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A WESTERN ASIATIC ALABASTER RHYTON WITH MOTHER GODDESS AND CHILD2nd to 3rd century AD. The curved rhyton with a tiered circular mouth and rope-twist handle, the body centered by the head of a female deity, her neatly incised hair forming a raised band above the lower section, the face bearing a calm smile, below the head of a child with large eyes and curled hair surmounted by a raised arch, the lower end of the vessel with further rope-twist decoration.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Very good condition, commensurate with age, with wear, signs of weathering and erosion, minor chips, and soil encrustations.Weight: 947 g Dimensions: Height 20.3 cmMuseum comparison:Compare a related ceramic rhyton with a female head from Mesopotamia, dated to the 3rd century AD, in the Metropolitan Museum of Art, accession number 2001.178.Auction result comparison: Type: Related Auction: Christie's London, 3 July 2018, lot 43 Price: GBP 25,000 or approx. EUR 39,500 converted and adjusted for inflation at the time of writing Description: A late Parthian or early Sasanian turquoise glazed pottery rhyton, circa 3rd century AD Expert remark: Compare the similar form and central female face. Note this lot is made of glazed pottery. Note the larger size (35.5 cm).

A WESTERN ASIATIC LAPIS LAZULI PLAQUE WITH WARRIORSWestern Asiatic region, presumably 7th century. Of irregular rectangular form, carved in relief with warriors on horseback. The stone of a deep blue hue amid patches and veins in various shades of gray beneath subtle glimmering mica flecks.Condition: Good condition with traces of age and wear, minor losses, the stone with natural imperfection.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 144 g Dimensions: Length 15.5 cm

A COPPER AND SILVER-INLAID BRONZE SPHERICAL CENSER, MAMLUK REVIVALEgypt, 19th century or earlier. Finely cast in two parts joined by a single brass hinge, the body decorated with six bands of Arabic script made separated by gold-inlaid borders with an engraved foliate ground. Four openwork roundels for ventilation with stylized trees detailed with silver inlays.Condition: Good condition with wear, casting flaws, signs of weathering and erosion, minor losses to inlays, and small nicks. The bronze has a fine patina with malachite and cuprite encrustations.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 772.3 gDimensions: Diameter 16.2 cm

A BRONZE FRAGMENT OF AN ANIMAL, LURISTAN, IRAN, CIRCA 1000-650 BCCast as the front section of a four-legged animal, including the head, neck, and front legs, featuring circular decorative elements.Condition: Good condition with expected wear, signs of weathering and erosion.Provenance: Estate of Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born Paolo Bertuzzi as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 40 gDimensions: Height 6.2 cm

A LARGE IRON BETEL NUT CUTTER, 19TH CENTURY OR EARLIERIran, Qajar dynasty (1796-1925) or earlier. Heavily cast, the horseshoe-shaped loop and broad cutter with long tapering handles terminating into bud-shaped finials. Carved with scrolling foliage and an inscription in Arabic calligraphy to the blade.Condition: Good condition with wear, traces of use, encrustations, small nicks, minor scratches, small areas of corrosion here and there.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 1,010 gDimensions: Length 35.7 cm

A SILVER AND COPPER-INLAID BRASS EWER, SELJUK STYLEIran, 19th century. Finely cast and engraved, supported on a tall, flaring foot with the round body tapering to a narrow neck surmounted by a lamp-shaped spout. The body finely decorated in silver inlays with deer on a scrolling foliate ground encompassed by a copper-inlaid border, the shoulder decorated with an inscription in Arabic script. The curving handle cast with a stylized bird and lion.Condition: Very good condition with wear, casting flaws, rubbing, minor scratches, and small nicks.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 775 gDimensions: Height 24.7 cmLiterature comparison:Compare two related inlaid brass ewers in the Metropolitan Museum of Art, accession numbers 33.96 and 54.64.

A ROMAN GLASS BEAD NECKLACE, 1ST-4TH CENTURY CEAsia Minor, Roman period, c. 1st-4th Century CE. The necklace consisting of various glass beads, different in size, shape and color, all tied together by a string, with a 's'-shaped metal hook.Condition: Good condition with wear, some beads with few nicks here and there, signs of minor weathering, and natural imperfections of the material.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 13.4 gDimensions: Length 24 cm (when fastened)

A ROMAN GLASS BOTTLEAsia Minor, Roman period, presumably 2000 years old. The bottle of flattened globular form, surmounted by a cylindrical neck set with a black lacquered hoop, and a flat mouth.Condition: Good condition with old wear, traces of age and use, minor losses, and iridescent weathering along with encrustation.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 1.2 kgDimensions: Height 23.3 cm

A LARGE BRONZE CYPRIOT SPEAR HEAD, C. 1900-1450 BCCyprus, ca. 1900-1450 BC. Heavily cast, a large central ridge extending down the blade tapering to the point. The shaft is attached to a hooked tang for secure attachment.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, and small nicks to the blade. The bronze is covered in a naturally grown patina with vibrant malachite encrustations.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 798 gDimensions: 42.8 cmLiterature comparison:Compare related examples in the British Museum, registration numbers 1884,1210.184 and 1969,1231.121.

BANKOZAN: A FINE AND LARGE SATSUMA CERAMIC VASEBy Bankozan, signed BankozanJapan, Meiji period (1868-1912)Of baluster shape, finely potted and painted with a deep cobalt-blue ground embellished with gilt plants and mon-emblems save for two large central reserves painted in polychrome enamels and rich gilt depicting idyllic figural scenes and cherry blossoms in full bloom. Signed within a gilt reserve BANKOZAN below the Shimazu crest mark. The artist produced fine quality work in the style of Kinkozan and is rarely encountered.HEIGHT 46 cmCondition: Excellent condition with only very minor wear and rubbing to gilt.Provenance: Austrian private collection, purchased at Dorotheum Auctions, Vienna, in the 1990s. Old inventory number to the underside.Auction comparison:Compare a related large satsuma vase by Bankozan at Bonhams, Fine Works of Asian Art, 18 June 2007, San Francisco, lot 6100 (sold for 3,300 USD).

