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A BACTRIAN STONE RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The staff of cylindrical form, bulging at the center and tapering to the ends. The dark heavy stone with orange-russet inclusions on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 7,500 or approx. EUR 12,000 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) 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.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, and natural fissures.Weight: 9.1 kgDimensions: Height 80 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's London, 15 April 2015, lot 62Price: GBP 23,750 or approx. EUR 40,000 adjusted for inflation at the time of writingDescription: A Bactrian green stone ritual object, c. 2300-1700 B.C.Expert remark: Compare the related form and color of the stone. Note the size (83 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 25 October 2007, lot 104Price: GBP 8,125 or approx. EUR 17,000 adjusted for inflation at the time of writingDescription: A Bactrian gray stone 'idol', late 3rd-2nd millennium B.C.Expert remark: Compare the related form and color of the stone. Note the size (94 cm).

A BACTRIAN DARK GREY STONE OXSCHIST RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The stone of a greenish-black color, the staff of long cylindrical form tapering on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 6,800 or approx. EUR 11,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) 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.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, few encrustations, and natural fissures.Dimensions: Height 110 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.The precise use of these objects found in graves at Gonur in Margiana, in the cenotaphs of Sibri near Mehrgarh (Pakistan) and at Tepe Hissar and Shahdad in eastern Iran, is still unknown: they must have been used for some specific task, because their functional end, as a rule is worn, and finally deposed in the graves after the funeral.Literature comparison:Compare a related ritual object with cylindrical shaft tapering then flaring towards the flat ends illustrated in M.-H. Pottier, Materiel Funeraire de la Bactriane Meridionale de l'Age du Bronze, Paris, 1984, pp. 16, pl. V, fig. 7, no. 31.Auction result comparison: Type: RelatedAuction: Christie's London, 2 July 2018, lot 40Price: GBP 15,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A Bactrian stone idol, circa 3rd-2nd millennium B.C.Expert remark: Compare the related form and note the larger size (138 cm).

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 RARE SCHIST FRIEZE WITH THE SCENE OF THE ENTREATY TO PREACH, ANCIENT REGION OF GANDHARA 健陀羅片岩佛祖講道場景Kushan period, 2nd - 4th century AD. Finely carved with Buddha seated in dhyanasana on a pedestal beneath a canopy of leafy branches from an ashoka tree, his right hand raised in abhaya mudra, wearing a voluminous robe with elegantly carved folds. He is flanked by Brahma and Indra who are kneeling and backed by halos. His serene face with heavy-lidded eyes below gently arched brows, his full lips forming a subtle smile, his neatly incised wavy hair with a high ushnisha.Provenance: From the private collection of a former British diplomat, and thence by descent in the same family. Condition: Very good condition, commensurate with age. Wear, signs of weathering and erosion, small losses, nicks, scratches, and encrustations, all as expected for a schist frieze of nearly two thousand years of age.Weight: 9.8 kg Dimensions: Width 33 cm With Brahma dressed as a sage positioned to his right and Indra with a tall crown to his left, the scene depicts an important moment in the life of Buddha. As described in the Mahavastu, after gaining enlightenment, Buddha was reluctant to teach what was revealed to him, concerned that his insights would be rejected by the world. Observing Buddha's thoughts, Brahma rallied Indra and other gods to implore Buddha to preach and "set rolling the wheel of the dharma" (see Jones, The Mahavastu, Vol. 3., London, 1956, pp. 302-309).The scene is an vital moment in a larger narrative, foreshadowing the creation of the sangha and the wider spread of Buddhism. Within its historic context, this figure speaks to the growth of Buddhism in the ancient region of Gandhara, didactically raising the Buddhist doctrine over Vedic thought and practice, the latter being referenced in the two gods' entreaty to Buddha.Literature comparison:Compare a related schist relief of the seated Buddha, 45.7 cm wide, dated 2nd-4th century, in the National Museum of Asian Art, Smithsonian Institution, accession number S2000.15. Compare a related schist carving of the seated Buddha with worshipers, 34 cm wide, dated 2nd-4th century, in the Victoria & Albert Museum, accession number IM.70-1939.Auction result comparison: Type: Closely related Auction: Bonhams New York, 17 September 2014, lot 82 Price: USD 43,750 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A schist relief panel of the Entreaty to Preach, ancient region of Gandhara, 2nd/3rd century Expert remark: Compare the closely related scene with the Entreaty to Preach showing Brahma and Indra on the seated Buddha's right and left. Note the slightly larger size (44.4 cm).Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 562 Price: USD 29,800 or approx. EUR 39,000 converted and adjusted for inflation at the time of writing Description: A large gray schist relief of Buddha with attendants, Gandhara, 2nd/3rd century Expert remark: Compare the related subject and manner of carving. Note the larger size (50 cm) and that this is a fragment only, with obvious condition issues. 健陀羅片岩佛祖講道場景貴霜時期，二至四世紀。阿育王樹枝繁葉茂的樹冠下，佛陀在以禪坐姿勢端坐於底座上，右手施無畏印，身披天衣，衣紋流畅，如行雲流水。 他的兩側是跪著梵天和因陀羅。佛陀面容平靜，雙眼微閉，面露微笑，頭上有螺髻。 來源：前英國外交官私人收藏，並且在同一家族傳承。 品相：狀況極好，有磨損、風化和侵蝕的跡象、小缺損、刻痕、劃痕和結殼。 重量：9.8 公斤 尺寸：寬 33 厘米文獻比較： 比較一件相近的西元二至四世紀坐佛浮雕片岩，寬45.7厘米，收藏於史密森學會國立藝術博物館，館藏編號S2000.15。比較一件相近的西元二至四世紀坐佛浮雕片岩，34厘米寬，收藏於維多利亞和亞伯特博物館，館藏編號IM.70-1939。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2014年9月17日，lot 82 價格：USD 43,750（相當於今日EUR 52,000） 描述：二至三世紀犍陀羅佛陀講道浮雕片岩 專家評論：比較非常相近的講道場景，梵天和因陀羅分別坐在佛陀的左右兩側。請注意尺寸較大 (44.4厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年3月21日，lot 562 價格：USD 29,800（相當於今日EUR 39,000） 描述：二至三世紀犍陀羅佛陀講道浮雕片岩 專家評論：比較相近的主題和雕刻風格。請注意尺寸較大 (50厘米) ，這只是一件殘片，有明顯的品相問題。

A GRAY SCHIST FIGURE OF MAITREYA, ANCIENT REGION OF GANDHARACirca 5th-7th century. Well carved standing, dressed in a finely pleated robe draped elegantly over his left shoulder, richly bejeweled wearing a foliate collar and beaded necklaces. His face bears a serene, introspective expression, marked by almond-shaped eyes, gently arched brows, full lips, and wavy mustache, the face flanked by elongated earlobes suspending large earrings. His wavy hair is gathered in a high chignon secured by a band, backed by a nimbus.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Condition commensurate with age. Some old fills. Extensive wear, obvious losses, nicks, significant signs of weathering and erosion, expected encrustations, few structural cracks. Weight: 70.6 kgDimensions: Height 84 cm (excl. stand), 117 cm (incl. stand)Mounted on an associated metal stand. (2)Maitreya is one of the most popular bodhisattvas depicted in Gandharan sculpture. Also known as the Loving One, he is identified by the kundika, or sacred water flask, held in his lowered left hand. His rise in popularity coincided with the tenants of Mahayana Buddhism, for which the role of the bodhisattva, and his ability to transfer his own merit to others became paramount. In his preordained role as the Buddha of the Future, Maitreya promises redemption and salvation for devoted practitioners of the faith.Images of bodhisattvas reveal the syncretism of Indic and Hellenistic styles, as Maitreya is depicted as an Indian noble bedecked with a jeweled crown and necklace. The almond-shaped eyes, sandals, and naturalistic modeling of the body nevertheless underscore the influences of the Classical traditions of art.Literature comparison: Compare a related figure of a bodhisattva, 102 cm high, dated 2nd-3rd century, in the Museum fuer Indische Kunst, Berlin-Dahlem.Auction result comparison: Type: Related Auction: Sotheby's New York, 19 September 2008, lot 261 Price: USD 37,500 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: Bodhisattva, probably Maitreya, gray schist, ancient region of Gandhara, Kushan period Expert remark: Compare the related manner of carving and modeling. Note the size (70 cm). 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A GILT-LACQUERED WOOD FIGURE OF BUDDHA SHAKYAMUNI, SHAN STATE, BURMA, LATE 18TH TO EARLY 19TH CENTURYFinely carved, seated in dhyanasana on a double lotus pedestal, holding his right hand in bhumisparsha mudra and his left in dhyana mudra, wearing tight-fitting robes with upturned epaulettes and a sash tied at the waist, richly adorned with ornate jewelry decorated with white and green glass inlays. His serene face with downcast eyes and full lips, the tiered headdress surmounted by a pointed ketumala, flanked by foliate panels decorated with leaves, scrolling vines, and floral medallions.Provenance: From a Danish private collection.Condition: Good condition with wear, expected age cracks, rubbing and light flaking to the lacquer, few inlays lost, small chips, minor losses, and a repair to one of the foliate panels.Weight: 2,714 gDimensions: Height 56.6 cmMuseum comparison:Compare a related Burmese dry lacquer figure of Buddha similar posed and elaborately adorned, 139.7 cm high, dated ca. 1895, in the Asian Art Museum of San Francisco, accession number 2006.27.27.a-.b.

A MONUMENTAL AND HIGHLY IMPORTANT SANDSTONE FIGURE OF BUDDHA, PRE-ANGKOR PERIODMekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha. Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall. Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region's hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, is available upon request..To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison: Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musee Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musee Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 151 Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writing Description: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th century Expert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2015, lot 35 Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writing Description: An important stone figure of Buddha, Thailand, Dvaravati period, 8th century Expert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.

