base, richly adorned in jewelry and wearing a pleated dhoti, flanked by lotus flowers, the face showing a serene expression with downcast eyes and full lips forming a subtle smile, the hair surmounted by a lotus bud finial behind the five-leaf crown.Provenance: Austrian private collection.Condition: Excellent condition with minor wear and casting flaws, few small nicks, occasional light scratches.Weight: 86.3 gDimensions: Height 9 cmThis figure probably was once part of a triad, together with Manjushri and Vajrapani, the earliest bodhisattvas of the Buddhist pantheon, referred to as the Three Lords. Manjushri stands center with his standard book and sword, Vajrapani flanking his right and Padmapani his left. The triad became a standard in the nascent years of Mahayana Buddhism and integrated into the expanded Vajrayana Buddhist pantheon.十七至十八世紀銅鎏金蓮花手菩薩像 漢藏。造像站在方形蓮花座上，珠寶華麗豐富，穿著百褶褲，身側有蓮花，表情寧靜，低垂的眼睛和豐滿的嘴唇形成微妙的笑容，頭髮被五葉冠固定。來源：奧地利私人收藏 品相：狀況極佳，有輕微磨損和鑄件瑕疵，有小刻痕，偶有輕微划痕。 重量：86.3 克 尺寸：高9 厘米
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, QING DYNASTYChina, 18th century. Cast seated in dhyanasana on an unsealed double-lotus base, the right hand lowered in bhumisparsamudra and the left in dhyanamudra, wearing a close-fitting sanghati neatly incised with a foliate-patterned hem draping in elegant folds over the left shoulder and fans at the ankles.Provenance: From the collection of an artist and university professor in Vienna.Condition: Very good condition with old wear, light scratches, few dents and nicks, some wear to gilt, the offering bowl once held in Buddha’s hand is lost.Weight: 1,888 gDimensions: Height 21 cmThe serene face with gently arched eyebrows and downcast eyes, flanked by incised ears with elongated and elegantly curved lobes, the hair arranged in tight curls surmounted by an ushnisha.Auction result comparison: Compare with a related bronze, dated to the 18th century, at Christie’s New York in Fine Chinese Ceramics & Works of Art on 22 March 2019, lot 1777, sold for USD 56,250.清代銅鎏金釋迦牟尼像 中國，十八世紀。釋迦牟尼結跏趺坐在未密封雙層蓮花寳座上，右手施觸地印，左手施禪定印，穿著緊身的袈裟，下擺流暢，左肩飾有優雅的衣紋。 來源：一個維也納的藝術家兼大學教授私人收藏。 品相：狀況良好，有舊磨損，輕微划痕，有很少凹痕和刻痕，有些鎏金磨損，放在佛陀手中的供奉碗丟失了。 重量：1,888 克 尺寸：高21 厘米 拍賣結果比較：一件十八世紀造像見紐約佳士得Fine Chinese Ceramics & Works of Art 拍場，2019年3月22日， lot 1777, 售價USD 56,250.
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 15TH CENTURYTibet. Cast seated in dhyanasana with the hands lowered in dhyanamudra holding an alms bowl, wearing a pleated robe with finely incised scroll borders draped over the left shoulder. The serene face with an urna, downcast almond-shaped eyes beneath gently arched eyebrows, and slender lips forming a subtle smile, flanked by a pair of long pendulous ears.Provenance: Swiss private collection.Condition: Excellent condition commensurate with age, with minor wear, light surface scratches, expected wear to gilt, minuscule nicks and dents here and there, the original seal plate with two larger dents, some casting flaws.Weight: 1,607 gDimensions: Height 18.5 cmThe head and domed ushnisha covered with tight curls and surmounted by a bud-shaped jewel, all supported on a double lotus pedestal with beaded edges, the base sealed with a vishvavajra.Auction result comparison: Compare with two closely related but considerably smaller bronzes, one at Sotheby’s London in Important Chinese Art on 11 May 2016, lot 64, sold for GBP 18,125, and the other at Christie’s in Indian & Southeast Asian Art on 12 September 2012, lot 548, sold for USD 22,500. Compare also with a closely related but significantly larger bronze at Sotheby’s London in Important Chinese Art on 4 November 2020, lot 150, sold for GBP 69,300.十五世紀銅鎏金釋迦牟尼像 西藏。造像結跏趺坐，手結禪定印並持抱著一個施捨碗，穿著百褶長袍。 平靜的臉龐上有天眼，眉毛下杏仁狀的眼睛低垂，細長的嘴唇形成了微妙的笑容，兩側是一對長長的耳朵。 來源：瑞士私人收藏. 品相：狀況與年齡相稱，小磨損，表面輕微划痕，預期的鎏金磨損，到處都有微小的刻痕和凹痕，原始的密封板有兩個較大的凹痕，一些鑄造缺陷。 重量：1,607 克 尺寸：高18.5 厘米 拍賣結果比較：兩個相近但尺寸稍小的造像，一個可見倫敦蘇富比Important Chinese Art 拍場，2016年5月11日，lot 64, 售價GBP 18,125；另一件見佳士得Indian & Southeast Asian Art拍場，2012年9月12日lot 548, 售價USD 22,500. 一件相近但更大的造像見 倫敦蘇富比Important Chinese Art 拍場，2020年11月 4日 lot 150, 售價GBP 69,300.
A BRONZE PORTRAIT FIGURE OF A LAMA, 17TH-18TH CENTURYTibet. Seated in dhyanasana on an unsealed double-lotus base, the hands held in dharmachakramudra, wearing long flowing monastic robes with floral borders at the hems and collar, the benign face with heavy-lidded eyes and full, pursed lips forming a subtle smile, flanked by long pendulous earlobes, the plain hair with a distinct receding hairline.Provenance: Austrian private collection.Condition: Excellent condition with minor wear and firing flaws, light scratches, few minuscule nicks, dents, warping, remnants of old lacquer gilt and fine old polychrome pigment.Weight: 2,580 gDimensions: Height 20 cmAuction result comparison: Compare with a related but earlier bronze, dated to the 16th century, at Christie’s New York in Indian & Southeast Asian Art on 21 March 2008, lot 655, sold for USD 16,250. Compare also with a closely related gilt bronze figure of a lama, Qianlong mark and period, at Sotheby’s New York, September 11, 2019, lot 797, bought in at an estimate of USD $15.000-20.000.十七至十八世紀喇嘛銅像 西藏。喇嘛結跏趺坐在未密封雙層蓮座上，雙手施説法印，著袈裟，臉容祥和，雙眼微垂和豐滿的雙唇形成微妙的笑容，兩側是長長的耳垂。 來源：奧地利私人收藏. 品相：狀況極佳，有輕微的磨損和燒制缺陷，輕微的划痕，極少的凹痕，翹曲，舊漆金和舊彩色顏料殘留。 重量：2,580 克 尺寸：高20 厘米 拍賣結果比較：一件相近但十六世紀的銅像見紐約佳士得 Indian & Southeast Asian Art 拍場，2008年3月21日 lot 655, 售價USD 16,250.
A PORTRAIT BRONZE OF A MONK, COPPER- AND SILVER-INLAID, 16TH-18TH CENTURYTibet. Cast seated in dhyanasana on a sealed double-lotus base, his right hand resting on his knee and his left lowered in front, wearing a monk’s patchwork robe with copper-inlaid hems finely incised with floral bands, the benign face with silver-inlaid eyes and a distinctive hairline.Inscriptions: The frontal top of the base with a neatly incised donor’s dedication to a guru.Provenance: Australian private collection. Acquired by the collector’s father in the 1990s from a British gentleman who relocated to Western Australia in the 1960s.Condition: Two fingers on the right hand possibly reattached, an attribute possibly held in the other hand is lost, otherwise in good condition with minor wear, light scratches, and few minuscule nicks.Weight: 968.3 gDimensions: Height 17.8 cmAuction result comparison: Compare with a Tibetan-Chinese bronze of a monk holding a book, dated to the 18th century, at Christie’s New York in Indian And Southeast Asian Art on 21 September 2007, lot 195, sold for USD 9,375. Compare also with a Tibetan silver-inlaid brass alloy portrait figure of Zangpo Gyeltsen, dated to the 15th-16th century, at Bonhams Hong Kong in Images of Devotion on 5 October 2020, lot 32, sold for HKD 500,625.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十六至十八世紀鑲銀銅和尚銅像 西藏。大師結跏趺坐在密封的雙曾蓮花座上，右手放在膝蓋上，左手放低，身穿袈裟，銅質下擺精緻地刻有花卉飾帶，祥和的臉龐鑲有銀眼睛和獨特的髮際線。 款識：底座的正面前方刻字體現上師的奉獻精神。 來源：澳大利亞私人收藏。藏家的父親1990年代在一位1960年代定居澳大利亞西部的英國紳士購得。 品相：右手的兩個手指可能重新連接過，另一隻手可能失去一個寶器，除此之外狀況良好，輕微磨損，輕微划痕和很少的划痕。 重量：968.3 克 尺寸：高17.8 厘米 拍賣結果比較：十八世紀漢藏大師持經銅像見紐約佳士得Indian And Southeast Asian Art拍場，2007年9月21日 lot 195, 售價USD 9,375. 十五至十六世紀西藏鑲銀Zangpo Gyeltsen 大師銅像，見香港邦翰思 Images of Devotion 拍場，2020年10月5日 lot 32, 售價HKD 500,625.
AN ORIGINALLY SEALED GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SHADAKSHARI, 15TH-16TH CENTURYTibet. Cast seated in dhyanasana on a sealed double lotus base, the principal hands in anjalimudra in front of the chest, the other right hand in vitarkamudra and the other left hand holding a lotus blossom, wearing a luxurious dhoti neatly incised with floral patterns, and richly adorned in beaded jewelry inlaid with turquoises.Provenance: Galerie Peter Hardt, Radevormwald, Germany, 1 December 1994. A Hungarian private collection, acquired from the above. A copy of the original certificate for this piece from Galerie Peter Haardt, stating the origin as Tibet, but erroneously dating the piece to the 17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, occasional light scratches, traces of pigment, minor wear to gilt, some losses to inlays. Original sealing!Weight: 553.7 gDimensions: Height 16.1 cmThe face shows a serene expression below the urna with heavy-lidded eyes under gently arched eyebrows, and slender lips forming a subtle smile, flanked by long earlobes with lotus-form earrings. The hair is surmounted by an ushnisha with a finial in the form of the head of Buddha Amithaba, all behind an elaborate crown.Shadakshari Lokeshvara is the embodiment of the mystic Buddhist mantra, Ohm Mani Padme Hum. The six syllables are the seeds of the six realms in the great cosmic wheel. Om stands for the god realm, Ma for the demigod or asura realm, Ni for the human realm, Pad for the animal realms, Me for the hungry ghost realm, and Hum stands for the hell realm. Shadakshari Lokeshvara helps to bring all beings from the six realms into enlightenment. The present bronze therefore is a cheerful reminder of the spiritual quest for nirvana.The statue has extensively been screened with x-ray, revealing various contents, at least one being a consecrated miniature statue, probably made of gold. Several videos shot during the x-ray screening will be handed over to the winning bidder.Literature comparison: For an interesting article about Tibetan-Chinese gilt sculptures of the early Ming dynasty in the Museum Rietberg, particularly about CT (X-ray Computed Tomography) scans of the interior of such sculptures and their contents, see Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91).Auction result comparison: Compare with a related copper alloy figure, but without any contents, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 44, sold for USD 27,500.十五至十六世紀銅鎏金四臂觀音坐蓮像 西藏。觀音金剛坐姿坐於雙層蓮座上，前兩臂合掌當胸並持如意寶珠，後兩臂高舉至肩，左手持一白蓮。身著綢緞及纓絡，鑲嵌綠松石。 來源：德國Radevormwald 的Peter Hardt 藝廊。一個匈牙利私人收藏家于1994年12月1 日購買。一份藝廊出具的原始證書注明此造像來自西藏，但是證書上把時間錯誤寫成十七世紀。隨附證書原件。 品相：狀況極佳，有輕微磨損和鑄件不規則現象，到處都有微小的刻痕，偶爾有輕微的划痕，輕微的鎏金磨損，鑲嵌物有所損失。 原始密封！重量：553.7 克 尺寸：高 16.1 厘米 觀音低目慈視莊嚴，嘴角微露笑容，頭戴五葉寶冠，頭頂束高髮髻，餘發垂肩，頭頂上的五方佛冠代表五方的智慧。觀自在菩薩六字大明王陀羅尼，知名佛教普傳密咒漢語中又被寫作嗡，嘛，呢，唄，咩，吽，是觀世音菩薩的微妙本心，也被認為是四臂白觀音的心咒。六個音節是宇宙飛輪中六個領域的種子。 嗡代表天道，嘛代表阿修羅道，呢代表人間道，唄代表旁生道，咩代表餓鬼道，吽代表地獄道。 四臂觀音幫助將六個領域的眾生得到圓滿功德。觀音的慈悲與智慧能化現為不同形象，其中四臂觀音是常見且具代表性的種類之一，其心咒可助眾生脫離六道輪回的痛苦，培養幸福安樂。對該造像進行了X射線檢查，發現了造像内部還有其他內容，其中一個是奉獻的微型造像，可能是金制的。X射線檢查過程中拍攝的幾段視頻將在拍賣后交給中標人。文獻比較：一篇很有意思的關於一件Museum Rietberg裏明初漢藏銅鎏金造像通過X光照射檢查内部的文章可參考Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91). 拍賣結果比較：一個相似銅鎏金但沒有任何填充物的雕像，售于紐約邦瀚斯Indian, Himalayan & Southeast Asian Art 拍場，2016年3月14日，lot 44, 售價USD 27,500.