KOZAN: A LARGE AND IMPRESSIVE TOKYO SCHOOL IVORY OKIMONO OF A CORMORANT FISHERMAN WITH CHILDRENJapan, Tokyo, Meiji period (1868-1912)The elderly fisherman holding a young child in one arm with a second child attempting to remove a sweetfish (ayu) from the mouth of the cormorant while holding a lantern at his feet. The elderly fisherman barefoot and dressed in simple robes with a grass apron, his face bearing a charming expression of great satisfaction at having the children with him as he fishes. The large cormorant tied with a harness attached to the belt of the fisherman, the bird detailed with fine feathers. The figures are finely carved with impressive incision work and staining. The base signed in a square reserve KOZAN.HEIGHT 30.9 cmCondition: Very good condition with minor wear, expected age cracks, and natural flaws including one nerve channel to the base. The handle of the lantern re-stuck.Provenance: From an old private collection in southern Germany, assembled between 1975 and 1982. An old collector's label to the base of the figure, 'OKIMONO, Komeran-Fischer Ivory. Jap. Meiji ca. 1880. Sign Naga-san. DM 9,000.'Cormorant fishing (ukai) was at one time the primary method of catching ayu (sweetfish). It is first attested in the Book of Sui (636 AD), an official history of the Sui Dynasty in China, and was said to be a method invented in ancient Japan. To control the birds, the fishermen tie a loose snare near the base of the bird's throat. The snare prevents the bird from swallowing large fish, which are held temporarily in their gullet. When a cormorant has caught a fish in its throat, the fisherman brings the bird back to the boat and has it regurgitate the fish. Cormorant fishing was often most effective at night when the fish would swarm to the surface causing the fishermen to use large torches for lighting and to draw the fish in.Auction comparison:Compare a related Tokyo school ivory okimono of a cormorant fisherman with his cormorant, signed Eizan, at Bonhams, Fine Japanese Art, 16 May 2013, London, lot 305 (sold for GBP 6,259). Compare a closely related composition of an elderly man catching turtles with two children, signed Kakihan, at Zacke, Asian Art Discoveries, 27 January 2022, Vienna, lot 644 (sold for EUR 6,320).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number DE-K-221108-374). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

KEIUN: A FINE IVORY OKIMONO OF A PAIR OF CRANESBy Keiun, signed Keiun toJapan, Meiji period (1868-1912)Naturalistically carved as a pair of cranes, one pausing mid-step with its head turned as it looks on and the other standing flatfooted, drawing its head in towards its body. Their feathered bodies exquisitely defined in fine lines and accents of black pigment, supported on ribbed legs on webbed feet rendered in iron, the eyes inlaid in mother-of-pearl. Signed underneath the body of the larger crane KEIUN to [carved by Keiun].HEIGHT 13.7 cmCondition: Very good condition, the base with a large age cracks. Very light chipping to the edge of tail feathers of the smaller bird.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 17.Auction comparison:Compare a closely related ivory okimono of a single crane at Bonhams, Fine Asian Works of Art, 23 June 2008, San Francisco, lot 8351 (sold for USD 5,700).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2022/BE04286/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

TOSHIMUNE: A FINE IVORY OKIMONO DEPICTING A RESTING FLOWER SELLERBy Toshimune, signed ToshimuneJapan, Meiji period (1868-1912)Exquisitely carved with naturalistic detail, the flower seller seated on a carrying pole (tenbinbo), propped between his two baskets, leaning forward with an amused look. Holding his narrow tobacco pipe (kiseru) in one hand and his inro with manju netsuke in the other, wearing several layers of elaborately patterned robes. Large peony and hibiscus blossoms wrapped in reed mats, one resting in a finely carved basket, are attached to both ends of his carrying pole. The man rests on a reed mat set on a naturalistically rendered ground. The base signed within an engraved and stained rope on a red lacquer tablet TOSHIMUNE.LENGTH 10.7 cmCondition: Very good condition with only minor wear and a plugged natural nerve channel.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 37. The base with several old labels.Auction comparisonCompare a related signed ivory okimono of a flower seller, at Christie's, Asian Art, 23 February 2006, London, lot 2413 (sold for GBP 4,560).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00398/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A LACQUER CYLINDRICAL HOKAI (COVERED FOOD CONTAINER) WITH AGARIFUJI MONJapan, late Edo (1615-1868) to early Meiji period (1868-1912)The body with horizontal raised bands and supported on four tapering square-section legs which support the sides of the box, bearing a fine roiro ground and decorated continuously in gold hiramaki-e with Agarifuji mon (ascending wisteria crest) with the character 光 among scrolling blossoms. The cover, edges, and feet mounted with chased metal mounts decorated with foliate designs, secured with twine rope, the interior of black lacquer.HEIGHT 47 cmCondition: Very good condition with minor wear. Light scratches, tiny nicks, and minor rubbing.Auction comparison:Compare a related pair of hokai similarly formed and decorated with a mon, 49 cm, dated to the late 19th century, at Christie's, Important furniture and objects of art, goldsmithing, European ceramics, Asian art, 21 June 2006, lot 263 (sold for EUR 9,000).

SHUZAN: AN EXCEPTIONAL WOOD NETSUKE OF A SNAIL ACROBATBy Shuzan, signed Shuzan 周山Japan, late 18th to early 19th century, Edo period (1615-1868)Published: Bandini, Rosemary (2013) In a Nutshell, A Loan Exhibition of Japanese Netsuke from European Collections, p. 82, no. 161.A very unusual and humorous twist to the classic netsuke subject of a snail emerging from a shell - here the snail's long and fleshy body loops over the shell, forming an arch, its anthropomorphic head upside down, the two antennae touching the shell, the mouth with a smile and the two eyes staring at the viewer, as if seeking some kind of acknowledgment of this incredible feat. The shell shows a clever arrangement of stippled markings to the smoothly polished, spiraling surface. The eyes of the snail are inlaid in dark horn. One large himotoshi to the underside of the shell, the other large opening 'natural' through the side. The dark-reddish wood bearing a superb, unctuous patina. Signed SHUZAN.This remarkably striking and possibly unique design is executed here in a bold manner, while still retaining a high degree of delicacy and imbued with a healthy dose of humor - all the hallmarks of what makes a netsuke truly special.HEIGHT 3.7 cm, LENGTH 4.6 cmCondition: Very good condition, minor typical wear including some light surface scratches and tiny nicks. One eye is likely replaced, but invisible to the naked eye. Beautiful patina.Provenance: Ex-collection Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Teddy Hahn was a passionate collector of snail netsuke, arguably building the greatest collection of snail netsuke ever assembled.