A BLACK STONE FIGURE OF DURGA MAHISHASURAMARDINI, PRE-ANGKOR PERIOD, KHMER, 7TH CENTURYOpinion: Looking at Phnom Da style sculptures, one can see a great degree of cross-cultural influence. While one could argue that this sculptural style is distinctly of Khmer origin, with such early sites present in Vietnam, we are more likely seeing the spread of sources of foreign cultural influence, bringing things like Hinduism, coming from outside the region and merging with local cultures. Certain attributes of this sculpture in particular can be seen in early Gupta sculpture, such as the 4th century Harihara in the National Museum of New Delhi. It is also interesting to note that the earliest known written texts in Southeast Asia are from Vietnam, written during the 4th century, predating the first Khmer texts by hundreds of years.Finely carved in relief with four arms holding symbols of power, positioned above the severed head of a buffalo, with a tall crown and pendulous earlobes, backed by a striated nimbus.Provenance: Spink & Son, London, by 2 November 1999 (according to Christie's record). Christie's New York, 20 September 2000, lot 154 (according to Christie's record). Property from a West Coast collection, acquired from the above (according to Christie's record). Christie's New York, 13 September 2016, lot 245, estimate of USD 30,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). Michael Phillips, acquired from the above in an after-sale transaction. A copy of a Christie's record, accessed on 1 October 2018, confirming the provenance above, and stating an after-sale purchase price for the present lot of USD 18,750 or approx. EUR 21,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, old fills.Dimensions: Height 89 cm (excl. stand) and 97 cm (incl. stand)Mounted on an associated stand. (2)Mahishasura was a shape-shifting king who was granted the power of immortality by Lord Brahma. After years of tormenting his people, he was vanquished by a manifestation of the demon-fighting form of Parvati known as Durga. Durga fought Mahishasura over a period of fifteen days during which he kept changing his shape into different animals. She finally vanquished him when he took the form of a buffalo, slaying him with her trident. It is just after this victorious moment that we see Durga depicted here, with the severed head of Mahishasura laying at Durga's feet and her four arms holding the conch shell, the wheel, the ball, and the club, symbolizing the powers given to her by Vishnu. It is an ancient story of good versus evil.Literature comparison:Compare with a stone image of a female deity from the Da Nang Museum of Cham Sculpture, exhibited in Arts of Ancient Viet Nam: From River Plain to Open Sea at the Houston Museum of Fine Arts, both statues showing an unusual and rare striated nimbus. Also, compare with a stone image of a reclining figure of Vishnu in the Da Nang Museum of Cham Sculpture, both statues showing very similar facial characteristics.Auction result comparison:Type: Closely RelatedAuction: Christie's New York, 13 September 2016, lot 249Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A gray sandstone figure of Durga Mahishasuramardini, Khmer, pre-Angkor period, Phnom Da style, 6th centuryExpert remark: This is an important comparable of Durga from an early period in Southeast Asian history, not only because it is “rare to find a sculpture of the demon-slaying goddess from the pre-Angkor period” (as noted in the catalog description for the lot), but also because it was in the same Christie's sale. Note the much smaller size (51.5 cm).

A RARE BRONZE FIGURE OF MAITREYA, PRE-KHMER PERIODThailand or Western Cambodia, 7th-9th century. The Future Buddha standing on a flat base in a slight tribhanga. The slender body clothed only in a short sarong tied simply with a cord, his serene face with almond-shaped eyes and full lips flanked by elongated earlobes, the hair arranged in a jatamukuta with finely incised, towering locks centered by a small stupa.Provenance: From the private collection of Darwin Freeman, collected between the 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Good condition with some wear and casting flaws, minor losses, one arm with two small fatigue cracks, the attributes held in his hands lost. The bronze with a rich, mottled, naturally grown patina with vibrant malachite encrustations.Weight: 1295.8 g (excl. stand) and 2839.7 g (incl. stand)Dimensions: Height 36 cm (excl. stand) and 43.2 cm (incl. stand)With a modern stand. (2)Literature comparison: Compare a closely related bronze figure of Avalokiteshvara, dated to the 8th-9th century, 38.1 cm tall, in the Walters Art Museum, Baltimore, accession number 54.2963. Compare a closely related bronze figure of Avaolkiteshvara, dated to the second half of the 7th-8th century, 34.9 cm tall, in the Metropolitan Museum of Art, accession number 1987.145. Compare a related four armed Maitreya, much larger in size (122.5 cm), dated to the late 8th century, in the Kimbell Art Museum, accession number AP 1965.01.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 19 September 2008, lot 291Price: USD 92,500 or approx. EUR 123,000 converted and adjusted for inflation at the time of writingDescription: Maitreya, Eastern Thailand, Buriram Province, Prakhon ChaiExpert remark: Compare the closely related casting and the similar arrangement of hair, short saronh, and pendulous earlobes. Note the size (32.4 cm). Note that this lot is now in the collection of the National Museum of Asian Art, Smithsonian Institution, accession number S2015.24.Auction result comparison: Type: Closely relatedAuction: Lempertz Cologne, 9 December 2016, lot 633Price: EUR 74,400 or approx. EUR 92,500 adjusted for inflation at the time of writingDescription: A fine and rare Buriram bronze figure of Avalokiteshvara. Thailand, Khorat plateau. Early 8th centuryExpert remark: Compare the closely related casting and the similar arrangement of hair, short saronh, and pendulous earlobes. Note the size (53.5 cm).

AN EXTREMELY RARE AND MONUMENTAL SANDSTONE STATUE OF VISHNU, ANGKOR PERIODKhmer Empire, 10th-12th century. The Preserver of the Universe standing in samapada on a rectangular base, holding the conch in his one remaining hand, wearing a short pleated sampot, tied at the front below the navel with the folds splayed across the left thigh and secured with a butterfly sash at the back, the extra material folding over at the waist. The serene face sensitively modeled with neatly incised details, such as the almond-shaped eyes, full lips, and wavy mustache. The hair piled up into an elaborate conical chignon secured by a foliate tiara. Provenance: The collection of Beowulf Klebert. An Austrian private collection, acquired from the above circa 1980 and thence by descent in the same family. Beowulf K. Klebert (1948-2008) was a noted Austrian collector of Asian sculpture and works of art as well a respected contributor to Arts of Asia magazine. He was known for his scholarly expertise and extensive travels through all of Asia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches, structural cracks, expected old repairs. The stone with a fine, naturally grown, smooth patina overall. Scientific Analysis Report: An Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 21-03064, dated 5 May 2022, written and signed by Dr. R. Neunteufel, analyzing the surface alterations after examination by scanning electron microscopy (SEM) and element analysis with attached energy-dispersed X-ray micro element analyzer (EDX), concludes that the observed surface alterations are not in contradiction with the dating above. A copy of the report accompanies this lot.Dimensions: Height 207 cm (incl. base)With an associated wood base. (2)Literature comparison: Compare a closely related sandstone figure of Vishnu, dated to the 12th century, in the Tokyo National Museum, collection reference no. TC-382. Compare a related sandstone figure of Vishnu, dated c. 1050, 105.4 cm high, in the Norton Simon Museum, accession number M.2004.1.S. Compare a related sandstone figure of Vishnu, dated to the 11th century, 104.1 cm high, formerly in the collection of John D. Rockefeller and now in the Asia Society Museum, New York, object number 1979.064.Auction result comparison: Type: Related Auction: Christie's Paris, 11 December 2013, lot 342 Price: EUR 121,500 or approx. EUR 144,000 converted and adjusted for inflation at the time of writing Description: A rare and important sandstone figure of Vishnu, Cambodia, Khmer, Pre-Rup style, mid-10th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (121 cm).Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 385 Price: EUR 145,000 or approx. EUR 178,000 converted and adjusted for inflation at the time of writing Description: An important sandstone torso of a male deity, Cambodia, Khmer, Baphuon style, 11th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (130 cm).

A MONUMENTAL SANDSTONE HEAD OF A MALE DEITY, ANGKOR WAT STYLEKhmer Empire, 12th century. The face with a serene expression marked by almond-shaped eyes below ridged brows, a broad nose, and full lips, flanked by elongated earlobes, one with a pendeloque earring. The neatly incised hair with a diadem in front surmounted by the conical headdress.Provenance: Dr. J. Macken, Antwerp, Belgium.Expert Authentication: A signed certificate on the letterhead of Galerie de Ruimte, Oude Aziatische Kunst, Jean en Marcel Nies, addressed to Dr. J. Macken, confirming the attribution and dating stated above, accompanies this lot. Marcel Nies is a Belgian art expert and dealer who specializes in important works of art from Southeast Asia, India, and the Himalaya regions. Active since 1975, he has built an internationally recognized expertise and advises numerous vetting committees worldwide. Apart from the annual exhibitions held at his gallery, Marcel Nies has taken part in TEFAF Maastricht for over 30 years, showcasing some of the finest pieces in his collection. He has supplied works of art to important private collections and museums, including the Rijksmuseum in Amsterdam, the museum for Ostasiatische Kunst Koeln, the Victoria and Albert Museum London, the Rietberg Museum Zurich, the Metropolitan Museum New York, the Asian Art Museum San Francisco, the Barbier-Mueller Museum Dallas, and the Asian Civilization Museum in Singapore.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches. Fine, naturally grown, smooth patina.Weight: 50.2 kg (incl. stand) Dimensions: Height 45 cmMounted to an associated wood base. (2)The present head dates to the Angkor Wat period, in the twelfth century, when the Khmer Empire was at its territorial zenith. This starts with the reign of Suryavarman II (1113-1145), who ordered the construction of Angkor Wat, the largest temple of the Angkor period, dedicated to Vishnu. The present head's expression, however, is more reminiscent of the Bayon style, built in the late 12th or early 13th century as the state temple of the Mahayana Buddhist King Jayavarman VII, and perhaps represents a transition from the Angkor Wat style to the later Bayon.Stylistically, the sculpture of the Angkor Wat period is marked by a return to the somewhat angular and upright modeling of the periods preceding the Baphuon style of the eleventh century. The size of sculpture from the Angkor Wat period, however, is generally in line with the more diminutive Baphuon period works, in contrast to the monumental sculpture of the tenth century and earlier.

A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. A French "certificat d'exportation d'un bien culturel" (export license), issued 12/12/2022, number 237595, is accompanying this lot. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)

A RARE BRONZE HORSE-FORM VESSEL, DONG SON CULTURENorthern Vietnam, 2nd century BC to 2nd century AD. Well cast standing on all fours with its head raised, ears pricked, and tail tucked between its legs. A single aperture to the back. The body is incised with numerous spiral designs characteristic of Dong Sun material culture.Provenance: From the private collection of Darwin Freeman, collected between 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, losses, one ear with an old repair. The bronze is covered in a rich, mottled, naturally grown patina with vibrant malachite and azurite encrustations.Weight: 515 g Dimensions: Length 13.2 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison:Compare a related elephant-shaped vessel with similar spiral designs, 16 cm long, dated 2nd century BC to 2nd century AD, in the Asian Civilizations Museum, Singapore, accession number 2007-56439.

