A RARE SMALL HENAN BLACK-GLAZED RUSSET-SPLASHED YUHUCHUNPING, NORTHERN SONG TO JIN DYNASTYChina, 960-1234. The pear-shaped body rising from a short spreading foot to a waisted neck with a broad, everted rim. Covered to the exterior and the interior rim with a lustrous black-brown glaze thinning to mushroom at the rim, liberally applied with russet streaks to the body and neck, the glaze stopping irregularly and attractively pooling above the foot to reveal the grayish-buff body.Provenance: Nicholas Pitcher, London, United Kingdom. Nicholas Sotheby Pitcher was formerly a director of Christie's and led the Oriental Department in South Kensington from 1976 to 1990, after which he left to set up his own business, specializing in early Chinese pottery and bronzes, and later Chinese works of art.Condition: Very good condition with minor old wear, some traces of use including shallow surface scratches, some firing flaws, including glaze recesses and open bubbles, the rim with minor fritting, the foot with a minor chip.Weight: 324.2 gDimensions: Height 15 cmExpert's note: While the form and decoration of the present vase can be found in several examples of larger size, this variation of smaller size seems to be quite rare.Auction result comparison: Compare a related Henan black-glazed russet-splashed vase, also dated Northern Song to Jin dynasty, 22.6 cm high, at Sotheby's London in Important Chinese Art on 10 May 2017, lot 190, sold for GBP 38,750. 北宋金時期河南窯黑釉鐵鏽斑玉壺春瓶中國，960-1234年。撇口、細頸、垂腹、圈足。瓶内外施有光澤的黑褐色釉，邊緣變薄，止於足部，圈足露胎。瓶身和頸部赤褐色的斑紋。 來源：英國倫敦Nicholas Pitcher收藏。Nicholas Sotheby Pitcher 1976年至1990年間曾是南肯辛頓佳士得經理，領導東方藝術部。之後他自立門戶，專門經營中國早期陶器和青銅，以及晚期的工藝美術品。品相：狀況極好，輕微的舊時磨損，一些使用痕跡，包括表面淺劃痕，一些燒製瑕疵如釉面凹陷和開放式氣泡，輪輞有輕微燒結，足部有輕微磕損。 重量：324.2 克 尺寸：高15 厘米 拍賣結果比較：比較一件北宋金時期的黑釉鉄鏽斑玉壺春瓶，高22.6厘米, 見倫敦蘇富比Important Chinese Art 2017年5月10日, lot 190, 售價GBP 38,750。
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A RARE LOBED QINGBAI EWER AND COVER, SONG DYNASTYChina, 960-1279. The globular body supported on a short foot and surmounted by a small circular cover with a loop handle, the second loop above the strap handle to one side of the ewer, opposite the short tapered spout. The sides are decorated with a raised floral band and the cover with a rosette. Covered overall with a soft pale bluish-white glaze stopping short of the recessed base to reveal the white body, the glaze thinning at the edges and pooling attractively in the recesses.Provenance: From a private collection in New York, USA.Condition: Very good condition with age-appropriate wear and firing irregularities, including kiln grit around the foot, the glaze with some red speckles, most likely from firing, the foot with few minuscule frits.Weight: 166.0 gDimensions: Length 11.6 cm (spout to handle)Auction result comparison: Compare a related Qingbai lobed ewer and cover, dated to the Northern Song dynasty, at Sotheby's London in Fine Chinese Ceramics and Works of Art on 9 November 2005, lot 222, sold for GBP 33,600.宋代罕見青白釉葵口蓋壺中國，960-1279年。圓口，無頸，瓜棱式圓腹，肩部一側置曲流，另一側置扁柄，圈足。壺蓋和扁柄處各有一孔，曾用於鏈接之用。蓋上印六瓣花紋。通體施青白色釉，止於足部，底足露胎。 來源：美國紐約私人收藏。 品相：狀況極好，有符合年代的磨損和燒製瑕疵，比如足部周圍的窯砂，釉面有一些紅色斑點，很可能來自燒製，足部有少量微小的釉料。 重量：166.0 克 尺寸：長11.6 厘米 (嘴至執柄) 拍賣結果比較：比較一件北宋青白瓜棱蓋壺，見倫敦蘇富比Fine Chinese Ceramics and Works of Art 2005年11月9 日lot 222, 售價GBP 33,600。
A TURQUOISE GROUND BLACK OVERLAY GLASS SNUFF BOTTLE, 1820-1880China. Of compressed globular form, rising from an oval foot rim to a straight cylindrical neck, carved in black overlay on turquoise ground depicting Liu Hai on his toad to one side and Dongfang Shuo holding a peach branch on the reverse, lion mask handles on the sides. Provenance: British trade. Condition: Good condition with little surface wear, some nibbling to the lip, a minuscule chip to the base, nicks to the overlay. Stopper: Hardstone stopper with metal mounting Weight: 42 g Dimensions: Height including stopper 65 mm. Diameter neck 13 mm and mouth 6 mm. Liu Hai was revered as the epitome of wealth and business success. He was a prime minister in the Han dynasty government and a proficient student of Daoist magic and medicine. It was rumored that he possessed a three-legged toad that could travel unimpeded anywhere he chose.Dongfang Shuo (c. 160-93 BC) was a Han Dynasty scholar-official, author, and court jester to Emperor Wu. The legend of Dongfang Shuo has him attempting to steal one of the famous 'peaches of longevity' from the orchard of Xi Wangmu, the Queen Mother of the West. The peaches were believed to ripen only once in 3,000 years and to confer immortality on anyone who ate them.Auction result comparison: Compare a related black overlaid turquoise glass snuff bottle, dated 1820-1880, at Bonhams San Francisco in Fine Chinese Works of Art and Paintings on 23 June 2015, lot 7195, sold for USD 2,125.1820-1880年松石綠地套黑料鼻烟壺中國。扁圓形，圓柱形直頸，橢圓圈足。一面可見劉海騎在他的三足金蟾上，另一面可見東方朔手持桃枝。肩部獅面輔首。 來源：英國古玩市場。 品相：狀況良好，表面小磨損，唇部有輕微磨損，底部有微小的磕損，套料上有刻痕。 壺蓋：石壺蓋，鑲金屬 重量：42克 尺寸：含壺蓋高65 毫米. 頸部直徑13 毫米，唇部直徑6 毫米. 拍賣結果比較：比較一件1820-1880年相近的松石綠地套黑料鼻烟壺，見舊金山邦翰思 Fine Chinese Works of Art and Paintings 2015年6月23日 lot 7195, 售價USD 2,125。
AN INSIDE-PAINTED GLASS SNUFF BOTTLE, BY BI RONGJIUChina. Of flattened rectangular form, standing on a short, splayed foot, painted to one side with a scene from Dream of the Red Chamber showing two ladies resting near a bridge, the reverse depicting a mountain and river landscape with two wanderers crossing a bridge. Inscribed on the top right with a short text declaring the bottle as a gift to an older brother. Two seal marks, the reverse signed Rongjiu with one seal mark.Inscription: One side with 'by Rongjiu' and seal mark, the reverse with 'gifted by brother Mingge'.Provenance: From a French private collection, by repute acquired from Millon Jutheau on 2 February 1983, lot 124. Condition: Good condition with little wear and light surface scratches, some nibbles to lip and foot rim, some wear and microscopic scratches to the inside painting. Stopper: Carnelian Weight: 29 g Dimensions: Height including stopper 73 mm. Diameter neck 19 mm.Bi Rongjiu (1874-1925) was the founder of the Boshan School for inside-painting, in Shandong province. The artist is known for his technique of figure painting, with simple outlines filled-in with color.Literature comparison: Further examples of Bi's work in a similar style are illustrated in Hugh Moss, Victor Graham and Ka Bo Tsang, 'A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection', vol. 4, part 2, Hong Kong, 2000, no. 655 and in Hugh Moss, et. al., 'The Art of the Chinese Snuff Bottle: The J & J Collection', vol. 2, New York, 1993, no. 451.Auction result comparison: Compare a related inside-painted snuff bottle, by Bi Rongjiu, at Bonhams New York in Chinese Art from the Scholar's Studio on 16 September 2013, lot 4048, sold for USD 5,000. Compare also another inside-painted snuff bottle by the artist, at Bonhams Hong Kong in The Paul Braga Collection of Snuff Bottles on 24 November 2012, lot 185, sold for HKD 40,000. 畢榮九款内畫玻璃鼻烟壺中國。扁平長方圓肩，圈足外撇。一側繪有紅樓夢寶玉黛玉場景；另一面為山下小屋，文人携侍者過橋。 款識: 一面"榮九作"；另一面上"弟 名閣贈"等字樣。 來源：法國私人收藏，據説1983年2月2日購於Millon Jutheau 藝廊，lot 124。 品相：狀況良好，極少量磨損和輕微的表面劃痕，唇部和足部邊緣有一些小刻痕，內畫有一些磨損和微小的劃痕。壺蓋: 玉髓 重量：29 克 尺寸：含蓋高73 毫米；頸部直徑19 毫米 拍賣結果比較：比較一個相近的畢榮九内畫鼻烟壺, 見紐約邦翰思Chinese Art from the Scholar's Studio 2013年9月16日 lot 4048, 售價USD 5,000；比較另一件畢榮九内畫鼻烟壺，見香港邦翰思The Paul Braga Collection of Snuff Bottles 2012年11月24日 lot 185, 售價HKD 40,000。
'CALLIGRAPHY', BY SUN SONGZHAO (1878-1968)China, dated 1924. Gold ink on segmented paper. The paper in aubergine. The fan-shaped painting shows calligraphy with a seal mark. Laid down on fabric coated paper.Inscriptions: Two poems by Tao Yuanming in the summer of the year Jiazi (1924), signed 'Sun Songzhao', and one seal 'Songzhao.'Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden.Condition: Good condition. The painting with some abrasions along the folds, minor material loss at the margin, and a few tears, touchups.Dimensions: Image size 50.4 x 21.5 cm, paper 63.5 x 32.5 cmSun Songzhao (1878-1968) was a writer, a calligrapher, and an artist. She learned calligraphy and painting from her father from an early age. In 1920 she studied in the Painting Research Institute of Peking University, where she specialized in Chinese and Western painting. After moving to Peking, Sun Songzhao became one of Qi Baishi's students. In 1952, she started working in China Central Institute for Culture and History until she retired. 孫誦昭《錄陶淵明詩二首》 中國，1924年。藍紙金字，小楷錄陶淵明詩。 款識：甲子夏日錄淵明詩，孫誦昭學鈴印：誦昭 孫誦昭（1878－1968），女，字宋若，江蘇無錫人，自幼隨父親學習書法、國畫，1929年拜齊白石為師學畫。中國畫畫家，中央文史館館員。 來源：Jan Wirgin (1932-2020) 教授收藏。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東方博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：狀況良好。褶皺處有一些擦傷，邊緣有輕微缺損，局部一些撕裂和修補。 尺寸：畫面50.4 x 21.5 厘米，總 63.5 x 32.5 厘米 紙本裝裱。
A ROOT AMBER SNUFF BOTTLE, 1750-1850China. Of flattened ovoid form, surmounted by a tubular neck with flat lip, the shoulders finely carved with lion mask and mock ring handles, supported on an oval foot ring, the remaining surfaces unadorned to best display the swirled and variegated material with patterns resembling an ancient piece of burl wood.Provenance: From the collection of Dr. Erika Pohl-Stroeher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Stroeher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world's most valuable collections of gems and minerals.Condition: Good condition with some wear, light surface scratches, some nibbling around the lip and base, a few nicks and minor natural flaws.Stopper: Aventurine stopper, carved spoon Weight: 43 g Dimensions: Height including stopper 68 mm. Diameter neck 12 mm and mouth 7 mm.Literature comparison: For a similar root-amber bottle still in the Imperial Collection see Chang Lin-Sheng, 'Snuff Bottles in the Collection of the National Palace Museum', Taipei, 1991, p. 252, no.374.Auction result comparison: Compare a related root amber snuff bottle with mask handles, dated 1780-1850, at Bonhams New York in The Dr Sylvan and Faith Golder Collection of Fine Chinese Snuff Bottles, Part II on 19 March 2018, lot 144, sold for USD 3,125. Compare also a related root amber snuff bottle with mask handles, dated to the 19th century, at Bonhams New York in Fine Chinese Paintings and Works of Art on 21 July 2020, lot 116, at an estimate of USD 3,500-5000. 1750-1850年根珀鼻烟壺中國。根珀扁壺，器身光素，兩肩有獅面輔首，圓柱頸，平唇，圈足，表面光滑，呈現出瘤木般漂亮的花紋。來源：Erika Pohl-Stroeher（1919-2016）博士收藏，保存於同一家族至今。Erika Pohl-Stroeher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。她是一位有熱誠的收藏家，一生中積累了許多重要的藝術收藏，以及世界上最有價值的寶石和礦石收藏之一。 品相：狀況良好，有一些磨損，輕微的表面劃痕，唇部和底部有一些磕損，一些刻痕和輕微的天然瑕疵。 壺蓋: 砂金石，經過雕刻的小勺 重量：43 克 尺寸：含壺蓋高 68 毫米，頸部直徑12 毫米，嘴部直徑 7 毫米 拍賣結果比較：比較一件相近的1780-1850年根珀輔首鼻烟壺，見紐約邦翰思The Dr Sylvan and Faith Golder Collection of Fine Chinese Snuff Bottles, Part II 2018年3月19日 lot 144, 售價USD 3,125 ；比較另一件十九世紀根珀鼻輔首烟壺，見紐約邦翰思Fine Chinese Paintings and Works of Art 2020年7月21日lot 116, 估價USD 3,500-5000。
A TURQUOISE-GLAZED TRIPOD STAND, KANGXI PERIODChina, second half of 17th to early 18th century. The flat circular top is supported on three feet issuing from beast heads, covered overall in a rich turquoise glaze with scattered dark spots.Provenance: From a British private collection. Condition: With some wear, surface scratches and firing flaws, such as dark spots and pitting. The rim with minuscule nicks and three small chips with old touchups, as well as two minor chips to the feet. Weight: 440 g Dimensions: Diameter ca. 15 cm, Height 5 cm Auction result comparison: Compare a related turquoise glazed hexagonal stand, also dated to the Kangxi period, at Christie's New York in The Art of China: New York, Spring Edition on 20-27 March 2018, lot 79, sold for USD 5,250. 康熙時期松石綠釉三足底座中國，十七世紀下半葉至十八世紀出。平坦的圓形頂部，獸面三蹄足，通體覆蓋著松石綠釉，帶有分散的黑點。 來源：英國私人收藏。品相：輕微磨損、表面劃痕和燒製瑕疵，例如黑點和麻點。邊緣有微小刻痕和三個有舊修補的小磕損，以及足部兩個小磕損。重量：440 克 尺寸：直徑 約15 厘米, 高5 厘米 拍賣結果比較：比較一件相近的康熙松石綠色釉六邊底座，見紐約佳士得The Art of China: New York, Spring Edition 2018年3月20-27 日 lot 79, 售價USD 5,250。