A FINE AKAGANE AND SHAKUDO MANJU NETSUKEUnsignedJapan, 19th century, Edo period (1615-1868)The two-part manju netsuke of rounded square form, inlaid with bands of akagane and shakudo, stimulating woven rattan to form a rinzu diapered ground. The interior with a looped cord attachment passing through the exterior.LENGTH 3.4 cmCondition: Good condition with minor wear and few losses to the inlays.Provenance: Collection of Robert and Isabelle de Strycker, acquired from the above. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Auction comparison:Compare a closely related manju netsuke with rinzu pattern, at Van Ham, Asian Art, 7 December 2017, Cologne, lot 2394 (sold for 2,451).

A RARE MARINE IVORY NETSUKE BY TANUKI HARA TSUZUMI, ATTRIBUTED TO MASATAMIAttributed to Masatami, unsignedJapan, Tokyo, second half of the 19th century, Meiji period (1868-1912)Depicting tanuki no hara tsuzumi (belly drumming raccoon dog), the fur finely incised, the lustrous marine ivory beautifully stained, the spine expressively carved, the face with sharp fangs, upwards turned snout, double-inlaid eyes in mother-of-pearl and black horn, and a jovial expression - he is visibly delighted as he drums on his large and smooth belly, with his left front paw raised in a dynamic posture. Himotoshi to the underside and to the back.HEIGHT 3.8 cmCondition: Very good condition with only minor surface wear and a flaw to the material by the creature's shoulder.Provenance: Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 202. German private collection, acquired from the above.The tanuki possesses magical powers and can change forms, sometimes into Buddhist monks; they are jovial, but also dangerous, as they have been known to suffocate hunters with their enormous scrotums. The act of drumming on the belly, according to legend, was used by tanuki to beguile travelers and hunters and to lead them astray. However, it has also been said that tanuki would get together just for fun, drumming on their bellies under the moonlight, perhaps even with some sake involved.Museum comparison: Compare a closely related ivory netsuke, signed Masatami, at the Asian Art Museum, San Francisco, object number B70Y1039.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0363). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A FINE LACQUER HAKO NETSUKE DEPICTING AUTUMNAL FLOWERSUnsignedJapan, 19th century, Edo period (1615-1868)The two-part hako (box) netsuke bearing a highly attractive roiro ground and lacquered in rich gold takamaki-e and e-nashiji with blooming autumn flowers amongst leaves, the details embellished with kirigane flakes. The interior of dense nashiji with gold fundame rims. Central himotoshi to the back, the cord attachment within.LENGTH 3.2 cmCondition: Very good condition with minor wear, the kirigane with typical wear and some losses.Provenance: Tamenne Gallery, Brussels, December 26, 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. An old collector's label, 'N 289 bis.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).

A LOT WITH NINE ANTLER NETSUKE, EDO - MEIJIJapan, 19th century to early 20th centuryThree carved from the coronet of the antler, the outer part left uncarved to retain the natural beauty of the material. The other six depicting different motifs such as a cicada, clams, or a tortoise shell. HEIGHT 4.4 cm to 6.7 cm Condition: Overall good condition with associated surface wear, natural flaws to the materials and tiny nicks here and there. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.

A LOT WITH SIX ANTLER NETSUKE, EDO - MEIJIJapan, 19th century to early 20th centuryThe first depicting a dutchman, himotoshi through the backside. The second a mask netsuke of Jurojin, the mouth pierced and with a single himotoshi through the bar at the back. The third depicting another dutchman, himotoshi through the back. The fourth depicting a sennin standing, wearing a loose-fitting robe tied at the waist and holding a broom with both hands, his face with a joyous expression, the hair arranged in two buns, two asymmetrical himotoshi to the back. The fifth carved as a fox priest, himotoshi through the back. The sixth and last depicting the lucky god Jurojin holding a scroll, himotoshi through the back. HEIGHT 4 cm to 7.2 cm Condition: Good condition with associated surface wear, natural flaws to the materials, tiny nicks here and there and natural age cracks. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.

AN ANTLER MASK NETSUKE OF HANNYAUnsignedJapan, 18th century, Edo period (1615-1868)Boldly carved from a tubular section of naturally hollowed antler, the elongated face set with a devious expression with sharp fangs, and two small horns protruding from its finely incised hair. The eyes and nostrils pierced and the forehead extending in an exaggerated arch. Large central himotoshi to the thick bar in the back. The antler finely stained and bearing a superb, deep patina.HEIGHT 6 cmCondition: Very good condition with minor wear and typical natural flaws to the materialProvenance: Ex-collection Richard R. Silverman. European collection P. Jacquesson, acquired from the above on 29 September 2005. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. From the 1970s onward, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Museum comparison:Compare a related antler mask netsuke, formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 18928.

A RARE GILT AND POLYCHROME WOOD FIGURE OF JIZO BOSATSUJapan, 13th-14th century, Kamakura period (1185-1333)Finely carved, the bodhisattva standing on a double lotus dais with beaded rim raised on a naturalistically carved rockwork base supported on a tiered rectangular pedestal carved with diapered floral and rinzu designs. He is dressed in a long flowing robe applied with gilt and colored pigments as well as an ornamental necklace suspending small beads. He is holding the hoju (treasure jewel) in his left hand and the shakujo (staff) suspending loose rings in his right. His serene face with heavy-lidded eyes below gently arched brows centered by a crystal-inlaid byakugo (urna). The lotus dais is inset with a flattened post surmounted by a metal halo applied with three metal foliate elements.HEIGHT 33.2 cmCondition: Good condition with some wear, minor age cracks, minor flaking and small losses to lacquer and pigments, few tiny losses, one foot restored.Provenance: Kyoto Gallery, Brussels, 2000. Liliane and Michel Durand-Dessert, Paris, acquired from the above. Liliane and Michel Durand-Dessert were luminous gallery owners who worked in Paris from 1975 to 2004, and were both informed and avant-garde collectors. They are significant not only because of the analytical and original approach the couple applied in each acquisition, but also because of their visionary take on exhibiting the most radical 20th-century art in their gallery, which was the subject of a 2004 retrospective organized by the Museum of Grenoble. According to Michel Durand-Dessert, who was inspired to open the couple's first gallery by a visit to Documenta in 1968, “it is certain that a collection is a portrait, and that the objects we buy are those in which we sometimes recognize ourselves, sometimes we project ourselves. One way or another, acquiring them means adopting them, in every sense of the word.”Jizo Bosatsu (Ksitigarbha) has been worshipped since the Heian period, particularly as the protector of children. This bodhisattva is a merciful figure who alone among Buddhist deities moves through the six worlds of illusion in his role of saving all sentient beings. As in this example he is usually depicted as a monk with the hoju (treasure jewel) and shakujo, a staff with a finial of rings which jingle to warn small creatures of his approaching footfalls.Museum comparison: Compare a related gilt-decorated wood figure of Jizo dated to the Kamakura period, 13th century, 35.5 cm high, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1965-19a-h. Compare a related gilt and polychrome wood figure of Jizo standing on a similar gilt double-lotus dais, dated to the 12th century, 88 cm high, in the Ny Carlsberg Glyptotek, Copenhagen, object number IN 2262.Auction comparison: Compare a related wood figure of Jizo Bosatsu, with the gilt and pigments mostly lost, dated Heian or Kamakura period, 12th century, 50.4 cm high, at Bonhams, 15 March 2017, New York, lot 6154 (sold for 33,750 USD).