A GOLD REPOUSSE 'LION' PENDANT, WITH AN AGATE INTAGLIO OF A HINDU GODDESS, CHAM PERIODVietnam, former kingdoms of Champa, circa 10th century. The rounded pendant is finely chased, embossed, and incised to depict two anthropomorphized lions flanking a central lotus flower and an agate intaglio depicting a female Hindu deity surrounded by foliate designs, all below two inlaid amethyst cabochons, all enclosed by a scroll border. The reverse with two flattened gold wire loops for suspension. Provenance: Ex-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 some wear, small manufacturing irregularities, light tarnishing, and encrustations, all as to be expected for a gold object more than a thousand years old.Weight: 21.2 g Dimensions: Length 9.8 cm

A GOLD REPOUSSE 'LION' PENDANT, WITH AN AGATE INTAGLIO OF THE DANCING SHIVA, CHAM PERIODVietnam, former kingdoms of Champa, circa 10th century. Of quadrilobed form, finely chased, embossed, and incised with two confronted anthropomorphized male lions standing in profile, facing a finely carved oval agate intaglio depicting Shiva performing his cosmic dance, surrounded by beaded and foliate designs. A single loop on top for suspension.Provenance: Ex-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 some wear, small manufacturing irregularities, light tarnishing, and encrustations, all as to be expected for a gold object more than a thousand years old.Weight: 15.9 g Dimensions: Length 10.1 cm Literature comparison:Compare a stone intaglio also depicting a dancing shiva, 5.5 cm long, dated 9th-10th century, illustrated in Janos Jelen, et al., (eds.) Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik, Volume 1, Budapest, 2007, pp. 114, no. 82.

A RARE AND LARGE ANDESITE TORSO OF BUDDHA AMITABHA, CENTRAL JAVANESE PERIOD, SHAILENDRA DYNASTYExhibited: The Asian Sculptor's Eye, The Rotunda, Hong Kong, 21 August 1995Java, circa 9th century. Powerfully carved seated in dhyanasana, his hands lowered in dhyanamudra, dressed in a sheer sanghati elegantly draped over the left shoulder and gathered in folds under the ankles. Provenance: Ha Tuc Can, The Sculpture Gallery, Hong Kong, before 1990. The Roger Moss Collection, acquired from the above, for the equivalent of EUR 17,000, and thence by descent to Hugh Moss. Ha Tuc Can came from a privileged Vietnamese noble family. However, the ravages of war left his family bankrupt and stripped them of their wealth. In the early 1960s, he embarked on a career as a war correspondent and cameraman for CBS. During this time, he forged a close friendship with Morley Safer. In his later years, Ha Tuc Can gained recognition as a filmmaker and antiquarian. He authored several books on Vietnamese arts and participated in joint exhibitions with Jean-Michel Beurdeley in Paris. In the late 1970s, he started a business called The Sculpture Garden in Hong Kong. C. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Fully commensurate with age, extensive weathering and erosion, encrustations, and losses.Weight: 86 kgDimensions: Height 61 cm The drapery of the robe as well as the manner of carving of the hands and feet is consistent with central Javanese period images of Buddha from temple sites. The purpose of these images of Buddhas is to represent the stages of the path to enlightenment in Buddhist cosmology. As visitors to temples ascend through the different levels, they are guided through the process on a symbolic journey from the realm of desire to the realm of form and finally to the realm of formlessness, ultimately reaching enlightenment at the summit.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Plaosan in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison:Compare a closely related statue of Buddha Amitabha, dated first half of the 9th century, in the Metropolitan Museum of Art, accession number 1995.256. Note the identical posture, especially with regards to the arms, folds of the robes, concave nature of the soles of the feet, and the treatment of the folded hands.

A BRONZE FIGURE OF AVALOKITESHVARA SADAKSARI, JAVA9th-10th century. The four-armed deity seated in dhyanasana atop a lotus throne on a pierced and tiered square base, his primary hands forming the dharmachakra mudra, the upper left holding a fly-whisk and the upper right hand a conch, adorned with beaded jewelry, the face with downcast eyes and surmounted by a high tiara. The throne with a backrest flanked by two foliate protrusions. Provenance: Galleria La Balaustra, Archeologia Classica Orientale e Precolombiana, Bologna, Italy. Paolo Bertuzzi, acquired from the above (invoice lost). Paolo Bertuzzi (1943-2022) 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. Condition: Condition commensurate with age. Extensive wear, losses, signs of weathering and erosion, corrosion. Minor casting flaws. Naturally grown malachite-green patina with brown encrustations overall.Weight: 644.3 g Dimensions: Height 12.4 cmAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 17 December 2021, lot 3019Price: HKD 30,240 or approx. EUR 3,800 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Java, circa 10th centuryExpert remark: Note the smaller size (11.2 cm)Auction result comparison:Type: RelatedAuction: Christie's New York, 25 March 2004, lot 152Price: USD 28,680 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: An important bronze figure of Avalokiteshvara, Indonesia, Central Java, 9th centuryExpert remark: Note the larger size (20.2 cm)

A RARE GILT COPPER ALLOY FIGURE OF VISHNU, JAVA, 14TH-15TH CENTURY OR EARLIERFinely cast standing in samapada atop a circular lotus base with beaded edge, his main left hand resting on the handle of his mace, his main right holding a lotus stem, his secondary hands raised and holding the conch and disk. He is wearing a long diaphanous dhoti and the upavita (sacred thread) across his left shoulder, his body richly adorned with floral jewelry, his face bearing a serene expression, his hair pulled up into a high chignon secured by a band and topped by a jewel, behind the foliate tiara. Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) 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.Condition: Very good condition with expected wear and manufacturing irregularities, minute nicks and small dents here and there, the gilding possibly later. The bronze with a fine, naturally grown patina with malachite encrustations. Weight: 105.6 gDimensions: Height 10 cmVishnu is the preserver and protector of the universe, called upon to save it from great calamity. In the current attitude, he is a martial deity, holding the mace and discus, and a conch to call troops to arms.Literature comparison: Compare a related earlier bronze of Vishnu, 13.8 cm high, dated late 9th to first half of the 10th century, in the Metropolitan Museum of Art, accession number 1987.142.15. Compare a gilt bronze figure of Shiva, 27.9 cm, dated 8th-9th century, in the Metropolitan Museum of Art, accession number 2004.556.Auction result comparison: Type: RelatedAuction: Christie's New York, 21 March 2018, lot 327Price: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: A gilt silver figure of Jambhala, Indonesia, Java, 14th/15th centuryExpert remark: Compare the related modeling, with similar floral jewelry and expression, and manner of casting and gilding, with a similar patina to the gilded figure. Note the smaller size (5.2 cm). Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 March 2018, lot 11 Price: HKD 375,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: A copper alloy figure of Vishnu, Java, 9th/10th century Expert remark: Note the larger size (29 cm).

A FRAGMENTARY BRONZE BUST OF BUDDHA, INDONESIA, 16TH-17TH CENTURYFinely cast dressed in a monastic robe covering both shoulders and falling gracefully in neatly carved U-shaped folds. His serene face with heavy-lidded eyes below elegantly arched brows centered by a raised circular urna, his full lips forming a calm smile, flanked by long pendulous earlobes. The hair arranged in tight curls over the high ushnisha.Provenance: Galleria Nuria Palacios, Madrid. Paolo Bertuzzi, acquired from the above. Paolo Bertuzzi (1943-2022) 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 together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Extensive wear, losses, signs of weathering and erosion, the bronze with malachite encrustation, generally presenting well.Scientific Analysis Report: An alloy analysis via atomic emission spectrometry conducted by Antiques Analytics finds a zinc content of 5% indicating an origin no sooner than 16th century, as well as a low tin content also in favor of a production period between the 16th and 17th century. A copy of the Expert Report from Antiques Analytics, test report number AA 23-04041, dated 19 May 2023, accompanies this lot.Weight: 1535.1 g (excl. stand) and 2,146 g (incl. stand)Dimensions: Height 31 cm (excl. stand) and 45.5 g (incl. stand)With an associated metal stand. (2)

A FINE THANGKA OF AKSHOBHYATibet, 18th-19th century. Distemper and gold on cloth, with a brocade frzaame and mounted as a hanging scroll. The blue-skinned deity seated in dhyanasana on a lotus throne with offerings before him, his right hand lowered in bhumisparsha mudra and his left holding a vajra, wearing monastic robes draped over his left shoulder, backed by a green and red aureole, a small figure of his consort Lochana seated beside him, all below Buddha Amitabha flanked by White Tara and Manjusri, the lower register painted with a small image of a devotee flanked by Vajrapani and Mahakala, all within a verdant mountainous landscape.Provenance: From the collection of Indrani and Yogaraj Yogasundram. Yogaraj Yogasundram (1927-2011) was a native Sri Lankan who served as ambassador of Sri Lanka in New York, and deputy permanent representative of Sri Lanka to the UN in the 1970s and 80s. His wife Indrani (nee Coomaraswamy) was an avid collector of Asian art, amassing a large collection during her time in China, Sri Lanka, and Iraq during her husband's assignments in the 1960s and in New York thereafter.Condition: Good condition with minor wear, light soiling, minor creasing, minimal staining, and light fading. The brocade frame in similar condition with minor wear, some loose threads, and small tears.Dimensions: Image size 54.9 x 74.3 cm, Size incl. frame 81 x 129.5 cmAkshobhya's name literally means 'Immovable One'. As each Transcendental Buddha adopts one of the canonical hand gestures (mudras) referring to a key moment in Shakyamuni's life, it is apt that Akshobhya should recall Shakyamuni's unshakeable determination against the armies and temptations of Mara. In mandalas relating to his 'vajra' clan, and the Unexcelled Yoga tantras (Anuttarayoga), he occupies the center, but in the earliest tantric mandalas where the Five Transcendental Buddhas first appear, he is the Lord of the eastern quadrant, and represents the transmutation of anger into wisdom.