A CLOISONNE ENAMEL VASE AND COVER, JIAQING TO DAOGUANG PERIODChina, 1796-1851. The compressed globular body rising from a tall foot to a short cylindrical neck with everted rim, surmounted by a domed cover with a bud finial, the rims gilt. Finely decorated with colorful scrolling lotus above a lappet band and below a ruyi-head band. The shoulder and neck with bands of foliate scroll, the foot with geometric designs, all against a bright turquoise ground save for the dark-red-ground shoulder band.Provenance: Collection of Asbjorn Lunde. Asbjorn Lunde (1927-2017) was a New York lawyer and devoted art collector. Over more than 60 years, he built a substantial collection featuring Old Masters, landscape paintings, prints, European sculpture, South Asian painting and sculpture, and Asian decorative arts. Throughout his life, Mr. Lunde supported more than forty museums in New York City, across the United States, and in Europe with loans, gifts, and funding. He was a Fellow and Benefactor at the Metropolitan Museum of Art.Condition: Good condition with minor old wear and manufacturing irregularities, such as expected pitting. A shallow and small, hardly visible bruise to the body with associated flaking to enamels. The lower interior rim of the cover is bent. Few minuscule nicks and occasional light scratches.Weight: 1,850 gDimensions: Height 26.4 cmThe cover similarly decorated with lotus scroll, below a black-ground band of similar design to the one at the foot, and above a ruyi-head band encircling the finial. 嘉慶至道光時期掐絲琺琅纏枝蓮紋蓋瓶中國，1796-1851年。罐唇口，短直頸，豐肩圓腹，圈足。拱形瓶蓋，蓮花寶珠頂。景泰藍地，瓶蓋和瓶身施纏枝蓮紋，頸部卷葉紋，肩部如意紋。造型高貴典雅，製作精美。 來源：Asbjorn Lunde收藏。Asbjorn Lunde (1927-2017) 是一位紐約律師和忠實的藝術收藏家。 六十多年來，他建立了龐大的收藏，涵蓋古代大師、山水畫、版畫、歐洲雕塑、南亞繪畫和雕塑以及亞洲裝飾藝術。在他的一生中，他通過貸款、禮物和資金支持了紐約市、美國和歐洲的四十多家博物館。他是大都會藝術博物館的研究員和捐助者。 品相：狀況良好，有輕微的磨損和製造瑕疵，例如預期的點蝕。瓶身有一處淺而小、幾乎看不出的擦傷，並有琺琅剝落。 蓋子的下內緣是彎曲的。少量細小的刻痕和輕微劃痕。 重量：1,850 克 尺寸：高26.4 厘米
A VERY LARGE GILT AND DRY-LACQUERED SCULPTURE OF BUDDHA SHAKYAMUNI, SHAN STATES, KONBAUNG PERIODBurma, 1752-1885. Seated in dhyanasana with his right hand lowered in bhumisparsa mudra and the left held above his lap, wearing a samghati draped over the left shoulder, the serene face with downcast eyes, gently arched eyebrows, and full lips forming a calm smile, flanked by elongated earlobes, the hair arranged in tight spikes with a high ushnisha surmounted by a jewel.Provenance: Danish trade.Condition: Presents magnificently overall. The flame jewel above the ushnisha is possibly a replacement. Some losses to the hair spikes. Old wear and weathering, nicks, surface scratches, age cracks, losses, flaking to lacquer, minor old repairs, extensive wear to gilt. Nevertheless, dry lacquer sculptures of significant age are usually heavily damaged, hence it must be concluded that this piece is in good condition commensurate with age.Dimensions: Height 122 cmThe founding of Shan States inside the present-day boundaries of Burma began during the Pagan Kingdom in the Shan Hills and accelerated after 1287, when the Pagan Kingdom fell to the Mongols. The Tai people, who came south with the Mongols, stayed, and quickly came to dominate much of the northeastern arc of Burma. The newly founded Shan States were multi-ethnic, and included minorities such as the Chin, the Kachin, the Wa, the Ta'ang, the Lisu, the Lahu, the Pa O, and the Kayah. Although Burmanized Shans founded the Ava Kingdom that ruled central Burma, other Shan States, Mohnyin in particular, constantly raided Ava territories throughout the years. A Mohnyin-led Confederation of Shan States finally conquered Ava in 1527.In 1555, King Bayinnaung dislodged Shan king Sithu Kyawhtin from Ava. By 1557 he went on to conquer all of what would become known as the Burmese Shan States under his rule, from the Assamese border in the northwest to those in Kachin and Shan Hills, including the two most powerful Shan States, Mohnyin and Mogaung. The Shan States were reduced to the status of governorships, but the Saophas (rulers) were permitted to retain their royal regalia and their feudal rights over their own subjects. Bayinnaung introduced Burmese customary law and prohibited all human and animal sacrifices. He also required the sons of Saophas to reside in the Burmese king's palace, essentially hostages, in order to ensure the good conduct of their fathers and to receive training in Burmese court life. Burmese kings continued this policy until 1885 when the kingdom fell to the British. In the mid-18th century, the Burmese Konbaung dynasty's reassertion of the easternmost boundaries of Burmese Shan States led to war with China, following which eight of the Chinese Shan States were briefly occupied by the Kingdom of Burma. The Burmese success in repelling Chinese forces laid the foundation for the present-day boundary between Burma and China.Auction result comparison: Compare a closely related Shan-style lacquer Buddha, 201 cm high, dated to the 18th century, at Bonhams London in Fine Asian Art on 10 July 2006, lot 374, sold for GBP 18,000.
AN EMBROIDERED YELLOW SILK POUCH, LATE QING DYNASTYChina, early 19th century. The sachet made from yellow silk and embroidered with a prominent shou medallion amongst numerous auspicious symbols such as bats, butterflies, chimes and lingzhi clouds. With a pleated drawstring top, the neck tied with a pair of strings.Provenance: From a private collection, Texas, USA.Condition: Some wear and loose threads, and some minor splits to the silk mostly at the pleated drawstring section. Overall good condition commensurate with age. The colors still fresh and crisp.Dimensions: Length 12.1 cm, Height 7.6 cmDrawstring purses affirm the nomadic origin of the Manchu, as they probably developed from carrying purses made of leather which often contained pieces of flint needed to strike a flame, fundamental to the Manchu way of life. Silk pouches formed an essential part of the outfit worn by the highest-ranking members of Qing society. These small containers were often suspended from court belts, chaodai, serving as receptacles containing daily necessities, such as aromatic items, tobacco, and other small objects.Auction result comparison: Compare a pair of related 'Dragon' purses, dated to the 19th century, of similar size (11.5 cm), at Bonhams in Fine Chinese Art - Including Imperial and Court Textiles Curated by Linda Wrigglesworth on 2 November 2021, lot 277, sold for GBP 5,355. 晚清黃地五福壽紋刺綉荷包中國，十九世紀初。腰圓式荷包為黃色地，上面綉著蝙蝠、蝴蝶、鈴鐺和如意祥雲等眾多吉祥符號，中央有一個醒目的壽字。可以通過拉動通穿荷包的絲絛開啟。 來源：美國德克薩斯私人收藏 品相：絲絛有些磨損和鬆散，主要在褶襉抽繩部分有一些小裂縫。 總體狀況良好，與年齡相稱。 顏色依然清新明快。尺寸：長12.1 厘米，高7.6 厘米 拍賣結果比較: 比較一對十九世紀的龍紋錢包，11.5厘米，見邦翰思Fine Chinese Art - Including Imperial and Court Textiles Curated by Linda Wrigglesworth 2021年11月2日 lot 277, 售價GBP 5,355。
AN IRON RITUAL STAFF, KHATVANGA, 16TH-17TH CENTURYTibet. Well cast, the handle surmounted by a vajra above three citipati skulls in openwork, the octagonal shaft incised with plain linear decoration and tapering to a vajra tip.Provenance: Austrian private collection.Condition: Very good condition with extensive old wear, traces of use, and small nicks here and there.Weight: 539.5 g Dimensions: Length 34.5 cm With a fitted modern metal stand. (2)Expert's note: A tantric staff, or khatvanga, is a ritual instrument held in the crook of the left arm of advanced Buddhist practitioners during ceremonies. It symbolizes the triumph of wisdom over illusion. The shaft terminates in a vajra, the thunderbolt of instant enlightenment.Auction result comparison: Compare a related Danda at Bonhams Hong Kong in The Presencer Collection of Buddhist Art on 2 October 2018, lot 174, sold for HKD 75,000.十六至十七世紀祭祀鐵天杖西藏，鑄造精良，杖頭由三顆骷髏頭、一隻寶瓶、一個直立的金剛杵或一個噴焰三股叉組成。 來源：奧地利私人收藏。 品相：狀況極好，有大量磨損、使用痕跡和小刻痕。 重量: 539.5 克 尺寸：長 34.5 厘米 現代金屬底座 (2) 拍賣結果比較：比較一件相近的Danda，見香港邦翰思 The Presencer Collection of Buddhist Art 2018年10月2 日 lot 174, 售價HKD 75,000。
A CHICKEN BONE JADE 'CHILONG' BELT HOOK AND BUCKLE, MING DYNASTYChina, 16th-17th century. Each of rectangular form and carved in openwork with coiled chilong, the hook terminating in a dragon head which fits perfectly into the semicircular loop on the buckle. The semi-translucent stone is of a distinct cream tone with dark veins and cloudy inclusions.Provenance: David Baker, London, United Kingdom. Established in 1978, David Baker Oriental Art is known for early ceramics, jades and works of art from China, Japan, and Korea. Baker was also instrumental in the founding of Asian Art in London in 1998.Condition: Very good condition with minor old wear and some nibbling to edges. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Good, naturally grown patina with a smooth feeling overall.Weight: 31.0 g (the buckle) and 36.6 g (the hook)Dimensions: Length 4.7 cm (the buckle), 5 cm (the hook), and 8.5 cm (when attached together)Auction result comparison: Compare a related white and russet jade belt hook and buckle, of similar form and also carved with a chilong and dragon-head hook, dated to the 17th century, at Sotheby's Hong Kong in The Muwen Tang Collection Of Chinese Jades on 30 November 2016, lot 45, sold for HKD 56,250 (part-lot, together with a smaller jade ornament). 明代雞骨玉螭龍紋帶扣一對中國，十六至十七世紀。方形帶扣用整塊玉套雕而成，分子扣和母扣，正面鏤雕兩隻盤螭，方形玉扣上浮雕一龍首，將兩扣相連，開合自如。半透明的玉料具有獨特的奶油色調，帶有深色的紋理和絮狀物。 來源：倫敦David Baker收藏，創建於 1978。David Baker 東方藝術收藏中以中國、日本和韓國的早期陶瓷、玉器和藝術品而聞名。 Baker還在1998 年創立的倫敦亞洲藝術中心發揮了重要作用。品相：狀況極好，有輕微的磨損，邊緣有一些輕微的磨損。 具有天然裂紋的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。包漿細膩，整體感覺光滑。 重量：帶扣31.0 克，帶鈎36.6 克 尺寸：帶扣長4.7 厘米，帶鈎5 厘米，合在一起為 8.5 厘米 拍賣結果比較：比較一件相近的十七世紀白玉螭龍紋帶扣，見香港蘇富比The Muwen Tang Collection Of Chinese Jades 2016年11月30日 lot 45, 售價HKD 56,250。
A THANGKA OF VAJRADHARA, 18TH CENTURYTibet. Distemper on cloth. Vajradhara is depicted seated in dhyanasana on a lotus throne supported by snow lions with offerings and Buddhist emblems placed before him, flanked by elephants and other creatures. His two hands are folded across the heart in the mudra of non-duality, while holding a vajra scepter and a vajra-handled bell, wearing a dhoti and bejeweled, his face with a meditative expression, further surrounded by other deities and several Mahasiddha.Provenance: From a private collection in Belgium, acquired from Mrs. L. and Mr. B., former ambassador of UNESCO in India, in office between 1960 and 1970.Condition: Good condition with old wear, soiling, creasing, minor losses and touchups. The textile mounting with few tears.Dimensions: Image size 46 x 31.5 cm, Size incl. mounting 96.5 x 48.5 cm, Size of frame 117 x 70.4 cmWith a silk brocade frame, mounted as a hanging scroll. Matted and framed behind glass.Vajradhara is the supreme, primordial Buddha without beginning or end, lord of all mysteries, master of all secrets, who is the root-deity of many Tantric Buddhist teachings.Literature comparison: Compare a related thangka of Vajradhara in the Smithsonian's National Museum of Asian Art, accession number F1905.67.十八世紀金剛總持唐卡西藏，布面膠畫，掛軸。金剛總持結跏趺坐坐於蓮座上，由兩隻雪獅馱著。雪獅前放著供品和佛教法器，兩側是大象和其他瑞獸。他的兩隻手交叉置於胸前，同時拿著金剛杵和金剛鈴；他身著天衣，佩戴華麗珠光，表情似乎在冥想，四周圍繞著其他本尊和幾位大成就者。 來源：比利時私人收藏，購於Mrs. L. 與 Mr. B.處， 曾經於1960年至1970年間擔任聯合國教科文組織在印度的大使。 品相：狀況良好，磨損、污漬、摺痕、輕微缺損和修補。織物鑲嵌有輕微水漬。 尺寸： 畫面46 x 31.5 厘米, 總96.5 x 48.5 厘米, 框117 x 70.4 厘米 錦面裝幀成掛軸，玻璃裝框。
A SUPERB INDIAN STONE LINGAM, LATE 19TH - EARLY 20TH CENTURYDeemed the purest embodiment of Shiva, the lingam serves as the primary emblem of worship for this Hindu deity. Its aniconic form symbolizes a phallus or a pillar of light. Self-manifested or svayambhu lingas are spawned in the bed of the sacred Narmada River in Western India. Occurring through natural rock formations and erosions, ovoid boulders such as the present lot are considered remarkably propitious.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s.Condition: Excellent condition with minor wear.Dimensions: Height 50 cm (excl. stand)With a modern wood stand. (2)Auction result comparison: Compare a related stone lingam, 129.5 cm high, at Sotheby's New York in Indian & Southeast Asian Works of Art on 19 March 2014, lot 21, sold for USD 17,500. A related stone brahmanda, 46 cm high, dated to the 19th century, with a matching bronze tripod stand, was sold in these rooms in Fine Chinese Art, Buddhism & Hinduism on 6 March 2021, lot 748, sold for EUR 16,432.