A LOT WITH TWO KISERUZUTSU WITH POUCH AND TONKOTSU, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)The first antler kiresuzutsu of muso-zutsu type, carved to one side with a lobed reserve containing a stylized long-snouted rain dragon, below a pierced lattice, surmounted by the cord attachment in the form of a reishi; together with a pipe (kiseru), a stone ojime, and a tobacco pouch (tabako-ire) crafted from leather and with a metal kanamono (pouch fitting) depicting a samurai feeding a dog. The second of muso-zutsu type, made from antler, carved with a lobed reserve enclosing flowers to the lower area and with a rain dragon forming the cord attachment below the rim, the (associated) top carved with a landscape; together with a pipe, a stone ojime, and a wood tonkotsu. Condition: With wear, and shallow surface scratches. The first with a crack to the backside and losses. The second with a crack to the rim and replaced top. Overall, still presenting very well. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Dimensions: Length 20 cm and 21 cm

A GROUP OF FIVE LEATHER TABAKO-IRE SETS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)The first and second each crafted from leather and decorated with floral and ornamental designs, the metal kanamono (clasps) depicting peonies; a resin and metal floral kagamibuta netsuke is attached by a multi-strand chain secured by a metal dragon guard, the second missing the netsuke. The third of leather with a kanamono depicting chrysanthemums, with a glass ojime and an antler kiseruzutsu with metal fittings. The fourth crafted from leather and with an antler netsuke depicting a cicada. The fifth and last a leather pouch with woven decoration depicting a landscape, with an antler ojime and kiseruzutsu carved with pavilions.Condition: With traces of use and wear, small nicks, losses, breakages and soling. One kiseruzutsu missing the top part, another missing a metal fitting. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Dimensions: Length c. 9 cm to 13.5 cm

A GILT WOOD FIGURE OF KANNON BOSATSUJapan, 17th-18th century, Edo period (1615-1868)Carved from cypress wood and assembled in yosegi-zukuri technique. Seated in dhyanasa top an elaborate hexagonal base carved with clouds, floral diaper, hanabishi, and rinzu designs. The hands are held in raigo-in (vitarka mudra). The serene face with heavy-lidded downcast eyes below gently arched brows and a small glass-inlaid byakugo (urna) as well as full lips flanked by long pendulous earlobes. Her hair is piled in a topknot and adorned with a hokan (jewelled crown) and munakazari (ornamental necklace) in applied gilt-metal suspending glass beads.HEIGHT 32 cm (the figure) and 49 cm (total)Condition: Good condition with some wear, flaking and small losses to lacquer, minor losses here and there, natural imperfections including age cracks and signs of insect activity, minor old repairs, small chips, light surface scratches. The mandorla and sections of the base lost.Provenance: From the Langlois Collection. Jean-Marie-Charles Langlois (1896-1949) arrived in Vietnam in 1920, where he worked as an engineer for the Societe de Construction des Chemins de Fer Indochinois. He was the principal engineer for the Indochinese railways between 1920 and 1949. As a Sinophile who spoke fluent Mandarin, he built an important collection of Asian works of art. In 1949 he was imprisoned by the Viet Minh during a train attack and executed on the same day. His wife and two sons came back to France in Burgundy near Dijon, bringing Jean Langlois' collection with them. Once in France, his family continued to buy Asian works of art on the French art market, paying tribute to Jean Langlois's memory.

A RARE FIREMAN'S JACKET WITH SHISHI DESIGNJapan, Edo period (1615-1868)The back of the hikeshi-banten (fireman's jacket) finely decorated with a shishi in a field of blue and white peonies issuing from craggy rocks.HEIGHT 94 cm, WIDTH 115 cmCondition: Good condition with minor wear and some discoloration and light soiling.Typically, the hikeshi-banten jackets were soaked before firemen ran into a fire. The heavy weight cotton used for this jacket was meant to absorb a good deal of water and served to protect the wearer from the flames.Auction comparison:Compare a closely related fireman's jacket, dated to the Edo period, at Zacke, TWO-DAY AUCTION - Asian Art Discoveries - Moving Sale!, 30 June 2022, Vienna, lot 1067 (sold for EUR 3,792).

KEISAI EISEN: CARP IN WATERFALLBy Keisai Eisen (1790-1848), signed Keisai hitsu with seal EisenJapan, c. 1830-1844Color woodblock print on paper. Oban diptych. Signed Keisai hitsu with the artist's red seal Eisen; publisher Izumiya Ichibei (Kansendo). Titled Carp in Waterfall.Appealing imagery with a carp leaping up a waterfall.SIZE 71 x 24.7 cmCondition: Stains, tears, material loss, partially with associated paper backing, creasing and folds, and slight fading of colors, otherwise presenting well. The two sheets have been mounted together.Keisai Eisen (1790-1848) was a renowned ukiyo-e artist, with a focus on creating bijin-ga, which are artworks depicting beautiful women. His most exceptional pieces, particularly his ōkubi-e or "large head pictures," are regarded as masterpieces from the "decadent" Bunsei Era (1818-1830). Additionally, he was recognized by the name Ikeda Eisen and wrote under the name of Ippitsuan.Museum comparison: An identical print is in the collection of the British Museum, museum number 1906,1220,0.311. Another identical print is in the collection of the Freer Gallery of Art Collection in the National Museum of Asian Art, Smithsonian Institution, accession number F1996.26a-b.Auction comparison:Compare an identical print sold at Sotheby's, Japanese Woodblock Prints, 17 December 2020, London, lot 7 (sold for GBP 6,930).