A PAINTED GRAY POTTERY FIGURE OF A TRICORN, HAN DYNASTY 漢代彩繪灰陶三角獸China, 206 BC - 220 AD. The sturdy beast is shown mid-stride with its three-horned bovine head lowered and its long bifurcated tail with curled tips raised. A raised strip along the backbone is applied with three flat knobs.Provenance: E & J Frankel Ltd., New York, 1991. German private collection, acquired from the above and thence by descent to the last owner. German trade, acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, firing flaws, minor losses and associated old repairs, small chips, few structural cracks, signs of weathering and erosion, encrustations, drilled holes from sample-taking, all exactly as expected from Han dynasty excavations. Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by the Research Laboratory for Archeology and the History of Art at Oxford University (today known as Oxford Authentication), based on sample number 566t53 taken on 31 July 1991, and sets the firing date of both samples taken between 1700 and 2800 years ago. A copy of the thermoluminescence report, dated 9 September 1991 and signed by Doreen Stoneham (d. 2022), accompanies this lot. A copy of a Polaroid photograph of the present lot, taken in 1991, inscribed 'Submitted as 566t53' (the sample number for the Oxford Authentication thermoluminescence analysis report), and stamped 'Research Laboratory for Archaeology, Oxford University', accompanies this lot.Weight: 1,550 g Dimensions: Length 28.5 cmLiterature comparison: The present figure of a rhinoceros-like beast closely resembles a larger one from a Western Jin dynasty (AD 265-317) tomb in Zhengzhou, Henan province, illustrated in Kaogu Tongxun, 1957:1, no. 1, pl. XIV:4. A closely related larger pottery figure of a tricorn in the Metropolitan Museum of Art, New York, is illustrated by S. G. Valenstein in A Handbook of Chinese Ceramics, New York, 1975, p. 57, no. 50. Compare a closely related pottery figure of a tricorn, also dated to the Han dynasty, 33.8 cm long, in the collection of the Asian Civilisations Museum in Singapore, accession number C-1264.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 18 March 2016, lot 1472Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A rare and unusually large painted grey pottery figure of a tricorn, late Eastern Han-Six dynasties period (3rd-4th century ad)Expert remark: Compare the closely related pose, tricorn, face, and tail. Note the size (45 cm).漢代彩繪灰陶三角獸中國，公元前206 - 公元220年。這只健壯的三角獸大步向前，頭向下低；長長的分叉尾巴抬起，尖端捲曲；背脊上有三個扁平圓鈕狀突起。 來源：1991年紐約E & J Frankel Ltd.藝廊；德國私人收藏，購於上述藝廊，在同一家族保存至最後一位主人；德國古玩交易，購於上述收藏。 品相：狀況良好，大面積磨損、燒製缺陷、輕微缺損和相應的維修、小刻痕、少量結構裂縫、風化和結殼、取樣鑽孔，所有這些都與漢代考古挖掘所預期的一樣。 科學檢測報告：牛津考古與藝術史研究室（現爲牛津鑒定研究所）根據2個取樣（566t53號，1991年7月31日）進行熱釋光檢測，得出拍品應爲1700至 2800年燒製。隨附一份1991年9月9日 Doreen Stoneham (2022年逝世) 簽署的檢測報告的照片（1991年拍攝），上可見“Submitted as 566t53” (樣本編號)，去蓋章”Research Laboratory for Archaeology，Oxford University“。 重量：1,550 克 尺寸：長 28.5 厘米 文獻比較： 現拍品與河南鄭州西晉墓出土的一件三角獸，圖見《考古通訊》，1957年，第1期，編號XIV:4。一件非常相近的較大的灰陶三角神獸，收藏於紐約大都會博物館，見S. G. Valenstein，《A Handbook of Chinese Ceramics》，紐約，1975年，頁57，編號50。比較一件非常相近的漢代三角獸陶俑(長33.8 厘米)，收藏於新加坡亞洲文明博物館，編號C-1264。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2016年3月18日，lot 1472 價格：USD 15,000（相當於今日EUR 18,000） 描述：東漢晚期至六朝彩繪灰陶三角獸 專家評論：比較非常相近的姿勢、三角、面部和尾巴。請注意尺寸(45 cm)。

A RARE AND IMPORTANT LIMESTONE FIGURE OF A BODHISATTVA, LONGMEN GROTTOES, NORTHERN WEI DYNASTY 北魏罕見石灰石菩薩立像，龍門石窟 China, 386-534. Finely carved standing on a circular lotus dais, the right hand held in front of the chest and the left lowered at his side, the head slightly tilted to his right. Wearing long flowing robes secured at the waist and billowing scarves falling loosely over the body. The face sensitively carved with a serene expression marked by heavy-lidded eyes, gently arched brows, and full lips, flanked by long pendulous earlobes. A simple tiara with a central flower separates the braids of hair pulled up in front of the head, and equally serves as the base for a hairdo that forms an almost crown-like design on top.Provenance: A private collection in Cleveland, Ohio, USA, pre-1983. Anunt Hengtrakul, New York, USA, acquired from the above c. 1984. Michael B. Weisbrod, Inc., New York, USA, acquired from the above, c. 1992. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Anunt Hengtrakul was a collector of fine Chinese works of art, active in the US and Canada during the 1980s and 1990s. In the early 2000s, he began to gift objects to museums, including the Joslyn Art Museum in Omaha, Nebraska, and the Middlebury College Museum of Art in Middlebury, Vermont. 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.Published: Michael B. Weisbrod, Inc., Brochure, New York, 1992.Condition: Excellent condition, commensurate with age, and presenting remarkably well. Extensive wear, minor losses and cracks, small nicks, light scratches, signs of weathering and erosion, some encrustations. Fine, naturally grown patina with a subtle luster overall, worn from centuries of exposure to the natural elements.Weight: 5,796 g (excl. stand)Dimensions: Height 53.5 cm (excl. stand) and 59 cm (incl. stand)Sculptures of this type are known to be from the Longmen Grottoes in Luoyang, Henan, China. They are all fragmentary, and of a dark and mottled color, alternating from gray to black, as seen on the back of the present statue where the raw stone becomes visible. Occasionally, a light brown color appears on the carved surface in the front. All figures were cut from the caves in a particular manner, leaving the present statue with a V-shaped cross-section.Of all the caves in the Longmen Grottoes, those completed during the Northern Wei and Tang dynasties make up around 30 % and 60 %, respectively. Naturally, these two dynasties show widely different styles of carving. Those of the Northern Wei are vivacious, slim, and sensitively carved, while the Tang figures are more plump. The Wei figures are some of the finest examples of Chinese Buddhist art.Literature comparison: Several illustrated examples, found in different collections and museums around the world, have been published in The Lost Statues of Longmen Cave, Longmen Grottoes Research Institute, by C. K. Chan, Wen Yucheng, and Wang Zhenguo, numbers 6, 9, 11, and 22, all of which have characteristics similar to the present lot including the long upper torso, low waist, S-shaped folds on the robes or sleeves, and the shallow but confident carving of the details, as well as a similar patina and encrustation. Compare two closely related limestone figures of attendant bodhisattvas, dated to the Northern Wei dynasty, early 6th century, in the Metropolitan Museum of Art, accession numbers 48.176 and 48.182.4. Compare a related limestone figure of a seated Buddha, dated to the Northern Wei dynasty, in the Asian Art Museum of San Francisco, object number B60S40. Compare a related sandstone figure probably depicting Avalokiteshvara, dated Six Dynasties period, middle Northern Wei dynasty, about 470-480, in the Los Angeles County Museum of Art, accession number 47.37. Compare two related limestone bodhisattvas, each 88.9 cm high, with similarly carved lotus daises, previously attributed to the Northern Wei dynasty but now thought to be from the Northern Qi dynasty, in the Victoria & Albert Museum, accession numbers A7-1913 and A.8-1913.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 北魏罕見石灰石菩薩立像，龍門石窟中國，386-534年。菩薩立於圓形蓮台上，右手抱於胸前，左低垂於身側，頭略偏右。表情平靜，雙眼低垂，豐滿的嘴唇，平靜恬雅；兩側是長長的下垂耳垂，髮髻華麗，頭戴花飾。本像身軀婀娜，線條柔雅，身體重心置於一側，腹腰豐滿細緻，衣袍纖薄貼身，隱露雙腿。 來源：1983年前美國俄亥俄克利夫蘭私人收藏；紐約Anunt Hengtrakul約在1984年購於上述收藏。紐約Michael B. Weisbrod藝廊1992年購於上述收藏； 紐約J. Abraham Cohen收藏，購於上述收藏。Anunt Hengtrakul 1980 年代和 1990 年代活躍於美國和加拿大的中國藝術品收藏家。 在 2000 年代初，他開始向博物館贈送物品，包括內布拉斯加州奧馬哈的喬斯林藝術博物館和佛蒙特州米德爾伯里學院藝術博物館。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 出版：Michael B. Weisbrod，Inc.，《Brochure》，1992年，紐約。 品相：狀況極佳，大面積磨損、輕微缺損和裂縫、刻痕、小劃痕、風化和侵蝕跡象、一些結殼。細膩的包漿。 重量：5,796 g (不含底座) 尺寸：高53.5 厘米(不含底座) ，59 厘米(含底座) 這種類型的石雕造像風格來自中國河南洛陽的龍門石窟。石像表面顏色呈暗色和斑駁，從灰色到黑色交替變化，從現在的雕像背面可以看到原石。偶爾，正面的雕刻表面會出現淺棕色。在龍門石窟的全部洞窟中，北魏和唐代建成的洞窟分別佔30%和60%左右。自然，這兩個朝代表現出截然不同的雕刻風格。北魏人物活潑、苗條、雕琢細膩，而唐人人物則較為豐滿。 文獻比較： 在世界各地不同的收藏品和博物館中發現的幾個圖例，見龍門石窟研究所編，《龍門流散雕像集》中發表，編號6、9、11和22，它們都具有與現拍品相似的特徵，包括長上身、低腰、長袍或袖子上的S形褶皺，以及淺而自信的細節雕刻，還有類似的銅銹和包漿。比較兩件非常相近的六世紀初北魏時期石灰石菩薩像，收藏於大都會藝術博物館，收藏編號為48.176和48.182.4。比較一件相近的北魏時期石灰岩坐佛像，收藏於三藩市亞洲藝術博物館，文物編號B60S40。比較一件相近的約470-480年六朝時期北魏中期可能描繪觀音菩薩的砂岩造像，收藏於洛杉磯縣藝術博物館，收藏編號為47.37。比較兩尊相近的石灰岩菩薩，每尊高88.9釐米，雕刻有類似的蓮台，以前認為是北魏時期的，但現在被斷為是北齊時期的，收藏於維多利亞和亞伯特博物館，收藏編號為A7-1913和A.8-1913。