A QINGBAI CERAMIC FIGURE OF A DOG, SONG DYNASTYChina, 12th - 13th century. The dog freely modeled in a reclining pose, the front paws placed one above the other, wearing a ruff around the neck tied at the back in a long lace and with a bell dangling in front. Covered overall in a finely crackled glaze of pale grayish-blue tone, the base left unglazed.Provenance: Old Austrian private collection. By repute acquired from Galerie Zacke, Vienna, Austria, 1996.Condition: With old wear and firing flaws, such as short firing cracks and fritting, the snout and lace with a small chip. The left ear and part of the lace with a small old restoration.Weight: 115.5 g Dimensions: Length 8 cmThe sugary texture and grayish-blue glaze color are closely associated with wares produced at Jingdezhen in the Southern Song period (1127-1279). This piece possibly derives from the tradition of figural wares such as funerary urns with modeled and applied decoration.Literature comparison: For a related dog figure, dated to the Song dynasty, see the National Museum of Asian Art at the Smithsonian, accession number S2012.9.3507.Auction result comparison: Compare another Qingbai figure of a dog at Sotheby's Hong Kong in Chinese Art on 29 May 2019, lot 327, sold for HKD 20,200 (part lot).宋代青白臥犬擺件中國，十二至十三世紀。臥犬斜倚，前爪搭在另一隻上面，脖子上系著一條長長的絲巾，前面掛著一個鈴鐺。整體覆蓋在淺灰藍色調的開片釉中，底部露胎。 來源：奧地利私人老收藏，據説約在1996年購於奧地利Zacke藝廊。 品相：有舊時磨損和燒製瑕疵，例如燒裂紋和熔塊，口鼻部和邊沿有小磕損。左耳和部分邊沿有小修復。 重量: 115.5 克 尺寸：長 8 厘米 拍賣結果比較：比較一件青白釉犬，見香港蘇富比Chinese Art 2019年5月29日 lot 327, 售價HKD 20,200 （此號拍品中的其中一件）。
A SANDSTONE TORSO OF A MALE DEITY, BAPHUON STYLE, ANGKOR PERIODKhmer Empire, 11th century. The torso sensitively modeled wearing a high-waisted sampot, tied at the front below the navel with the folds splayed across the left thigh and secured at the front and back with a belt.Provenance: French private collection, by repute acquired in London on 10 March 1986. The stand with three old collector's labels, two to the back and one to the underside.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, nicks, scratches, few structural cracks. Old varnish coating with remnants of ancient lacquering. Weight: 5,389 g Dimensions: Height 39 cm (excl. stand) and 47.7 cm (incl. stand)Mounted on an associated stand. (2) Auction result comparison: Compare a closely related sandstone torso, 57.2 cm high, also dated to the 11th century, at Christie's New York in Indian and Southeast Asian Art on 18 September 2013, lot 393, sold for USD 11,250.
A THANGKA OF TSONGKHAPA AND THE GELUGPA REFUGE TREE, 19TH CENTURYTibet. Distemper on cloth. Tsongkhapa is seated in dhyanasana on a lotus throne with a mandorla and halo behind him, holding an alms bowl in his lowered left hand, two lotuses coming to full bloom at his shoulder supporting the sword and sutra. Surrounded by a retinue of Buddhas, celestial beings, lineage holders, dakinis, wrathful protectors, and other figures, all within the framework of a tree growing from the water below.Matted and framed behind glass.Provenance: From a Hungarian private collection.Condition: Overall very good condition with old wear, soiling, creasing, and minor losses. Possibly with minuscule touchups.Dimensions: Image size 31.3 x 23.4 cm, Size incl. frame 44 x 36 cmThis thangka represents the field of accumulation of merit in which all of the teachers of a specific tradition, their teachings written in religious texts, deities that are the focus of practices in that tradition, and its protectors are visually arranged as one large gathering. Such depictions are meant for devotional practices and also represent the Three Jewels of the Buddhist Faith. This field is arranged around the central teacher Tsongkapa (1357-1419), the founding teacher of the Gelug tradition. He is surrounded by teachers, meditational deities, and protectors, shown below. The practitioner would identify with a monk depicted in the lower right, who was probably the donor for this painting.Literature comparison: Compare a related thangka of Tsongkhapa and a refuge field, also dated to the 19th century, but of much larger size, in the collection of the Rubin Museum of Art, object number F1997.37.1Auction result comparison: Compare a closely related thangka (76.5 x 50 cm) in similarly well-preserved condition, at Bonhams London in The Jongen-Schleiper Collection of Fine Thangkas on 11 May 2017, lot 19, sold for GBP 22,500. 十九世紀宗喀巴上師皈依境圖西藏。布面膠彩。畫面中心為格魯派的創始人宗喀巴大師，頭戴黃色桃形尖帽，面容俊逸且安詳，內著僧坎，外披袈裟，左手托缽，右手結法印，兩肩飾有經書和寶劍，寓意大師為文殊菩薩的化身。下身著寬鬆僧裙，雙腿結跏趺坐於蓮花座上。唐卡上方左右兩個圓形畫框內繪阿彌陀佛的極樂淨土和彌勒菩薩的兜率天淨土。中央上方和下方二組人物分別為"密乘"的主要傳承以及格魯派"主要信奉"的聖眾，包括諸佛、菩薩、護法、羅漢、空行母等。玻璃裝框。 來源：匈牙利私人收藏。 品相：整體狀況極好，有舊時磨損、髒汙、摺痕和輕微缺損，輕微修補。 尺寸：畫面31.3 x 23.4 厘米，總44 x 36 厘米 拍賣結果比較：比較一件形制和品相相近的唐卡 (76.5 x 50 厘米) ，見倫敦邦翰思The Jongen-Schleiper Collection of Fine Thangkas 2017年5月11日 lot 19, 售價GBP 22,500。
A LANGYAO VASE, TIANQIUPING, QING DYNASTYChina, 18th-19th century. The pear-shaped body surmounted by a tall slender neck, supported on a recessed base, covered overall in a rich glaze of oxblood color with intentional crackling, thinning towards the rim to reveal the buff ware, the base and interior covered in white glaze. Provenance: British trade. Condition: Superb condition with minor wear overall. Some areas of glaze dripping at the foot rim have been smoothened, probably at the time of manufacturing. The foot rim with extensive wear. Some minor manufacturing imperfections such as glaze recesses.Weight: 3,392 g Dimensions: Height 37.2 cm Auction result comparison: Compare a related langyao-type vase, 58.5 cm high, also dated to the 18th-19th century, at Christie's Paris in Art d'Asie on 9 June 2015, lot 235, sold for EUR 10,000. 清代郎窯紅天球瓶中國，十八至十九世紀。瓶形為小口、直頸、豐肩、圈足，器身渾圓若球。釉面光潔透亮，有玻璃質感，釉色瑩澈濃艷，胎骨厚重。口沿部釉面變薄，成白色可見内胎。圈足露胎。來源：英國古玩市場。 品相：整體狀況良好，磨損較小。足緣滴釉的部分區域可能是在製造時已被磨平，圈足大量磨損，一些輕微的製造瑕疵，例如釉面凹陷。 重量：3392 克 尺寸：高37.2 厘米 拍賣結果比較：比較一件相近的十八至十九世紀郎窯瓶，高58,5 厘米，見巴黎佳士得 Art d'Asie 2015年6月9日 lot 235, 售價EUR 10,000。
A DEHUA PAIR OF ELEPHANT CANDLE-HOLDERS, EARLY QING DYNASTYChina, 18th century. Massively potted, standing with their heads turned to the side, caparisoned with large saddles, each carrying a gu-form candle-holder on its back, covered overall in a thick white glaze.Provenance: French trade. Condition: Commensurate with age. Some nibbling, chipping, hairlines, losses, and small old repairs. Manufacturing irregularities such as dark spots, glaze recesses, and kiln grit.Weight: 1782 g and 1673 g Dimensions: Height 19 cm and 19.2 cm, Length 26 cm and 26.5 cmAuction result comparison: Compare a pair of elephant candlestick holders, partially decorated in famille rose, at Christie's on 4 October 2012, lot 87, sold for EUR 16,250. Compare also a related dehua porcelain elephant, dated to the 18th century, at Christie's Paris in Art d'Asie on 10 December 2014, lot 327, sold for EUR 5,000. 清初一對德化白象燭臺中國，十八世紀。大象側首立，背部馱著燭台，通體施厚白釉。 來源：法國古玩市場。 品相：與年齡相稱。一些磕損、碎裂、細裂紋，缺損和小修補。製造瑕疵，如黑點、釉面凹陷和窯砂。重量：分別爲1782 克與1673克 尺寸： 分別高19 厘米與19.2 厘米，分別長26 厘米與26.5 厘米 拍賣結果比較：比較一對局部粉彩的象形燭臺，見佳士得2012年10月 4日 lot 87, 售價EUR 16,250；另一件十八世紀德化窯象形燭臺，見巴黎佳士得Art d'Asie 2014年12月10日 lot 327, 售價EUR 5,000。
A PAIR OF FAMILLE ROSE 'MILLEFLEUR' VASES, LATE QING TO REPUBLICChina, 1900-1949. Each with ovoid sides rising from a short foot to a waisted neck with lipped rim, the high shoulder applied with two iron-red and gilt bat-form handles. Finely painted in bright enamels with an ovoid panel enclosing Shoulao carrying his staff and holding a longevity peach to one side and Lin Daiyu carrying a flower basket on the other, all against a rich millefleur design on a gilt ground.Provenance: From a Swedish private collection. Condition: The first vase is in excellent condition with only minor wear and firing flaws. The second vase shows a glaze hairline (not going through the body and hardly visible to the naked eye), a minuscule old repair to one bat ear only, and microscopic firing flaws to the enamels - it is overall still in good condition. Both vases are slightly tilted and show only minimal wear to the gilt.Weight: 941.1 g and 891.9 gDimensions: Height 29.2 and 29.1 cmThe countersunk bases each with an apocryphal iron-red six-character seal mark da Qing Qianlong nianzhi.Auction result comparison: Compare a related deer-handled single vase of hu form (47.8 cm high), also with an apocryphal Qianlong mark and panels enclosing figures against a millefleur design, dated to the Republic period, at Bonhams San Francisco in Fine Chinese Works of Art on 24 June 2014, lot 8331, sold for USD 15,000. Compare also a related scroll-handled vase, 35 cm high, also with an apocryphal Qianlong mark and panels enclosing figures against a millefleur design, dated to the late Qing dynasty, at Bonhams Hong Kong, 24 November 2010, lot 263, sold for HKD 108,000.清末民初一對粉彩開光萬花紋賞瓶 中國，1900-1949年。唇沿，直頸，瓶身長且削腹，底足內凹。兩肩除飾有兩個礬紅描金蝙蝠形輔首。彩繪萬花紋精美，橢圓形開光內分別描繪壽老拜壽與林黛玉葬花場景手執花籃，與富麗的萬花紋相映成趣。 來源：瑞典私人收藏。 品相：第一個花瓶狀況極佳，只有輕微磨損和燒製瑕疵。 第二個花瓶釉面有纖細裂紋（未穿過身體，肉眼幾乎看不到），僅對一隻蝙蝠輔首曾進行了微小的修復，以及釉面細微燒製瑕疵。總體上仍處於良好狀態。兩個花瓶都略微傾斜，描金處有小磨損。 重量：941.1 克與 891.9 克 尺寸：高 29.2 與 29.1 釐米 底足內有礬紅釉寄託款"大清乾隆年製"。 拍賣結果比較：比較一件民國時期的鹿耳壺，高47.8 厘米，同樣有乾隆寄託款，萬花紋開光人物，，見舊金山邦翰思Fine Chinese Works of Art 2014年6月24日 lot 8331, 售價USD 15,000；比較一件清代的雙耳瓶，高 35 厘米，同樣有乾隆款與萬花紋，見香港邦翰思2010年11月 24日 lot 263, 售價HKD 108,000。
A SAPPHIRE-BLUE OVERLAY GLASS 'CELESTIAL EYE' SNUFF BOTTLE, 18TH-19TH CENTURYChina. Of upright rectangular form with sloping shoulders standing on a well-finished oval foot ring, the front and back decorated with a celestial eye goldfish amid lotus carved from translucent sapphire-blue glass overlay, the body of transparent glass. Provenance: British trade. Condition: Good condition with minor nibbling to lip and base, some wear and light surface scratches, a little chip to the neck. Stopper: Stopper of red colored organic material Weight: 51 g Dimensions: Height including stopper 90 mm. Diameter neck 13 mm and mouth 6 mm. Celestial eye goldfish or Choutengan is a double-tailed breed of fancy goldfish that has a defining pair of telescope eyes which are turned upwards, pupils gazing skyward. Celestial eye goldfish in a pond were a popular motif during the Qing dynasty. Auction result comparison: Compare a related sapphire-blue overlay glass 'carp' snuff bottle, dated 18th-19th century, at Christie's New York, in Chinese Works of Art: Snuff Bottles & Books, on 29 July 2013, lot 6, sold for USD 2,500. 十八至十九世紀寶石藍套料荷塘魚戲鼻烟壺中國。扁長形，削肩，橢圓形圈足，透明玻璃，兩面可見藍寶石玻璃描繪荷塘魚戯。 來源：英國古玩市場。 品相：狀況良好，唇部和底部有輕微磨損和表面劃痕，頸部有一點磕損。 壺蓋：紅色有機材料 重量：51 克 尺寸：含壺蓋高90 毫米，頸部直徑13 毫米，唇部直徑6 毫米 拍賣結果比較：比較一件十八至十九世紀相近寶石藍套料鯉魚紋鼻烟壺，見紐約佳士得Chinese Works of Art: Snuff Bottles & Books 2013年7月29日 lot 6, 售價USD 2,500。