UTAGAWA HIROSHIGE (1797-1858): OKITSU RIVER AT OKITSUBy Utagawa Hiroshige (1797-1858), signed Hiroshige gaJapan, 1833-34, Edo period (1615-1868) Color woodblock print on paper. Horizontal Oban. From the series Tōkaidō gojūsan tsugi no uchi (The Fifty-Three Stations of the Tokaido), station 18: Okitsu, the Okitsu river (Okitsu, Okitsugawa). Publisher: Hōeidō | Senkakudō.Condition: Good impression and fresh colors, little browning and very minor material loss along the margin. Mounted at the upper margin to a passepartout.Provenance: Galerie Wansart, Brussels, February 15, 1949. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). Dimensions: Image size 22 x 34.5 cmLiterature comparison: A near identical print is in the collection of the RISD Museum, USA, object number 20.1265.Utagawa Hiroshige (1797 - 1858), also referred to as Ando Hiroshige, is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.

A VERY RARE AND LARGE GILT BRONZE FIGURE OF AMIDA NYORAI, EDOJapan, 18th to 19th century, Edo period (1615-1868)Finely cast in multiple sections, Amida standing on a lotus dais supported by a round pedestal with hands raised in raigo-in (vitarka mudra). He is wearing heavy monastic robes falling in elegant, voluminous folds and opening at the chest. His face bearing a serene expression with heavy-lidded eyes, sinuous brows and a raised byakugo (urna), his hair arranged in tight curls over the domed ushnisha, flanked by beautiful kohai (nimbus) exuding rays.HEIGHT 35.4 cm (figure), 65.6 cm (incl. stand)WEIGHT 7,848 gCondition: Good condition with minor wear, light nicks, small scratches, some rubbing, and repairs to the neck and hands. The bronze is covered in a rich, dark patina. Provenance: Ex-collection of Anton Exner, Vienna, Austria. Each section painted in red 'EX5.' Anton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art, from all epochs, and particularly Chinese and Japanese works. During a long sojourn through Canada and the USA from 1908 to 1910, he made first contacts with Chinese dealers and subsequently acquired numerous antiques at various Asian ports, which formed the basis for his future business activities. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for c. 25 years. From the early 1920s onwards, he lent objects to most major exhibitions of Asian art held in Austria, and eventually gifted a large part of his personal collection, numbering several thousand objects, to the Museum of Applied Arts in Vienna, where it is on permanent exhibition to this day.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.Japanese gilt bronzes depicting Amida are to be considered extremely rare. Museum comparison:Compare a related earlier gilt bronze figure of Amida, dated 14th-15th century, in The Metropolitan Museum of Art (The MET), accession no. 1975.268.168a, b.

AN INLAID CELADON STONEWARE BOWL, GORYEO DYNASTY 高麗王朝内嵌花卉青瓷碗Korea, 12th-13th century. The deep rounded sides raised on a short foot, finely inlaid in white slip beneath the celadon glaze to the interior with a central flowerhead encircled by a band of ruyi-heads as well as alternating chrysanthemum sprays and pomegranate bunches enclosed by line borders, and to the exterior with flowerheads within roundels issuing freely painted vines framed by geometric and petal bands, with some details inlaid in black slip.Provenance: French trade. Acquired from an old French private collection of Korean ceramics and works of art. Condition: Good condition with old wear and expected firing flaws including pitting, glaze lines, kiln grit, and warping. The rim with two hairlines.The rim with a single professional restoration (10 x 4 cm).Weight: 788.6 g Dimensions: Diameter 20.6 cmThis inlay technique is called 'sanggam', which was invented by Korean ceramic artists in the twelfth century. The design was incised into the clay body of the vessel and then filled with slip (diluted clay). The excess slip would have been removed before the piece was biscuit fired, then the bottle was covered with a translucent celadon glaze and fired again. The development of the sanggam inlay technique signifies the elegance and innovativeness of Goryeo ceramic production; no similar inlay technique was used by Chinese craftsmen at this time.Literature comparison:Compare a related bowl with similar decoration and motifs, 19.4 cm diameter, dated to the early 14th century, in the Metropolitan Museum of Art, accession number 27.119.10. Compare a related with similar decoration and motifs, 20 cm diameter, dated to the first half of the 13th century, in the National Museum of Asian Art, Smithsonian Institution, accession number F1917.294.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 15 October 2001, lot 291Price: USD 15,275 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: An inlaid celadon stoneware bowl, Goryeo dynasty, 12th-13th centuryExpert remark: Compare the closely related decoration and motif. Note the size (18.3 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 29 March 2005, lot 527 Price: USD 15,600 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: An inlaid celadon stoneware bowl, Goryeo dynasty, 13th century Expert remark: Compare the closely related form, decoration, and motif. Note the size (18.3 cm).高麗王朝内嵌花卉青瓷碗韓國，十二至十三世紀。敞口，深弧腹，圈足，青瓷釉下精美鑲嵌白色釉料；碗內中央内凹，飾有一朵花，周圍一圈如意紋；内壁交替飾有菊花和石榴紋，碗沿三道弦紋；外壁卷葉花卉紋；一些細節鑲嵌在黑色的漿料中。 來源：法國古玩交易。購自法國韓國陶瓷和藝術品私人舊藏。 品相：狀況良好，有磨損、麻點、釉紋、窯砂和翹曲。邊緣有兩條冲線。邊緣有一個專業修補(10 x 4 厘米)。 重量：788.6 克 尺寸：直徑 20.6 厘米 文獻比較： 比較一件相近裝飾主題的十四世紀初碗，直徑19.4 厘米，收藏於大都會藝術博物館，館藏編號27.119.10。比較一件相近裝飾主題的十三世紀上半葉碗，直徑20 厘米，收藏於史密森國立亞洲藝術博物館，館藏編號F1917.294。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2001年10月15日，lot 291 價格：USD 15,275（相當於今日EUR 24,000） 描述：十二至十三世紀高麗王朝内嵌花卉青瓷碗 專家評論：比較非常相近的裝飾和主題。請注意尺寸(18.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2005年3月29日，lot 527 價格：USD 15,600（相當於今日EUR 22,500） 描述：十三世紀高麗王朝内嵌花卉青瓷碗 專家評論：比較非常相近的外形、裝飾和主題。請注意尺寸(18.3 厘米)。