A RARE BRONZE RITUAL WINE VESSEL, ZHI, SHANG DYNASTY, CHINA, 13TH-12TH CENTURY BC 西元前十三至十二世紀商代青銅觶 Of oval section, the S-profile body is cast in relief to each side with a powerful taotie mask, flanked by pairs of ascending kui dragons, and divided vertically by four notched flanges, all below a narrow band of confronting birds. The background with a remarkably crisp and well-preserved leiwen ground. The tall pedestal foot is cast with two pairs of mythical birds.Inscriptions: A clan sign is finely cast to the interior of the base. This sign resembles those on several vessels from Fu Hao's tomb (see Beijing 1980f., pl. 48), and also several vessels from Anyang, all dating from the 13th century. In more complete forms of this same sign, the yaxing frames a graph recognizable as the name of a diviner from Wu Ding's reign.Provenance: The present lot was part of an important collection of archaic Chinese bronzes, built by three generations of the Chasseloupe-Laubat family in France. Prosper de Chasseloup-Laubat (1805-1873), was a prominent aristocrat, politician, and art collector who became Minister of the French Navy and the Colonies under Napoleon III, traveling extensively through all of Asia. His son Louis (1863-1954), an engineer in ship design, significantly expanded the family collection, also during his frequent travels throughout Asia. François (1904-1968), Prosper's grandson, eventually inherited the family passion and became a renowned explorer and participant in the Hoggar Expedition. He was the first French explorer to reach English Malaysia, bringing back previously unpublished documents on the isolated Sakai tribes. As a collector, François Chasseloupe-Laubat was advised by Jean Claude Moreau-Gobard, an important French collector and dealer specializing in Asian art. Condition: Very good condition, commensurate with age, with ancient wear and expected casting flaws. Some traces of weathering, corrosion, minor dents and losses, shallow surface scratches. The solid, naturally grown patina has distinct malachite and cuprite encrustations.Weight: 983.7 g Dimensions: Height 14.5 cm Expert's note: On this elliptical zhi wine cup, the designing artisans went to great lengths to vary the motifs of the low-relief decoration found in the six horizontal registers on each side, which vary significantly, and yet as a group achieve superb stylistic harmony. The three pairs of mythical beasts differ in the treatment of their wings, horns, eyes and other features, and the varying distance between them, whereas the central taotie mask with its prominently raised eyes beautifully echoes the outline of the vessel, which has its widest part in the lower third.Literature comparison:Compare a related bronze zhi with similarly stylized birds, 12.1 cm high, dated 10th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1919.6. Compare a closely related bronze zhi with similar decorations, 14.6 cm high, dated to the late 11th century BC, in the Metropolitan Museum of Art, accession number 24.72.6.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2019, lot 1503 Price: USD 300,000 or approx. EUR 332,000 converted and adjusted for inflation at the time of writing Description: The Peng Zhou Zhi, a rare small bronze ritual wine vessel, late Shang dynasty Expert remark: Compare the related form, albeit lacking flanges, as well as the closely related manner of casting, decorations with similar taotie and stylized bird designs, and patina with similar malachite encrustation. Note the related size (13.8 cm).Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2012, lot 1504 Price: USD 290,500 or approx. EUR 357,000 converted and adjusted for inflation at the time of writing Description: A rare and finely cast bronze ritual wine vessel, zhi, late Shang dynasty, 12th-11th century BC Expert remark: Compare the related form with similar flanges, albeit with a slightly broader body, and patina with similar malachite encrustation. Note the size (11.2 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 13 September 2016, lot 10 Price: USD 68,750 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual wine vessel (zhi), Shang dynasty Expert remark: Compare the related form, decoration, and patina with similar malachite encrustation. 西元前十三至十二世紀商代青銅觶侈口，束頸，鼓腹，帶圈足。 雷紋地，浮雕饕餮面具，夔龍紋，四出戟，鳳鳥紋。 高足上鑄有兩對神鳥。底足内有菱形線條紋。 款識: 底座內部鑄有氏族標誌，與婦好墓中的幾件器皿上的標誌相似（參見北京1980f.，第48頁），也與安陽的幾件器皿上的標誌相似。這些器皿的歷史都可以追溯到公元前十三世紀。 來源：法國Chasseloup-Laubat家族的三代人共同努力建立的中國古代青銅器重要收藏的一部分。Prosper de Chasseloup-Laubat（1805-1873 年）是一位著名的貴族、政治家和藝術收藏家，後來成為拿破崙三世領導下的法國海軍和殖民地部長，足跡遍及整個亞洲。他的兒子Louis（1863-1954 年）是一名船舶設計工程師。在他頻繁遊歷亞洲期間，他的家族收藏顯著擴大。Prosper的孫子François（1904-1968）最終也成為著名的探險家和霍格探險隊的參與者。他是第一位到達英屬馬來西亞的法國探險家，帶回了之前未發表的關於與世隔絕的酒井部落的文獻。作為一名收藏家，François Chasseloupe-Laubat 得到了Jean Claude Moreau-Gobard 的指導，後者是法國一位重要的亞洲藝術收藏家和經銷商。 品相：狀況非常好，有磨損和鑄造缺陷，一些風化、腐蝕、輕微凹痕和缺損、表面淺劃痕。自然包漿與紅綠色結殼。 重量：983.7 克 尺寸：高 14.5 厘米 文獻比較: 比較一件相近的西元前十世紀鳥紋青銅觶，高12.1 厘米，收藏於史密森學會國立藝術博物館，館藏編號 F1919.6。比較一件非常相近裝飾的西元前十一世紀末青銅觶，高14.6 厘米，收藏於大都會藝術博物館，館藏編號 24.72.6。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2019年3月22日，lot 1503 價錢：USD 300,000（相當今日EUR 332,000） 描述：商晚期公元前十二至十一世紀倗舟觶 專家註釋：比較相近的外形，但沒有戟，以及非常相近的鑄造風格，饕餮紋和鳥紋，以及包漿類似孔雀石。請注意相近尺寸 (13.8 厘米)。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2012年3月23日，lot 1504 價錢：USD 290,500（相當今日EUR 357,000） 描述：晚商青銅饕餮紋觶 專家註釋：比較相近的外形、四出戟 、體稍寬，包漿類似孔雀石。請注意尺寸 (11.2 厘米)。 拍賣比較： 形制：相近 拍賣：紐約蘇富比，2016年9月13日，lot 10 價錢：USD 68,750（相當今日EUR 81,000） 描述：商青銅饕餮紋觶 專家註釋：比較相近的外形、裝飾，以及包漿類似孔雀石。