A TIBETAN GILT BRONZE FIGURE OF MANJUSHRITibet, 17th-18th century. Seated in dhyanasana on a sealed circular double-lotus base (rare), flanked by two lotus flowers, one surmounted by a sword and the other by a book, richly adorned in jewelry, wearing a long flowing robe.Provenance: Hungarian private collection.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, wear to gilt.Weight: 313.3 gDimensions: Height 9.5 cmThe left hand raised in vitarkamudra and the right lowered in varadamudra. The hair arranged in a high chignon behind a lotus-bud diadem.西藏铜鎏金文殊菩萨坐莲像 西藏，十七至十八世紀。文殊结迦趺座坐于双层莲座上， 双肩两侧各有一朵莲花，一朵托着宝剑，另一朵托着书。全身璎珞装饰，长袍飘扬。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄造不規則現象，偶有輕度刮擦，各處有小刻痕，鎏金磨损。 重量：313.3 克 尺寸：高 9.5 厘米
A SINO-TIBETAN GILT BRONZE FIGURE OF AMITAYUS, QINGSino-Tibetan, 18th century. Cast seated in dhyanasana on a sealed double lotus base with the hands lowered in dhyanamudra, richly adorned in beaded jewelry with turquoise inlays, wearing a long flowing robe, the hems finely incised with scrolling leafy vines.Provenance: English private collection. Condition: Good condition with minor wear and casting irregularities, occasional light scratches, small nicks and dents, some losses, wear to gilt.Weight: 625.7 gDimensions: Height 17.9 cmThe face showing a benign expression with downcast eyes under arched eyebrows, a broad nose, and full lips forming a benevolent smile, flanked by long earlobes with large earrings, the hair surmounted by a double ushnisha with a lotus bud finial, several locks of hair gently falling over the shoulders.Auction result comparison: Compare with a related figure at Sotheby’s Hong Kong, although with extensive damage to gilding, in Chinese Art on 29-30 November 2018, lot 556, bought-in at an estimate of HKD 100,000-120,000.清代漢藏銅鎏金觀音像 漢藏，十八世紀。觀音結迦趺座坐於密封的雙層蓮座上，手施禪定印，上半身披通肩天衣，頸胸垂掛瓔珞，鑲嵌綠松石，衣褶流暢自然，褶襬鐫刻纏枝花卉紋，並飾連珠紋。 來源：英國私人收藏 品相：狀況良好，有輕微磨損和鑄造不規則現象，局部有輕微划痕，小刻痕和凹痕，有些缺損，鎏金磨損。 重量：625.7 克 尺寸：高 17.9 厘米拍賣結果比較：一件相似的銅像，但銅鎏金磨損嚴重，售于香港蘇富比Chinese Art 拍場2018年11月29-30日，lot 556, 估價 HKD 100,000-120,000。
A LARGE GILT-BRONZE FIGURE OF A LAMA, 16TH-17TH CENTURYTibet. Massively cast seated in dhyanasana on a sealed double-lotus base with beaded rims, the hands in bhumisparsa mudra. The face shows a meditative expression with heavy-lidded eyes under thick, gently arched eyebrows, full lips forming a subtle smile, and a distinctive beard, flanked by large ears with sharp elongated lobes.Provenance: Collection of Cheng Huan, a well-known barrister and writer in Hong Kong. While studying at Cambridge University he became close friends with Tenzing Namgyal, the then Crown Prince of Sikkim. Two visits to that remote mountain kingdom inspired him with a passion for Tibetan Buddhism. His collection was acquired over decades wherever he was traveling but mostly from the London dealership Spink & Son and from his good friend Susan Chen in Hong Kong.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, little wear to gilt.Weight: 3,494 gDimensions: Height 25 cmThis beautiful portrait of a Tibetan teacher represents the centuries-old tradition of producing Buddhist effigies of important and beloved historical figures. A superb example of bronze work from the sixteenth/seventeenth century, special attention has been paid to the figure's intricately incised robes, which convey an ornately patterned textile.Auction result comparison: Compare with a related figure of smaller size at Christie’s New York, in Indian, Himalayan and Southeast Asian Works of Art, 18 March 2015, lot 4019, sold for USD 37,500, and another at Christie’s New York, in Indian and Southeast Asian Art, 13 September 2011, lot 363, sold for USD 98,500.十六至十七世紀銅鎏金喇嘛像 西藏。喇嘛手結觸地印，結迦趺坐坐在密封的雙層蓮座上，邊緣飾有串珠。 面部表情沉思，濃密且拱形的眉毛下沉重的雙眼，豐滿的嘴唇形成淡淡的微笑，耳朵大，耳垂長。來源：清洪收藏。香港著名律師及專欄作家。他在劍橋讀書時，與錫金（1975年併入印度）時任儲君丹增南嘉結為好友，對藏傳佛教興趣更是濃厚，時常往西藏及錫金朝聖。他的收藏品不少來自他的旅行，但不少都購自倫敦名古董商Spink & Son和他的香港好友Susan Chen処. 圖片：清洪 品相：狀況極佳，有輕微磨損和鑄件不規則現象，偶有輕度刮擦，局部有很小的刻痕，鎏金幾乎沒有磨損。 重量：3,494 克 尺寸：高25 厘米 拍賣結果比較：一件相近但尺寸小些的造像售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art拍場，2015年3月 18日，lot 4019, 售價USD 37,500, 另一件紐約佳士得Indian and Southeast Asian Art拍場 2011年9月13日，lot 363, 售價USD 98,500。
A TIBETAN GILT-BRONZE FIGURE OF A LAMA, 13TH-14TH CENTURYTibet. Gautama Buddha’s historic moment of enlightenment, when the earth shook beneath his fingertips in recognition of his achievement, is evoked by this rare figure of a lama. Seated upon a double-lotus base with a vajra placed just in front of his meditative posture, the figure portrayed is evidently a highly esteemed lama of an early period.Provenance: From a Hungarian private collection.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, some wear to gilt.Weight: 783.7 gDimensions: Height 12.8 cmThe curved edges of the shirt worn by the lama beneath his robe are telling of the period of origin, as square-edged shirts become the standard from the 14th century on. The quality of this casting is especially evident in the beaded and incised hems of his patchwork robe and shirt along with the floral meditation cape and the rope that falls at its center.Auction result comparison: Compare with a closely related figure at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 12 September 2018, lot 359, sold for USD 15,000.十三至十四世紀西藏銅鎏金喇嘛像 西藏。釋迦修成佛道之前，以右手指觸地，令大地為證，於是地神出來證明，終於使魔王懼伏。喇嘛結觸地印，以冥想姿勢坐在雙層蓮花座上，顯然是早期受尊敬的喇嘛。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄件不規則現象，局部有輕度刮擦，局部有微小的刻痕，鎏金磨損。 重量：783.7 克 尺寸：高12.8 厘米 拍賣結果比較：一件相似的造像售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art 拍場，2018年9月12日，lot 359, 售價USD 15,000。
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 14TH-15TH CENTURYNepal. The small vajra placed before Shakyamuni's ankles on top of the lotus base makes a mnemonic reference to the enshrined ‘vajra seat’ (vajrasana) at Bodh Gaya in Northeastern Indian, upon which Buddha achieved enlightenment.Provenance: French private collection.Condition: Good condition with old wear, light scratches, minuscule nicks, small dents, wear to gilt.Weight: 1,415 gDimensions: Height 17.5 cmBuddha's robust and rounded form here follows the classic Newari aesthetic of the Kathmandu Valley in the 13th/14th century, which was also adopted by the neighboring Khasa Malla kingdom ruling the Karnali Basin of western Nepal and western Tibet.Seated in vajrasana on a separately cast and unsealed gilt copper lotus base with a vajra placed before him, holding an alms bowl in one hand and lowering the other in bhumisparsamudra, the sanghati falling in folds over the left shoulder, the serene face with heavy-lidded eyes and urna flanked by elongated earlobes, the hair arranged in tight curls surmounted by an ushnisha.Auction result comparison: Compare with a related miniature shrine, with a closely related Buddha figure of considerably smaller size, retaining its shrine, at Bonhams Hong Kong, in Images of Devotion on 2 December 2020, lot 1011, sold for HKD 2,002,500.十四至十五世紀銅鎏金釋迦牟尼像 尼泊爾。蓮座上釋迦牟尼腳踝前有一個金剛杵，意指印度東北印度菩提迦耶金剛寶座塔，佛陀在此得道成佛。 來源：法國私人收藏. 品相：狀況良好，有舊磨損，輕微划痕，微小刻痕，小凹痕，鎏金磨損。 重量：1,415 克 尺寸：高17.5 厘米 拍賣結果比較：一件微型佛龕裏有一件相似佛陀像，尺寸略小，見香港邦翰斯Images of Devotion 拍場，2020年12月 2日lot 1011, 售價HKD 2,002,500.
A GILT-BRONZE FIGURE OF GREEN TARA, MID-QINGSino-Tibetan, 18th century. Cast seated in lalitasana on a sealed double lotus base, the hands in ravimudra, wearing a long flowing robe finely incised with foliate designs, richly adorned in beaded jewelry with turquoise inlays.Provenance: Collection of Gyula Andrásfi (1908-1981), Hungarian ambassador to Mongolia from 1961 to 1968. Thence by descent within the same family to the present owner.Condition: Excellent condition with minor wear, occasional light scratches, small losses, minuscule nicks here and there, some wear to gilt, remnants of pigment.Weight: 825.7 gDimensions: Height 22.2 cmThe face showing a serene expression with downcast eyes, flanked by long ears with lotus-form earrings, the hair arranged in a high chignon behind the elaborate five-leaf crown.Auction result comparison: Compare with a closely related but smaller figure, sold by Christie’s London in Chinese Ceramics, Works of Art and Textiles on 8 November 2013, lot 1430, for GBP 9,375.清代中期銅鎏金綠度母坐蓮像 漢藏，十八世紀。綠度母結右舒遊戲姿坐於橢圓形蓮台之上，左手當胸結三寶印，右手撫膝持蓮花莖。其面容慈悲安詳，神情恬淡怡然。緊貼肢體的天衣帛帶，鑲嵌綠松石。 來源：Gyula Andrásfi (1908-1981)收藏，1961 – 1968年間匈牙利駐蒙古大使。自此保存在同一家族直至現今藏家。圖片： Gyula Andrásfi 1980年在布達佩斯 品相：狀況極佳，有輕微磨損，偶有輕微划痕，小缺損，局部有微小的刻痕，鎏金磨損，繪彩殘餘。 重量：825.7 克 尺寸：高22.2厘米 拍賣結果比較：一個相似但較小的雕像，於2013年11月8日在倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場， lot 1430，售價GBP 9,375。
A NEPALESE COPPER FIGURE OF INDRANepal, 15th-17th century. Cast seated in elegant maharajalilasana, the right hand resting on the raised knee, the other holding a lotus stem surmounted by a vajra, richly adorned in jewelry with inlays of ruby and turquoise glass paste.Provenance: French private collection.Condition: Good condition with minor wear and casting flaws, losses, small nicks here and there, light scratches.Weight: 1,255 g (incl. base)Dimensions: Height 17.5 cm (incl. base)The face showing a serene expression with heavy-lidded eyes and slender lips, flanked by lotus-form earrings, the hair surmounted by an ushnisha behind the large and distinctive crown. With a temple tang at the back and mounted on an associated Chinese zitan wood lotus base from the Qing dynasty. (2)The combination of the maharajalila asana and the mitre-like tall crown are iconic elements seen only in Nepalese depictions of the god Indra. The figure is cast in copper and adorned with the distinctive combination of ruby and turquoise colored settings typical of Kathmandu Valley metal sculpture. Indra’s characteristic seated position, asana, evoking luxurious royal ease, embodies the sensuous quality of Nepalese sculpture in one of the most elegant iconographic postures in all Himalayan art.Indra is worshiped in Nepal by Hindus and Buddhists alike. In the Hindu tradition the god is often referred to by his epithet Sahasraksha, meaning ‘The One with a Thousand Eyes’. In Buddhist mythology Indra is regarded as devaraja, the king of the gods. Indra Jatra, a pageant in honor of the god, takes place in Kathmandu each year in one of the most important religious festivals of the Newar community.Literature comparison: Compare to another bronze of Indra from the Nasli and Alice Heeramaneck Collection, in P. Pal, Art of Nepal, 1985, p.119, cat. no. S42. Compare the asana and crown style of a fifteenth century gilt copper Nepalese Indra from the Duke of Northumberland’s collection, Sotheby’s New York, 17 September, 2014, lot 442, and a thirteenth century example in the Norton Simon Museum, Pratapaditya Pal, Art of the Himalayas and China, New Haven and London, 2003, p. 85, cat. 52.Auction result comparison: Compare with a closely related but larger and slightly older copper figure of Indra at Christie’s New York in Indian and Southeast Asian Art on 14 September 2010, lot 75, sold for USD 122,500.尼泊爾帝釋天銅像 尼泊爾，十五至十七世紀。帝釋天優雅地坐於蓮座上，右手放在抬高的膝蓋上，左手握著一個由金剛杵頂著的蓮花莖，上面飾有紅寶石和綠松石玻璃鑲嵌的珠寶。 來源：法國私人收藏 品相：狀況良好，有輕微磨損和鑄造缺陷，缺損失，局部有小刻痕，輕微划痕。 重量：含底座1,255 克 尺寸：縂高17.5 厘米 拍賣結果比較：一件十分相近但更早的帝釋天銅像售于紐約佳士得Indian and Southeast Asian Art 拍場，2010年9月14日, lot 75, 售價USD 122,500
AN IVORY JADE BANGLE, LIANGZHU CULTUREChina, Liangzhu Culture, c. 3300-2200 BC. Of circular form, the sides finely incised with taotie masks on three rectangular registers, the opaque stone of a grayish-white color with dark grayish-black and russet veins.Provenance: Formerly in the collection of Dr. Simon Kwan, Hong Kong. The collection of a member of the Rockefeller family, acquired from the above, circa 1990 (old collector’s label to base reading “Liangzhu, Ex. Coll. Kwan 18,000“). US private collection, acquired from the above in 2017. Dr. Simon Kwan (b. 1941) is a former Hong Kong architect, receiving many awards for his work over the years. He is also a painter and a dedicated researcher and scholar in the field of Chinese art and design. He has written many papers and delivered many lectures on Chinese art at universities and institutions in Hong Kong and abroad. In 1994, the Institute of Chinese Studies at the Chinese University of Hong Kong held an exhibition of 239 jades from Dr. Kwan’s private collection, Chinese Archaic Jades from the Kwan Collection.Condition: Naturally aged condition commensurate with age, possibly with alterations from the period. Extensive erosion, smaller losses with old fillings, minor nicks here and there, encrustations, natural fissures, some of which may have developed into small cracks over time. Good natural patina, unctuous feel. Inspected under strong blue light.Weight: 192.1 gDimensions: Height 3.8 cm, Inner Diameter 5.1 cm, Outer Diameter 7.2 cmAuction result comparison: Compare with a related jade bangle at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I - Neolithic Period on 27 November 2019, lot 2724, sold for HKD 2,375,000.良渚文化象牙色玉手鐲 中國，良渚文化，公元前 3300-2200 年。側面雕刻饕餮紋，灰白色的不透明石頭帶有深灰黑色和赤褐色的脈絡。 來源：原為香港関善明博士收藏。洛克菲勒家族成員大約在1990年從上述收藏購得，舊藏家的標籤上標有“ Liangzhu，Ex。Coll。Kwan 18,000”。 美國私人收藏，於2017年從上述收藏中獲得。関善明博士（生於1941年）是一位前香港建築師，多年來因其工作獲得許多獎項。 他還是一位畫家以及中國藝術和設計領域的專家和學者。 他在香港和國外的大學和機構中撰寫了許多論文，並發表了許多關於中國藝術的演講。 1994年，香港中文大學中文研究所舉辦了一場展覽，展示了關博士私人收藏的239件玉器包括中國高古玉。 圖片: 関善明博士於1999年12月2日在香港大學名譽大學獎學金頒獎典禮上 品相：自然老化的狀況與年齡相稱，可能與該時期的變化有關。 廣泛的侵蝕，舊時填充物修補，局部小刻痕，結殼，自然裂縫，隨著時間的流逝，其中一些可能會發展成小裂縫。 良好油潤的天然包漿。 在強烈的藍光下檢查過。 重量：192.1 克 尺寸：高 3.8 厘米, 內圈直徑5.1 厘米, 外圈直徑7.2 厘米 拍賣結果比較：一件相似玉鐲，售于香港佳士得The Chang Wei-Hwa Collection of Archaic Jades, Part I - Neolithic Period 拍場2019年11月 27日，lot 2724, 售價HKD 2,375,000。
A GILT COPPER-ALLOY FIGURE OF A CROWNED BUDDHA, MALLA, 14TH - 15TH CENTURYNepal, early Malla period, c. 1380-1480. Shakyamuni is cast seated in dhyanasana on a sealed double-lotus base, a vajra before him. The hands in bhumisparsa mudra, wearing a diaphanous robe with a pearled hemline and an elaborate coral-inlaid crown. The serene face with heavy-lidded almond-shaped eyes, a pearl-inlaid urna, gently arched eyebrows, a hooked nose, and bow-shaped lips forming a subtle smile.Provenance: A Swiss private collection. Koller, Zurich, 8th-9th May 2012, lot 112. A private collection in New York, USA, acquired from the above.Published: Himalayan Art Resources, item no. 8035.Condition: Excellent condition with traces of use, casting flaws, occasional light scratches, few nicks and losses, minuscule cracks, some wear to gilt. Original sealing. Superb natural patina.Weight: 3,792 gDimensions: Height 27.5 cmThis magnificent sculpture elegantly depicts the moment in which Buddha Shakyamuni achieves enlightenment. Seated in meditation under the Bodhi tree, Buddha maintains his deep introspective state despite Mara’s attempts to frighten and distract him. Having overcome all of Mara’s threats, Buddha presses a single finger to the Earth to witness his enlightenment.The Nepalese artists of the early Malla period were revered for creating sculpture with “a subtle balance between ornamentation and form.” The present work embodies the “finesse in the handling of detail with remarkable mastery of sculptural form demonstrating the extraordinary virtuosity of Nepalese artists” (J. Casey, Divine Presence: Art of the Himalayas, Barcelona, 2003, p.44).The square face is reminiscent of Pala period prototypes, whereas the finely detailed crown and delicately beaded hem of the robe are hallmarks of the Malla period. The thick, lustrous gilding reveals areas of the rich copper surface beneath, a characteristic revered by connoisseurs of Nepalese bronze sculpture.Malla was the ruling dynasty of the Kathmandu Valley in Nepal from 1201 to 1779. The term "malla" means "wrestler" in Sanskrit. The first of the Malla kings came to power in 1200. The period was a golden one that stretched over almost 600 years, though it was peppered with fighting over the valuable trade routes to Tibet.Auction result comparison: Compare with a closely related figure at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 13 September 2016, lot 217, sold for USD 161,000, and another, dated to the 14th century, at Christie’s New York in Indian and Southeast Asian Art on 19 March 2014, lot 1010, sold for USD 509,000.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十四至十五世紀馬拉王朝鎏金銅釋迦牟尼坐蓮像 尼泊爾，馬拉王朝早期，約1380-1480年。釋迦牟尼結跏趺坐坐於雙層蓮座上，身前放著金剛杵，手施觸地印，穿著透明的長袍，施有連珠紋，五葉冠鑲嵌著精美的珊瑚。 寧靜的臉龐，白毫鑲嵌珍珠，雙眉弧線輕挑，雙目低垂，處在禪定狀態中，鼻樑修直，雙唇微抿含笑。 來源：瑞士私人收藏 。蘇黎世Koller拍賣行，2012年5月8-9日，lot 112. 紐約私人收藏購於上述拍賣。 出版：Himalayan Art Resources, item no. 8035. 品相：狀況極佳，有使用痕跡，鑄件瑕疵，局部輕微划痕，很少的划痕和缺失，微小的裂紋，有些磨損。 原始密封。天然包漿。 重量： 3,792 克 尺寸：高27.5 厘米 這座宏偉的雕塑細膩地描繪了釋迦牟尼佛證悟的那一刻。佛陀坐在菩提樹下沉思，天魔曾經企圖阻止釋迦牟尼佛修行證悟，但佛陀仍然保持著內省的狀態，以右手觸地並說：“大地可以為我作證！”，證明他已經成就佛道，魔王才退去。馬拉王朝早期的尼泊爾藝術家因創作雕塑“在裝飾和形式之間達到微妙的平衡”而備受推崇。本作品體現了“在處理細節方面的精湛技藝，精湛的造像形式表現出尼泊爾藝術家非凡的技藝”（J. Casey，《神聖的存在：喜馬拉雅山的藝術》，巴塞羅那，2003年，第44頁）。方形臉使人聯想到帕拉時代的原型，而精美的五葉冠和精緻的連珠紋則是馬拉時代的標誌。厚而光澤的鍍金層露出下方豐富的銅表面區域，鑑賞家尤其推崇尼泊爾的青銅造像這一特徵。馬拉是1201年至1779年尼泊爾加德滿都谷地的統治王朝。“馬拉”一詞在梵語中的意思是“摔跤手”。首位馬拉國王於1200年上台執政。這段長達600年的時期是馬拉王朝的黃金時期，儘管它與通往西藏的寶貴貿易路線作鬥爭。拍賣結果比較：一件相似雕像，售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art拍場2016年9月13日 lot 217, 售價USD 161,000；另一件十四世紀的雕像，售于紐約佳士得 Indian and Southeast Asian Art 拍場2014年3月19日 lot 1010, 售價USD 509,000.