AN AGAR WOOD SCHOLAR'S ROCK, QINGChina, Qing dynasty (1644-1912). The abstract sculpture carved from chenxiangmu (agarwood) as a high crested wave or rock. The wood of light brown tone with lighter and darker streaks, it exudes a fragrant aroma typical for this type of wood.Condition: Very good condition with minor wear.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 454.7 gDimensions: Height 22.1 cm

A LARGE BUTSUDAN (BUDDHIST ALTAR) FOR AMIDAJapan, 19th centuryOrnately crafted, the black-lacquered exterior with gilt metal fittings, with three drawers and two sets of doors, the inner doors with thin lining of silk to enable a respectful view of the Buddha, opening to reveal a beautiful shrine with rich gold lacquer and a standing figure of Amida in front of three miniature hanging scroll paintings depicting Amida in the center and two praying figures. The interior of the shrine is further decorated with carved relief panels with ho-o (phoenixes) and with two open-worked metal lanterns suspended from either side of the Buddha figure.HEIGHT 137 cmCondition: Very good condition. Some scattered losses here and there. Presents beautifully.Provenance: From a French private collection.A Butsudan (仏壇, lit. "Buddhist altar"), sometimes spelled Butudan, is a shrine commonly found in temples and homes in Japanese Buddhist cultures. A butsudan is either a defined, often ornate platform or simply a wooden cabinet sometimes crafted with doors that enclose and protect a Gohonzon or religious icon, typically a statue or painting of a Buddha or Bodhisattva, or a calligraphic mandala scroll.The Butsudan's primary use is for paying respects to the Buddha, as well as to family members who have died.Auction comparison:Compare a very large Butsudan, lacking the interior figures and paintings, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 42 (sold for 4,750 EUR).

A HONGMU ALTAR COFFER, 1900sChina, late Qing Dynasty (1644-1912). The rectangular-panel top supported on recessed square corner posts, the single drawer above the pair of doors fitted flush around a removable center stile, with reticulated spandrels below the projecting top on either side of the drawer, the coffer fitted with brass mountings.Condition: Commensurate with age, natural age cracks, minor splits and gaps as expected, few small losses, the spandrels reattached, old wear and traces of use, few shallow surface scratches. Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Dimensions: Size 84.5 x 78.6 x 59.8 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A TRANSLUCENT GLASS 'COSMIC EGG', HAN DYNASTYChina, Han dynasty (202 BC to 220 AD). The ritual object of ovoid form, the deep-green glass of high translucency.Condition: Good condition commensurate with age. Extensive wear, small losses, nicks, scratches, cracks, extensive signs of weathering and erosion. Displaying remarkably well overall.Provenance: Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 898.3 gDimensions: Height 10 cmIn Chinese history, glass played a peripheral role in arts and crafts when compared to ceramics and metal work. The limited archaeological distribution and use of glass objects are evidence of the rarity of the material. Literary sources date the first manufacture of glass to the 5th century AD. However, the earliest archaeological evidence for glass manufacture in China comes from the Warring States period. The Chinese learned to manufacture glass comparatively later than the Mesopotamians, Egyptians and Indians. Imported glass objects first reached China during the late Spring and Autumn and early Warring States periods, c. early 5th century BC, in the form of polychrome 'eye beads'. These imports created the impetus for the production of indigenous glass beads. During the Han dynasty, the use of glass diversified. The introduction of glass casting in this period encouraged the production of molded objects, such as bi disks and other ritual objects.The cosmic egg is a mythological motif found in the cosmogonies of the Proto-Indo-European culture and several other major civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by 'hatching' from the egg, sometimes lain on the primordial waters of the Earth. Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from which life or existence, in its most fundamental philosophical sense, emerges.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke, 9 March 2023, lot 146Price: EUR 2,860 Description: A translucent aquamarine glass 'cosmic egg', Han dynastyExpert remark: Compare the closely related form and size (9.5 cm). Note the color of the glass.

A QING DYNASTY CHRYSOPRASE LIDDED VASE AS LAMP BASEChina, Qing Dynasty (1644-1912). The vase of flattened baluster form decorated with flowering branches, a young boy, and birds, the cover with a reticulated metal mount, standing on a wood base which is attached to a bronze lamp mount.Condition: Very good condition, minor wear, the stone with natural fissures, which may have developed into thin hairlines. Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Weight: 3,720 gDimensions: Height 59 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A LOT WITH 20 HARDSTONE BEADS, 19TH CENTURY OR EARLIERChina, 19th century or earlier. Comprising 20 barrel and drum shaped beads, all different in size, carved from translucent hardstone of a fine lime green tone.Condition: Good condition with traces of wear and shallow surface scratches. Few beads with chips.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 178.8 g (total)Dimensions: Length 1.2 cm - 3.4 cm

A JADE 'CLOUD-SCROLL' ORNAMENTChina, possibly Hongshan culture, circa 4000-3000 BC or later. The flat plaque with a circular aperture within a half-crescent shape opening, flanked by a pair of notches with incised grooves, another aperture at the top, the gently undulating surface with wide shallow grooves following the design to the bottom, the edges subtly honed all around. The celadon green stone with splashes of dark green and mottled creamy inclusions, as well as calcifications.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles along the edges.Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 256.4 gDimensions: Length 21 cm, Width 14 cm

A JADE DISK, BI, LIANGZHU CULTUREJade. China, late Neolithic period, Liangzhu culture, c. 3300-2200 BCOf circular form with a central aperture drilled from both sides to form an encircling ridge. The variegated stone of pale green and light brown color with extensive grayish-white patches and veining. Few translucent areas of the stone appear red when light is shone through from the other side.Museum comparison: Compare a closely related bi, also dated to the Liangzhu culture, c. 2500 BC, 19.1 cm diameter, in the collection of the British Museum, museum number 1937,0416.8. Compare a related bi, also dated to the Liangzhu culture, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1918.23.Auction comparison: Compare a closely related bi, also attributed to the Liangzhu culture, 18.5 cm diameter, at Christie's Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I on 27 November 2019, lot 2722 (sold for HKD 212,500). Compare a related bi, also attributed to the Liangzhu culture, 17 cm diameter, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part III on 19 March 2015, lot 516 (sold for USD 12,500).DIAMETER 19 cm Provenance: Austrian private collection.