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, GUI, WESTERN ZHOU DYNASTY 西周青銅夔紋簋China, 11th-10th century BC. Well cast with the compressed body resting on a tall splayed foot, decorated below the gently everted rim with a band of stylized mythical birds, the two pairs on the main sides centered by an animal mask cast in high relief, the other two centered on the horned animal heads that surmount the handles, all above a bowstring band, the foot with a geometric band. The beast handles are neatly incised and set with pendent tabs.Provenance: The MacLean Collection of Asian Art Museum, acquired 1996 in Hong Kong and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Published: Richard A. Pegg and Zhang Lidong, The MacLean Collection: Chinese Ritual Bronzes, Chicago, 2010, pl. 19.Condition: Very good condition, commensurate with age. The vessel is slightly leaning and has some old wear as well as minor casting flaws, minuscule nicks, and small dents. The lower body has two small fills, invisible to the naked eye, but precisely detected on the five X-ray images provided (available in the online catalog at www.zacke.at or via e-mail upon request). Spectacular, naturally grown patina overall with several layers of malachite encrustation and small areas of azurite and cuprite. The crisply cast decorations are extremely well-preserved, which makes this one of the most attractive examples of its kind. In such pristine condition, it must be considered exceedingly rare.Weight: 2,878 gDimensions: Width 28 cm (across handles)Gui were used during ritual ceremonies for storing cooked rice or millet. While this vessel shape first appeared in the Erligang phase, they were not widely produced and examples from this period are rare. The form increased in popularity from the early Western Zhou dynasty onwards, and numerous variations of the original shape also began to appear. The present vessel, with its rounded body, everted rim and animal-head handles represents the most popular form.Literature comparison: A related gui unearthed from Xi'an, Shaanxi province, now in the National Museum of China, Beijing, is illustrated in Zhongguo qingtongqi quanji [Complete collection of Chinese archaic bronzes], vol. 5, Beijing, 1996, pl. 61. Another from the collection of T. Yamamoto is published in Sueji Umehara, Nihon Schūcho Shina kodō Seikwa/ Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol. 2, Osaka, 1960, pl. 107. Jessica Rawson notes in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, p. 415, that these types of gui vessels are more common in early Western Zhou, and lists five other examples, including one from Liaoning Kezuo Shanwanzi illustrated in Wenwu, 1977.12, p. 23-33, fig. 55. Compare also a related bronze gui, dated to the Western Zhou dynasty, in the collection of the British Museum, museum number 1955,0519.2. Finally compare a related bronze gui, dated to the Western Zhou dynasty, late 11th to early 10th century, in the collection of the Freer Gallery of Art at the National Museum of Asian Art, Smithsonian Institution, accession number F1924.14a-b.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 September 2020, lot 570Price: USD 478,800 or approx. EUR 540,500 converted and adjusted for inflation at the time of writingDescription: An important archaic bronze ritual food vessel (gui), Western Zhou dynasty Expert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized birds. Note the similar size (29.5 cm) and that this gui has a six-character inscription.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 15Price: USD 125,000 or approx. EUR 157,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel (gui), early Western Zhou dynasty, 11th-10th century BCExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized kui dragons. Note the similar size (29.5 cm) and that the gui has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3181 Price: USD 149,000 or approx. EUR 184,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, the gui early Western Zhou dynasty, 11th century BC, the inscription laterExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized taotie designs. Note the similar size (29.2 cm) and that this gui has a later-added inscription.西周青銅夔紋簋中國，公元前十一至十世紀。圓簋，折沿，雙耳，圓腹，圈足，耳做獸首形，下有附珥，圈足外有外凸的圈足座。口沿下有一圈有夔紋與獸面紋飾帶，器腹素面，足部飾橫條紋。 來源：亞洲藝術博物館MacLean 收藏，1996年購於香港，2022年撤出收藏。MacLean 收藏由來自芝加哥的商人 Barry MacLean 在50 年前創立，他於 1970 年代初開始收藏。他曾多次前往亞洲從商，並開始將注意力集中在來自中國的古代青銅器和後世的仿古青銅器上。The MacLean Collection由Larry Booth設計並於 2003 年完工。自 2004年以來，該博物館已出版了七本書，舉辦了十三次展覽，將藏品借給許多其他博物館，並用十幾個獎學金來培訓未來的專家和愛好者。 出版：Richard A. Pegg 與張立東，The MacLean Collection: Chinese Ritual Bronzes，芝加哥，2010年，圖19。 品相：狀況極好，容器略微傾斜，有一些磨損以及輕微的鑄造缺陷、微小的刻痕和小凹痕。簋下半部分有兩個肉眼看不見的小填充物，但在所提供的五張 X 射線圖像上可以精確檢測到（可在www.zacke.at的在線目錄中找到或通過電子郵件索取）。自然生長的銅綠包漿整體帶有幾層孔雀石綠色結殼和小面積的紅藍斑。清晰明快的鑄造裝飾保存得非常好，這使它極具吸引力。如此原始的狀態，是極其罕見的。 重量：2,878 克 尺寸：兩耳之間寬28 厘米 簋相當於今天的碗，是商周時期的盛飯工具。文獻中説是用來盛黍稷稻粱的器皿。這種器型曾出現在二里崗文化中。青銅簋出現在商代早期，但數量較少，商晚期逐漸增加。商周時期，簋是重要的禮器。 文獻比較： 一件相近的青銅簋，出土於陝西西安，現藏於北京中國國家博物館，見《中國青銅器全集》，卷五，北京，1996年，編號61。另一件收藏於T. Yamamoto，見歐米蒐儲，《支那古銅精華》，卷二，大阪，1960年，編號107。Jessica Rawson在 《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，華盛頓D.C.，1990年，頁415，寫道「此種類型的簋較常見於西周早期」，她也列出了五個例子，包含一件出土於遼寧喀左山灣子的簋，見《文物》，1977年12月，頁23-33，圖55。 比較一件相近的西周青銅簋，收藏於大英博物館，編號1955,0519.2。最後比較一件相近的西周公元前十一世紀晚期至十世紀早期青銅簋 ，收藏於亞瑟·M·賽克勒美術館Freer Gallery of Art，史密森尼學會，編號F1924.14a-b。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2020年9月23日，lot 570 價格：USD 478,800（相當於今日EUR 540,500） 描述：西周侁簋 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的鳥紋。請注意相似的尺寸(29.5厘米)，以及此簋有六字款識。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2013年9月17日，lot 15 價格：USD 125,000（相當於今日EUR 157,000） 描述：西周早期公元前十世紀青銅夔龍紋簋 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的夔紋。請注意相似的尺寸(29.5厘米) ，以及此簋有三字款識。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月16日，lot 3181 價格：USD 149,000（相當於今日EUR 184,000） 描述：西周早期青銅饕餮紋簋，後刻銘文 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的饕餮紋。請注意相似的尺寸(29.2厘米)， 以及此簋有後刻的款識。

A RARE BRONZE SPADE COIN, BU, ZHOU DYNASTY China, 1046-256 BC. Finely cast with a hollow handle, the rectangular spade head with a concave edge with three parallel ridges to each side, one side inscribed with an archaic character. A single sign inscribed to one side.Provenance: Dutch trade. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, small losses, and casting flaws. The bronze is covered in a rich, naturally grown patina with vibrant malachite and cuprite encrustations.Weight: 103.2 (incl. stand) Dimensions: Length 15.1 cm (incl. stand) and 9.4 cm (excl. stand)Mounted to an associated metal stand. (2)Spade coins (bu) were an early form of money used during the Zhou dynasty. It was shaped like a spade or weeding tool, but the thin blade and small sizes of spade money indicate that it had no utilitarian function. The inscriptions on these coins usually consist of one character, usually either a number, a cyclical character, a place name, or the name of a clan. The crude writing is that of the artisans who made the coins, not the more careful script of the scholars who wrote the votive inscriptions on bronze. The current lot is an example of a square shouldered spade coin.Literature comparison:Compare a related spade coin with a similar inscription of the name of a city, 'Wu', in the British Museum, registration number 1909,0511.5. Compare a related spade coin with a similar inscription in the National Museum of Asian Art, accession number S2012.9.2278. Compare a spade coin of closely related form, 9.5 cm long, in the British Museum, registration number 1983,0817.1.

A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTY 西周中期罕見青銅壺 Expert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request) China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米 文獻比較： 比較一件來自同樣收藏的青銅壺，見紐約佳士得，2003年3月26日，lot 155，現藏英國瓦立克郡Compton Verney Art Gallery，編號CVCSC 0303.A。比較一件類似的帶蓋青銅壺，1975年出土於陝西扶風白家，現藏於扶風縣博物館，圖見《中國美術全集》，卷四，〈青銅器1〉(The Great Treasury of Chinese Fine Arts，Arts and Crafts，volume 4，Bronzes (1))，北京，1987年，頁192，編號213；此青銅器器身的花紋被描述為魚鱗。不過，這有可能是羽毛，這與青銅器頸部上的鳥紋有關。不管怎麼說，現拍品的圖案和已發表的例子是一樣的。比較一件相近的西周中期青銅壺，它的形狀更細長，頸部有一圈對峙的鳥紋，身體上有一排重疊的羽毛或小尺寸的魚鱗紋，收藏於上海博物館，曾展覽於1983年2月1日至4月3日香港藝術館，《中國古代青銅器》，編號28。13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE 'TIGER' HALBERD BLADE, ZHONGHU GE, EASTERN ZHOU DYNASTY, WARRING STATES PERIOD 東周戰國虎紋中胡銅戈Published: Religion and Ritual in Chinese Art, Michael B. Weisbrod, Inc., New York, USA, 8 December 1987, no. 12, page 40.China, 480-220 BC. Finely worked with an elongated triangular blade (yuan) flaring gently into the flat blade guard. Cast in relief with the profile of the ferocious feline with a gaping mouth, baring fangs, and an extended long curling tongue, all in high relief. The ears and forelimbs bent with the body incised on the shank. The end of the yuan pierced with two rectangular chuan (apertures), the tang (nei) with a circular chuan. A rectangular tang with foliate incisions projects from the guard ending in a double curve 'E'-shaped edge.Provenance: Michael B. Weisbrod, New York, USA. The private collection of an American north-east collector, acquired from the above, c. 1987-1988. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Very good condition, commensurate with age. Extensive wear, weathering and erosion, nicks and cracks, shallow surface scratches, possibly minor old fills. Fine, solid patina with distinct malachite and cuprite encrustations. Presenting remarkably well overall.Weight: 396.4 g (excl. stand)Dimensions: Length 27.4 cm With a modern stand. (2)The ge dagger-axe was found in burials from the early Shang through the Warring States period. It came to be a ritual object and a part of the requisite ceremonial paraphernalia of a courtier. According to James Menzies, by the early Western Zhou, “its inclusion in the attire of nobles and officials at all formal functions may be presumed”; and in addition to other Shang and Western Zhou rituals, it may have been used in ceremonial war dance, celebrating the Zhou conquest of the Shang (Menzies, the Shang Ko, pp. 314-316). The ge was also frequently pictured on bronze vessels possibly as a clan emblem.Although the tiger appears on blades of the late Shang and early Western Zhou periods, the feline and the shape of the tang on the present lot indicate a product of a different culture. Manufacture of ge with triangular blades discontinued in the Central Plains area of China by the middle Western Zhou period. The type seems to have persisted in the kingdoms of Ba and Shu in modern Sichuan province through the Warring States period. Many of these excavated ge from this area have E-shaped tang which did not appear among the Shang or Western Zhou blades. Tigers are frequently seen as motifs on the various types of ge and other weapons of the Ba-Shu area. This may be related to the legend that when Lin Jun, first ancestor of the Ba tribe, died, his soul was transformed into a white tiger.Literature comparison:Compare profile tigers similar to this lot which are reproduced in Tong Enzheng's “Investigations of the bronze ge from Southwest China” (Kaogu Xuebao 1979, no. 4, pp. 442, fig. 1:6, pp. 447, fig. 3; see also Wenwu 1976 no. 3, p. 41 fig.2 and pl. I, no. 6; Wenwu 1976 no. 7, p. 82-85; Kaogu 1986 no. 11, pp. 986, fig. 6). Compare with a Zhonghu Ge with tiger pattern, China, unearthed at Dubaishu, Pixian County, Chengdu City, Warring States period, 475 - 221 BC, bronze Sichuan Provincial Museum Chengdu, China, accession number DSC04243. 東周戰國虎紋中胡銅戈中國，公元前480-220 年。戈，流行於商代至漢代的一種格鬥兵器，最早出現於先秦時期。因作戰需要和使用方式不同，便分為長、中、短戈三種。此戈長援中胡，長方形內，近欄處有三穿。援後部至內兩面飾半浮雕虎頭，張口吐舌，口中一穿；援的末端穿有兩個長方形的穿，內有一個圓形的穿。 帶有葉狀切口的矩形柄腳從防護裝置中伸出，末端為雙曲線“E”形邊緣。出版：Michael B. Weisbrod, Inc.，《Religion and Ritual in Chinese Art》，紐約，1987年12月8日，編號12，第 40頁。 來源：美國紐約Michael B. Weisbrod收藏；美國東北私人收藏，1987-1988年購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在 過去五十多年的時間裡就該主題發表了大量著作。1972年，Michael加入了他父親Gerald Weisbrod博士在加拿大多倫多的亞洲藝廊。 這對父子團隊於1977 年在麥迪遜大道開設了他們的紐約分店，在接下來的四十五年裡，藝廊舉辦了大量展覽，向全球各地的博物館和私人收藏家出售作品，最終在上海和香港開設了分店。 品相：狀況非常好，大面積磨損、風化和侵蝕、刻痕和裂縫、表面淺劃痕，可能有輕微的小修。細膩、堅實的包漿，帶有明顯的紅綠色結殼。 重量：396.4 克 (不含底座) 尺寸：長27.4 厘米 現代支架。 (2) 從商初到戰國時期的墓葬中都發現了戈，它是朝臣必備的禮儀用具的一部分。根據James Menzies的說法，到了西周早期，“可以推測，它已經出現在貴族和官員在所有正式場合的服裝制式中”； 除了商朝和西周之外，它還被用於儀式性的戰舞，慶祝週征服商朝（Menzies，《the Shang Ko》，第 314-316 頁）。青銅器上也經常出現戈的圖案，可能是作為氏族的徽章。此類虎紋戈似乎在戰國時期一直存在於現代四川省的巴蜀王國中。該地區出土的許多戈刀都具有商或西周刀中所沒有的“E”形刀柄。巴蜀地區的各種戈具和其他武器上都以老虎為圖案。這或許與巴族始祖林俊死後靈魂化為白虎的傳說有關。文獻比較： 比較一件相似的，同恩正《西南青銅考》（《考古學報》1979，第4期，第442頁，圖1：6，第447頁，圖3。見《文武》1976年第3期，頁41，圖2和第6期，圖一）。 比較一件戰國時期西元前475 - 221年虎紋虎戈，出土成都市郫縣杜拜樹，四川省博物館，館藏編號DSC04243。