A STONE STELE OF BUDDHA SHAKYAMUNI, NORTHERN QIChina, 550-577. Depicted with an alluringly peaceful countenance, downcast eyes and a benevolent smile. The figure outstretches now-lost hands over which drape the billowing sleeves of his monastic robes, covering both shoulders and rendered simply in descending rows of graceful W-shaped folds. Surrounded by a radiating aureole formed of gently curving vertical lines and surmounted by a halo of lotus petals.Provenance: From a French private estate. Condition: Extensive weathering, erosion, losses including both hands, pitting, remnants of polychrome pigments and ancient gilt, small old fills. Two sections of the lower border of the stele have been re-attached a long time ago. Good natural grown patina.Dimensions: Height 78 cm (incl. base) and 67 cm (excl. base)Mounted on a modern base. (2)The iconography of this stele was quite prevalent during the Northern Dynasties period and can be seen in a number of comparable stele including one in the Detroit Institute of Arts, illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture, National Palace Museum, Taipei, 1990, p. 67, no. 62, where it is dated Sui dynasty; and two others dated Eastern Wei, illustrated by S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Buddhist Sculpture), vol. 1, Early Six Dynasties, Tokyo, 1995, pl. 286 a and b. The sculptures discovered in a large cache at the Longxing Temple, Qingzhou, Shandong, in 1996, also included stele of Northern Wei to Northern Qi date that have the same iconography. See, Masterpieces of Buddhist Statuary from Qingzhou City, The National Museum of Chinese History, Qingzhou Municipal Museum, Beijing, 1999, pp. 56-73. In all of these, Buddha Shakyamuni is shown standing on a small plinth flanked by two bodhisattvas, most likely Avalokitesvara and Samantabhadra, the two most closely associated with Shakyamuni.The present figure shows the more rounded face and the simply defined, light, clinging robe of the Northern Qi style, which was influenced by Gupta sculpture. For a detailed discussion of the drastic change in artistic style between the preceding Northern Wei dynasty (386-535CE) and the Northern Qi characteristics of the present lot, see Angela Falco Howard et al., Chinese Sculpture (New York: Yale University Press and Foreign Languages Press, 2006), 274: “Under the influence of the Gupta style (300-600) of India ... lotus-like eyes and voluptuous lips gracing elegant, sensitively modeled torsos became an alternative to the prevailing aesthetic... [exhibiting] more naturalistic and fuller body forms, embellished with unobtrusive and elegant surface patterns.”Literature comparison: Other examples which share these characteristically Northern Qi rounded and full features and the very simply rendered, water-like flowing attire of the present lot are published in Matsubara Saburo, Chugoku Bukkyo Chokoku Shiron (Tokyo: Yoshikawa Kobunkan, 1995); specifically: the figure of an arhat in the collection of the Cleveland Museum, 450; the figure of a standing Buddha in the Nezu Museum, 493; and the figure of the seated Buddha in the Victoria and Albert Museum, 490. For a closely related stone stele of Buddha Shakyamuni, see Imperial China - The living past, p.95, no. 72.Auction result comparison: Compare with a related but larger figure at Bonhams San Francisco in Fine Asian Works of Art and Paintings on 19 December 2016, lot 8198, sold for USD 47,500. Compare also with a related stele, of smaller size but with the flanking bodhisattvas still preserved, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 13-14 September 2018, lot 1133, sold for USD 62,500.北齊釋迦牟尼石碑 中國，550-577年。釋迦面相豐潤，雙眼低斂，稍稍內收的唇角，蘊含著親切的笑意。石像圓肩寬胸，雙手丟失，衣裙覆蓋雙肩，刻劃洗鍊流暢。背光的雕飾富麗精美，疏朗的火焰紋和花瓣紋相結合，由柔和的垂直線彎曲而成，極具裝飾之美。 來源：法國私人收藏 品相：大面積風化、侵蝕，包括雙手的損失，多色顏料和古代金彩的殘物，小的舊時填料。石碑下邊界的兩個部分很久以前已經重新安裝。 良好的自然生長的包漿。 尺寸：含底座高78 厘米，不含底座厘米 現代底座。 拍賣結果比較：一件相似但更大的石像見舊金山邦瀚斯Fine Asian Works of Art and Paintings 拍場2016年12月19日lot 8198, 售價USD 47,500； 另一尊稍小但菩薩相伴的石像見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2018年9月13-14日，lot 1133, 售價USD 62,500。
A MONUMENTAL GILT BRONZE SHRINE DEPICTING SAMANTABHADRA AND CONSORT, 17TH – 18TH CENTURYTibet. Heavily cast seated in vajraparyankasana on a double lotus base with a beaded upper edge, the lower part of the unsealed base cast separately, the hands lowered in dhyanasana holding the consort Samantabhadri in miniature form, both naked, his serene face with heavy-lidded almond-shaped eyes centered by an urna and flanked by long earlobes, each with an oval piercing.Provenance: The private collection of Paul R. Wedendal (1924-2010), Djursholm, Sweden. Bukowskis, Stockholm, Sweden, Dec 6, 2017, lot 474 (erroneously described as Nepalese Buddha and erroneously dated 18th – 19th century). An important Dutch collection, acquired from the above. Paul Wedendal was a Swedish dentist in Djursholm and a notable collector of Asian art.Condition: Good original condition with traces of use, occasional light scratches, some dents and nicks, minor warping, few losses, remnants of old pigment, wear to gilt overall. The shrine most likely was once a Shakyamuni triad with two smaller figures of Buddha and Manjusri missing.Weight: 7.0 kg (the figure and base), 19.3 kg (the throne)Dimensions: Height 65 cm (incl. throne) and 33 cm (the figure and base only)The base supported on a large and elaborate stepped throne cast in openwork, with Buddhist lions, a carved image of Ganesha, lotus lappets, and ruyi heads, surmounted by a mandorla of leafy peach branches with many buds towering above the figure.In the Tibetan Buddhist tradition, the Samantabhadra Buddha arises from the early Nyingma Tantric literature of the Guhyagarbha Tantra. He is typically depicted naked, with a Buddha appearance, hands in meditation gesture, legs in vajra posture, embracing the consort Samantabhadri, their union representing the blissful essence of the Truth Body of all Buddhas.Together with Gautama Buddha and the bodhisattva Manjusri, Samantabhadra forms the Shakyamuni Triad in Buddhism. He is the patron of the Lotus Sutra and, according to the Avatamsaka Sutra, made the ten great vows which are the basis of a bodhisattva.In Chinese Buddhism, Samantabhadra is known as Puxian and is associated with action, whereas Manjusri is associated with prajna (transcendent wisdom). In Japan, this bodhisattva is known as Fugen, and is often venerated in Tendai and Shingon Buddhism, and as the protector of the Lotus Sutra by Nichiren Buddhism. In the Nyingma school of Tibetan Buddhism, Samantabhadra is also the name of the Adi-Buddha, often portrayed in indivisible union (yab-yum) with his consort, Samantabhadri.Expert’s note: Unlike his more popular counterpart Manjusri, Samantabhadra is almost never depicted alone and usually found in a trinity. In the present shrine the two missing figures are Buddha and Manjusri, which are both quite common and therefore - with some patience – can be found and put back in place again.Literature comparison: For a thangka depicting Samantabhadra and Samantabhadri, see Marylin M. Rhie and Robert A. F. Thurman, The Sacred Art of Tibet, London, 1991, pl. 430, no. 51A. For two related figures, see Arts of Asia, Treasures of Himalayan Art, Zhiguan Museum of Fine Art, November - December 2020, p.49, no. 24 and 25.Auction result comparison: Compare with a related gilt bronze depicting Samantabhadra in union with his consort, dated to the 18th-19th century, at Sotheby’s Hong Kong in Chinese Art on 30 November to 1 December 2017, lot 451, the figure alone sold for HKD 187,500.十七至十八世紀銅鎏金普賢如來像西藏。普賢結金剛座坐于雙層蓮座上，蓮座上邊緣飾有珠紋，第二層蓮座和第一層并不為一體，底部未密封。普賢雙手施禪定印擱在足部，握住微型小佛母，兩人都赤裸著身體。他沉著的臉與沈低垂的雙眼，雙眼之間有天眼，兩側長耳垂，每個耳垂都有橢圓形的耳洞。 來源：瑞典Djursholm Paul R. Wedendal (1924-2010)私人收藏。 瑞典斯德哥爾摩Bukowskis，2017年12月6日lot 474 (錯誤地描述爲尼泊爾佛像以及錯誤地斷代為18至19世紀)。一個重要荷蘭收藏，購於上述拍賣。Paul Wedendal 曾是Djursholm 的一位牙醫，他是知名的亞洲藝術收藏家。 圖片：Paul R. Wedendal (1924-2010) 品相：良好的原始狀態，使用痕跡，局部輕度划痕，一些凹痕和缺口，輕微的翹曲，輕微缺損，舊顏料殘留，整體鎏金磨損。神龕上極有可能曾經是釋迦牟尼與佛陀以及文殊菩薩三聖。 重量：7.0 公斤 (佛像與蓮座), 19.3 公斤 (底座) 尺寸：縂高65 厘米 ，33 厘米 (佛像與蓮座) 底座鏤空鑄造，可見佛獅、大象神、蓮花瓣紋和如意紋，有很多花朵的卷葉曼陀羅。 在藏傳佛教傳統中，普賢菩薩源於早期的寧伽密宗文獻。 他通常赤裸，雙手禪定印，雙腿以金剛姿勢，擁抱佛母，他們的結合代表了所有佛陀真身幸福本質。 喬達摩佛和菩薩文殊以及普賢一起構成了佛教的華嚴三聖。 喬達摩佛弘揚《妙法蓮華經》，《華嚴經》中有十地菩薩贊釋迦牟尼佛偈。 在中國佛教中，普賢菩薩即普賢，是象徵理德、行德的菩薩，與文殊菩薩的智德、正德相對應。在日本，這位菩薩被稱為附言，通常在天台宗和真言宗佛教中受到崇敬，並且被日蓮佛教徒作為《妙法蓮華經》的保護者。 在藏傳佛教寧瑪派中，普賢菩薩也是普賢王如來的名字，通常與他的佛母象徵智慧與慈悲的結合。 專家注釋：不像文殊菩薩，普賢菩薩幾乎從來沒有被單獨描繪過，通常出現在三聖中。 在目前的蓮座上，失踪的兩個人物是佛陀和文殊菩薩，它們都很常見，因此可以耐心地找到並重新放置。 文獻比較: 唐卡普賢王及其佛母可見Marylin M. Rhie and Robert A. F. Thurman, The Sacred Art of Tibet, London, 1991, pl. 430, no. 51A. 拍賣結果比較：一件十八至十九世紀的銅鎏金普賢王與其佛母見香港蘇富比Chinese Art拍場2017年11月 30日至12月1日lot 451售價HKD 187,500.
A GILT BRONZE FIGURE OF A CROWNED BUDDHA, DATED 1709Tibet. Seated in dhyanasana on a separately crafted unsealed copper repousse lotus base with a Tibetan inscription above the foot. The hands in dharmachakramudra, wearing a long flowing robe draped over the left shoulder, floral earrings and necklace, and a five-leaf crown, the serene face with urna and heavy lidded eyes, the hair arranged in tight curls surmounted by an ushnisha.Inscription: In the year 829 Samvat (corresponding to 1709 AD), first Bright Half of Magha month, Vajracharya Gunjayana donated this image of Shakyamuni.Provenance: From the collection of an artist and university professor in Vienna.Condition: The base is strongly warped, remnants of a temple tang to the back of the head, wear to gilt, small dents, light scratches, minuscule nicks, some losses, overall fair condition with old wear.Weight: 1,113 gDimensions: Height 17 cmExpert’s note: While the Tibetan inscription to the separately crafted base dates the present piece to the year 1709 AD, it is our belief that the figure itself was actually cast in Nepal, in the Newari style, during the late 14th to mid-16th century, as clearly indicated by the superb gilding and gently arched back of the figure.銅鎏金坐佛像，1709年 西藏。佛陀結跏趺坐在分開製作的未密封的蓮花座上，腳上刻有藏文。 雙手結説法印，著長袍披在左肩上，佩戴華貴的耳環和項鍊，頭頂螺髻與五葉冠，寧靜的臉上天眼，雙眼低垂。 款: 維克拉姆歷第829年 (及公元1709 年), 上半月, Vajracharya Gunjayana 捐贈了這座釋迦牟尼造像 來源：一個維也納的藝術家兼大學教授私人收藏。 品相：底座嚴重翹曲，頭部後面可見原光背的殘餘，鎏金磨損小凹痕，輕微划痕，細微的刻痕，有些缺損耗，總體狀況良好。 重量：1,113 克 尺寸：高17 厘米 專家注釋：雖然在分開製作的底座上的藏文銘文可追溯到公元1709年，但我們相信，這個造像本身是尼泊爾人以紐瓦里（Newari）風格鑄造的，在14世紀中葉至16世紀中葉，造像背面精湛的鎏金很清楚的展現了這個風格。
A RARE GILT-COPPER FIGURE OF PADMAPANI, NEPAL, LICCHAVI OR TRANSITIONAL PERIODNepal, 9th-12th century. Seated in royal ease on a tall rectangular throne supported by two elaborate Buddhist lions on a lotus base, all on an unsealed rectangular plinth, richly adorned in beaded jewelry, holding a lotus stem in the right hand with the blossom leaning towards the shoulder.Provenance: From a North American private collection. A Hungarian Collector, acquired from the above.Condition: Fine condition with areas of abrasion to the surface, some casting irregularities, smaller nicks and dents here and there, light scratches, extensive wear to the gilding, which was already partially renewed at some point in time. One larger loss to front of plinth. Verdigris inside the base.Weight: 1,456 gDimensions: Height 17.8 cmThe face showing a serene expression with almond-shaped eyes under gently arched eyebrows, a broad nose, and slender lips, flanked by curved earlobes with floral earrings, the hair arranged in a high crescent-shaped coiffure behind the diadem with flowers and centered by a small figure of the Buddha Amithaba.This fine image of the Avalokitesvara-Padmapani epitomizes the sensitivity of modeling and graceful beauty of Licchavi and Transitional period sculpture. Originating in Northern Bihar, the Licchavi aesthetic was deeply rooted in North Indian artistic traditions. Characterized by soft rounded modeling and languid forms, the Sarnath style of sculpture from the Gupta period had an immense influence on Nepalese art.Literature comparison: Compare with a related but larger depiction of Padmapani at the Metropolitan Museum, New York, accession number 1981.59.Auction result comparison: Compare with a related statue of Buddha at Christies Paris in Art d’Asie, 12 December 2019, lot 229, sold for EUR 43,750.尼泊爾利察維王朝或過渡時期罕見銅鎏金蓮華手菩薩尼泊爾，九至十二世紀。菩薩以休閑姿坐於蓮花座上，蓮花坐下承兩隻佛獅。長方形底座未密封，上面飾有珠鏈，右手握著一個蓮花莖，花朵向肩膀傾斜。來源：北美私人收藏。一位匈牙利藏家購於上述收藏。 品相：狀況良好，表面有磨損區域，一些鑄件不規則，到處有小刻痕和凹痕，輕微划痕，鎏金大面積磨損，已局部經過恢復。 底座前面有更大的缺損。 底座內有銅綠。重量：1,456 克 尺寸：高17.8 厘米菩薩面部表情柔和，柔和的弓形眉毛下杏仁狀的眼睛，寬鼻，細長的嘴唇，彎曲的耳垂，配以花卉耳環，頭髮在寳冠后狀排列成高月牙形，中央為阿彌陀佛像。這張蓮華手觀音菩薩精美造像體現了利察維和過渡時期雕塑的優美。 利察維美學起源於比哈爾北部，其根源于北印度的藝術傳統。 古普塔時期的鹿野苑風格雕塑以柔和圓形造型和悠閑的形式為特徵，對尼泊爾藝術產生了巨大影響。文獻比較：一件相近但更大的蓮華手觀音可見於紐約大都會博物館，編號1981.59。 拍賣結果比較：一件相近佛陀像售于巴黎佳士得Art d’Asie拍場, 2019年12月12日，lot 229, 售價EUR 43,750。
A PARCEL-GILT BRONZE OF HAN ZHONGLI, MINGChina, 1368-1644. The immortal’s face is flanked by long ears and shows a charming, amused expression with his eyes nearly closed and the lips forming a subtle smile. The hair is arranged in two side-knots. The base is incised with a four-character Qianlong mark to the reverse, added at some point during the Qianlong reign.Provenance: French private collection.Condition: Very good condition with old wear, some minor casting flaws, scattered small nicks, occasional light scratches, all consistent with age.Weight: 994.0 gDimensions: Height 15.7 cmThe immortal wears a long flowing robe opening at his chest, finely incised with cloud designs and further decorated with gilt scrolling vine borders. He holds a large fan in one hand, his characteristic attribute, the other hand points with one finger toward the fan. The base is incised with scrolling vines and leaves.Literature comparison: Compare with a boxwood figure of Han Zhongli, offered by Sotheby’s in Important Chinese Art on 15 May 2019, lot 64, as well as a painting of Han Zhongli sold by Christie’s Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 27 November 2018, lot 976.明代局部鎏金銅漢鍾離像 中國，1368-1644。仙人面部兩側是長長的耳朵，表情豐富有趣，雙眼微開，笑容微妙，雙髻。底座的刻有乾隆四字章，可能是在乾隆時期某時增加了此印。 來源：法國私人收藏 品相：品相極好，舊磨損，一些輕微鑄造缺陷，些微磕損與劃痕，與年代相符。 重量：994.0 克 尺寸：高15.7 厘米 文獻比較: 蘇富比《重要中國藝術》，2019年5月15日，lot 64；以及一副漢鍾離畫像，售于香港佳士得《Fine Chinese Classical Paintings and Calligraphy》，2018年11月27日，lot 976。
A GILT-BRONZE FIGURE OF EKADASHAMUKHA AVALOKITESHVARA, 18TH CENTURYTibetan-Chinese. The eleven-headed and eight-armed bodhisattva of compassion standing in samapada on a separately cast oval lotus base with the principal hands in anjali mudra and the other hands radiating and forming various mudras, wearing long flowing robes and five-leaf crowns, richly adorned in beaded jewelry with turquoise inlays.Provenance: From a private estate in the USA. A Belgian collector, acquired from the above. Condition: Very good condition with minor wear and casting flaws, light scratches, minuscule nicks, some wear to gilt, traces of pigment. The base and the statue are separately cast.Weight: 164.0 gDimensions: Height 10.3 cmAuction result comparison: Compare with a related figure at Christie’s New York in Himalayan, Indian and Southeast Asian Art on 15 March 2017, lot 201, sold for USD 8,750.十八世紀銅鎏金十一面觀音漢藏。十一面八臂菩薩立於分開鑄造的蓮座上，中央的雙手合十，其他的手臂分別施不同手印。觀音身著長袍，頭戴五葉冠，佩戴鑲嵌綠松石的瓔珞。來源：美國私人遺產；比利時收藏家購於上述收藏。 品相：狀況極佳，有輕微的磨損和鑄件缺陷，輕微的划痕，微小的刻痕，有些燙金、顏料痕跡。 底座和雕像分開鑄造。重量：164.0 克 尺寸：高10.3 厘米拍賣結果比較：一件相近觀音像見紐約佳士得Himalayan, Indian and Southeast Asian Art 拍場2017年3月15日, lot 201, 售價USD 8,750.