A SAPPHIRE BLUE TRANSPARENT GLASS BOTTLE VASEIran, 10th century. Rising from a concave foot to a bulbous body molded with slightly twisted vertical ribs, the cylindrical neck with an everted rim. Provenance: British private collection, by repute acquired at Christie's, Islamic Works of Art & Textiles, 6 October 2008, Lot 367, in an after-sale transaction. Condition: Significant wear, weathering, minor corrosion, extensive encrustations from excavation, a single loss to the lower body. The neck with an ancient repair.Weight: 147 g Dimensions: Height 17 cmThe Silk Road, both overland and maritime, not only connected continents as a commercial network from as far west as Italy and as far east as today's Xi'an in northern China, but also enabled cultural, intellectual, and spiritual exchange. Quite early in the Islamic era, a 9th-century blue glass plate was excavated at Nishapur in northeast Persia. Its intense color was achieved by adding cobalt to the glass mix. However, six similar glass dishes were found in the Famen temple in China. At this time Chinese glass was inferior in quality to Islamic, to the extent that apparently China depended on imports from the West, contrasting with the hunger for Chinese ceramics in Western Asia.Literature comparison: Two similar glass bottles are in the Victoria & Albert Museum, accession number C.132-1936 and in the British Museum, registration number 1959,0218.1.Auction result comparison: Compare a related blue glass bottle at Christie's London in Art of the Islamic and Indian World, lot 39, sold for GBP 10,000 (part lot).
A MUGHAL MINIATURE PAINTING OF A PRINCESS ON A TERRACENorth India, Jodhpur, late 18th to early 19th century. Ink, gouache, and gold on paper. Finely painted with a princess dressed in orange and yellow robes seated against a pillow on a marble terrace, holding a flower and a garland of white jasmine, with vessels before her, trees and the sunset sky behind. Provenance: From a South German private collection, assembled during the 1970s. Condition: Good condition with some wear, minor soiling, few small tears, and losses along the margin. Dimensions: Sheet size 14.5 x 19.5 cm, size incl. frame 41 x 47 cm Auction result comparison: Compare a related Jodhpur painting, dating to the 18th century, depicting a princess on a terrace at Christie's New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 85, sold for USD 10,625.
A PAIR OF CLOISONNE VASES, QIANLONG TO JIAQINGChina, 1736-1820. The ovoid body supported on a spreading foot and rising to a waisted neck with flared rim. Finely decorated in bright enamels to the neck and body with floral scroll against a turquoise ground, divided by a band of trefoils against a white ground to the shoulder, with bands of ruyi-heads, stiff leaves, and floral scroll. (2)Provenance: From an old private collection in the Rhineland, Germany, assembled during the 1980s and 1990s.Condition: Very good condition with some wear, particularly to gilt, and expected manufacturing flaws, such as pitting. Minor nicks and light scratches.Weight: 669.9 g and 681.5 gDimensions: Height 18.6 cm and 18.9 cmAuction result comparison: Compare a related cloisonne 'lotus' vase, 35 cm high, dated to the Qianlong period, at Christie's Hong Kong in Reverence and Perfection - Magnificent Imperial Cloisonne Enamels from a Private European Collection on 29 May 2013, lot 2070, sold for HKD 625,000. Compare a related cloisonne 'lotus' vase, 33 cm high, dated to the Qianlong period, at Christie's Paris in Art d'Asie on 12 June 2012, lot 103, sold for EUR 25,000. 乾隆至嘉慶一對銅胎掐絲琺琅纏枝蓮紋瓶中國，1736-1820年。侈口，長頸，削肩，圈足外撇。松石綠色地飾多彩琺琅，口沿下與肩部飾如意紋，頸部卷葉荷花紋，腹部纏枝蓮紋。琺琅明亮沉穩。 來源：德國萊茵蘭私人老收藏，購於上世紀八十年代至九十年代。 品相：狀況極好，有一些磨損，尤其是鎏金，以及製造瑕疵，例如點蝕。輕微的刻痕和劃痕。 重量：分別爲669.9 克與 681.5 克 尺寸：高分別爲18.6 厘米 與18.9 厘米 拍賣結果比較：比較一件相近的乾隆時期銅胎掐絲琺琅蓮紋瓶，高35 厘米，見香港佳士得Reverence and Perfection - Magnificent Imperial Cloisonne Enamels from a Private European Collection 2013年5月29日 lot 2070, 售價HKD 625,000。比較另一件相近的乾隆時期銅胎掐絲琺琅蓮紋瓶，高33 厘米，見巴黎佳士得Art d'Asie 2012年6月12日 lot 103, 售價EUR 25,000。
AN AMBER-GLAZED MARBLED POTTERY JAR, TANG DYNASTYChina, 618-908. Finely potted, the body formed of two sections meeting at the shoulder, the flaring sides rising from a flat foot to a rounded shoulder with a short waisted neck and everted lip. Made from rolled and flattened layers of dark and light clay, covered with a transparent amber glaze stopping unevenly above the foot, revealing the buff-brown ware.Provenance: From a private collection in New York, USA.Condition: Very good condition with some old wear and firing flaws, the base with light surface scratches and traces of use, the shoulder with a small nick and a minor glaze flake.Weight: 255.1 gDimensions: Height 9 cmMarbling, known as jiao tai in Chinese, became a popular decorative technique on ceramics of the Tang dynasty, and was applied to a number of different forms, including jars, cups, bowls, dishes and censers. Sections of marbling were also inlaid into larger items, such as pillows, for special decorative effect. The popularity of marbled wares with the Tang aristocracy was confirmed by the discovery of a small number of horses made with marbled clay among the items in the tomb of the Tang Princess Yongtai, who was given a grand reinterment in AD 706.The marbled appearance could be achieved either by combining clays of different colors when making the vessel, or by using two contrasting slips on the surface of the vessel. In either case the piece was afterwards covered with a transparent glaze. The most popular glazes were amber, as seen on the present jar, green, or colorless. It can clearly be seen that the present jar was made by mixing contrasting clays, and it can further be seen that the upper and lower sections were made separately and then luted together. This would have required considerable skill on the part of the potter, and on the present jar it was done quite successfully.Literature comparison: Compare a related and similarly glazed jar, also without a cover, found at Xianyang, Shaanxi province in 1952. The tomb from which the Xianyang jar was excavated has been dated to AD 714. The jar, now in the Shaanxi Provincial Museum, is illustrated in Zhongguo wenwu jinghua daoquan - Taoci juan, Taipei, 1993, p. 247, no. 246. Another larger marbled jar with amber glaze, also without a cover, is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol. I, London, 1994, no. 230.Auction result comparison: Compare a closely related amber-glazed marbled pottery jar with cover, dated to the Tang dynasty, at Christie's New York in The Falk Collection 1: Fine Chinese Ceramics & Works of Art on 16 October 2001, lot 19, sold for USD 58,750. 唐代琥珀色釉絞胎瓷罐 中國，618-908年。罐小口，豐肩，鼓腹，平足。罐身以褐、白兩色泥料揉絞出花紋。罐身至足部施琥珀色釉。 來源：美國紐約私人收藏。 品相：狀況極好，有舊時磨損和燒製瑕疵，底座有輕微的劃痕和使用痕跡，肩部有一個小刻痕和輕微的釉面剝落。 重量：255.1 克 尺寸：高9 厘米 拍賣結果：比較一件相近的唐代琥珀色釉絞胎瓷蓋罐，見紐約佳士得The Falk Collection 1: Fine Chinese Ceramics & Works of Art 2001年10月16日 lot 19, 售價USD 58,750。
AN IMPERIALLY INSCRIBED BRONZE INCENSE TRAY, QING DYNASTYChina, 1644-1912. Of square form with indented corners, the interior cast with a poetic inscription and an apocryphal Xuande date, the base with four feet in the form of ruyi heads and in the center two sinuous dragons pursuing a flaming pearl and writhing around a two-character inscription.Inscriptions: To base, 'nei yong' (for internal [Imperial] use).Provenance: Old private collection, acquired in China between the 1930s and 1940s, thence by descent. Sotheby's New York, 23 March 2019, lot 1339, sold for USD 3,000. A noted French private collection, acquired from the above.Condition: Excellent condition with some old wear, minor casting flaws, good naturally grown patina overall.Weight: 464.9 gDimensions: Size 13.8 x 13.7 cmWith a fitted wood base, probably dating from the earlier 20th century. (2)Literature comparison: Compare a near-identical incense tray, dated to the 19th century, in the collection of the British Museum, museum number 1943,0215.4.Auction result comparison: Compare a related bronze quatrefoil tray, also with an apocryphal Xuande mark, at Sotheby's Hong Kong in Water, Pine And Stone Retreat Collection, Scholarly Art II on 3 April 2012, lot 141, sold for HKD 125,000. 清代"御製錦堂春詞"銅四方倭角香盤中國，1644-1912年。此件香盤精銅鑄造，呈四方倭角式造型，寬折沿，緣邊起弦紋一套，淺腹弧壁，平底，如意雲頭形四足，足間雙龍戲珠紋，五爪龍身姿矯健，龍首尾相對，盤旋追逐，中環抱"內用"楷書二字。 來源: 私人收藏，上世紀三十至四十年代購於中國，保存至今。紐約蘇富比2019年3月23日 lot 1339, 售價USD 3,000。法國知名私人收藏, 購於上述收藏。 品相: 狀況極佳，一些磨損，輕微鑄造瑕疵，包漿細膩。 重量: 464.9 克 尺寸: 13.8 x 13.7 厘米 木底座可能爲二十世紀初。(2) 拍賣結果比較: 比較一件相近的宣德款倭角方盤，見香港蘇富比Water, Pine And Stone Retreat Collection, Scholarly Art II 2012年4月3日 lot 141, 售價HKD 125,000。
A RED SANDSTONE RELIEF OF SHIVA, 12TH - 13TH CENTURYIndia, Rajasthan or Madhya Pradesh. Finely carved with the four-armed Shiva seated atop Nandi, holding a staff and a vessel in his left hands, wearing a dhoti and beaded jewelry, his face with almond-shaped eyes, full lips and elongated earlobes with earrings, the matted hair, a symbol of his asceticism, piled into the jatamukuta. To his left a ringed column, a vyalaka and an attendant figure.Provenance: From a noted private collection in Belgium.Condition: Good condition, commensurate with age, extensive wear and losses, nicks and scratches, signs of erosion and weathering, natural cracks.Dimensions: Height 58 cmLiterature comparison: Compare a related relief of Shiva at the Los Angeles County Museum of Art, museum number M.74.5.6.Auction result comparison: Compare a related figure of Shiva and Parvati seated atop Nandi at Christie's New York in Indian and Southeast Asian art on 17 September 2003, lot 25, sold for USD 38,240.