IMPORTANTE ET RARE STATUETTE DE PARVATI EN ALLIAGE DE CUIVREInde du Sud, période Cola, vers XIIe siècle A RARE LARGE COPPER ALLOY FIGURE OF PARVATISouth India, Cola Period, ca. 12th centuryThe goddess is portrayed here standing in an elegant tribhanga pose. Her graceful figure is of slender yet voluptuous modelling with high rounded breasts, a pinched waist, and a supple belly. Her beguiling gaze, through long half-moon eyes, set within her gentle oval face. Her left arm lingers seductively in lolahasta mudra, mimicking the tail of a cow. Her right is bent, raising her hand in katakamukha mudra, once holding a separately cast flower. She wears a tall crown, called a karanda mukata, of piled rings diminishing in size and culminating in a lotus bud. The concentric patterns within her crown are repeated throughout her necklaces, armbands, girdle, and garment, embellishing the bronze's texture. 60cm (23 5/8in.) highFootnotes:南印度 朱羅王朝 約十二世紀 銅雪山女神立像While the subject is modelled in the classic Chola idiom, this particular figure distinguishes itself by the lifelike fluidity of its stance, its amiable countenance, and the attention to detail its creator has lavished on the goddess's ornamentation. Bijoux cup the back of her ears. Luxurious locks of hair brush against her shoulders. Her tresses direct our gaze down towards the auspicious marriage string (mangalasutra) tied around her neck. A fine garment is tied with a fan-shaped splay above the small of her back, and decorative ribbons swirl across the front of her thighs. Uma—whose suprasensuous form embodies shakti, the primordial cosmic energy—is portrayed here in a sensitive and intimate interpretation of divine femininity. The sculpture is a testament to the technical genius of the artist, epitomizing the confident and time-honored aesthetic canon of the Chola empire.Following Sivaramamurti's stylistic chronology, the figure exemplifies the mature Chola style of the 12th century. Her elongated makara earrings and shoulder tassels that no longer terminate in the shape of a pipal leaf are generally indicative of the 11th century or later (Sivaramamurti, South Indian Bronzes, New Delhi, 1963, pp.29-31). The lines accentuating her solar plexus and the relatively simple treatment of her bangles and necklaces are customary in the 12th and 13th centuries. A good, close stylistic comparison for this bronze is a 12th-century seated Uma which is part of a Somaskanda ensemble, published in Vidya Dehejia, The Sensuous and the Sacred: Chola Bronzes from South India,, New York, 2002, p.131, no.16.Provenance:John & Berthe Ford Collection, Baltimore, by 1970Robert Bigler, Zurich, 2008Published:Diran Dohanian, The Art of India: Sculpture, 1st century B. C. to 18th century A.D., Rochester, 1961, no. 56.Pratapaditya Pal, Indo-Asian Art: The John Gilmore Ford Collection, Baltimore, 1971, no.19.Exhibited:The Art of India, The Memorial Art Gallery of the University of Rochester, 1961.來源：福特伉儷（John and Berthe Ford）珍藏，巴爾的摩，1970年Robert Bigler，蘇黎世，2008年出版：Diran Dohanian，《The Art of India: Sculpture, 1st century B. C. to 18th century A.D.》，羅徹斯特，1961年，編號56帕爾博士（Pratapaditya Pal），《Indo-Asian Art: The John Gilmore Ford Collection》，巴爾的摩，1971年，編號19展覽：《The Art of India》，羅徹斯特大學紀念美術館，1961年This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Various oddments, including an unmarked cylindrical purse scent-flask by Sampson Mordan & Co, George III silver 'Port' decanter label, Samuel Knight, London 1816, silver & tortoiseshell penknife, Art Deco part manicure set on stand with glass base, Sanders & Mackenzie, Birmingham 1940, pickle fork with mother of pearl handle, Birmingham 1916, Asian white metal purse inkwell with retracting pen, in leather binding with floral-engraved interior to lid and a Burmese low-grade matchbox-holder (7)

Lee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Untitled. 2016. Gouache. Rechts unten signiert und datiert. Auf strukturiertem Karton. 27,2 x 31,8 cm (10,7 x 12,5 in), Blattgröße. [CH]. • In seiner minimalistischen Ästhetik verbindet Lee asiatische und europäische Bezüge. • Zu den wichtigsten Elementen seines Kunstschaffens gehört es, während des Malens nicht zu atmen, das Werk im Raum und in der Zeit wirken zu lassen und nicht die gesamte Oberfläche zu 'kolonisieren'. • Lee zählt zu den wichtigsten Vertretern der Mono-ha-Schule in Japan, einer der wichtigsten Strömungen innerhalb der japanischen Nachkriegskunst. • Ab den 1970er Jahren steht sein Schaffen in enger Beziehung zur Dansaekhwa-Bewegung in Korea, in der sich die Künstler:innen insbesondere in monochromer Malerei mit Abstraktion und Materialität auseinandersetzen. • 1977 stellt Lee Ufan auf der documenta 6 in Kassel aus, 2011 und 2015 auf der Biennale von Venedig. • Bis zum 28. April 2024 zeigt der Hamburger Bahnhof, Nationalgalerie der Gegenwart, die erste Retrospektive des Malers und Bildhauers in Deutschland. PROVENIENZ: SmithDavidson Gallery, Amsterdam. Privatsammlung Süddeutschland (2017 vom Vorgenannten erworben). Aufrufzeit: 08.12.2023 - ca. 16.05 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Untitled. 2016. Gouache. Lower right signed and dated. On structured cardboard. 27.2 x 31.8 cm (10.7 x 12.5 in), size of sheet. [CH]. • Lee combines Asian and European references in his minimalist aesthetics. • One of the most important elements of his artistic work is not to breathe while painting, to allow the work to take effect in space and time and not to 'colonize' the entire surface. • Lee is one of the most important representatives of the Mono-ha school in Japan, a key movement in Japanese post-war art. • From the 1970s onward, his work was closely related to the Dansaekhwa movement in Korea, in which artists explored abstraction and materiality, particularly in monochrome painting. • Lee Ufan exhibited at documenta 6 in Kassel in 1977 and at the Venice Biennale in 2011 and 2015. • Until April 28, 2024, the Hamburger Bahnhof, Nationalgalerie der Gegenwart, shows the first retrospective of the painter and sculptor in Germany. PROVENANCE: SmithDavidson Gallery, Amsterdam. Private collection Southern Germany (acquired from the above in 2017). Called up: December 8, 2023 - ca. 16.05 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Hans Thoma 1839 Bernau - 1924 Karlsruhe Wundervögel. 1917. Öl auf Leinwand. Rechts unten monogrammiert und datiert. Verso auf dem Keilrahmen handschriftlich und typografisch nummeriert. 80,5 x 95,5 cm (31,6 x 37,5 in). PROVENIENZ: Paul und Beth von Bleichert, Leipzig (wohl 1917 erworben). Paul und Beth von Bleichert, Zürich (1920er Jahre, bis 2014 in Familienbesitz). Jack Kilgore & Co. Gallery, New York. Daxer & Marschall, München. Privatsammlung Baden-Württemberg. LITERATUR: Vgl. Henry Thode, Hans Thoma, Stuttgart/Leipzig 1909, S. 355, 421. Joseph August Beringer, Der Malerpoet, München 1917, o.S., Abb. Taf. 17. Die menschliche Sehnsucht, die erdhafte Gebundenheit im schwerelosen Flug zu überwinden, hat Hans Thoma vor allem in den Gemälden seiner sogenannten „Wundervögel“ zum Ausdruck gebracht. Bereits 1876 taucht im Gemälde „Paradies“ (Thode S. 89) ein solcher fantastischer Vogel auf. Ein weiteres Gemälde mit dem Titel „Sehnsucht“ (Thode S. 427) von 1900 zeigt einen Jüngling in einer weiten Flusslandschaft, der den am Himmel ziehenden Vögeln nachblickt. Besonders faszinieren allerdings die Gemälde, in denen die Betrachtenden gewissermaßen mit den Vögeln fliegen, weit über der sanften Landschaft in einem von irrealem, hellen Licht durchdrungenen Raum. Thoma vereint in ihnen die aus der ostasiatischen Kunst zu der Zeit bekannten Kraniche mit den weiten Schwingen mit den langen Feder des Paradiesvogels, teilweise auch der Pfauen. Das Motiv der Vögel führt er auch in der grafischen Technik der Radierung aus und gestaltet sich selbst damit ein Exlibris, in denen die Ornamentalität der Vogelgestalten besonders zur Geltung kommt. Den Vogelbildern scheint er auch einigen persönlichen Charakter beizumessen und als Freundschaftsbilder zu fungieren, widmet er doch seinem Freund Philipp Röth zum 60. Geburtstag solch eine Zeichnung und auch Henry Thode ist im Besitz eines der Gemälde. Der Wundervogel steht aber auch für das Reich der Fantasie und der Kunst, die sich nicht der Realität verpflichtet fühlt. In unterschiedlichen Flughaltungen schweben die großen Tiere mit den geschwungenen Hälsen und Federn über den Himmel, riesig über Landschaft, und erlauben den Betrachtenden eine neue Perspektive. Das traumhafte Gefühl des Schwebens hat für Thoma essentielle Bedeutung: „In meinen Bildern und ihrem Raum soll man Fliegen können“ (J.A. Beringer, Vollständiges Verzeichnis der radierten Platten und ihrer Zustände, München 1923, S. XIV). Der Kunsthistoriker Joseph August Beringer wies auch darauf hin, dass das Phänomen des Fliegens gerade in der Zeit der beginnenden Luftfahrttechnik einen besonderen Reiz auf Thoma ausgeübt haben könnte. Greifbar wird das Gefühl der Irrealität, das in so vielen von Thomas Bildern spürbar ist. Das Schweben im Raum, das Gefühl der Freiheit und die Sehnsucht nach ihr werden von Thoma in Gestalt der Wundervögel immer wieder thematisiert. In den geschwungenen Linien der Tiere lassen sich zudem Anklänge an die Kunst des Jugendstils sowie japanische Holzschnitte erkennen, wie sie um die Jahrhundertwende Konjunktur hatten. [KT] Aufrufzeit: 09.12.2023 - ca. 13.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHans Thoma 1839 Bernau - 1924 Karlsruhe Wundervögel. 1917. Oil on canvas. Lower right monogrammed and dated. With written and typogr. numbers on the reverse of the stretcher. 80.5 x 95.5 cm (31.6 x 37.5 in). PROVENANCE: Paul und Beth von Bleichert, Leipzig (presumably acquired in 1917). Paul und Beth von Bleichert, Zürich (1920s, family-owned until 2014). Jack Kilgore & Co. Gallery, New York. Daxer & Marschall, Munich. Private collection Baden-Württemberg. LITERATURE: Cf. Henry Thode, Hans Thoma, Stuttgart/Leipzig 1909, pp. 355, 421. Joseph August Beringer, Der Malerpoet, Munich 1917, no p., fig. plate 17. Hans Thoma expressed the human longing to overcome gravity in weightless flight in paintings of his so-called 'miracle birds'. Such a fantastic bird appeared for the first time in the painting 'Paradise' from 1876 (Thode p. 89). Another painting entitled 'Sehnsucht' (Thode p. 427) from 1900 shows a young man in a wide river landscape gazing at migrating birds in the sky. Particularly fascinating, however, are the paintings in which the viewer flies with the birds, as it were, far above the gentle landscape in a space permeated by unreal, bright light. In them, Thoma combines the wide-winged cranes familiar from East Asian art with the long feathers of the bird of paradise, and in some cases peacocks. He also made etchings of the motif he then used as his own bookplate, in which he particularly emphasized the ornamentality of the birds. He also seems to have attached a personal character to the bird pictures, as he dedicated such a drawing to his friend Philipp Röth for his 60th birthday and Henry Thode also owned one of the paintings. However, the miracle bird also stands for the realm of fantasy and art that does not feel bound to reality. In various flying postures, the large animals with their curved necks and feathers float above the landscape, allowing the viewer a new perspective. The dreamlike feeling of floating is of essential importance to Thoma: 'In my pictures and their space, one should be able to fly' (J.A. Beringer, Vollständiges Verzeichnis der radierten Platten und ihrer Zustände, Munich 1923, p. XIV). The art historian Joseph August Beringer also pointed out that the phenomenon of flying could have exerted a particular attraction on Thoma, especially at the time when aviation technology was just beginning. The unreal feeling is palpable in so many of Thoma's paintings. Floating in space, the feeling of freedom and the longing for it were repeatedly addressed by Thoma in the form of the miracle birds. The curved lines of the animals are also reminiscent of Art Nouveau and Japanese woodcuts, which were popular at the turn of the century. [KT] Called up: December 9, 2023 - ca. 13.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