AN EXCEPTIONALLY RARE ‘DIAMOND REALM’ BUDDHA VAIROCANA BRONZE, MING DYNASTYChina, 15th century. Cast seated in dhyanasana on an unsealed double-lotus base with the hands in dharmachakra mudra holding a Diamond Realm Mandala, a symbol for the metaphysical space inhabited by the Five Tathagatas. The Diamond Realm Mandala is based on an esoteric Buddhist sutra called the Vajrasekhara Sutra.Provenance: Hungarian private collection.Condition: Very good condition with minor wear and casting flaws, occasional light scratches, few minuscule nicks.Weight: 2,363 gDimensions: Height 25.6 cmThe hair in tight, pointed knots around an ushnisha and framing the face in a broad, bowed outline, the pendulous earlobes pierced through, the brows arching down to meet the bridge of the nose between downcast, half-closed eyes and above small, full lips. The robes draped in cascading folds over the body, terminating in neat pleats about the legs, the hems neatly incised with floral scrolls. The figure entirely covered in a dark, near-black patina and with traces of gilding remaining.The statue is inscribed to the back, ‘Da Xia Biao’.Apart from being the tutelary deity of the Diamond Realm (Vajradhatu) in Tantric Buddhism, Vairocana is also the Lord of the Avatamsaka World and an important deity of both exoteric and esoteric Buddhism, noted for his richly varied forms and different gestures.Auction result comparison: Compare with a very similar but larger dry lacquer figure of Vairocana at Sotheby’s New York in Important Chinese Art on 21 March 2018, lot 571, sold for USD 110,000.明代罕見金剛界大日如來銅像 中國，十五世紀。大日如來結金剛坐，雙層蓮座未密封，雙手結説法印握金剛界曼陀羅，是形而上空間的五方佛的象徵。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄造瑕疵，偶有輕微划痕。重量：2,363 克 尺寸：高25.6 厘米銅像背面刻有 ‘大夏彪’字樣。拍賣結果比較：一件非常相似但尺寸較大的如來銅像，售于紐約蘇富比Important Chinese Art 拍場2018年3月21日，lot 571, 售價USD 110,000。
A BAMBOO ROOT FIGURE OF A LUDUAN, 17TH CENTURYChina, 17th century. Masterfully carved as a luduan standing foursquare, the face showing a quizzical expression with large bulging eyes, a broad nose reminiscent of a ruyi head, and the mouth wide open revealing two fangs and the flat tongue, the curling mane and other details finely incised.Provenance: French private collection.Condition: Good condition with minor wear, natural age cracks, a chip to one eyebrow, minor old repairs to the tips of two horns (inspected under blue light), the tail is lost. Superb reddish-brown patina with an unctuous feel and natural shine.Weight: 902.5 gDimensions: Height 21.2 cmThe throne of the Emperor of China in the Hall of Supreme Harmony has two incense burners shaped as Luduans, the legendary Chinese auspicious creatures who can travel 18,000 li (9,000 km) in a single day and speak all world languages. A legend says that a Luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India.Auction result comparison: A similar bamboo root figure of a lion and cub was sold by Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II on 3 October 2018, lot 3420, for HKD 375,000.十七世紀竹根雕甪端 中國，十七世紀。竹根巧雕甪端，臉部表情古怪，大眼睛鼓起，鼻子寬大，猶如如意，張開的嘴巴露出兩個獠牙和舌頭，捲曲的鬃毛。 來源：法國私人收藏 品相：狀況良好，輕微磨損，自然年代裂痕，丟失一邊眉毛，兩角尖端通過藍光檢查經過較小的舊修，丟失了尾巴。精美的紅棕色包漿，給人一種樸實的感覺，光澤自然。 重量: 902.5 克 尺寸：高 21.2 厘米 拍賣結果比較：一件相似竹根雕刻太獅少獅售于香港蘇富比Gems of Chinese Art – The Speelman Collection II 拍場，2018年10月3日，拍號3420, 售價HKD 375,000。
A BAMBOO ‘ASITA AND LUDUAN’ FIGURE, EARLY QINGChina, 17th-18th century. The ‘Long Eyebrow Luohan’ seated on a craggy rock, wearing a flowing monastic robe tied at the waist, grasping his extremely long, characteristic eyebrows in one hand, while the other rests peacefully on the Luduan at his side. The face of the 14th Luohan with a calm, benevolent expression.Provenance: US private collection.Condition: Very good condition with minor wear, natural age cracks and fissures, old fill to the back of the Luohan’s head (inspected under strong blue light).Weight: 779.2 gDimensions: Height 28 cmAuction result comparison: A closely related bamboo root figure of Pindola Luohan, of smaller size and with a tiger instead of a Luduan as a companion, was offered by Sotheby’s Hong Kong in The Robert H. Blumenfield Collection of Chinese Bamboo Carvings on 7 April 2015, lot 3047, bought-in at an estimate of HKD 300,000-500,000.清初竹雕長眉羅漢與甪端像 中國，十七至十八世紀。長眉羅漢坐於岩石上，身著敞胸長袍，神態安詳，一面休息一面撫摸著身旁的神獸甪端。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損，自然的年齡裂縫和開片，羅漢頭部後部的有舊時填充物（在強烈的藍光下檢查）。 重量：779.2 克 尺寸：高28 厘米 拍賣結果比較：一件相似伏虎羅漢竹雕可見於香港蘇富比The Robert H. Blumenfield Collection of Chinese Bamboo Carvings拍場，2015年4月15日，lot 3047, 估價 HKD 300,000-500,000。
A CARVED ZITAN ‘IMITATION BAMBOO’ ARCHAISTIC CUP, QING DYNASTYChina, 18th-19th century. The compressed globular body rising from the short broad ring foot to an everted rim with a circumferential groove, the loop handles carved as segments of bamboo, the wood of a fine grain and color.Provenance: Hungarian private collection. Condition: Excellent condition with minor wear, light scratches, few natural age cracks, microscopic nibbling here and there, minor chipping to handles.Weight: 59.6 gDimensions: Width 10.5 cm (handle to handle)清代紫檀竹節耳仿古杯 中國，十八至十九世紀。寬圈足，圓腹，口外翻，雙耳雕刻成竹節狀。木料紋路細膩顔色均匀。細粒和顏色的木材。 來源：匈牙利私人收藏. 品相：狀況極佳，輕微磨損，輕度刮擦，很少的自然裂紋，局部出現細微的磕損，手柄上有小碎屑。 重量：59.6 克 尺寸：寬10.5 厘米 (耳至耳)
A SMALL ZITAN ‘IMITATION BURLWOOD’ BRUSHPOT, BITONG, QINGChina, 18th-19th century. Carved with a textured exterior detailed with varying sizes of burls and knots, the wood of a dark reddish-brown color detailed with characteristic short streaks.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Previously acquired at Sotheby’s during the 1980s or 1990s (according to auction label). Old collector’s label to base. Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980’s to early 2000’s.Condition: Good condition with minor wear, occasional light scratches and small nicks, and some minor natural age cracks.Weight: 98.3 gDimensions: Height 10.3 cmAuction result comparison: A related zitan brush pot in imitation of burlwood, together with a zitan scroll pot and of considerably larger size, was offered by Sotheby’s Hong Kong in Chinese Art on 3-4 December 2015, lot 591, bought-in at an estimate of HKD 120,000-180,000.清代木瘤形紫檀木筆筒中國，十八至十九世紀。仿木瘤狀，深紅棕色木料，紫檀木特有的短條紋。 來源：Sear Hang Hwie Pao (1937-2009) 遺產。之前是1980或1990年代在蘇富比拍賣行（根據拍賣標籤）購得的。 底座可見老收藏家的標籤。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。 他和妻子創立了Pao＆Moltke Ltd古玩店，妻子von Moltke夫人是德國和丹麥貴族後裔。他們的古玩店從1980年代到2000年代初期曾是多倫多時尚的Yorkville地區的熱門店鋪。 品相：品相良好，輕微磨損，局部輕微的划痕，小刻痕，一些輕微年代裂紋。 重量：98.3 克 尺寸：高10.3 厘米 拍賣結果比較：一件相似木瘤型紫檀筆筒，更大尺寸，一同與另一件拍品，見香港蘇富比 Chinese Art 拍場2015年12月 3-4日 lot 591, 估價HKD 120,000-180,000.
A CARVED ZITAN TABLE-FORM ‘SHOULAO AND BOYS’ MINIATURE STAND, QINGChina, 18th-19th century. The rectangular top supported on shallow legs and carved in high relief with Shoulao in the center, smiling at a recumbent deer in front of him, beside two boys carrying gigantic peaches, and a gnarled pine tree with leafy vines to his other side, all amid ruyi-shaped clouds.Provenance: From a British private collection. Old, only partly legible lacquer-inscription reading ‘Chinese … £155’ to bottom.Condition: Very good condition with old wear, occasional light scratches, few nicks and microscopic nibbling to edges, and tiny natural age cracks.Weight: 522.5 gDimensions: Length 27 cmThe rare and prized zitan wood was available only to the master craftsmen employed by the Woodworks (Muzuo) in the Palace Workshop. Historically, zitan was primarily grown in southern India and Southeast Asia, with a very small quantity known from the southern provinces of present-day Guangxi, Guangdong, and Jiangxi in China. Appreciated for its jade-like silky texture, fine and dense grain, and deep luster, it was the favored timber of both the Ming and Qing courts. Zitan became the Qianlong Emperor’s most favored wood type and he spared no expense in acquiring it. The wood’s long growth period, limited availability, and high demand primarily from the Imperial court, led to its excessive felling and eventual disappearance in China by the early 18th century. At court, zitan was predominantly used for the decoration and furnishing of the many halls and palaces of the Forbidden City. Its use was scrupulously monitored, and the emperor gave special instructions to ensure the most economical and responsible use of the palace’s zitan supply to avoid any waste.Literature comparison: A related, low shaped rectangular wood stand can be found in an eighteenth-century hand scroll painted by an anonymous court master, entitled ‘Pictures of Ancient Playthings’, scroll 6, currently in the Percival David Foundation, London, and illustrated by E. Rawski and J. Rawson, China: The Three Emperors, 1662-1795, Royal Academy of Arts, London, 2005, pp. 252-3, pl. 168. Another related example can be found in an anonymous court painting, Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor, dating to the late Kangxi period (between 1709-1723), illustrated ibid., pp. 258-9, pl. 173.Auction result comparison: Compare with a related carved zitan xiaoji stand at Sotheby’s London in Fine Chinese Ceramics & Works of Art on 6 November 2013, lot 53, sold for GBP 10,000.清代紫檀雕壽老拜壽方座中國，十八至十九世紀。長方形底座，短腿，表面浮雕壽老拜壽圖。壽老居中，身側一隻臥著的鹿，旁邊是兩個童子，抱著幾個著碩大的桃子，而另一側則是一棵蒼松，枝葉茂密。四周圍繞著如意形的雲朵。 來源：英國私人收藏。底部舊時漆描 ‘Chinese … £155’ 。 品相：狀況良好，有舊磨損，輕微划痕，少量划痕和微小的邊緣磕損，以及很小的自然年齡裂縫。 重量：522.5 克 尺寸：長 27厘米 拍賣結果比較：一件相近紫檀雕刻小几售于倫敦蘇富比 Fine Chinese Ceramics & Works of Art 拍場2013年11月6日, lot 53, 售價GBP 10,000。
A CORAL-INLAID AND OPENWORK ZITAN ‘POMEGRANATE’ RUYI SCEPTER, QINGChina, 18th century. Skillfully carved in high relief with the head as two pomegranates showing many seeds neatly inlaid in coral. The slender shaft carved as a gnarled branch with several small leaves and vines, all bearing smaller pomegranates. Note the finely carved imitations of worm holes.Provenance: Fleurdelys Antiquites, London, United Kingdom. Madame Laurence Paul. Label with initials “LP” to backside. An Austrian private collection.Condition: Excellent condition with minor wear, minuscule nicks here and there, occasional light scratches. The wood with a superb patina, naturally grown into a deep reddish, almost black color, with distinct crab-claw marks and an unctuous overall feel.Weight: 127.1 gDimensions: Length 35 cmWith two small beads, one of celadon and russet jade and the other of amber, connected to an old fabric string with two tassels. The ensemble most likely of the period.This scepter is made from the precious and highly esteemed zitan, a timber available to the master craftsmen in the Muzuo (Wood Workshop) belonging to the Zaobanchu (Imperial Palace Workshop). With its jade-like silky texture, extremely fine and dense grain, and subtle and deep luster, zitan was the favored timber of the Ming and Qing courts.Auction result comparison: Compare with a zitan ruyi scepter of 52 cm at Sotheby’s Hong Kong in Fine Chinese Ceramics and Works of Art on 8 April 2011, lot 3335, bought-in at an estimate of HKD 500,000-700,000.清代紫檀雕石榴枝鑲珊瑚如意杖 中國，十八世紀。精緻的浮雕，如意杖頂部飾有兩個石榴，整齊地鑲嵌了很多珊瑚作爲石榴籽兒。 細長的杖身雕刻成粗壯的樹枝，上面有幾片小葉子和藤蔓，挂著可愛的小石榴，局部形象雕刻了蟲蛀小孔。 來源： 倫敦Fleurdelys Antiquites。Laurence Paul女士。背面標簽上注明“LP”。一個奧地利私人收藏。 品相：狀況極佳，有輕微磨損，到處有微小的刻痕，偶有輕微划痕。 美麗的包漿，自然生長成深紅色近乎黑色，具有明顯的蟹爪紋與溫潤的質感。 重量：127.1 克 尺寸：長35 厘米 拍賣結果比較：一件紫檀如意杖52 厘米見於香港蘇富Fine Chinese Ceramics and Works of Art 拍場，2011年4月8日，lot 3335, 估價HKD 500,000-700,000。
AN OCTAGONAL ‘EROTIC’ BAMBOO VENEER BOX AND COVER, ZHUHUANG, QING DYNASTYChina, 1644-1912. The top of the cover carved in low relief with a couple engaged in amorous pursuits on a craggy rock under a tree in a terraced garden, encircled by eight panels showing the same couple in various erotic positions, all above eight side panels with ruyi heads and scrolling vines.Provenance: British private collection. Condition: Good condition with minor wear, light scratches, natural age cracks, few minuscule nicks. Some bending and losses to wire inlay. Very fine, naturally grown patina.Weight: 636.7 gDimensions: Height 10.2 cm, Width 22 cmThe red lacquered interior shows a partly legible inlaid two-character mark, the second character reading ‘chun’. The ruyi head and scrolling vine motif is repeated above eight panels with auspicious symbols.Intricately rendered in the zhuhuang or bamboo veneer technique and deftly decorated in relief, the present piece is an exceptionally fine object likely once gifted to a newly married couple as they prepared for their life together.The making of this piece involved the application of several thin panels, taken from the inner wall of the bamboo stem, over a wood core. These panels are then bound and held in place by the thick rims around the box and cover. The smoothly executed contours and proportionate symmetry of the box’s octagonal shape demonstrate the deft finish of this piece.Auction result comparison: Compare with a bamboo veneer brushpot at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II on 3 October 2018, lot 3444, bought-in at an estimate of HKD 800,000-1,000,000, and a related bamboo veneer octagonal box and cover, also carved with Buddhist auspicious symbols like the present lot, at Sotheby’s Hong Kong in The World of Qianlong on 27 April 2003, lot 18, bought-in at an estimate of HKD 800,000-1,000,000清代竹雕春宮圖八方蓋盒 中國，1644-1912年。蓋的頂部中央以及四周八個開光内都浮雕春宮圖。盒子八面雕刻如意與纏枝紋。 來源：英國私人收藏 品相：狀況良好，有輕微磨損，自然裂紋，極少的微小划痕。 有些邊緣有缺損。自然的包漿。 重量：636.7 克 尺寸：高 10.2 厘米, 寬 22 厘米 拍賣結果比較：一個竹製筆筒，於香港蘇富比Gems of Chinese Art – The Speelman Collection II 拍場，2018年10月 3日，lot 3444, 估價HKD 800,000-1,000,000；一個相似的竹製八方蓋盒，於香港蘇富比 The World of Qianlong 拍場，2003年4月27日，估價 HKD 800,000-1,000,000。
A BURLWOOD ‘TREE TRUNK’ BRUSH POT, BITONG, EARLY QING DYNASTYChina, 17th – 18th century. Of attractive form and proportions, with a fine reddish-brown color, the wood with several natural crevices and knots, left undecorated in appreciation of the fine pattern of the wood. Mounted to an old hardwood base and with a metal fitting to the interior.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Previously acquired at Sotheby’s during the 1980s or 1990s (according to auction label). Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980’s to early 2000’s.Condition: Good condition with minor wear, occasional light scratches and small nicks, and some minor natural age cracks.Weight: 397.0 gDimensions: Height 18 cmAuction result comparison: A closely related brush pot was sold by Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 September 2008, lot 108, for USD 15,000.清初癭木筆筒 中國，十七至十八世紀。木料具有誘人的形狀和比例，美麗的紅棕色，帶有一些自然的縫隙和樹結，未經修飾就可以欣賞木材的精美花紋。 安裝在舊的硬木底座上，內部裝有金屬配件。 來源：Sear Hang Hwie Pao (1937-2009)遺產。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。他的古董店Pao＆Moltke Ltd.是他與妻子von Moltke夫人成立，後者是德國和丹麥貴族的後裔。從1980年代到2000年代初期，他們的古董店曾是多倫多時尚Yorkville地區不可缺少的部分。 品相：狀況良好，有輕微磨損，偶有輕微划痕和小刻痕，以及一些較小的自然年齡裂縫。 重量：397.0 克 尺寸：高18厘米拍賣結果比較：一個相似的筆筒， 於2008年9月17日在紐約佳士得Fine Chinese Ceramics and Works of Art， lot 108，成交價 USD 15,000。