A JADE BI DISC, LIANGZHU CULTUREChina, 3rd millennium BC. Of somewhat irregular thickness, carved from a mottled celadon jade disc showing numerous striations, dots, and large patches of different nuances of color ranging from spinach green, to light and dark brown, and russet. The circumference is slightly irregular, as is the central hole, thus giving the ring an uneven width. Condition: Good condition with wear and expected minor signs of weathering as well as minor losses along the edges.Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 218 gDimensions: Diameter 14 cm

TWO JADE BEADSChina, Neolithic period, probably Xingwongla culture, circa 3500-2500 BC. Different in size and of irregular cylindrical shape, the translucent stones of a variegated green with milky white inclusions and specks of brown, as well as calcification. Condition: Very good condition with wear and expected minor signs of weathering and minor losses along the edges.Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 93.9 gDimensions: Length 7 cm, 4.3 cmAuction result comparison:Compare a set of eight related jade beads at Sotheby's Hong Kong, 5 December 2023, lot 702 (sold for HKD 190,000).

A LARGE GREEN AND BROWN CEREMONIAL JADE BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BC An amazing example of a long ceremonial blade, trapezoidal in shape, with slightly slanting short sides, faintly arched at the top edge, and with a straight cutting edge. The top pierced with three holes. The softly polished stone of an amazing, translucent blueish green tone and with large areas of darker, semi-translucent brown inclusions to the top and sides.According to the Cleveland Museum of Art, recent recoveries of similar blades from a pit of a Qijia cultural site located in northwest China reveal that they were originally standing on their edges and were arranged in parallel formations at the ritual ground. Condition: Very good condition with age-related wear, and tiny chips.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 612 g Dimensions: Length 39 cmLITERATURE COMPARISON: Compare to closely related blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 134, 135, 136, pages: 114-117. Compare to a closely related Ceremonial Blade with Three Perforations (Dao), 2000-1700 BC, Northwest China, late Neolithic period to early Bronze Age, Qijia culture exhibited at Cleveland Museuam of Art, Severeance and Greta Milikin Colllection 2009.83.AUCTION RESULT COMPARISON: Type: Related Price: Sold at 30,000 GBP approx. 35,000 EUR Auction: Christie's, A Private English collection of White Jade Carvings and Fine Chinese Ceramics and Works of Art including Export Art, Lot 118, 4th of November 2008 Description: A greyish-green jade blade, Dao, Neolithic period, Qijia culture, circa 2050-1700 BC

A FINE MOTTLED JADE DAO BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCA fine ceremonial blade, trapezoidal in shape, with slightly slanting short sides, faintly arched top edge, and curved cutting edge. The top pierced with three holes. The softly polished semi-translucent stone showing an intense color play of white, ochre, brown and black hues and whitish alterations.According to the Cleveland Museum of Art, recent recoveries of similar blades from a pit of a Qijia cultural site located in northwest China reveal that they were originally standing on their edges and were arranged in parallel formations at the ritual ground.Condition: Very good condition with age-related wear, calcification, and small chips.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 331 g Dimensions: Length 31 cmLITERATURE COMPARISON: Compare to closely related DAO blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 134, 135, 136, pages: 114-117.

A JADE NOTCHED AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form with a long, straight cutting edge, well-carved from a beautiful, translucent celadon stone with delicate, brownish, grayish, and milky white inclusions, as well as russet spots and veins. Three circular hafting holes drilled from one side. The shorter sides flanked by notched grooves. Condition: Very good condition with wear and expected minor signs of weathering as well as nibbles to edges and a small chip to one notch.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 552.3 gDimensions: Length 37 cm, Width 11.2 cmKnife- and axe-shaped blades made from stone were probably working tools in Neolithic societies. Jade is hard but brittle, so the blades made from this beautiful material are unlikely to have been put to practical use. Instead, they would have been held by chieftains as symbols of authority. Large quantities of jade blades have been excavated in different regions in China, indicating their widespread use over a span of more than 3,000 years.

A JADE AXEChina, probably Qijia culture, c. 2200-1600 BC or later. The blade of irregular form with curved sides, well carved from a translucent dark gray and beige jade with russet inclusions and veins, as well as calcification to the blade. Five apertures to the blade, one C-shaped. Condition: Very good condition with wear and expected minor signs of weathering, natural fissures, one minor chip to the edge. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 500.8 gDimensions: Length 30.8 cm, Width 12.5 cm

A JADE CEREMONIAL AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. The blade with curved and slanted edges, well carved from a dark gray and beige jade with russet inclusions, as well as calcification. The blade broadens slightly towards the cutting edge opposite the hafting end with three circular apertures drilled from one side.Condition: Very good condition with wear and expected minor signs of weathering, fissures, and few chips and nibbles to the edges.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 674.4 gDimensions: 33.7 cm, 14 cm

A JADE AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. The blade of irregular form with several curved notches and grooves, well carved from a translucent pale celadon jade with brown and milky white inclusions as well as dark spots and speckles. Two notches on the top and bottom further incised with angular lines. The well-polished surface smooth to touch.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 642.2 gDimensions: Length 36.2 cm

A JADE CEREMONIAL AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of triangular form, the stone with gently curved sides and an opposing straight blade, well carved from a dark grayish-brown jade with patches and speckles of beige, as well as calcification. Five apertures incised in a series to the curved sides. Condition: Very good condition with wear and expected minor signs of weathering and nibbles to the edges. One side chipped. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 370 gDimensions: Length 35.6 cm, Width 9 cm

A JADE AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form with a curved edge, pierced with a circular aperture and carved with a notch to fit a handle. The smoothly polished stone of a dark gray tone with brown shadings, dark specks, and cloudy white inclusions. Condition: Very good condition with wear and expected minor signs of weathering, tiny nicks, small chips. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 120.4 gDimensions: Height 15.3 cm