A CELADON AND RUSSET JADE BUDDHIST LION, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century or earlier. The recumbent beast with its head turned to one side, holding a lotus stem with two blossoms in its mouth, its characteristic ears flicked back, the bulging eyes above a ruyi-shaped snout. The mane, backbone, and tail are detailed with fine incisions. The stone of deep celadon color with distinct russet inclusions. Two pierced holes for usage as a pendant.Provenance: Rare Art, Inc., New York, USA, 4 April 1978. A private collection in Philadelphia, USA, acquired from the above. A copy of the original invoice, dated 4 April 1978 and describing the piece as a 'Celadon jade Foo dog with lotus carving in relief, brown areas, XVIV [sic] Century', accompanies this lot.Condition: Very good condition with minor wear and few minuscule nicks. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 119.1 gDimensions: Length 6 cm, Height 3.7 cm Auction result comparison: Compare a related celadon and russet jade figure of a beast, dated to the 17th century, of slightly larger size (8.5 cm), at Christie's London in Fine Chinese Ceramics & Works of Art on 7 November 2017, lot 26, sold for GBP 13,750.明末清初青玉太獅口啣蓮花擺件中國，十七至十八世紀或更早。狻猊部分受沁為紅棕色，玉質老舊。狻猊狀貌似獅，身軀飽滿，口中啣著蓮花，尾巴上翹。頭部雕刻精細，朝天。整體活潑但姿態優雅。兩孔可穿繩作爲掛件。 來源：紐約Rare Art, Inc.藝廊，1978年4月4日；美國費城私人收藏，購於上述藝廊。隨附一份原始購買發票的複印件，上面依然可見當時的描述 "Celadon jade Foo dog with lotus carving in relief, brown areas, XVIV [sic] Century"。 品相：狀況極好，少量磨損與細小的刻痕。天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成細小的細裂縫。 重量：119.1 克 尺寸：長6 厘米, 高3.7 厘米 拍賣結果比較: 比較一件相近的十七世紀青玉雕瑞獸，尺寸稍大 (8.5 厘米)，見倫敦佳士得Fine Chinese Ceramics & Works of Art 2017年11月 7日 lot 26, 售價GBP 13,750。
A GILT-DECORATED POWDER-BLUE GROUND 'BIRDS AND FLOWERS' BALUSTER VASE, KANGXI PERIODChina, 1662-1722. The baluster sides rising from a short foot to a waisted neck with everted rim. Finely painted in gilt to the body with two pheasants perched on gnarled branches amid flowering peony above a band of scrolling lappets and below a band of butterflies and foliate scroll, and to the neck with a sparrow and butterfly amid rockwork, peony, and bamboo, below a band of pendent ruyi-heads. The underside with a double circle in underglaze blue.Provenance: Collection of Harry J. Haon II, and thence by descent within the family. Harry J. Haon II (1901-1989) and his son Harry J. Haon III (1934-2013) were chemists and lifetime employees of E.I. du Pont de Nemours & Company. In 1954, Harry Haon II moved to London to serve as a Manager of the European Office for the Foreign Relations Department. After he retired in 1962, he continued to live in London part-time until the late 1970s, and many pieces of his notable collection of Asian works of art were acquired during this time.Condition: Very good condition with some wear, particularly to gilt, and firing flaws, such as open bubbles, small glaze recesses, and dark spots. Minor fritting to rim and base.Weight: 2,675 gDimensions: Height 39.2 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including blank double circles.Auction result comparison: Compare a related but smaller (25.4 cm high) rouleau vase, also painted with birds and flowers in gilt on a powder-blue ground and dated to the Kangxi period, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 27 November 2007, lot 1710, sold for HKD 125,000.康熙灑藍地描金花鳥紋鳳尾瓶中國，1662-1722年。喇叭狀口，長頸，鼓腹，下斂，至底又廣。灑藍地描金兩隻錦雉棲息在牡丹花枝上，四周蝴蝶飛舞，牡丹盛開，竹林叢叢，足部如意紋。 圈足白釉，内有青花雙圈。 來源：Harry J. Haon II收藏，自此保存在同一家族至今。Harry J. Haon II (1901-1989) 與他的兒子Harry J. Haon III (1934-2013) 是 杜邦公司的化學家和終身僱員。1954 年，Harry Haon II 移居倫敦，擔任對外關係部歐洲辦事處經理。 1962 年退休後，他繼續在倫敦兼職生活，直到 1970 年代後期，他收藏的許多著名的亞洲藝術品都是在此期間購置。 品相：狀況極其好，有一些磨損，特別是鍍金和燒製瑕疵，例如開放的氣泡、小的釉面凹陷和黑點。 邊緣和底部有輕微的燒結。 重量：2,675 克 尺寸：高39.2 厘米 專家注釋：清初至1680年代，中國局勢動盪，御器製作及瓷器年號的使用受到各種限制。 在此期間，不同類型的其他標記開始使用，包括空白雙圈。 拍賣結果比較：比較一件康熙時期相似，但稍小 (高25.4 厘米) 的灑藍地描金花鳥瓶，見香港佳士得Important Chinese Ceramics and Works of Art 2007年11月 27日 lot 1710, 售價HKD 125,000。
AN INTERLOCKING CELADON JADE LOTUS PENDANT, QING DYNASTYChina, 19th century. Finely carved in openwork from a single piece of jade with interlocking and movable concentric rings, centered by a flowerhead pierced for suspension, the outer ring carved and neatly incised to form the petals. The translucent stone is of a celadon tone with cloudy white inclusions. Provenance: From a noted Hungarian private collection. Condition: Very good condition with minor wear and few minuscule nicks here and there. The stone with natural fissures, some of which may have developed into minuscule hairline cracks over time.Weight: 60.7 g Dimensions: Diameter 6 cm Auction result comparison: Compare a closely related movable jade carving at Christie's London in Chinese Ceramics, Works of Art and Textiles on 18 May 2012, lot 1304, sold for GBP 15,000 (part lot). 清代青玉雕荷花佩飾中國，十九世紀。一塊玉雕，環環相扣，同心環可動，中心有花蕊部分可穿懸掛，花瓣雕刻清新靈動。半透明的玉料呈青色，帶有白色絮狀物。來源：匈牙利知名私人收藏。 品相：狀況極好，有輕微磨損，大面積微小的刻痕。 具有天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成微小的細裂紋。 重量：60.7 克 尺寸：直徑 6 厘米 拍賣結果比較：比較一件十分相近的玉雕，見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 2012年5月18日 lot 1304, 售價GBP 15,000 (拍品的一部分)。
AN EMBROIDERED 'MIDNIGHT BLUE' SILK FORMAL COURT ROBE, CHAOFUChina, 19th century. The robe is worked in couched gold thread and multi-colored satin stitch on the upper half with four five-clawed dragons amidst clouds and Buddhist emblems, all above the terrestrial diagram at the waist. The attached pleated and flared apron similarly worked and joined by a narrow waistband decorated with confronted dragons. The robe fitted with fine gilt metal buttons.Provenance: From an old German private collection, assembled during the 1970s and 1980s.Condition: Good condition with some wear and traces of use, little soiling, loose threads, minor tears, few small losses.Dimensions: Length 112 cm, Width 218 cmThe chaofu, or attire of state, is the most important of the ceremonial costumes of the Qing court comprising: chaopao or robe of the state, piling or projecting epaulets, hat, girdle, court necklace, and boots. The two-part construction of chaopao consisted of a short side-fastening jacket attached to a pleated skirt, derived from Ming styles of court dress, and was adapted by the Manchu to incorporate features reflecting their equestrian heritage, such as the curved overlapping right front, a shape derived from animal skins which was added for extra covering and protection; narrow sleeves with their lower portion replaced with ribbed silk, allowing the wearer to bend his arm more easily when hunting; and horse-hoof cuffs, originally intended to protect the hands when riding in bad weather.The present chaopao is embroidered with four front-facing, five-clawed dragons on the upper body and four five-clawed dragons shown in profile on the skirt, which correspond to the specifications cited in Huangchao liqi tushi (Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court) for a first-rank or second-rank prince.Literature comparison: Several examples of these important robes can be found in museum collections, including a similar deep-blue silk gauze chaofu, dated to 1870-80, in the Museum of Fine Arts Boston, number 1974.408, and another embroidered silk chaofu in the Metropolitan Museum of Art, New York, number 35.84.3, dated to the second half of the 19th century. Auction result comparison: Compare a closely related robe, 141.6 cm long and 195.5 cm wide, also dated to the 19th century and embroidered with four front-facing, five-clawed dragons on the upper body and four five-clawed dragons shown in profile on the skirt, at Christie's New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1618, sold for USD 12,500.清代石青色龍紋朝服中國，十九世紀。圓領，大襟右衽，馬蹄袖，上衣下裳相連屬式，綴銅鎏金扣五枚。石青色地，上衣部分平金彩繡雲龍，腰襴繡海水二龍戲珠，膝襴處雲龍海水紋，構圖繁複莊重。配有精美的鎏金鈕扣。 來源：德國私人老收藏，建立於上世紀七十至八十年代。 品相：狀況良好，有一些磨損和使用痕跡，輕微污漬，絲線鬆動，輕微撕裂，輕微小缺損。 尺寸：長112 厘米, 寬 218 厘米 拍賣結果比較：比較一件十分相近的十九世紀朝服，長141.6 厘米，寬195.5 厘米，四條正面五爪龍，四條側面五爪龍，見紐約佳士得Important Chinese Ceramics and Works of Art 2020年9月25日 lot 1618, 售價USD 12,500。
A FAMILLE VERTE 'EIGHT IMMORTALS' BOWL, QING DYNASTYChina, 18th-19th century. Delicately potted, the deep rounded sides rising from a short foot to an everted rim. Finely painted in iron-red, green, aubergine, yellow, and black enamels depicting Daoist immortals including the Eight Immortals, Shoulao, and Magu in three groups, with their characteristic attributes and accompanied by attendants. The recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi within a double circle, and either late in the period or from the second half of the Qing dynasty. Provenance: The present lot was part of an old estate consisting of 22 antiques, from which three were Chinese ceramics and porcelains. The deceased person was from Trelleborg in southern Sweden. Condition: Excellent condition with minor wear and firing irregularities. Weight: 189.2 g Dimensions: Diameter 14.7 cm Expert's note: The bowl is slightly warped and the ware is thinning considerably from the base towards the lip, both being essential characteristics of authentic Kangxi porcelain. The immortals, however, seem to be copied after earlier examples, such as the two shown in the auction result comparison below. Generally speaking, copies of certain wares were made both during the Kangxi period and later in the Qing dynasty. The only thing we know absolutely for sure is that the present lot is at least 100 years old. Auction result comparison: Compare a closely related bowl, 15.2 cm diameter, also with a Kangxi mark and of the period, at Christie's Hong Kong in An Important Collection of Chinese Ceramics from a Private Collector on 27 November 2019, lot 2912, sold for HKD 750,000. Compare a related unmarked bowl, 18.8 cm diameter, with additional underglaze blue borders, also depicting immortals and dated to the Kangxi period, at Sotheby's London in Important Chinese Art on 13 May 2015, lot 139, sold for GBP 30,000.清代硬彩八仙人物碗中國，十八至十九世紀。胎體細膩，口微外撇，深圓腹，圈足。鐵紅、綠、紫、黃、黑色琺瑯彩繪八仙、壽老、麻姑三組人物及其侍從，各具特色。圈足內雙圈內青花六字"大清康熙年製"。此碗年代或為康熙晚期，或為清代後半期。 來源：此拍品曾是一組22件古玩遺產其中的一件。此收藏一共三件中國瓷器和陶器。原主人來自瑞典南部的 Trelleborg。 品相：狀況極佳，磨損輕微，燒製瑕疵。 重量：189.2 克 尺寸：直徑14.7 釐米 專家注釋：碗稍翹，器從底部向唇部明顯變薄，是康熙瓷器的基本特徵。然而，這些不朽之作似乎是仿照早期的例子複製的，例如拍賣結果比較中的兩件作品。在康熙時期和後來的清朝，經常仿製一些特定瓷器。可以絕對肯定的是，本拍品至少有100年的歷史。 拍賣結果比較：比較一件同樣康熙款及年代的碗，直徑 15.2 厘米，見香港佳士得An Important Collection of Chinese Ceramics from a Private Collector 2019年11月27日 lot 2912, 售價HKD 750,000；比較一件無款的仙人紋碗，直徑18.8 厘米，康熙時期，見倫敦蘇富比 Important Chinese Art 2015年5月13日 lot 139, 售價GBP 30,000。