A CARVED HUANGHUALI ‘IMITATION BURLWOOD’ BRUSH POT, BITONG, 17TH CENTURYChina, 17th century. The rather heavy vessel is naturalistically carved with an uneven knotty surface to simulate a gnarled segment of a tree trunk. Fine honey-brown color of the wood and naturally grown, unctuous patina.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980’s to early 2000’s.Condition: Good condition with minor wear, occasional light scratches and small nicks, and some minor natural age cracks.Weight: 452.8 gDimensions: Height 10.5 cmLiterature comparison: Compare a similarly carved huanghuali brushpot from the collection of Dr. Ip Yee, dated to the Kangxi reign, sold by Sotheby’s on 22nd November 1984, lot 889.Auction result comparison: A related bitong of considerably larger size, also carved in imitation of burlwood, was sold by Sotheby’s Hong Kong in Chinese Art on 24-25 November 2014, lot 1066, for HKD 400,000.十七世紀黃花梨仿癭木筆筒中國，十七世紀。木料厚重，樹幹型渾然天成，木材呈蜜棕色，自然生長，無皺紋。 來源：Sear Hang Hwie Pao (1937-2009)遺產。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。他的古董店Pao＆Moltke Ltd.是他與妻子von Moltke夫人成立，後者是德國和丹麥貴族的後裔。從1980年代到2000年代初期，他們的古董店曾是多倫多時尚Yorkville地區不可缺少的部分。 品相：狀況良好，有舊磨損和風化，偶爾有輕微的划痕和小刻痕，還有一些較小的自然裂縫。 重量：452.8 克 尺寸：高10.5厘米拍賣結果比較：一個相似但較大的仿癭木雕刻筆筒， 於20014年11月24至25日在香港蘇富比Chinese Art，lot 1066，成交價HKD 400,000。
A HUANGHUALI ‘LOTUS’ BRUSH POT, BITONG, MID-QINGChina, 18th-19th century. The naturalistic vessel deftly rendered with tall and gently curved walls depicted as overlapping lotus petals, the exterior superbly carved in relief with lotus leaves, flowers, pods, and buds. The wood of a warm dark-honey tone.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Excellent condition with old wear, some light scratches and minuscule nicks mostly to bases.Weight: 731.7 gDimensions: Height 13 cmLiterature comparison: Compare with a similar zitan brushpot with magnolia design, late Ming dynasty and with a signature of Wen Fu, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, no.23.Auction result comparison: A related huanghuali brush pot with magnolia design was sold by Bonhams London in Fine Chinese Art on 5 November 2020, lot 94, for GBP 10,062.明代中期黃花梨雕蓮池筆筒 中國，十八至十九世紀。筆筒圓滑的弧形筒壁，精美浮雕成蓮池中重疊蓮花、蓮葉、蓮蓬與花苞。溫暖的深蜜色木料。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況極佳，有舊磨損，一些輕微的划痕，大部分在底部。 重量：731.7 克 尺寸：高 13 厘米 拍賣結果比較：一件相近的黃花梨木蘭筆筒售于倫敦邦翰思Fine Chinese Art 拍場，2020年11月5日, lot 94, 售價 GBP 10,062.
AN OPENWORK AND RETICULATED ZITAN BRUSHPOT, BITONG, QING DYNASTYChina, 1644-1912. Of cylindrical form, the exterior exquisitely carved in high relief with a continuous scene of flowers, pine and willow trees, and animals, including monkeys, goats, rats, birds, and phoenixes, finely detailed with close as well as distant mountains. Signed Gu Jue in traditional Chinese characters, and carved either by the master himself or a close follower.Provenance: Zhou Shengli (1951-2018). Acquired ca. 1990. Thence by descent within the same family to the present owner. Zhou Shengli was born in Shanghai, graduated from Shanghai Institute of Mechanical Engineering in 1977, and studied painting under Lu Yanshao (1909-1993) from 1978. In the early 1990s, Zhou established the ‘Baosteel Painting and Calligraphy Society’. In the next 10 years, he and his colleagues participated in various national calligraphy and painting competitions and won over twenty of the highest prizes and awards. A painting by Zhou was auctioned once in 1995 by Gallery Duo YunXuan in Shanghai for a price of RMB 52,000, breaking the record for works by living artists at that time. His paintings are now exhibited in the prestigious Beijing Gallery, along with many of China’s most important artists.Condition: Old wear, several natural age cracks and minor losses with small old fills, few minuscule nicks, occasional light scratches. Overall fine condition, commensurate with age. Superb patina which over the centuries has naturally grown into a dark-brown color with a distinct deep-purple luster of the wood.Weight: 842.4 gDimensions: Height 15 cmThe wood of a fine grain and color, the carver masterfully utilizing the variegating tones for accentuations in the composition, appearing much like sunlight falling onto the respective areas.The brush pot is signed by the carver, Gu Jue (1662-1722), and carved either by the master himself or a close follower, whose designation was known as Zong Yu. The third character in the signature reads zhi (‘carved by’). A native of Jiading, Jiangsu province, Gu was one of the most famous bamboo carvers active during the reign of the Kangxi Emperor and whose surviving works are extremely rare. Gu especially excelled in very fine and detailed carvings of figures and landscape within highly complex compositions, often combining high relief with shallow carving. The quality of the present brush pot is simply breathtaking, therefore it is possible that it was indeed carved by the master himself.Literature comparison: A related brush pot signed by Gu Jue is in the Metropolitan Museum of Art, accession number 1994.382. See a similar bamboo brush pot carved with a landscape design and signed by Gu Jue, from the Eugene Fuller Memorial Collection in the Seattle Art Museum, illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, Part I, Hong Kong, 1978, pl. 50. Compare also the brush pot dated to the early Qing period, signed Jiyou zhongxia Gu Zongyu zhi (‘Made by Gu Zongyu in the Summer of Jiyou year’) in the Palace Museum Collection, illustrated in The Palace Museum Collection of Elite Carvings, Forbidden City Publishing House, 2002, p. 55, no. 26. Compare also one illustrated in ‘Chinese Decorative Arts’, Metropolitan Museum of Art Bulletin, New York, Summer 1997, p. 50.Auction result comparison: Compare with a related brush pot at Christie’s Hong Kong in Fine Chinese Ceramics and Works of Art on 30 May 2005, lot 1293, sold for HKD 10,760,000, and another at Sotheby’s Hong Kong in Scholarly Works of Art from the Mary and George Bloch Collection on 23 October 2015, lot 5, sold for HKD 5,160,000. A brushpot attributed to Gu Jue was offered at Sotheby’s Hong Kong in The Robert H. Blumenfield Collection of Chinese Bamboo Carvings on 7 April 2015, lot 3008, bought-in at an estimate of HKD 2,500,000-3,500,000, and one described as ‘School of Gu Jue’ was sold by Christie’s Hong Kong in The Feng Wen Tang Collection Of Bamboo Carvings and Furniture on 3 June 2015, lot 2828, for HKD 1,360,000.清代紫檀木雕筆筒 中國，1644-1912年。本品直筒形，直口，直腹，平底，精美浮雕茂密森林裏猴子戲耍的情景。不同的樹木，鳥類以及山羊等不同動物，此件器物雕飾巧致，疏透玲瓏並，細節生動逼真。顧珏款，可能爲大師本人，或是其同期匠人或學生。來源：周生力(1951-2018) 收藏。大約購於1990年代。直至現任藏家前一直保存在同一家族中。周生力出生於上海，師從陸儼少(1909-1993) 學畫。1990年代他和他的同事們參加了許多書法和繪畫比賽，並贏得了二十多個獎項，從而建立了“寶鋼書畫學會”。 他的一幅畫曾在1995年上海朵雲軒參加拍賣以52,000元的價格拍出，打破了當時在世藝術家的作品紀錄。 現在，他的畫作與許多中國最重要的畫家一起在著名的北京畫廊展出圖片：周生力與陸儼少，約 1970 至1980年間。品相：舊磨損，一些自然年齡裂縫和少量舊填充物，很少的微小划痕，偶爾的輕微划痕。 總體狀況良好，與年齡相稱。 幾個世紀以來，極好自然生長成深棕色的古銅色包漿，並具有明顯的深紫色光澤。重量：842.4 克 尺寸：高15厘米木材質地細密，色澤鮮豔，雕刻師熟練地運用不同色調來強調構圖，看起來很像陽光直射到各個區域。筆筒上刻清代雕刻大師顧珏（1662-1722）款，可能爲大師本人，或是其同期匠人或學生。顧珏字宗玉，江蘇嘉定人，是康熙皇帝時期最活躍的竹雕刻家之一，其倖存作品極為罕見。 顾珏特別擅長在高度複雜的構圖中精巧細緻地雕刻人物和風景，通常將淺浮雕與淺雕結合在一起。因爲筆筒雕刻工藝令人叹为观止，所以它很可能是由顧珏亲自雕刻的。文獻比較: 顧珏筆筒可見於Metropolitan Museum of Art，編號 1994.382。另一顧珏署名的竹雕山水筆筒來自Seattle Art Museum 中的Eugene Fuller Memorial Collection，見Ip Yee 與 Laurence C.S. Tam編輯的 Chinese Bamboo Carving, Part I, 香港1978, 圖 50。故宮博物院中“己酉仲夏顧宗玉制”的筆筒，Palace Museum Collection of Elite Carvings, Forbidden City Publishing House, 2002, 圖55, no. 26. 以及紐約Metropolitan Museum of Art 的 ‘Chinese Decorative Arts’, Metropolitan Museum of Art Bulletin, New York, Summer 1997, 圖50。拍賣結果比較：香港佳士得Fine Chinese Ceramics and Works of Art 拍場2005年5月30日，lot 1293, 售價HKD 10,760,000；香港蘇富比 Scholarly Works of Art from the Mary and George Bloch Collection 拍場2015年10月23日lot 5, 售價HKD 5,160,000。香港蘇富比 The Robert H. Blumenfield Collection of Chinese Bamboo Carvings 拍場2015年4月 7日，lot 3008, 估價 HKD 2,500,000-3,500,000；香港佳士得The Feng Wen Tang Collection Of Bamboo Carvings and Furniture 拍場2015年6月3 日，lot 2828, HKD 1,360,000。
A BOXWOOD 'CRANE AND PINE TREE' INCENSE HOLDER, QING DYNASTY, KANGXI PERIODChina, 1661-1722. The slender body naturalistically carved in the form of a gnarled pine tree trunk and in relief with a gnarly pine tree rising from the base to just below the rim and bearing clusters of pine needles, a branch with buds and flowers issuing from the mouth, scattered with irregular concentric rings to indicate weathered growth-lines. A crane is to be found at the lower end with stylized water lines at his feet.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980’s to early 2000’s.Condition: Excellent condition with old wear, some light surface scratches and minimal nicks here and there.Weight: 447.4 gDimensions: Height 17 cmThe design of this piece is after tree-trunk form vases and brush pots generally carved in bamboo that became popular in the late Ming dynasty and continued to be made in the Qing period. While boxwood carvings of this type are rare, it is a medium that was appreciated for its fine grain and rich tone of brown coloration.Literature comparison: See a closely related boxwood vase in the form of the trunk of an aged pine tree, similarly carved with gnarled roots and vigorously twisted branches issuing clusters of pine needles, from the collection of Mary and George Bloch, sold by Sotheby’s on 23rd October 2005, lot 25. For a related bamboo example, compare also a vase illustrated in Chinese Metalwares and Decorative Arts, vol. 2, Bath, 1993, pl. 335; and another published in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, Part 1, Hong Kong, 1978, col. pl. 7, together with an irregularly-shaped brushpot attributed to the 18th century and described as made of yuzhu (jade bamboo), pl. 113.Auction result comparison: A closely related boxwood incense holder was sold by Sotheby’s Hong Kong in Water, Pine and Stone Retreat Collection – Playthings on 2 June 2016, lot 96, for HKD 325,000.清康熙黃楊木雕松鶴樁香筒 中國，1661-1722年。香筒隨形而雕，修長的身體木料自然地雕刻成松樹樹幹的樣子，松針、仙鶴、花和藤曼的位置都是经过悉心设计，不仅寓意吉祥，而且形态逼真。來源：Sear Hang Hwie Pao (1937-2009)遺產。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。他的古董店Pao＆Moltke Ltd.是他與妻子von Moltke夫人成立，後者是德國和丹麥貴族的後裔。從1980年代到2000年代初期，他們的古董店曾是多倫多時尚Yorkville地區不可缺少的部分。 品相：狀況良好，有舊磨損，一些輕度的表面刮痕，局部些微划痕。重量：447.4 克 尺寸：高17厘米拍賣結果比較：一個相近的黃楊木香筒售于香港蘇富比Water, Pine and Stone Retreat Collection – Playthings 拍場 2016年6月2日, lot 96, 售價 HKD 325,000。
A BURLWOOD ‘TREE TRUNK’ BRUSH POT, BITONG, QINGChina, 18th-19th century. Of attractive form and proportions, the wood with several natural crevices and knots, left undecorated in appreciation of the fine pattern of the wood.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Previously acquired at Sotheby’s during the 1980s or 1990s (according to auction label). Three old collector’s labels to base. Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980’s to early 2000’s.Condition: Excellent condition with old wear, occasional light scratches, and few minor natural age cracks.Weight: 288.7 gDimensions: Height 13.5 cmAuction result comparison: A related brush pot was sold by Christie’s New York in Fine Chinese Ceramics and Works of Art on 29 March 2006, lot 228, for USD 7,200.清代癭木筆筒 中國，十八至十九世紀。天然木料帶有一些自然的縫隙的癭木，未經修飾就可以欣賞木材的精美花紋。 來源：Sear Hang Hwie Pao (1937-2009)遺產。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。他的古董店Pao＆Moltke Ltd.是他與妻子von Moltke夫人成立，後者是德國和丹麥貴族的後裔。從1980年代到2000年代初期，他們的古董店曾是多倫多時尚Yorkville地區不可缺少的部分。 品相：狀況良好，有舊磨損和風化，偶爾有輕微的划痕和小刻痕，還有一些較小的自然裂縫。 重量：288.7 克 尺寸：高13.5厘米 拍賣結果比較：一個相似的筆筒， 於2006年3月29日在紐約佳士得Fine Chinese Ceramics and Works of Art ，lot 228，成交價 USD 7,200。
AN INSCRIBED BAMBOO BRUSH POT, BITONG, DATED TO THE YEAR 1817China. The massive, cylindrical body supported on three shallow feet. The slightly rounded sides carved in low relief with gnarled prunus blossoms as well as chrysanthemum flowers on one side and with a poem and inscriptions on the other, indicating this piece was carved by Juan Pu in August of the year of Ding Chou, corresponding to 1817.Provenance: Wing Kei Curios & Porcelain, Hong Kong, 12 September 1993. Mrs. McGrady, Brighton, England, acquired from the above and thence by descent in the same family. The original receipt, dating the piece to the Qing dynasty, Jiaqing period, accompanies this lot.Condition: Good condition with extensive old wear, natural age cracks, occasional light scratches, minor nicks here and there, all commensurate with age and material. Fine patina, naturally grown into an exquisite golden-brown tone.Inscription: ‘Bamboo, peach blossom and chrysanthemum can only belong to one, when the artist sees this kind of scenery, and feels very strong in spirit. Carved in the sitting room by Juan Pu during the mid-autumn festival in 1817’.Weight: 1,185 gDimensions: Height 16.2 cm, Diameter 16.2 cmExpert’s note: Juan Pu is an artist name of Shen Pu (1706—1778), a court official and noted poet who worked during the Qianlong period. The dating of the present Bitong therefore could also be 1757, which would put the carving into the lifetime of the poem’s author.嘉慶丁丑年竹雕花卉題詩紋筆筒 中國。圓柱體筆筒，三淺足。 筆筒外壁淺浮雕梅樹，樹下菊花，另一側是詩和題詞，題詩処可見“丁丑年八月中”，倦圃款。 來源：香港Wing Kei Curios & Porcelain（永基古玩瓷器）, 1993年9月12日。英國Brighton 的Mrs. McGrady購於上述藝廊，自此保存在同一家族至今。隨附原始發票，上面注明“嘉慶”。品相：狀況良好，有大量的舊時磨損，自然的年齡裂縫，局部輕微划痕，這些都與年齡和材料相稱。 金棕色包漿。 重量：1,185 克 尺寸：高16.2 厘米, 直徑16.2 厘米