A CEREMONIAL AXEChina, probably Qijia culture, c. 2200-1600 BC or later. The blade with one side curving to a sharp edge, the other serrated with wave-like teeth, well carved from a translucent celadon green stone with spinach green and milky white striations, as well as spots of brown. The hafting end with a small circular hole drilled from one side.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 355.4 gDimensions: Length 31 cm, Width 9 cm

A JADE CEREMONIAL BLADE, GUI, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form, the long blade with a curved cutting edge and two circular apertures to the top. Well carved from a beautiful, celadon stone with brown shadings and milky white inclusions as well as dark speckles. Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 381.5 gDimensions: Length 31.7 cm

A CEREMONIAL AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC or later. The blade of slightly tapering form with a concave blade, well carved from a translucent stone with dark green and russet striations as well as speckles and spots of spinach green. Two well hollowed apertures.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 344.5 gDimensions: Length 24.5 cm, Width 8.6 cm

A JADE NOTCHED AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form, the long blade with a slanted cutting edge. A circular aperture is pierced to the top flanked by notches to the sides. The translucent stone of a celadon tone with cloudy white inclusions and russet veins.Condition: Very good condition with wear and expected minor signs of weathering, tiny nicks, few chips.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 148.6 gDimensions: Height 18.7 cm

A JADE NOTCHED AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form, the long blade with a slanted cutting edge, a circular aperture pierced to the top flanked by notches to the sides. One side with a straight incision running from the top down the aperture. The translucent dark gray stone with brown, white, and dark-green inclusions and specks.Condition: Very good condition with wear and expected minor signs of weathering, tiny nicks, few nibbles.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 510 gDimensions: Length 36.5 cm

A JADE CEREMONIAL BLADE, GUI, QIJIAChina, Qijia culture, c. 2200-1600 BC. Of tapering form, the long blade with a gently curved cutting edge, well carved from a beautiful, dark green celadon stone with milky white inclusions and russet veins. A circular aperture is pierced to the top flanked by notches to the sides. One side with a straight incision running from the top down the aperture.Condition: Very good condition with wear and expected minor signs of weathering and nibbles to the curved edge.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 401.9 gDimensions: Length 31.2 cm

A JADE AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form, with a short slanting cutting edge, well carved from a translucent dark gray jade with milky-white inclusions and veins, as well as dark-gray striations. The hafting end with a small circular hole drilled from one side.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 733 gDimensions: Length 31 cm

A JADE CEREMONIAL BLADE, GUI, QIJIA CULTUREChina, c. 2200-1600 BC. The skillfully shaped, short blade tapers to an arched cutting edge with rounded edges. The hafting bar is narrow and pierced with a round hole. A single, incised groove runs horizontally through the center of the blade and gently fades before reaching the cutting edge. Two pairs of four symmetrical notches carved on the sides. The partly translucent stone of a pale celadon hue with dark gray clouding, icy veining, and russet inclusions. Condition: Very good condition with expected wear, weathering, as well as tiny chips which have smoothened over time. Natural inclusions and fissures.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 83.7 gDimensions: Length 16.7 cm Literature comparison: Compare related examples published in 4000 Years of Chinese Archaic Jades, Filippo Salviati, nos. 140 and 141, p. 122-123.

A LARGE AND IMPRESSIVE MOTTLED CELADON JADE ZHANG BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCStriking in its form, this long ZHANG blade boasts a curved cutting edge, thus creating a double-pointed form. The asymmetrical, inner curvature is typical for long ceremonial ZHANG blades. Two neatly carved flanges flank the tang pierced with one circular hole. A strong, perfectly straight line runs along the blade. The semi-translucent jade is of a celadon hue with cloudy inclusions of brownish colors, green spots, and darker veins.Condition: Very good condition with natural inclusions, calcification, and fissures. A small chip to the pointy edge of the blade. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 189 g Dimensions: Length 29 cmLITERATURE COMPARISON: Compare to closely related ZHANG blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 137, 138, 139, pages: 118-121 AUCTION RESULT COMPARISON:Type: Related Price: 32,500 USD approx. 30,000 EUR Auction: Christie's, Fine Chinese Art from the Arthur M. Sackler Collections, 18th of March 2009, Lot 289. Description: A blackish-green jade ceremonial blade, Zhang, Northwest China, Qijia culture, circa 1500 BC

A CELADON AND RUSSET QI JADE BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCA fine arched blade, with straight cutting edge and a triangularly tapered, narrow handle with one pierced hole. The sides are embellished with four symmetrical notches. The surface is neatly polished and almost lustrous. The celadon hue of the jade is enriched by russet and dark brown inclusions, as well as near black- and ivory-colored areas along the border of the cutting edge.Condition: Very good condition with expected traces of weathering, and tiny notches.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 137 g Dimensions: Length 21.5 cmLITERATURE COMPARISON: Compare to closely related Bronze Age QI blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 140, 141, pages: 122-123

A LONG 'RIVER JADE' BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCAn elegant blade of remarkable size, skillfully worked from an opaque and mottled hardstone, incorporating various hues of green and light russet, reminiscent of a river stream. The blade is faintly thinning towards the sides, the cutting edge is slightly convex. The top section of the jade is pierced with one hole. The surface is exquisitely polished and smooth to the touch.Condition: Excellent condition with expected wear and natural fissures.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 175 g Dimensions: Length 29 cmLITERATURE COMPARISON: Compare to closely related blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 132, 133 pages: 112-113AUCTION RESULT COMPARISON:Type: Related Price: 187,500 HKG, approx. 22,000 EUR Auction: Christie's, The Chang Wei-Hwa collection of Archaic Jades Part I - Neolithic Period, Lot 2741, 29th of November 2023 Description: A DARK GREEN STONE BLADE, NEOLITHIC PERIOD, CIRCA 2500-2000 BC

A CELADON JADE NOTCHED YUE AXE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BC Of tapering form with a wide and straight cutting edge, well-carved form a beautiful, translucent celadon stone with delicate, brownish, and milky white inclusions, as well as with miniature, spinach-green spots. A large, circular hole is pierced in the center and the sides are embellished with notches. The well-polished surface is perfectly smooth. Some areas of the edges calcified showing a milky beige hue.Condition: Very good condition with small notches to the edges and central hole, natural fissures.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 142 g Dimensions: Height 10.1 cm, Length 11.5 cmLITERATURE COMPARISON: Compare to a closely related notched Bronze Age Yue axe, yet Erlitou to Shang, in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, No. 143, pages 124-125.