A WHITE GLAZED ANHUA DECORATED STEM CUP, YUAN DYNASTYChina, 1279-1368. Well potted with shallow sides flaring to an everted rim, supported on a hollow splayed cylindrical foot, the interior molded with a band of lappets comprising stylized bats. Covered overall with an even white glaze save for the unglazed foot ring revealing the buff ware. Provenance: Bluett & Sons according to label on fitted box. Ex R.F.A. Riesco (1877-1964) collection according to da Silva notes and collection label on the base. Sotheby's, 11 December 1974, lot 286 according to da Silva notes. Bought by Helen Expir according to da Silva notes. J.B. da Silva (1918-2003), acquired from the above and thence by descent within the same family. Bluett & Sons was an important dealer of Chinese works of art, founded by brothers Leonard and Edgar Bluett and later continued by Leonard's son Roger Bluett, who was president of the British Antique Dealers' Association, of which his father and uncle were founding members in 1919, during the mid-1970s. Roger Bluett was also Chairman of the Grosvenor House Antiques, first Chairman of the ceramics course at West Dean and first Chairman of the Museum of East Asian Art, Bath. Exhibited: Oriental Ceramic Society, Hong Kong, 1979, Plate No. 70, according to J.B. da Silva notes. Condition: With old wear and traces of use. Firing flaws such as pitting, minor dark spots, glaze recesses, firing cracks and kiln grit. The mouth rim with a small chip and a short hairline, the foot rim with a further chip.Weight: 100 g Dimensions: Height 9 cm, Diameter 9 cmWith an old fitted box bearing a Bluett & Sons label (2) Auction result comparison: Compare a related stem cup, also dated to the Yuan Dynasty, at Sotheby's Hong Kong in Chinese Art on 30 May 2018, lot 379, sold for HKD 275,000. 元代白釉暗花高足杯中國，1279-1368年。高足杯分為上下兩部分，上部為盃體，口外撇，用來盛酒，下部為高足，具有放置和使用時手執的功用。杯内暗紋，飾蝙蝠紋。通體施卵白釉，圈足露胎。 來源：根據盒子上的標籤Bluett & Sons ；Ex R.F.A. Riesco (1877-1964) 收藏，根據da Silva 的注釋和底部收藏標籤；蘇富比，1974年12月11日lot 286 ，根據da Silva 注釋。根據da Silva 的注釋，Helen Expir 購買。John Burke da Silva (1918-2003) 收藏，購於上述藝廊，保存在同一家族至今。Bluett & Sons是中國藝術品的重要經銷商，藝廊由Leonard 與Edgar Bluett兄弟共同創立，後來由Leonard的兒子Roger Bluett繼承，他是英國古董商協會的主席，他的父親和叔叔是該協會1919 年的創始成員。1970 年代中期，Roger Bluett 還是 Grosvenor 大宅古玩博覽會的主席、West Dean 陶瓷課程的第一任主席和巴斯東亞藝術博物館的第一任主席。展覽：根據da Silva 注釋，曾於1979年在香港東方陶瓷學展出，展品編號70。品相：磨損和使用痕跡。 燒製瑕疵，如點蝕、小黑點、釉面凹陷、燒成裂紋和窯砂。 口部邊緣有小缺損和短裂紋，足緣有更深的磕損。 重量：100 克 尺寸：高9 厘米, 直徑9 厘米 配置的老盒上有Bluett & Sons 標籤。 (2) 拍賣結果比較：比較一件相近的元代高足杯，見香港蘇富比Chinese Art 2018年5月30日 lot 379, 售價 HKD 275,000。
A SUZHOU SCHOOL 'AUTUMN WIND' BLACK AND WHITE JADE SNUFF BOTTLE, 18TH CENTURYChina. Well hollowed, the ovoid body rising from an oval base to a broad cylindrical neck. Finely carved, skillfully utilizing the white inclusions of the stone to depict a scene with a monkey perched on a pine tree looking down on an equestrian and his horse, the reverse incised with a poetic inscription describing the autumn wind.Inscriptions: Left to the poetic text '8th day of the year of Yiwei' (either 1735 or 1775).Provenance: US trade. By repute from a noted private estate. Condition: Very good condition, with minor old wear, and little nibbling to the lip. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Coral with silvered metal collar, metal spoon Weight: 250 g Dimensions: Height including stopper 84 mm. Diameter neck 26 mm and mouth 6 mm.Monkeys and horses are popular motifs in Chinese art, shown together they often symbolize the wish for immediate success or a quick promotion.Auction result comparison: Compare a closely related Suzhou black and white jade snuff bottle, also with an incised poem to the backside, dated 18th-19th century, at Christie's Hong Kong, in The Imperial Sale, Important Chinese Ceramics and Works of Art, on 28 May 2014, lot 3620, sold for HKD 350,000.十八世紀蘇造黑白玉巧雕詩文及"馬上封侯"鼻烟壺中國。掏膛良好，扁平荷包形，圓柱形直頸。精雕細琢，巧妙地利用玉石的天然紋理，一面雕刻了一人牽著馬，一隻猴子棲息在松樹上；背面刻有描述秋風的詩文。 款識：詩文面可見"乙未年八日"(1735 年或1775年) 來源：美國古玩收藏，據説購於知名私人收藏。 品相：品相極好，有輕微磨損，唇部輕微磕損。天然紋理，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 壺蓋：珊瑚包金屬，金屬小勺 重量：250 克 尺寸：含壺蓋高84 毫米；頸部直徑26 毫米，唇部直徑6 毫米 拍賣結果比較：比較一件十八至十九世紀相近的蘇州黑白玉鼻烟壺，背面同樣可見詩文，見香港佳士得The Imperial Sale, Important Chinese Ceramics and Works of Art 2014年5月28日 lot 3620, 售價HKD 350,000。
A FAMILLE VERTE 'FLOWERS AND BUTTERFLY' DISH, KANGXI PERIODChina, 1661-1722. Sturdily potted, the interior vividly enameled with a butterfly flying above a rock and flowers, framed by a continuous green band with floral sprays, the rim in cafe au lait. Provenance: British trade. Condition: Good condition with old wear, shallow surface scratches, minimal glaze flakes, and manufacturing irregularities, such as dark spots, pitting, kiln grit, and glaze recesses.Weight: 2,110 g Dimensions: Diameter 33.5 cmAuction result comparison: Compare a related famille verte dish, also dated to the Kangxi period, at Sotheby's New York in Important Chinese Art on 12 September 2018, lot 346, sold for USD 3,750. Compare also a related famille verte dish, dated to the Kangxi period, at Christie's New York in Chinese Export Art on 23 January 2007, lot 23, sold for USD 4,800.康熙時期硬彩開光蝶戀花盤中國，1661-1722年。胎體緻密，盤内開光硬彩琺琅描繪花卉紋，花上彩蝶飛舞。盤邊緣錦地開光花卉紋帶。盤沿上醬色釉。 來源：英國古玩市場。 品相：狀況良好，磨損、表面淺劃痕、輕微釉面剝落和製造瑕疵，例如黑點、麻點、窯砂和釉面凹陷。 重量：2110 克 尺寸：直徑33.5 厘米 拍賣結果比較：比較一件相近的康熙時期硬彩盤， 見紐約蘇富比Important Chinese Art 2018年9月12日 lot 346, 售價USD 3,750；另一件同期硬彩盤，見紐約佳士得Chinese Export Art 2007年1月23日lot 23, 售價USD 4,800。
A MATHURA SANDSTONE FRAGMENT OF BUDDHA, KUSHAN PERIODCentral India, 2nd century AD. Well carved seated in dhyanasana, the legs with decorative bands on each thigh. An arm resting on the left leg, remnants of a hand visible on the right leg.Provenance: Barry Sainsbury collection. Jeremy J. Mason, Oriental Works of Art, 2 July 2013. Edvin Csabai, Budapest, acquired from the above. Csabai is one of the world's best marathon athletes in canoeing and has won the world champion title 17 times. A copy of the original invoice from Jeremy J. Mason accompanies this lot.Condition: Overall condition commensurate with age, as expected with some wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks.Weight: 29.3 kgDimensions: Height 37 cm, Length 55.5 cmMounted on an associated metal stand. (2)Auction result comparison: Compare a Mathura sandstone fragment, also dated to Kushan period, but of larger size (43.5 cm), at Christie's New York in Indian and Southeast Asian Art 19 March 2014, lot 1067, sold for USD 16,250.
A CARVED SOAPSTONE FIGURE OF GUANYIN, LATE QING TO REPUBLICChina, 1850-1949. Finely carved standing with her hands clasped at the front beneath her open robes, the hems and robes neatly incised with cloud scroll, the hems further inlaid with faux-pearls. The serene face with heavy-lidded downcast eyes, flanked by long pendulous ears. The hair pulled up into a tall chignon centered by a tiara neatly incised with an image of the Amitabha Buddha beneath a loosely draped cowl. The translucent stone is of a deep amber tone transmuting to pale yellow at her right shoulder and back.Provenance: French trade, by repute acquired from an old private estate. Condition: Excellent condition with minor wear, shallow surface scratches and microscopic nicks here and there. Good, unctuous feel overall.Weight: 267.6 gDimensions: Height 15.8 cmAuction result comparison: Compare a related soapstone figure of Guanyin, 27 cm high, also with faux-pearl inlay and dated late Qing to Republic, at Bonhams San Francisco in Asian Decorative Art on 9 September 2008, lot 2376, sold for USD 27,000. 清末民初皂石雕觀音立像中國，1850-1949年。精美雕刻觀音立像，雙手下垂，右手搭在左手上；衣襟上雕刻著祥雲紋並鑲嵌著人造珍珠。面部表情沉穩，雙眼微閉，長耳垂。頭髮挽成一個高髻，中央坐著阿彌陀佛像，戴著頭帔。半透明的石料呈深琥珀色，右肩和背部成淡黃色。來源：法國古玩市場，據説來自私人老收藏。 品相：狀況極好，有輕微磨損、表面淺劃痕和很多的微小刻痕。外觀瑩潤。重量：267.6 克 尺寸：高15.8厘米 拍賣結果比較：比較一個相近的清末民初皂石觀音像，高27厘米，嵌珠，見舊金山邦翰思 Asian Decorative Art 2008年9月9日 lot 2376, 售價USD 27,000。
A BLUE AND WHITE PORCELAIN SNUFF BOTTLE, 19TH CENTURYChina. The cylindrical bottle painted in blue and white with a continuous design of a phoenix standing in a river landscape, surrounded by a pine tree, lingzhi and rocks. The base with an apocryphal six-character Qianlong reign mark.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member.Condition: Good condition with some manufacturing flaws, such as firing irregularities and dark spots, flakes to the foot, little surface wear, a faint surface crack along the foot rim, detectable under blue light.Stopper: Hardstone stopper Weight: 59 g Dimensions: Height including stopper 95 mm. Diameter neck 9 mm and mouth 8 mm.Auction result comparison: Compare a related blue and white porcelain snuff bottle with double phoenix motif, also dated to the 19th century, at Sotheby's Hong Kong in Snuff Bottles From The Mary And George Bloch Collection: Part X on 31 May 2015, lot 135, sold for HKD 12,500. 十九世紀青花松下鳳凰鼻烟壺 中國。圓柱體，青花繪製河邊松下鳳凰昂首而立，靈芝與岩石在其一側。圈足内"大清乾隆年製"六字寄托款。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻煙壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相良好，有一些製造瑕疵，例如燒製不規則和黑點，足部剝落，表面小磨損，足部邊緣有輕微的表面裂紋，在藍光下可檢測到。 壺蓋: 硬石 重量：59 克 尺寸：含蓋高95 毫米，頸部直徑9 毫米，及口部直徑8 毫米 拍賣結果比較：比較一件相近的十九世紀青花雙鳳紋鼻烟壺，見香港蘇富比Snuff Bottles From The Mary And George Bloch Collection: Part X 2015年5月31日 lot 135, 售價HKD 12,500。
A CARVED CYLINDRICAL JADE BEAD, LIANGZHU CULTUREChina, circa 3300-2200 BC. The tubular bead is carved in form of a cylinder with two finely incised masks, each with slightly raised features, including round eyes incised within ovals joined by a wide bridge above a short bar-shaped mouth, a channel drilled from both ends. The opaque stone is covered extensively with white alteration, lustrous and ivory-white in color, with ochre suffusions.Provenance: From a private estate in New York City, USA.Condition: Good condition with ancient wear, one small chip on the top and at the bottom edge possibly smoothened, small nicks here and there. The stone with calcifications, weathering, and natural fissures, some of which have developed into small hairline cracks over time. Fine, naturally grown patina.Weight: 22.4 gDimensions: Length 3.2 cmMany beads of all sizes have been found in Liangzhu tombs, and a large number of them are decorated with faces, often arranged on two tiers.Literature comparison: Two closely related beads in the National Palace Museum, Taipei, are illustrated in Neolithic Jades in the Collection of the National Palace Museum, Taipei, 1992, pls 26, 27. Two in the Simon Kwan collection were included in the exhibition Chinese Archaic Jades from the Kwan Collection, Art Gallery, The Chinese University of Hong Kong, 1994, cat. no 47. A pair is in the British Museum, London, illustrated in Jessica Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pl. 5:11. Also compare a related Liangzhu cong-form jade bead, dated to 3300-2250 BC, at J. J. Lally & Co., New York, in Ancient Chinese Jade, March 2018, No. 45.Auction result comparison: Compare a related Liangzhu cylindrical-form jade bead, at Sotheby's Hong Kong in Jade: The Zhirouzhai Collection on 7 October 2008, lot 2377, sold for HKD 68,750. 良渚文化獸面紋玉珠中國，公元前約3300-2200 年。管狀珠子成圓柱形，獸面紋，圓形大眼睛，嘴部浮雕。不透明的玉料覆蓋著白色的鈣化，有光澤和象牙白色，並帶有赭色。來源：美國紐約私人收藏。 品相：狀況良好，磨損，頂部和底部邊緣有一個小刻痕，多處小刻痕。 鈣化、風化和天然裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。包漿自然細膩。重量：22.4 克 尺寸：長3.2 厘米 拍賣結果比較：比較一件相近的良渚文化圓柱形玉珠，見香港蘇富比Jade: The Zhirouzhai Collection 2008年10月7日 lot 2377, 售價HKD 68,750。
A LARGE LINGAM COVER, MAHARASTRA, INDIA, 18TH-19TH CENTURYThe mustachioed brass head expressively cast with a straight nose and bulging eyes, flanked by wide ears, surmounted by a tiered crown with a short and flared foliate brim and finely incised with stylized petal designs.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s.Condition: Very good condition with extensive old wear, some manufacturing flaws, small nicks and dents, light scratches, remnants of old lacquer coating.Weight: 1,957 gDimensions: Height 26.5 cmLiterature comparison: Compare a related brass Shivalinga cover, dated 17th-18th century, in the collection of the Los Angeles County Museum of Art, accession number AC1995.220.1.Auction result comparison: Compare a related brass lingam cover, 40.6 cm high, also dated 18th-19th century, at Christie's New York in Indian and Southeast Asian Art on 18 September 2013, lot 249, sold for USD 7,500. Compare a related brass lingam cover, 28 cm high, dated to the 19th century, at Christie's London, 19 March 2013, lot 387, sold for GBP 4,375.