A RARE AND IMPORTANT MOTHER-OF-PEARL AND GOLD-FOIL INLAID ‘ZHUAZHOU’ BLACK LACQUER BOX AND COVER, LATE MINGChina, 17th century. Masterfully decorated with neatly applied inlays, the top of the cover depicting the ritual of Zhuazhou taking place in a pavilion with two ladies and a baby, all set within a picturesque landscape of craggy rockwork, pine and wutong trees. The front with a continuous scene of boys at play accompanied by two ladies in a similar landscape, the short sides with more rockwork, flowers, and butterflies, the reverse undecorated.Provenance: From a noted private collection in Abcoude, Netherlands, by repute acquired during the early 1990s.Condition: Excellent condition with some wear, traces of use, minor losses with associated touchups, minimal losses to inlays (> 90 % of original inlays preserved), some crackling, loss of lacquer to interior, light scratches, natural age cracks, and small nicks here and there.Weight: 2,750 gDimensions: Size 40.5 x 22 x 23 cmOf rectangular form, the hinged cover opens to reveal a shallow leather tray. The sides are set with bail handles, and the front with a ruyi-head lock plate and clasp.Zhuazhou is a ritual held at a child's first birthday party, when the child is one year old by Chinese reckoning. The literal translation is ‘pick’ and ‘anniversary’. The parents put various objects before the child, symbolizing career choices or personality traits, and the child's choice is used to forecast its future. In the present case, the child has picked a miniature halberd, representing a military career, as opposed to brushes (for a scholar) or an abacus (for an economist). The parents and other family members are looking on with pleased expressions, as becoming a general was considered the greatest ambition of a man in China during the 17th century.The earliest written record of this custom can be traced back to the Song dynasty and is portrayed in a well-known scene in the novel ‘Dream of the Red Chamber’. Although it has been a popular tradition for centuries, remaining one to this day, depictions of the ritual in Chinese works of art is incredibly rare.The present box was most likely crafted specifically for usage during the ritual, which not only explains the depiction of the scene but also the leather tray, as the objects needed for performing Zhuazhou could be stored in the box and then placed on the tray for the child to pick. Therefore, it seems plausible that the present box has been used many times, handed down from generation to generation.Auction result comparison: Compare with a related seal chest, dated to the 17th/18th century, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 24 March 2011, lot 1354, sold for USD 23,750. Compare also with a related document box at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 September 2010, lot 1261, sold for USD 20,000.明末罕見黑漆髹螺鈿與金箔《抓周》蓋箱中國，十七世紀。箱蓋面精美鑲嵌著螺鈿，描繪了亭子裡兩位女士和一個嬰兒正在進行抓周儀式，四周風景如畫，假山、松樹和梧桐樹。箱子正面有兒童戯耍場景，有兩位夫人陪同，兩側可見更多的岩石、花朵和蝴蝶，背面沒有裝飾。 來源：荷蘭Abcoude 知名私人收藏，據説購于上世紀九十年代初 品相：狀況良好，有一定的磨損，使用痕跡，與修補相關的輕微損失，鑲嵌物的損失極小（保留了原始鑲嵌物的90％以上），有些裂紋，內部漆面脫落，輕度划痕，自然裂紋和小刻痕。 重量：2,750 克 尺寸：40.5 x 22 x 23 厘米 長方形蓋盒，鉸接式蓋子，打開後露出一個淺皮托盤。側面裝有手柄，正面裝有合頁與如意形鎖鼻。 抓周是中國孩子周歲時舉行的一項儀式。 父母將各種物品擺在孩子面前，象徵著職業或性格特徵，看孩子的選擇來預卜其未來。 在這件蓋盒上，孩子選擇了代表軍事的小戟，而不是毛筆（學者）或算盤（商人）。 父母和其他家庭成員用滿意的表情望著孩子，因為成為將軍被認為是十七世紀中國男性的最大的愿望。 該習俗在南北朝就已經存在，而最早書面記錄可以追溯到宋朝，《紅樓夢》中就有一個著名場景。 儘管抓周數百年來一直是一個流行的傳統，一直沿用至今，但在中國藝術品上出現卻極為罕見。 這個蓋盒很可能是為儀式期間使用而專門製作的，這不僅可以解釋場景的描繪，而且可以解釋皮托盤，因為可以將抓周所需物品放置在托盤上，放進盒中，方便進行禮儀。這個盒子似乎已經被使用了很多年代，世代相傳。 拍賣結果比較：一件十七至十八世紀的印箱見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2011年3月24日 lot 1354, 售價USD 23,750. ；一件文件箱見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2010年9月17日 lot 1261, 售價USD 20,000.
A LARGE OPENWORK HARDWOOD SQUARE BASE, QING DYNASTYChina, 19th century. The tiered base supported on four small feet and finely carved in openwork with geometric designs. The velvet padding of a later date.Provenance: French private collection. Condition: Excellent condition with minor wear, few light scratches, and some minuscule nibbling to edges.Weight: 1,065 gDimensions: Size 8 x 38.5 x 38.5 cm清代木雕方形基座 中國，十九世紀。分層底座，四足，鏤空精雕，表面覆蓋天鵝絨。 來源：法國私人收藏 品相：狀況極佳，輕微磨損，少量刮擦，邊緣有些微小的磨損。 重量：1,065 克 尺寸：8 x 38.5 x 38.5 厘米
A MOTHER-OF-PEARL-INLAID BLACK LACQUER RECTANGULAR TRAY, JOSEON DYNASTYKorea, 16th-17th century. With a wide flaring rim, superbly decorated with stylized lotus flowers on scrolling vines, to the interior with stylized auspicious symbols topping each flower, the base lacquered cinnabar red.Provenance: Gerard Hawthorn LTD Oriental Art, London, UK, 24 April 2008. A noted private collection in Abcoude, Netherlands, acquired from the above. A copy of the invoice, erroneously describing the piece as Chinese and from the Ming dynasty, accompanies this lot.Condition: Excellent condition commensurate with age, old wear, crackling, a small loss to one corner with associated touchup, the interior with four and the exterior with two replaced inlays (inspected under strong blue light) out of more than 200 inlays in total.Weight: 639 gDimensions: Size 4.3 x 31.7 x 19.2 cmAlthough they superficially resemble and, indeed, are often incorrectly termed as orchids, or even peony blossoms, the flowers depicted on this tray actually are stylized lotus blossoms, as indicated by the appearance of the associated buds. The stylized blossoms, which are known as byeonryeon in Korean, likely first appeared in the silk textiles of China’s Song dynasty (960– 1279). Popularized in Chinese porcelains of the Yuan (1279–1368) and Ming (1368–1644) dynasties, the foreign lotus design, or fanlianwen, spread to Korea early in the Joseon dynasty (1392–1910) and was incorporated into the decorative schemes of Korean blue-and-white porcelain, buncheong ware, and inlaid lacquers.Though little is known of the earliest history of lacquer-making in Korea, archaeological evidence indicates that Korean craftsmen were making lacquered objects at least two thousand years ago, in the late Neolithic and early historic periods. By the Goryeo dynasty (918–1392) Koreans were producing elegant lacquer vessels and sutra-storage chests in black lacquer embellished with small floral designs inlaid in mother of pearl, the designs occasionally augmented with small, twisted, metal wires inset as borders and as the stems in floral arabesques. The tradition of inlaid lacquers continued into the succeeding Joseon dynasty (1392–1910), usually in black lacquer with bold floral designs inlaid in mother of pearl.Auction result comparison: Compare with a related foliate-shaped tray, of larger size and dated to the 17th-18th century at Christie’s New York in Japanese and Korean Art on 18 April 2018, lot 141, sold for USD 137,500. Compare also with a related but larger stationery box at Christie’s New York in Japanese and Korean Art on 22 September 2020, lot 252, sold for USD 81,250, and another at Sotheby’s Hong Kong in Asian Lacquer on 27 May 2014, lot 902, sold for HKD 750,000.朝鮮王朝黑漆髹螺鈿托盤韓國，十六至十七世紀。托盤敞口，邊緣外翻。纏枝卷葉花卉紋以及吉祥符號。底部朱紅漆。 來源：倫敦Gerard Hawthorn LTD 東方藝術藝廊, 2008年4月24日。荷蘭Abcoude 知名私人收藏，購於上述藝廊。隨附發票複印件（錯誤描述該拍品來自中國明代）。 品相：良好的狀態與年齡相符，舊磨損，開裂，一角有小修，一共200多個鑲嵌螺鈿只有內部有四処以及外部有兩処螺鈿經過替換（在強藍光下檢查）。 重量：639 克 尺寸：4.3 x 31.7 x 19.2 厘米 拍賣結果比較：一件葉狀托盤，更大尺寸，十七至十八世紀，見紐約佳士得Japanese and Korean Art 拍場2018年4月18日 lot 141, 售價USD 137,500. ；一件更大尺寸的文具盒見紐約佳士得Japanese and Korean Art 拍場2020年9月on 22日 lot 252, 售價USD 81,250, ；還有一件見香港蘇富比Asian Lacquer 拍場2014年5月27日 lot 902, 售價HKD 750,000.
A HUANGHUALI WEIQI BOX AND COVER, QING DYNASTYChina, 1644-1912. The compressed globular body supported on three shallow legs and carved in deep relief with two vases, one decorated with a dragon and the other with an ice-crack glaze, magnolias, peonies, hibiscuses, and chrysanthemums, as well as a handled woven basket with pomegranates. The domed circular cover with lotuses and a butterfly.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Very good condition with minor wear, natural age cracks, few minuscule nicks, occasional light scratches, and traces of giltWeight: 2,994 gDimensions: Height 19 cmLiterature comparison: A similar pair of weiqi boxes made from huanghuali wood is illustrated in S. Handler, Austere Luminosity of Chinese Furniture, California, 2001, p. 200. Another pair, lacking the finely carved decoration seen on the present piece, was included in the exhibition The Imperial Packing Art of the Qing Dynasty, Beijing, 1999, cat.no. 122, and a further pair in Qing Legacies - the Sumptuous Art of Imperial Packaging, Macau, 2000, cat.no. 94.Auction result comparison: Compare with a related but smaller zitan weiqi box and cover at Sotheby’s Hong Kong in Chinese Art on 3-4 December 2015, lot 319, sold for HKD 81,250.清代黃花梨花卉紋圍棋蓋盒 中國，1644-1912年。球形圓盒，三個淺腿。盒身雕刻兩個花瓶，一個花瓶上裝飾著一條龍，另一個花瓶上裝飾著冰裂的釉面，四周裝飾玉蘭、牡丹、芙蓉和菊花，還有一個帶石榴編織提籃。圓盒蓋上雕刻著蓮花和蝴蝶。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況極佳，有輕微磨損，自然老化裂紋，極少的微小划痕，偶有的輕微划痕和鎏金痕跡。 重量：2,994 克 尺寸：高19厘米 拍賣結果比較：於2015年12月3日至4日在香港蘇富比Chinese Art拍場上，與一個較小的紫檀圍棋蓋盒比較，lot 319，成交價HKD 81,250.。
AN EXCEPTIONAL OPENWORK AND RETICULATED IVORY ‘HUNDRED BOYS’ VASE AND COVER, LATE QING TO REPUBLICChina, late 19th to early 20th century. The ovoid body rising from a waisted foot to a concave neck with an everted rim, meticulously carved with innumerable boys engaging in leisurely pursuits, decorated with key-fret, bat, ruyi-head, leiwen, and floral bands.Provenance: From the private collection of a French diplomate. Condition: The neck with discoloration and extensive crackling to the ivory due to heat influence, areas of touchup limited to the neck, otherwise in superb condition with minor wear, minuscule nicks, and occasional light scratches. The lid slightly paler than the vase.Weight: 2,044 gDimensions: Height 32.6 cmThe domed oval cover with a finial in the form of two boys seated on a lotus leaf, one playing the flute and the other gleefully laughing.The present piece is decorated with the subject of the ‘Hundred Boys’, a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Compare with a closely related vase and cover, possibly from the same workshop, but slightly larger and depicting immortals as the main subject instead of the hundred boys, at Christie’s London, in Chinese Ceramics, Works of Art and Textiles, 11 November 2011, lot 1345, sold for GBP 32,450.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 this item can only be shipped within the EU or picked up in our gallery in person. 清末民初象牙鏤空雕嬰戯圖瓶 中國，十九世紀末至二十世紀初。瓶身呈圓柱形，瓶身分層精心雕刻著嬰戯圖，有玩耍的，有玩琴的，有舞龍的，並裝飾著雷紋、蝙蝠與纏枝花卉紋。 來源：法國外交家私人收藏 品相：頸部因熱影響而變色，表面有大量裂紋，頸部有修補。基本狀況極佳，輕微磨損，微小的划痕。 蓋子比花瓶略微白。 重量：2,044 克 尺寸：高32.6厘米 拍賣結果比較：比較一個可能來自同一家工作室相似但稍大一些的圖瓶，主要描述仙人而非嬰戯，於2011年11月11日在倫敦佳士得Chinese Ceramics, Works of Art and Textiles拍場，lot 1345，成交價GBP 32,450。
A RETICULATED IVORY ‘PEACOCK’ TABLE SCREEN PLAQUE, QINGChina, 19th century. The fan-shaped plaque finely carved in openwork and high relief with a peacock perched on a gnarled branch bearing magnolias, of which a few have blossomed, as well as craggy rockwork and bamboo, the edges with neatly incised key-fret designs.Provenance: French private collection. Collector’s number inscribed to the reverse.Condition: Pristine condition with minor wear, few minuscule nicks and occasional light scratches, no losses whatsoever.Weight: 143.7 g Dimensions: Size 7.5 x 14 cmThis 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 this item can only be shipped within the EU or picked up in our gallery in person. 清代象牙浮雕孔雀桌屏中國，十九世紀。桌屏雕刻精美，木蘭樹木蘭盛開，樹下立著一只孔雀。 來源：法國私人收藏，背面有藏家收藏編號 品相：狀況極佳，輕微磨損，細微小划痕，局部有輕微的划痕，沒有任何缺損。 重量：143.7 克 尺寸：7.5 x 14 厘米
A CARVED IVORY BASE WITH A HIDDEN ‘BIRDS AND PRUNUS’ SCENE, QINGChina, 1644-1912. Of rectangular form with rounded sides and canted corners, this piece serves as a base or pedestal for a small figure or object. However, a look to the underside reveals a finely carved openwork composition to the interior of the hollow base.Provenance: French private collection.Condition: Very good condition with minor wear, few natural age cracks and occasional light scratches, no losses whatsoever.Weight: 124.3 g Dimensions: Size 8.2 x 12.1 cmThe interior well hollowed and skillfully carved in a reticulated manner with two birds perched on a gnarled prunus branch with buds and blossoms as well as a willow to one side.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 this item can only be shipped within the EU or picked up in our gallery in person. 清代象牙雕委角方形花鳥飾件 中國，1644-1912年。委角矩形，此物可能是用作小形人物或物體的底座或基座。但是，從底面的外觀可以看出，空心底座的內部精美鏤空雕刻。 來源：法國私人收藏. 品相：狀況極佳，磨損很小，少量自然老化裂紋，偶有輕微刮擦，無任何缺損。 重量：124.3 克 尺寸：8.2 x 12.1 厘米
AN IMPORTANT AND LARGE KESI ‘PEACH FESTIVAL’ PANEL, QING DYNASTYChina, 1644-1912. Richly embroidered in bright colors with a lively scene depicting the legendary festival, with Xiwangmu, the Queen Mother of the West, descending from the sky astride her phoenix, flanked by two attendants, a crane in flight above. A pantheon of Daoist immortals and deities, including Shoulao, the Eight Immortals, Lui Hai, and Hehe Erxian, all holding ruyi-scepters, eagerly await her arrival on a garden terrace with lingzhi, pine and peach trees issuing from craggy rockwork.Provenance: From an old British private collection, by repute formed in the first half of the 20th century. Condition: Pristine condition with very bright and fresh colors, few loose threads to edges, very little minor soiling, and minimal tiny losses. Laid down on paper.Dimensions: Size 175 x 89 cmExpert’s note: Large kesi panels depicting this subject or variations thereof commonly appear on the auction market, most with irrevocably faded colors and manifold other condition issues. The present panel is arguably the best-preserved example on the market in a very long time: The colors are virtually as fresh as new, the embroidery is extremely detailed, and the iridescent luster of the silk is almost hypnotic. Most likely it has been rolled up ever since it was mounted on paper, and therefore was never exposed to light before.The Peach Festival is a popular Daoist theme associated with the birthday celebration of Xiwangmu, who has the sole authority to grant Peaches of Eternal Life and bestow celebrants of the festival with great fortune. According to legend, the festival is held at the Jade Palace in the Kunlun Mountains in the Western paradise and only takes place every 3000 years. Here, groups of Immortals are pictured waiting in anticipation for Xiwangmu, who gracefully arrives on a phoenix. The auspicious message of this theme made the present panel suitable for presentation at important festivities.Kesi, which means ‘cut silk’, derives from the visual illusion of cut threads that is created by distinct, unblended areas of color, as the weft threads are woven into each color and then cut. The earliest surviving examples of kesi tapestries date to the Tang dynasty (618-907), although the technique was already used earlier in wool and became widely used only during the Song dynasty (1127-1379). The fragment of a kesi tapestry has been recovered in a tomb of a man and his wife in Dulan, Qinghai province, who died in 633 and 688 respectively, and another also excavated in Dulan, was included in the exhibition “China, Dawn of a Golden Age” at the Metropolitan Museum of Art, New York, 2005, cat. no. 245.During the Ming dynasty (1368-1644), kesi panels enjoyed a rise in popularity and thrived under the Qing emperors. Early in the Qing dynasty (1644-1911) official weaving workshops were established both in the Palace and in the cities of Jiangning, Suzhou and Hangzhou, in order to cater to the Court’s increasing demand for palace and temple furnishings, clothing and presentation silks for civil and military officials. Specialized centers of production soon developed around this area, such as the city of Wenzhou, Zhenjiang province, which became particularly famous for its luxurious kesi tapestries.Literature comparison: A closely related silk kesi panel with a similar bright red sky in the collection of the Palace Museum, Beijing, is illustrated in Zhongguo Meishu Quanji - Gongyi Meishu Bian, vol. 7, Beijing, 1987, pl. 180, where it is dated to the Qing Dynasty. A slightly larger kesi panel depicting the Peach Festival, from the Liaoning Provincial Museum, Shenyang, was included in the Hong Kong Oriental Ceramic Society exhibition Heaven’s Embroidered Cloths, One Thousand Years of Chinese Textiles, Hong Kong Museum of Art, Hong Kong, 1995, cat. no. 119. Compare also a kesi panel depicting Xiwangmu being greeted by female Immortals in the National Palace Museum, Taipei, included in the exhibition Masterpieces of Chinese Silk Tapestry and Embroidery in the National Palace Museum, Taipei, 1998, cat. no. 21.Auction result comparison: Compare with a closely related kesi panel, depicting the same subject on a similar red ground, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 22-23 March 2012, lot 1627, sold for USD 40,000, and another at Christie’s New York in Fine Chinese Ceramics and Works of Art on 14-15 September 2017, lot 943, sold for USD 56,250. Compare also with a larger kesi textile, dated to the late Ming to early Qing dynasty, at Sotheby’s Hong Kong in Important Chinese Art on 11 July 2020, lot 3637, sold for HKD 1,000,000.清代重要緙絲《蟠桃宴》壁挂中國，1644-1912年。絲綫鮮艷，生動地描繪了傳說中的蟠桃盛會。西王母騎在鳳凰上從天而降，兩側是侍從，頭上仙鶴飛舞。壽老、八仙、劉海以及和合二仙都在露臺上急切地等待著西王母的到來，四周可見靈芝、松樹和桃花樹。 來源：英國私人老收藏，據説購於二十世紀上半葉。 品相：原始狀態，色彩依然非常鮮豔，邊緣絲綫輕微鬆動，輕微污漬，缺損極小，裱在紙上。 尺寸：175 x 89 厘米 專家注釋: 描繪此主題的大型緙絲壁挂出現在拍賣市場上的，大多數帶有不可避免的褪色和其他各種問題。當前的壁挂可以說是很長一段時間以來市場上保存最完好的：顏色幾乎與新的一樣新鮮，刺繡非常細緻。 自從將其裝裱在紙上以來，很可能是將其捲起，因此以前從未暴露在日光下。緙絲，又稱刻絲，是中國傳統的一種絲織品，其特色是以緙織方式織造，緯線並不橫貫全幅，而僅在需要處與經線交織。尚存的最早的緙絲壁挂實例可追溯到唐朝（618-907），開始將此技法用於絲織品。南宋時期緙絲得到廣泛使用。緙絲壁挂曾在青海省都蘭墳墓中被發現。在紐約大都會博物館2005年的展覽“China, Dawn of a Golden Age” 也曾展出過另一塊出土緙絲，目錄圖 245。 在明朝（1368-1644），緙絲壁挂受歡迎程度不斷提高，並在清朝皇帝的統治下蓬勃發展。 清朝初期（1644-1911年），在皇宮以及江寧、蘇州和杭州等城市都建立了官方的織布作坊，以滿足宮廷和廟宇陳設、服裝和文職和軍事官員所用絲綢的日益增長的需求。很快就出現了特殊的生產中心，例如浙江溫州，以其豪華的緙絲掛毯而聞名。 文獻比較: 一件清代相近紅地緙絲見北京故宮博物院見《中國美術全集》，工藝美術編，第 7冊, 北京, 1987年, 圖 180. 一件《蟠桃會》大型緙絲見遼寧省博物館的展品，見香港美術館 Hong Kong Oriental Ceramic Society exhibition Heaven’s Embroidered Cloths, One Thousand Years of Chinese Textiles, 1995年，圖119。還有一件西王母緙絲見臺北故宮博物院Masterpieces of Chinese Silk Tapestry and Embroidery 展覽, 1998, 圖 21. 拍賣結果比較：一件相似紅地緙絲壁挂售于紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2012年3月 22-23日 lot 1627, 售價USD 40,000, 另一件售于紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2017年9月14-15日 lot 943, 售價USD 56,250。 還有一件明末清初緙絲見香港蘇富比Important Chinese Art拍場2020年7月11日 lot 3637, 售價HKD 1,000,000。
A LARGE KESI ‘DRAGON’ PANEL WITH KIRIMON, MING DYNASTYChina, 17th century. Made for the Japanese market. Finely woven with the mon of the Toyotomi clan, in the form of a stylized paulownia, above an imposing three-clawed dragon surrounded by ruyi-shaped clouds.Provenance: Austrian private collection. Condition: Excellent condition with minor wear, soiling, minuscule losses, minor old repairs, few loose threads.Dimensions: Size 153 x 85 cmBehind glass, in a European frame.The Kirimon, or Paulownia Seal, once was the private symbol of the Japanese Imperial Family, from as early as the sixteenth century. The Toyotomi clan, led by Toyotomi Hideyoshi, later adopted the Seal for use as the crest of his clan. After the Meiji Restoration, the seal was eventually adopted as the emblem of the Japanese government. The variation seen in the present lot, with 5-7-5 flowers (the syllabic pattern of a haiku poem), is today reserved for the prime minister of Japan.The present kesi panel likely was originally a border panel from a very large bedcover. Kesi produced an inherently weak fabric because the weaving technique left slits in the textile between color areas and did not stand up to wear. It was therefore rarely used for practical items like bedcovers, except for a group of early 17th century bedcovers surviving in museum collections, all with light blue backgrounds.Literature comparison: A complete coverlet, in a private collection, is illustrated in Vollmer 1982, p. 42, and another is in the Ruth Chandler Williamson Gallery, Scripps College, Claremont, California, unpublished. For two similar kesi panels made for the European market, see Myrna Myers, Silks for Thrones and Altars, Chinese Costumes and Textiles, p. 104, nos. 54a and 54b.Auction result comparison: Compare with a kesi fragment of much smaller size, with a very similar dragon and likely cut out from a large panel closely related to the present lot, at Christie’s London in Fine Chinese Ceramics & Works of Art on 7 November 2017, lot 344, sold for GBP 11,875.明代大型龍紋緙絲 中國，十七世紀。為日本市場生產，豐臣家族的家徽“桐紋”，在由如意形雲團環繞的氣勢磅礴的三爪龍。 來源：奧地利私人收藏 品相：狀況極佳，輕微磨損，污跡，損失極小，較舊的修補，絲綫鬆動。 尺寸：153 x 85 厘米 歐洲裝框，玻璃蓋后 拍賣結果比較：一件相似尺寸較小的龍紋緙絲，有著非常相似的龍，可能與當前拍品相似的大緙絲上剪下，售于倫敦佳士得Fine Chinese Ceramics & Works of Art 拍場，2017年11月7日，lot 344，售價GBP 11,875.
‘PICKING FLOWERS’, CHINESE SCHOOL, 19TH CENTURYChina. Oil on canvas laid down on board. Depicting a walled garden scene with three court ladies dressed in finely embroidered unofficial robes, two of them picking flowers, the other inside a building lifting a curtain behind a window.Provenance: Collection of the late Max Harari. Major Max Harari (1908-1987) was born in Cairo as the son of Sir Victor Harari, a Pasha of Egypt, and educated at Oxford. He suffered the loss of his property when General Nasser came to power in 1952 and moved to England. In the 1960s, he became an art dealer and would later run the Wittgenstein Gallery in London until his death in 1987.Condition: Extensive craquelure and old wear, otherwise in good condition with only very few scattered and tiny touchups (inspected under strong blue light).Dimensions: Size incl. frame 54.5 x 67.8 cmWith a European frame dating to the early 20th century.Auction result comparison: Compare with a related pair of paintings, one also with a woman lifting a curtain behind a window, at Christie’s New York in Chinese Export Porcelain on 21 January 2009, lot 107, sold for USD 9,375.十九世紀中國貿易畫《摘花》 中國，布面油畫，已從木架上取下。描繪了一個花園場景，三位穿著精美刺繡的夫人，其中兩個在摘花，另一個在房間内在窗戶後面拉開窗簾。 來源：已故Max Harari的收藏。 Max Harari少校（1908-1987）生於開羅，是埃及Victor Harari爵士的兒子，在牛津接受教育。 當Nasser將軍於1952年上台后他移居英國時，他失去了財產。 在1960年代，他成為藝術品經銷商，後來經營倫敦的Wittgenstein藝廊，直到1987年去世。 品相：大量的龜裂和舊磨損，其他狀況良好，只有很少微小修飾（在強藍光下檢查）。 尺寸：含框54.5 x 67.8厘米 歐洲畫框，二十世紀上半葉 拍賣結果比較：比較相似的繪畫，其中一幅也是一位女人從窗後掀起窗簾，於2009年1月21日，在紐約佳士得Chinese Export Porcelain拍場，lot 107，售價USD 9,375。
‘CHINESE JUNKS’, A PAIR, CHINESE SCHOOL, 19TH CENTURYChina, Canton, oil on canvas. The first depicting a Chinese junk in the open sea with a mountain and distant ships in the background, the second depicting a junk in rough waters. (2)Provenance: Irish private collection.Condition: Some craquelure and old wear, otherwise in good original condition with minor warping, minimal abrasions, and little soiling (inspected under strong blue light).Dimensions: Size incl. frame 32 x 27 cm (each), image size 24.5 x 19.5 cm (each)Both with a European frame dating to the first half of the 20th century.Auction result comparison: Compare with a related pair of paintings, also with one depicting a junk in calm waters and the other depicting it in rougher waters, at Bonhams New York, in Important Maritime Paintings & Decorative Arts on 26 January 2017, lot 50, bought-in at an estimate of USD 3,000-5,000.十九世紀兩幅貿易畫《中國帆船》 中國，廣東，布面油畫。第一幅畫上帆船駛在海上，背景有山和其他船。另一幅畫中帆船在洶湧波濤中行駛。 來源：愛爾蘭私人收藏 品相：有些龜裂痕跡和舊磨損，處於良好的原始狀態，變形小，小磨損，輕微污染（在強藍光下檢查）。 尺寸：含框32 x 27厘米, 畫面 24.5 x 19.5厘米 歐洲畫框，二十世紀上半葉 拍賣結果比較：比較兩幅相似的繪畫，其中一幅描繪的是帆船在平靜海面，另一幅描繪的是帆船在洶湧大海，於2017年1月26日在紐約邦瀚斯Important Maritime Paintings & Decorative Arts拍場，lot 50，估價USD 3,000-5,000。
A TERRACOTTA HEAD OF MAITREYAAncient region of Gandhara, 4th-5th century. The head modeled with finely curled hair and wearing an elaborately adorned tiara centered by a stylized flower, the face with elegant features, such as the finely incised arched eyebrows, almond-shaped eyes, aquiline nose, gentle smile, and long earlobes with circular earrings.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture, some firing flaws and material loss to exposed areas, hardly noticeable due to a light-colored varnish coating which was applied a long time ago.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n11, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 3.2 kg (total)Dimensions: Height 23 cm (the head) and 37 cm (incl. base)Mounted on an associated base. (2)According to Buddhist tradition, Maitreya is a bodhisattva who will appear on Earth in the future, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor to the present Buddha. The prophecy of the arrival of Maitreya refers to a time in the future when the dharma will have been forgotten by most on the terrestrial world. In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya was the most popular figure to be represented along with Gautama Buddha.Auction result comparison: Compare with a closely related terracotta head of Maitreya at Christie’s New York in Indian and Southeast Asian Art on 31 March 2005, sold for USD 20,400.陶土彌勒頭像健陀羅, 四至五世紀。頭部造型細緻，捲曲的頭髮，飾有精美花卉紋頭飾。臉部輪廓優雅，弓形眉，杏仁形的眼睛，筆挺的鼻子，慈祥的笑容以及帶有圓形耳環的長耳垂 。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況極佳，非常獨特，與雕塑的年齡相符，存在一些燒製瑕疵，裸露區域材料缺失，多年前的淺色清漆塗層已經幾乎看不出。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n11，2016年10月18日，與目前斷代一致。重量：縂3.2 公斤尺寸：頭高23 厘米；縂 37 厘米底座。拍賣結果比較：一件相近陶土彌勒佛頭像見紐約佳士得 Indian and Southeast Asian Art拍場2005年3月31日售價USD 20,400.
A RARE AND IMPORTANT TERRACOTTA HEAD OF BUDDHA SHAKYAMUNIAncient region of Gandhara, 4th century. The large head is superbly modeled with a serene and meditative expression, almond-shaped eyes beneath finely arched brows, distinct urna, aquiline nose, and full lips forming a gentle, benevolent smile. The hair is in tight curls with a dome-shaped ushnisha on top.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Some firing flaws, minor nicks and dents, material loss to exposed areas, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago. Overall, fully consistent with the age of this sculpture.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n6, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 8.7 kg (total)Dimensions: Height 35 cm (the head) and 49.5 cm (incl. base)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.The masterfully carved head of Buddha is a fine example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE and embodies an idealized, transcendent male form of an earthly prince. Based on Greco-Roman prototypes, his elegant neck is slightly elongated, and his heavy eyelids frame a pair of almond-shaped eyes, his forehead remaining perfectly uncreased, and there is no tension in his rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility.The sculptor has also skillfully referenced Buddha’s earlier history as Prince Siddhartha by carving openings in the elongated earlobes where, as a prince, he would have worn heavy jewelry. This detail reminds the viewer that, while the Prince’s past was centered on excess, the absence of material goods – jewelry and fine clothing – emphasizes the Buddha’s renunciation of worldly attachments.Compare the face of this Buddha with that of another in the Peshawar Museum (see H. Ingholt, Gandharan Art in Pakistan, 1957, p.113, fig.223). In both examples, the artist has skillfully carved and polished the face to transform it into human skin. While the face of the published image has been carved in a rather formulaic manner, the present work has been carved by a master of naturalism. The softly rounded cheeks give way to hollows on either side of the skin, the upper and lower lids are nearly spherical to emphasize the eyes, and the pupils are not carved. The quiet contours and gentle shadows model the flawless structure of the face, encapsulating the eternal youthfulness of the Buddha. Almost androgynous in appearance, the Buddha transcends gender, embodying the perfect balance of masculinity and femininity.This head has a high aesthetic value, illustrious provenance, and is in a beautifully preserved condition. It is an important and rare masterpiece of Gandharan art.Mounted on an associated wood base. (2)Auction result comparison: Compare with a related but smaller (28 cm) terracotta head of a Bodhisattva at Christie’s New York, Indian and Southeast Asian Art, 19 March 2013, lot 212, sold for USD 75,000, and a related but much smaller (20.3 cm) terracotta head of a Buddha at Sotheby’s New York, Images Of Enlightenment: Devotional Works Of Art And Paintings, 17 September 2014, lot 410, sold for USD 62,500.罕見重要陶土釋迦牟尼頭像健陀羅，四世紀。大型佛頭造型優美，沉靜冥思，眉毛下方拱形杏仁狀眼睛，眉間白毫，豐滿的鼻子，溫柔仁慈的笑容。 頭髮緊卷，呈螺髻。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況很好，尤其是考慮到這件作品的年代。一些燒製缺陷，輕微的刻痕和凹痕，裸露區域有材料缺損。表面的清漆應爲很久之前所塗，所以現在已經基本看不出來了。總體而言，狀況與該雕塑的年代相符。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n6，2016年10月18日，與目前斷代一致。重量：縂8.7 公斤尺寸：頭高35 厘米 ；縂49.5 厘米 這件頭像有很高的美學價值，出眾的外觀，並且保存完好，堪稱是健陀羅藝術裏的重要且罕見的傑作。底座。拍賣結果比較：一件相近但稍小 (28 厘米) 陶土菩薩頭像見紐約佳士得Indian and Southeast Asian Art拍場2013年3月19日 lot 212, 售價USD 75,000, ；一件相近但更小 (20.3 厘米) 的佛陀陶土頭像見紐約蘇富比Images Of Enlightenment: Devotional Works Of Art And Paintings拍場2014年9月17日 lot 410, 售價USD 62,500.