A GANDHARA STUCCO RELIEF OF BUDDHAAncient region of Kushan, 300 - 500 AD. Finely sculpted standing, holding the collar of his sanghati in his right hand and the lower hem in his left, the serene face with almond-shaped eyes and full lips forming a subtle smile, the slightly roughened surface on the top of the head indicates the Buddha's curls, backed by a halo.Provenance: From a private collection in Belgium, by repute acquired at Galerie du Carre, Versailles, c. 2000.Condition: Good condition with old wear, few restored vertical breakages to neck and back plate as well as losses as seen on the images, remnants of old pigment. Presenting very well and overall commensurate with age.Weight: 5.6 kg (total)Dimensions: Height 34.5 cm (excl. base) and 39.5 cm (incl. base)In addition to schist, stucco was a popular medium for sculpture in the ancient Gandhara region. A lightweight, malleable ware, stucco readily lends itself to delicate detailing and sensitive modeling, conveying a sense of emotional presence.Mounted to a recent metal base. (2)Literature comparison: Compare a related head of Buddha from a stucco figure, dated to the 2nd - 4th century, in the collection of the Victoria & Albert Museum, accession number IM.106-1939.Auction result comparison: Compare with a larger (81 cm high) stucco figure of Buddha displaying the same posture at Bonhams London in Fine Asian Art on 8 November 2004, lot 458, bought in at an estimate of EUR 14,000-18,000. 健陀羅灰泥浮雕佛像貴霜帝國，公元300 - 500 年。佛陀立像，右手扶衣領，左手托著下擺，安詳的面部，杏仁狀的眼睛和豐滿的嘴唇形成微笑，頭頂略顯粗糙的表面象徵了螺髻，身後有光背。 來源：比利時私人收藏，據説2000年購於 凡爾賽Galerie du Carre藝廊。 品相：狀況良好，磨損，頸部和背面的缺損處有少量修復，舊時顏料殘餘。整體狀況非常好，與年齡相稱。 重量：總5.6 公斤 尺寸：高34.5厘米(不含底座) ，總39.5厘米 拍賣結果比較：比較一件更高 (高81厘米) 的灰泥佛像，見倫敦邦翰思Fine Asian Art 2004年11月 8日 lot 458, 估價EUR 14,000-18,000。
A WHITE MARBLE RELIEF OF UMA MAHESHVARA, 13TH-15TH CENTURYIndia. The divine couple seated in lalitasana on Shiva's mount Nandi. Shiva's primary left hand around Uma's back and cupping her breast, one of his upper hands holding a trident, Uma with one arm draped around Shiva's shoulders, her left hand holding a mirror.Provenance: Austrian private collection.Condition: Fine condition, commensurate with age, extensive old wear, encrustations and soiling, losses, dents, cracks and scratches here and there.Weight: 15.5 kgDimensions: Height 42 cm, length 24.5 cmUma-Maheshvara represents the sacred embrace, alingana, of the Lord Shiva joined with the Goddess Uma. The Great Ascetic, Lord Shiva, who was overcome with the beauty of Uma, Daughter of the Mountain, succumbed to their union for the benefit of his devotees (S. Kramrisch, Manifestations of Shiva, Philadelphia, 1981, page 57). Their union is principally metaphysical, though during the Pala period, Shiva and Uma's relationship can be most immediately observed through their corporal interplay. It is through their sensual relationship that they are meant to become a gateway for the devotee to enter their sacred realm.The divine couple is featured here in the moment before their union, the anticipation of which accentuates the possibility of entering the divine realm. This expectancy is what creates a feeling of activity, carried throughout the piece in the swaying movement of the surrounding figures and swirling foliate carvings throughout.Auction result comparison: Compare with a related marble relief at Christie's New York in Indian, Himalayan & Southeast Asian Art on 23 July 2020, lot 9, bought-in at an estimate of USD 8,000-10,000.
A LARGE FLAMBE-GLAZED TIANQIUPING, QING DYNASTYChina, 1644-1912. The globular body rising from a short tapered foot to a tall cylindrical neck, covered overall with a rich glaze of a vibrant red hue streaked with lavender and blue, thinning to mushroom at the rim, the base left unglazed.Provenance: From a private collection in southern France.Condition: Excellent condition with minor wear and firing irregularities, the foot with few small nicks and glaze losses.Weight: 6,529 gDimensions: Height 47.5 cmAuction result comparison: Compare a closely related flambe-glazed tianqiuping, 44 cm high, dated to the 19th century, at Bonhams London in Asian Art on 19 February 2014, lot 34, sold for GBP 5,625. 清代大型窯變釉天球瓶中國，1644-1912年。瓶直頸，圓腹，圈足。通體滿施窯變釉，口沿呈米黃色，外壁釉質呈紅紫色，鮮亮奪目，多色交融，虛幻變化，底足露胎。 來源：法國南部私人收藏。 品相：狀況極佳，輕微磨損和燒製瑕疵，足部輕微小劃痕和釉料缺損。 重量：6,529 克 尺寸：高47.5 厘米 拍賣結果比較：比較一件十分相近的十九世紀窯變釉天球瓶，高 44 厘米，見倫敦邦翰思Asian Art 2014年2月19日 lot 34, 售價GBP 5,625。
A collection of ceramics. Including a Windsor Art Ware budgeriegar and blossom design planter, a Russian blue and white hand painted ceramic figure with rabbit, inscrption and makers stamp to the base, a porcelain hand painted campana with relief floral and fruit decoration and a putti holding each end, makers stamp to the base.
Tom Courtenay signed 10x8 black and white vintage photo. After studying at the Royal Academy of Dramatic Art, Courtenay achieved prominence in the 1960s with a series of acclaimed film roles, including The Loneliness of the Long Distance Runner (1962)?, for which he received the BAFTA Award for Most Promising Newcomer to Leading Film Roles?, and Doctor Zhivago (1965), for which he received an Academy Award nomination for Best Supporting Actor. Other notable film roles during this period include Billy Liar (1963), King and Country (1964), for which he was awarded the Volpi Cup for Best Actor at the Venice Film Festival, King Rat (1965), and The Night of the Generals (1967). More recently, he received critical acclaim for his performance in Andrew Haigh's film 45 Years (2015). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
El Anatsui (Ghanaian, born 1944)Uli, circa early 1980s carved and incised wooden panels96 x 287 x 2.5cm (37 13/16 x 113 x1in).(in 11 pieces)Footnotes:ProvenanceGifted by the artist;By descent to the present owner.Born in Ghana in 1944, El Anatsui has achieved international success as one of the most highly acclaimed artists working globally today. While perhaps best known for the distinctive cloth-like forms he creates from interlinked bottle caps, wooden sculpture remains at the heart of the artist's practice. The present work, Uli, exemplifies the multi-panelled wooden pieces that El Anatsui has created throughout his career. He typically carves into the surface of the wood to create decorative patterns which extend across the individual panels to produce a unified design. El Anatsui recalls that he created the present work in the 1980s '[a]fter meeting and interacting with Uche Okeke and imbibing some uli aesthetic strategies'. Uche Okeke was a pioneer of Nigerian art who founded the influential Zaria Art Society in the 1970s with fellow students at the Nigeria College of Arts, Science and Technology including Yusuf Grillo, Bruce Onobrakpeya and Demas Nwoko (all artists represented in the present auction). The society championed the fundamental role of indigenous African themes, techniques, and materials in the construction of a contemporary Nigerian aesthetic following the country's independence from colonial rule in the 1960s. Okeke was preoccupied with the uli aesthetic of the Igbo people from southeast Nigeria. Traditionally practiced by female members of the community and employed as a decorative scheme for murals or stained onto the body, uli design is characterised by curvilinear and abstracted forms which are frequently asymmetrical and painted in a spontaneous manner. Ukeke asserted his belief that engagement with this traditional form of mark-making 'will help liberate as well as enrich contemporary thinking in Africa. One can only be oneself, I think, through deeper understanding of one's local traditions' (Uche Okeke, 2019 [1982]: p. 25).In the present work, El Anatsui interprets the uli aesthetic championed by Ukeke through the incised design on the surface of the wooden panels. A rounded form is created using intersecting lines arranged at different angles and with different degrees of curvature. The larger circle encompasses a smaller, heavily incised circle, giving the impression of a biomorphic organic form. A broken line sweeps across the top of the two passages of incisions to unite the design of the work and create a sense of fluidity across the individual panels. The design is both evocative of uli decorative traditions and El Anatsui's own distinctive language of mark-making exemplified in his other wooden sculptures. This reimagining of the indigenous Nigerian aesthetic within his own practice evidences the Ghanian artist's interest in drawing links between contemporary artmaking and the canon of West-African art history. Awarded the Venice Biennale Golden Lion for Lifetime Achievement in 2015, El Anatsui has exhibited his works widely in prestigious institutions including the Metropolitan Museum of Art in New York, the Hayward Gallery in London, the Centre Pompidou in Paris, the Moderna Museet in Stockholm, the Johannesburg Art Gallery, and the Mori Art Museum in Tokyo. In 2019, he received his largest retrospective to date at Munich's Haus der Kunst.BibliographyUche Okeke, Art in Development – A Nigerian Perspective (Germany, 2019 [1982]).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
El Anatsui (Ghanaian, born 1944)Migration signed and dated 'El 92' (lower right of plank 8)carved and incised wooden panels76 x 75cm (29 15/16 x 29 1/2in).(in 8 pieces)Footnotes:ProvenanceCollection of Seth Dei, Accra;Bonhams, London, 4 October 2018, lot 26;A private collection (acquired from the above sale).ExhibitedParis, KADIST, Diaspora at Home, 15 October 2021 - 30 January 2022.Migration (1992) is a superb example of El Anatsui's wood-relief wall hangings. Comprised of eight vertical slats of wood which have been marked through processes of cutting and burning, the work belongs to his Migration series. Created in 1992, this body of work explores the historic and ongoing global movement of people and commodities. The series engages with subjects including the transatlantic slave trade, the reciprocal forced removal of populations from Ghana and Nigeria, and the mass migration of African individuals to the West in the mid-twentieth and twenty first centuries. The theme of migration is evidenced in the present work through the very act of its creation. El Anatsui uses a chainsaw and an oxyacetylene torch to create his wooden sculptures. Early in his practice, the chainsaw was employed solely as a tool to prepare blocks of wood for carving in the studio. However, during the several months in 1980 that he spent at the Community of Arts, Cummington in Massachusetts, El Anatsui discovered that the power tool might be used to cut rough designs into wood which could then be smoothed and blackened using the torch. Metaphoric meaning was assigned to these new techniques: the chainsaw cuts through the wood just as colonising European countries carved up the African continent in the nineteenth century. In turn, the scorched surfaces and jagged edges of the work caused by the cutting and burning actions of the power tools echo the violence enacted by these colonial agents. Countering the devastation of these destructive forces, El Anatsui incorporates different coloured woods in Migration to celebrate the diverse cultures and ethnicities of the African continent. The patterns inscribed and burnt onto the wooden slats borrow from a diverse range of mark-making traditions in Africa. These designs extend across the breaks between the individual slats of wood, symbolising the movement of populations across borders. Reflecting on his sculptural practice in 2007, the artist explained 'it's not about aesthetics only. The work is about making a statement beyond what the eyes can see, it has something to give to the mind as well' (El Anatsui quoted in Vogel, 2012: p. 83). In Migration, process and aesthetics are united in the artist's exploration of mobilised populations. The work was recently included in the acclaimed exhibition Diaspora at Home at KADIST in Paris from 15th October 2021 to 30th January 2022.BibliographySusan Mullin Vogel, El Anatsui: art and life (Munich, 2012).For further information on this lot please visit Bonhams.com