A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled with a stern expression, framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing moustache and full beard. The furrowed brow, indication of age, and piercing gaze reflect an ancient yet astonishingly present taste for naturalism.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture, some firing flaws and material loss to exposed areas, hardly noticeable due to a light-colored varnish coating which was applied a long time ago.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n15, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 8.3 kg (total)Dimensions: Height 29.5 cm (the head) and 42.5 cm (incl. base)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture. However, his heavily moustached face belongs to the Indian world, while the naturalistic face is reminiscent of Greco-Roman sculpture.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to the 6th centuries. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.Mounted on an associated base. (2)Literature Comparison: Compare with a terracotta head of Dionysos (The God of Wine and Divine Intoxication), 4th–5th century, strongly resembling the present lot, in the collection of the Metropolitan Museum of Art, New York (accession no. 1979.507.2).Auction result comparison: Compare with a closely related terracotta statue of Vajrapani in the form of Hercules at Sotheby’s Hong Kong in Curiosity V, 02 April 2019, lot 3105, bought in at an estimate of HKD 1,500,000-1,800,000. Also compare with a closely related head of Vajrapani in the form of Heracles, sold in these rooms on 25 April 2020, lot 427, for EUR 45,500.陶土執金剛神頭像呈赫拉克勒斯形象健陀羅，四至五世紀。表情嚴肅，濃密的鬍鬚，長捲髮。 眉頭緊皺，年齡的顯示和尖利的目光反映出古老而又令人驚訝的自然主義品味。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況極佳，非常獨特，與雕塑的年齡相符，存在一些燒製瑕疵，裸露區域材料缺失，多年前的淺色清漆塗層已經幾乎看不出。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n15，2016年10月18日，與目前斷代一致。重量：縂8.3 公斤尺寸：頭高29.5 厘米，總 42.5厘米底座。拍賣結果比較：一件相近頭像見香港蘇富比Curiosity V拍場2019年4月2日lot 3105, 估價HKD 1,500,000-1,800,000. ；另一件十分相似的頭像在此拍賣行2020年4月25日lot 427, 售價 EUR 45,500.
AN IMPORTANT STONE STELE OF PARVATI WITH HER SONS GANESHA AND SKANDALate Kushan Empire, 4th-5th century. The finely carved relief panel shows three main figures, each standing on a double lotus base, with Parvati in a formal position holding floral attributes in her four hands, accompanied by her sons, the elephant-headed Ganesha and the god of war Skanda, also known as Karttikeya, all on a rectangular pedestal bearing a distinct circular lotus frieze.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as part of a group of Gandhara stones as follows: “Seconde pièce cave- 32 pierres similaires Gandhara emballes- Bouddha et divers. (Voir suite)” (second room basement: 32 similar Gandhara stones wrapped- Buddhas and various. (see followup). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent condition, fully consistent with the age of the sculpture. Some loss to exposed areas, smaller dents and nicks, structural cracks, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago.On a wooden base. (2)Weight: 65 kgDimensions: Height 76 cm (excl. base) and 95 cm (incl. base)Parvati is the perfection of beauty. In the present statue, she is shown with a benign facial expression, large eyes, round breasts and a narrow waist, wearing a diaphanous dhoti with schematized folds at the lower part. She is richly bejeweled, wearing her hair in an elaborate coiffure. Parvati is the daughter of Himavat, the embodiment of the Himalayan Mountains, and the consort of Shiva, one of Hinduism's most important gods. Her name means “Daughter of the Mountain.” Figuratively and literally, she is born from the stone itself and flanked by her two sons, the elephant-headed Ganesha on her right, and Karttikeya (also known as Skanda) on her left. In her four hands she holds various flowers as attributes. Some regard Kali as Parvati’s fearsome aspect while others consider Durga to be the manifestation that the goddess assumes to fight evil. In some ways Parvati can be regarded as the embodiment of the divine feminine, “The Great Goddess.”The present stele is carved from buff stone and undoubtedly was once positioned in a niche within a temple and served as a focus of worship.Literature comparison: Compare with a stone panel of Parvati and her sons in the collection of the Asian Art Museum, San Francisco, USA, object no. B64S6, showing the same compositional concept and iconography, but dating from the Pala empire, 8th-12th century.Auction comparison: Compare with a green stone relief of Shiva and Parvati from the 12th century at Christie’s New York in Indian & Southeast Asian Art on 21 March 2008, lot 746, sold for USD 79,000.
A POLYCHROME ENAMELED BRONZE FIGURE OF KANNON BOSATSU, LATE EDO PERIODJapan, 18th to early 19th century. Cast standing on a separate circular double-lotus base supported on a hexagonal tiered plinth, the right hand in kichijo-in, the left in an-i-seppo-in, wearing a long flowing robe opening at the chest, a garland around the arms, and a crown, the serene face with a rock crystal urna and downcast eyes, the hair pulled up in a high top knot, a separately cast mandorla with scrolling clouds towering behind.Provenance: Hungarian private collection. Condition: Good condition with extensive wear to enamels, minor nicks here and there, casting flaws, light scratches, some losses to extremities.Weight: 3,444 gDimensions: Height 39.8 cm
A CHAMPLEVE ENAMEL ‘BUDDHA’S HAND’ RUYI SCEPTER, QING DYNASTYChina, 18th century. Cast in openwork with an arched gilt-bronze shaft resembling a gnarled leafy branch and a head in the form of two finger citrons, known as ‘Buddha’s hand’ in Chinese, decorated in champleve enamels graduating from lime-green to yellow next to gilt bronze leaves.Provenance: Property from a Private Collection. Sotheby’s Hong Kong, Fine Chinese Ceramics and Works of Art, 8th April 2014, lot 3099 (one in a lot of two), bought in at an estimate of HKD 1,200,000 — 1,800,000. A noted private collector, acquired from Sotheby’s at a later time.Condition: Excellent condition with minor wear, minuscule dents, light wear to the enamels and gilt.Weight: 584.7 gDimensions: Length 30.9 cmThe shaft bearing two small corresponding fruits in champleve enamels and gilt-bronze leaves, the openwork terminal suspending a tasseled endless knot.Literature comparison: For a gilt bronze scepter of this type, but cast with all three fruit of the sanduo, in the National Palace Museum, Taipei, see one illustrated in Masterpieces of Chinese Ju-i Sceptres in the National Palace Museum, Taipei, 1974, pl. 29; and a zitan version inlaid with jade and various hardstones to depict a finger-citron, in the Palace Museum, Beijing, included in the exhibition China. The Three Emperors, Royal Academy of Arts, London, 2005, cat. no. 277, and another gilt bronze scepter embellished with pomegranates, in the Österreichisches Museum für Angewandte Kunst collection, included in the exhibition Die Ware aus dem Teufelsland, Museum für Kunsthandwerk, Frankfurt am Main, 1981, cat. no. 12.Auction result comparison: Compare with a related gilt bronze scepter, inlaid with glass and decorated with enamels, at Christie’s New York in Auspicious Treasures for Scholars and Emperors: Selections from the Robert H. Blumenfield Collection on 22 March 2012, lot 1228, sold for USD 86,500.清代鏨胎琺瑯多子多福如意 中國，十八世紀。如意以銅胎鎏金飾琺瑯工藝精心而制，雕成老幹樹枝狀折枝，佛手瓜左右雙佛手瓜造型，蒂梗繞於兩果實間，長柄彎曲，柄體呈蒼虯蜿蜓枝幹，彎曲有度，翻轉有致，葉盛開舒展，上掛兩小瓜，生氣盎然。枝葉飾以鎏金，佛手飾以掐絲琺瑯，風格寫實，色彩逼真，琺琅色從青檸色到淡黃色漸變。造型優美流暢，纖細靈秀，盡顯華貴富麗之感。佛手音與“福”字諧音，除表徵多“福“之意，更喻“多福多壽多子孫”的吉祥表徵。 來源： 私人收藏，見香港蘇富比Fine Chinese Ceramics and Works of Art拍場, 2014年4月8日，lot 3099 (一對如意中的一件), 估價HKD 1,200,000 — 1,800,000。藏家説明：購於蘇富比此拍賣之後。 品相：狀況極佳，輕微磨損，微小凹痕，琺琅和鎏金部位輕微磨損。 重量： 584.7 克 尺寸： 長30.9 厘米 軸上有兩個小巧的相應水果，分別是琺瑯彩釉和鎏金銅的葉子，如意終端鏤空的懸掛著流甦的結佩。 文獻比較: 一件此類鎏金銅三鑲式如意，可見在台北故宮博物院中，請參見1974年出版的關於台北故宮博物院中的如意畫冊，圖29; 在中國故宮博物院內，還有一個鑲有玉石和各種硬石的紫檀佛手瓜。 Three Emperors, Royal Academy of Arts, London, 2005, cat. 圖277；另一件來自奧地利應用藝術博物館的銅鎏金石榴如意參加了1981年在美因河畔法蘭克福的應用藝術博物館“來自東方的琺琅製品”的展覽，見“Die Ware aus dem Teufelsland”，Museum für Kunsthandwerk, Frankfurt am Main, 1981, cat. no. 12. 拍賣結果比較：一件相近銅鎏金如意鑲嵌玻璃和琺琅，售于紐約佳士得Auspicious Treasures for Scholars and Emperors: Selections from the Robert H. Blumenfield Collection拍場，2012年3月22日，lot 1228, 售價 USD 86,500。
A SPINACH-GREEN JADE RUYI SCEPTER, MID-QINGChina, 18th century. Carved in the form of a lingzhi fungus, with a bat perched on the head and a chilong clambering up the stem amidst smaller lingzhi shoots. The stone is of a deep spinach-green tone with some darker speckles.Provenance: Roger Keverne, London, 2012. The Lenora and Walter F. Brown Collection, San Antonio, Texas, acquired from the above and thence by descent in the same family. Walter F. Brown (1930-2014) was an independent oil and gas producer. He founded Delray Oil Inc. and W. F. Brown Exploration Ltd. of Canada. The Browns began donating their collection of Asian works of Art to the San Antonio Museum of Art in the 1980s. In 2005, the museum honored the couple for their ongoing commitment by naming their new expansion the ‘Lenora and Walter F. Brown Asian Wing’.Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84.Condition: Excellent condition with minor wear, some minuscule nicks, one crack with an old repair (invisible to the naked eye but inspected under strong blue light). The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 345.8 gDimensions: Length 36.2 cmWith an old Chinese silk stand. (2)As Roger Keverne explains, the present scepter relates closely to one presented by the Qianlong Emperor to Sir George Staunton in 1793, now in the collection of the Victoria and Albert Museum. Sir George Staunton (1737-1801) was Minister Plenipotentiary to the 1792 Macartney Embassy to Beijing. The Staunton ruyi scepter is illustrated in “Encounters: The Meeting of Asia and Europe 1500 -1800” by Jackson and Jaffer, fig. 7.2, page 94. William Alexander accompanied Lord Macartney on the mission and his drawing of the Staunton scepter is illustrated in “Image of China: William Alexander” by Legouix, pl. 44, page 62. It is noted there that the scepter was one of three presented by the Emperor Qianlong. The other two were given to Lord Macartney, one for himself and the second for King George III. The drawing is in the collection of the British Museum, registration number 1865,0520.272. It is therefore possible that the present scepter is the one that was presented by Emperor Qianlong to Lord Macartney, while the third scepter most likely remains in the Imperial household and collections, handed down from George III, who was King of England from 1760-1801.Literature comparison: For other similar examples, see Auspicious Ju-i Scepters of China, no. 17, p. 90, in the collection of the National Palace Museum, Taipei; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; and Palace Museum, Compendium of Collections in the Palace Museum: Jade, vol. 8, no. 73, p. 102.Auction result comparison: Compare with a related spinach-green jade ruyi scepter at Christie’s in Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco on 18 March 2009, lot 412, sold for USD 25,000.清代中期碧玉靈芝如意 中國，十八世紀。如意首作鏤雕靈芝形，內雕一蝙蝠，柄作靈芝莖狀，上雕小靈芝數朵與螭龍。如意、靈芝與蝙蝠相伴出現有福壽雙全的寓意。玉石成深綠色的菠菜色，有深色斑點。此如意玉質細膩溫潤，整器以靈芝造型，浮雕與局部鏤雕手法相結合，如意首部琢一大靈芝頭，長柄靈芝枝葉纏繞，多處鏤空，甚為玲瓏，表現出靈芝的肌理質感，更顯古樸自然。 來源：倫敦Roger Keverne, 2012。德克薩斯州聖安東尼奧市Lenora and Walter F. Brown收藏，從上述收藏獲得併自此保存在同一家族中的。Walter F. Brown（1930-2014）是一家獨立的石油和天然氣生產商。 他創立了Delray Oil Inc.和加拿大W. F. Brown Exploration Ltd.。 Brown一家在1980年代開始將其亞洲藝術品收藏捐贈給San Antonio Museum of Art博物館。 2005年，博物館將新展館名字命名為“ Lenora and Walter F. Brown Asian Wing”，以表彰這對夫婦的不懈努力。圖片：Walter F. Brown (1930-2014) 出版：Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84. 品相：狀況極佳，輕微磨損，一些微小的刻痕，一條裂縫舊時已修復（肉眼看不見，但在強烈的藍光下檢查過）。具有天然裂縫的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：345.8 克 尺寸：長36.2 厘米 配置中國絲質底座。 正如Roger Keverne所説，本如意與乾隆皇帝於1793年贈予Sir George Staunton（現由維多利亞和阿爾伯特博物館收藏）密切相關。Sir George Staunton（1737-1801）是1792年馬卡特尼（Macartney）駐北京大使館的全權代表。Sir George Staunton 的如意可見Jackson和Jaffer 所著的“Encounters: The Meeting of Asia and Europe 1500 -1800”，參見圖7.2頁，第94頁。William Alexander陪同 Macartney勳爵，他曾繪製了Sir George Staunton如意，見Legouix 所著的“Image of China: William Alexander”，圖44，第62頁。在那裡提到，此如意是乾隆皇帝所贈三件如意中的一件，另外兩件分別送給了Macartney勳爵，另一件給了喬治三世國王。該圖在大英博物館收藏，編號1865,0520.272。因此，現在的如意很可能是乾隆皇帝送給馬卡特尼勳爵的，而第三只很可能仍留在皇室和收藏中，由1760-1801年的英格蘭國王喬治三世傳世。 文獻比較: 一件相似如意可見於 Auspicious Ju-i Scepters of China, no. 17, p. 90, 臺北故宮博物院收藏; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; 北京故宮博物院: Jade, vol. 8, no. 73, p. 102. 拍賣結果比較：一件相近碧玉如意售于佳士得Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco 拍場，2009年3月18日，拍號412, 售價USD 25,000。
A SANDSTONE FIGURE OF VISHNU, PRE-ANGKOR PERIODKhmer Empire, 7th-8th century. The face meditative and smiling serenely, the almond-shaped eyes with finely incised pupils, wearing a cylindrical mitre headdress as well as a diaphanous sampot with a long central sash hanging down between his legs.Provenance: Collection Particulière Française, acquired at the beginning of the 1970s, thence by descent in the same family. Beaussant Lefèvre, Drouot, Paris, 10 April 2015. A French private collection, acquired from the above. A letter from Cabinet Portier, dated 22 April 2015, confirming the provenance and dating as stated above, accompanies this lot.Condition: Good condition, commensurate with age, extensive wear and losses, nicks and scratches, signs of erosion. Note that Cabinet Portier (see Provenance) states the head was reattached, but after inspecting the lot under strong blue light, we were unable to confirm this finding.Weight: 19.3 kgDimensions: Height 67.5 cmMounted on an associated metal base. (2)Literature comparison: For a related image, attributed to the Mekong Delta, see Emma Bunker and Douglas Latchford, Adoration and Glory: The Golden Age of Khmer Art, Chicago 2004, pl. 10.Auction result comparison: Compare with a closely related figure of Vishnu, of related size but better preserved, at Bonhams London in Islamic and Indian Art on 4 October 2011, lot 249, sold for GBP 20,000.
A MASSIVE AND RARE EAST JAVANESE TERRACOTTA FIGURE OF A BOAR, MAJAPAHITEast Java, 15th-16th century. Standing foursquare and wearing a collar incised with geometric motifs and suspending a large spherical bell, the face with a wrinkled snout, upward curving tusks, bushy eyebrows, and large bulging eyes, the spiral tail in relief over the right rear haunch.Provenance: Sotheby’s New York, Indian and Southeast Asian Art, 20 March 1997, lot 139. Estates of William R. Appleby (1915-2007) and Elinor Appleby (1920-2020), longtime donors to the Metropolitan Museum of Art in New York. Mrs. Appleby had a particular interest in Asian art, and she and her husband supported the Department of Asian Art as well as the Fund for The Met, providing for important acquisitions and institutional initiatives. The original Sotheby’s receipt, the catalog page, and a large photograph of the boar on Kodak paper, originally sent by Sotheby’s to the Applebys, accompany this lot.Condition: Superb condition with old wear, minimal structural cracks, some chipping to the hoofs, light scratches.Weight: 14.9 kgDimensions: Length 53.5 cmLiterature comparison: Compare with a related but smaller boar in bronze in the collection of the Metropolitan Museum of Art, accession number 1987.142.259.
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