Ibrahim Mahama (Ghanaian, born 1987)Kawokudi installation, 2013 jute sacks with wax print panelsdimensions variable. Footnotes:ProvenanceNana Oforiatta-Ayim, Accra;Acquired from the above by the present owner in 2013.ExhibitedAccra, Ghana, Kawokudi, Coal Sack Installation, 2013London, Saatchi Gallery, Pangaea: New Art From Africa and Latin America, 2 April – 2 November 2014London, Saatchi Gallery, Pangaea II: New Art From Africa and Latin America, 11 March 2015 – 17 September 2015.LiteraturePangaea: New Art From Africa and Latin America, exh. cat., Saatchi Gallery, London, 2014, p. 89 (illustrated).Born in 1987 in Tamale, Ghanian artist Ibrahim Mahama transforms found materials into structural forms that explore themes of global consumerism, migration, and economic exchange. The present installation is representative of the sustained employment of jute sacks within his practice. Made in Southeast Asia, the sacks are imported by the Ghana Cocoa Boards to package cocoa beans for export. The used sacks are repurposed to carry animal feed, coal, and charcoal around the country for domestic consumption. Mahama consequently employs the jute sacks as material metaphors for the global circulation of commodities that pass through Ghana and its associated socio-economic inequities. The reuse and transformation of the raw materials employed in the present installation embodies the artist's political message: 'I have a vision of art that can affect change rather than being about producing beautiful commodities for sale on the market'. The artist's conviction in the political nature of his practice has prompted him to open three educational art institutions in northern Ghana, the most recent of which – a renovated silo in Tamale – informed his solo exhibition Lazarus, staged at White Cube, Bermondsey in 2021. Mahama's vast sack forms have been installed over a variety of buildings in his native Ghana including theatres, luxury apartments, and social housing projects. They have also been the centrepiece of the artist's participation in the prestigious Venice Biennale in 2015 and Documenta 14 in 2017. The present work has previously been exhibited in Accra in 2013 and at the Saatchi Gallery in London in both 2014 and 2015.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Sandile Zulu (South African, born 1962)Labyrinth of Genes and Elements I, 2004 fire, water, air, earth, canvas and stones on canvas108 x 378cm (42 1/2 x 148 13/16in)in 56 individual 27 x 27cm (10 5/8 x 10 5/8in) canvases.Footnotes:ProvenanceA private collection, UK.LiteratureC. Richards, Sandile Zulu: Portrait of the artist as a young firebrand (Johannesburg, 2005), p. 72 (illustrated).Born in the town of Ixopo, in the Nwazulu-Natal region of South Africa, Sandile Zulu began his study at Rorke's Drift Art and Craft Centre in 1982. Shortly after, he became one of the few black students to enrol at Technikon Natal in nearby Durban to study Fine Art, and by 1993 he received his degree from the University of Witwatersrand in Johannesburg.It was during his time at Wits University that Zulu first began his experimentations with fire as a medium. Fire would later become the title of his first solo show in 1995 at the Rembrandt van Rijn Gallery in Johannesburg. Zulu's first UK solo show took place at the October Gallery in London in 2005. Entitled Fire This Time: Planetary Cycle, it showcased Zulu's monumental fire paintings. Labyrinth of Genes and Elements 1 is a work composed of fifty-six canvases. The repeated squares represent the building blocks of genetic codes. Each canvas has been burned with patterns of coiled DNA strands. The calm order of the grid structure opposes the violence of Zulu's creative method, communicating the artist's belief in an underlying universal harmony. BibliographyC. Richards, Sandile Zulu: Portrait of the artist as a young firebrand (Johannesburg, 2005), pp. 61-2.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Clara Etso Ugbodaga-Ngu (Nigerian, 1921-1996)Dancers signed and dated 'Etso C Ugbodaga Ngu '65' (lower right)oil on board46 x 35.8cm (18 1/8 x 14 1/8in).Footnotes:ProvenanceAcquired by Ambassador Elbert G. Mathews in Nigeria in the mid-1960s;A US collection.Clara Etso Ugbodaga-Ngu (1921-1996) is an iconic figure in Nigerian art history. An influential artist and educator, she played a substantial role in the structural advancement of the postcolonial modernist art scene that emerged around the country's independence in 1960. Born in Kano, Ugbodaga-Ngu taught art in mission schools in the North before receiving a scholarship from the colonial administration to study art at the Chelsea School of Art and train as a teacher at the London Institute of Education. On her return to Nigeria, she began work as an art teacher with the Nigerian College of Arts, Science and Technology, Zaria (NCAST) becoming the first Nigerian - and furthermore, the first female - teacher in the department. This appointment was hugely significant as it placed an African woman in one of the key art institutions of the time.Ugbodaga-Ngu taught the students who went on to form the Zaria Art Society. Popularly described as the 'Zaria rebels', this group of artists played an integral part in the development of the Nigerian art canon, rejecting European modes of art production to develop a unique hybrid art-making practice. Describing her as a 'doyen of the artists, a painter and sculptor', Nigeria Magazine stated that 'she taught most of the leading Nigerian contemporary artists' and Ugbodaga-Ngu herself remarked that the 'majority of the young men who were my students are Nigeria's main source of manpower in institutions of higher learning, museums, industries and the private sector' (N. Akande, 2019). Ugbodaga-Ngu therefore made a vital contribution to the development of the Nigerian art canon as her students went on to play founding roles in nurturing later generations of artists, setting up art schools and influencing the shape of Nigerian art into the present day.Ugbodaga-Ngu was defiant of the one-point perspective or formal representational style adopted by early modernist artists working in Nigeria such as Aina Onabolu (1881-1963). Moving away from a figurative style, she produced completely abstract work early in her career, blending Western and Nigerian traditions, forms, techniques, and ideas to create fresh modernist work. To adopt the language of Modernism was a rebellious act because 'any claim from an African to be a modern artist in [the eyes of the West was] unthinkable and impudent' (E. Nicodemus, 1993: p. 32). The portrayal of local concerns and everyday life made her work distinct in a period where Nigerian modern artists were often preoccupied with producing imagery of 'woman' as the symbol of postcolonial rebirth or presenting versions of a romanticised precolonial past. In 1958, Ugbodaga-Ngu held a solo exhibition at the Commonwealth Institute Art Gallery, London — the first art exhibition by a Nigerian female artist in the UK —followed by an exhibition in Boston, USA (1963). Her work was featured in group shows such as Independence Exhibition (1960), Lagos; Contemporary Nigerian Art (1968), London; and FESTAC '77 (1977), Lagos, where she was one of only seven women among the sixty-three participating artists. Although Ugbodaga-Ngu and her contemporary female artists have been obscured by the colonial, patriarchal biases of art history, recent academic exploration into globalised historical perspectives has prompted scholars to revisit her oeuvre, to highlight, complicate and destabilise orthodox understandings of female Nigerian artists and their contributions to Modernism. For example, her oil painting Abstract (1960) was recently shown as part of Museum global. Microhistories of an Ex-centric Modernism at the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany — a project which problematised the centring of Modernism on the Western art canon. Dancers is an exceptional example of Ugbodaga-Ngu's interest in blending Nigerian motifs and subject matter with a semi-abstract style. The painting portrays two dancers within a complex architectural composition, the figures integrated into angular, tapering shapes whose sharp edges, flattened surfaces and geometric elements burst with movement. The rich, vibrant colour palette presents individuals with strength, confidence and purpose: the characters are dancing, engaged in the moment and not performing for the viewer. Ugbodaga-Ngu's recognisable geometric diamond shaping and open contouring of the human form is evident in this painting, which indicates the development of her style from earlier works such as Market Women (1961). These works sit alongside Beggars (1963) or Man and Bird (1963) as fascinating portrayals of the social, cultural and political history of Nigerian people in the moment following Nigerian independence.Dancers was acquired by Elbert G. Mathews in the mid-1960s while he was serving as the United States Ambassador to Nigeria. Appointed to the position by President Lyndon B. Johnson in 1964, Mathews remained in the diplomatic role until 1969.We are grateful to Stacey Kennedy for the compilation of the above footnote.BibliographyN. Akande, Uncovered Female Nigerian Artists, exh. cat., FEAAN (London, 2019)E. Nicodemus, 'Meeting Carl Einstein', Third text: Third World perspectives on contemporary art and culture, 23 (1993): 31-38Nigeria Magazine, vol 96 (1968).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)The Dancing Bride, circa mid-1960s signed 'Y Adebayo Grillo' (verso)oil on board122 x 81cm (48 1/16 x 31 7/8in).Footnotes:ProvenanceA private collection, UK.With a career extending over six decades, Yusuf Grillo (1935-2021) is one of the most significant figures in Nigerian art. As a young man, he belonged to the influential Zaria Art Group formed by pioneering artists including Uche Okeke, Bruce Onobrakpeya, and Demas Nwoko while studying together at the Nigerian College of Arts, Science and Technology, Zaria in the 1950s. These artists challenged the hegemony of the European canon in the landscape of contemporary African art. They embraced their West-African cultural heritage to establish a modern Nigerian aesthetic at a time when the country was fighting for its independence from British colonial rule. Elements of Western art history were fused with themes, techniques, and mediums indigenous to Nigeria in a process that Okeke termed 'Natural Synthesis'. While Grillo proactively engaged with the ideas propagated by the Zaria Art Group, he distinguished his approach to artmaking by privileging the role of the individual artist in this process of synthesisation. Working across diverse media including painting, sculpture, mosaic, and stained glass, he asserted that this fusion of European and Nigerian references ought to be seen 'in the light' of individual experience 'knowing that you are part of the system' (Grillo quoted in Sike and Oyelola, 1988: p. 64). Grillo's conviction in the significance of the artist's creative vision led to his own formulation of a distinctive painterly style and subject matter, as evidenced in The Dancing Bride. Thematically, Grillo painted the people he encountered in Lagos. He favoured female subjects and had a particular interest in the Yoruba heritage which he believed to be at the heart of the city in which he was born and lived most of his life. In the present work, he captures a moment of celebration. A sense of movement is conveyed through the energetic brushstrokes used to depict the dynamic stance of the female figure: her weight rests on one leg while her hips are cocked to the side as if anticipating the next step of the dance. Executed in the cool blue and purple tones synonymous with Grillo's paintings, The Dancing Bride evidences the influence of both Pablo Picasso's Blue Period (which the artist had encountered as a student in Zaria) and abide (the indigo-dyed cloth of the Yoruba people). While Grillo primarily takes the human figure as his subject, Chika Okeke-Agulu argues that this 'subject matter is meaningful only to the extent that it permits him to engage enduringly and passionately with form, colour and painting' (C. Okeke-Agulu, 2020: p. 41). The female figure is elongated in a process of stylization. Reflecting Grillo's enduring interest in mathematics, her body is expressed through flattened planes that echo the geometric shapes that comprise the non-representational background. The drapery of the bride's dress is transformed into curved forms which are carefully balanced against the jagged triangles that frame the figure. As in his other paintings from the mid-1960s depicting stylised women such as Two Women (1965) and Ayi and Tayi (1965), Grillo's engagement with the female form can be conceived as much a formalist experiment as a representational exercise. Fusing mathematics, Western art historical references, and Yoruba culture, through The Dancing Bride Grillo synthesises a distinctive approach to painting which stands as a powerful contribution to postcolonial modernism within the canon of Nigerian art.BibliographyPaul Chike Dike and Pat Oyelola (eds.), The Zaria Art Society: A New Consciousness (Lagos, 1998)Chika Okeke-Agulu, Yufus Grillo: Painting. Lagos. Life (Milan, 2020).For further information on this lot please visit Bonhams.com
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