KOKUTA SUDA (1906-1990)Sans titre 1958 signé ; signé et daté 1958.9.3 au revers pastel et fusain sur papier embossé marouflé sur papiersigned ; signed and dated 1958.9.3 on the reversepastel and charcoal on embossed paper laid on paper37.2 x 27.9 cm. 14 5/8 x 11 in.Footnotes:ProvenanceCollection de l'artiste, JaponCollection particulière, JaponGregg Baker Asian Art, LondonAcquis auprès de celle-ci par le propriétaire actuelThis lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

CARTIER: ART DECO LAQUE BURGAUTÉ AND GEM-SET CASE, CIRCA 1925The black lacquer exterior lid and base inlaid with iridescent mother-of-pearl and applied gold leaf, the lid accented by three rose-cut diamonds, the black enamel thumbpiece terminating with rose-cut diamonds and ruby cabochon finials, all four sides decorated with black enamel dragons, opening to reveal a tortoiseshell interior, mounted in gold, signed Cartier Paris Londres New York, numbered 02802, rubbed maker's mark, French assay mark, dimensions 8.0 x 5.7 x 1.6cm, fitted maker's caseFootnotes:Laque burgauté refers to the exquisite East Asian technique of decorating lacquer with intricate inlays of iridescent mother-of-pearl, often engraved and combined with gold and silver foil. The technique is believed to have originated in China as early as the Ming Dynasty (1368-1644). It remained popular during the Qing dynasty (1644-1911/12) and spread to the Ryukyu Islands between China and Japan and thence to Japan itself. In China the technique is called, 'lo tien' and in Japan, 'aogai'. The Western name is derived from the French - sea-ear or mussel (burgau) and lacquer (laque or lac). Most of the lacquer used by Cartier in their art deco objects is likely to have been made in Ryukyu or in Japan.See exhibition catalogue 'The Art of Cartier', Museo Thyssen-Bornemisza, 24 October 2012 - 17 February 2013, ill.p.188, number 239 for a similar example.For further information on this lot please visit Bonhams.com

Charles Henri Molins, an Art Deco gilt and silvered art metal figure group, circa 1925, modelled as a kneeling woman feeding an Asian Pheasant on a Sienna marble base, incised mark H Molins, 41.5cm long

Sehr großer Huanghuali-Aufsatzschrank 'Dingxiang'gui'China, Qing-Dynastie267 x 142 x 60Von massiver rechteckiger Form und schöner Maserung, der Aufsatz mit zwei quadratischen Huanghuali-Türen Hutschrank mit zwei huanghuali quadratischen Türen bündig um den Mittelpfosten. Der Hauptkorpus mit großen rechteckigen Türen und Mittelpfosten, dahinter ein verstecktes Fach im Boden, darüber ein Regalboden mit zwei Schüben und großem Innenraum. Die Zarge mit feinem Floraldekor in Relief sowie stilisiertem 'Shou'-Zeichen.Aus einer deutschen Privatsammlung, 2004 bei Dr. Bettina Klein, Asian Art Gallery Frankfurt erworben - Altersspuren, etwas rest. - Vgl. mit einem ähnlich großen Schrank aus der Sammlung Heveningham Hall, verkauft von Christies's Hong Kong, 28. Mai 2021, Lot 2822

A lot of Asian art, including immortal soapstone and plaque, including China, to. 4x.

A collection of books related to art and Asian art, among other things.

Circa 2nd-4th century A.D. Modelled in relief with openwork elements, stylised detailing to both figures; hollow reverse. Cf. Mille, B., 'The Casting Techniques of Antique South Arabian Large Bronze Statues,' in Jett, P., McCarthy, B. and Douglas, J.G. (eds.), Scientific Research on Ancient Asian Metallurgy: Proceedings of Fifth Forbes Symposium at the Freer Gallery of Art, Washington, Smithsonian Institution, 28-29/10/2010, Washington, 2012, pp.225-247, fig.5, for similar images. 182 grams, 10.2 cm high (4 in.).Acquired 1990s-early 2000s. East Anglian private collection.Hollow cast bronze images of Eros riding a lion are linked to the Eastern Levant and have been found for example in Tamna, probably a Roman import. The importance of long-distance contacts within the Eastern Mediterranean areas was rapidly reflected in provincial artistic styles, probably as soon as in Hellenistic times, at the beginning of the third century B.C., possibly even earlier. The unquestionable Greek influence led a number of scholars to define three main styles for the bronzes discovered in the eastern Roman provinces: a local type and iconography locally produced, Greek or Roman imports, and Oriental, Hellenistic, or Roman style, locally produced.

A Quantity of Assorted Ceramics and Glass, mainly Asian art including a Japanese Meiji period closoinne vase, a pair of Chinese ginger jars, a Cantonese enamel box, etc (two shelves)

A Large Quantity of Assorted Decorative Ceramics, including Mason's, Royal Doulton, Spode, Denby and modern Asian art (9 boxes)

RYUMIN: AN IMPRESSIVE TOKYO SCHOOL IVORY OKIMONO OF SHO-KANNON WITH DRAGONBy Kawai Ryumin, signed Ryumin with seal SanJapan, Tokyo, Meiji period (1868-1912)Standing on the back of a writhing dragon, the tall Kannon finely carved and ornately adorned with a large necklace suspending lengthy strands of jewels and medallions down to its knees. Clothed in a thin robe flowing in the wind, rippling elegantly along the back, Kannon holding a basket filled with large peony blossoms and wearing a large tiara with a small figure of Amida (Amitabha). The fierce dragon opening its mouth in a roar as it walks, the crashing waves surround it, its whiskers, scales, and horns are finely carved. The base signed RYUMIN within an ornately design frame of two confronting dragons and with a red seal San. HEIGHT 32.2 cmCondition: Good condition with minor wear, expected age cracks, restorations to one whisker and one horn and two small restorations to the edge of Kannon's robe near the shoulder.Provenance: From a private collection in Germany.Kawai Ryumin was a member of the Ivory Group of the Tokyo Chokokai (Tokyo Carvers' Association) between Meiji 37 and Taisho 4 (1904-1915), his original name was Kawai Masagoro (Shogoro). He was a pupil of Kaneda Kenjiro (1844-1914) who together with Ishikawa Komei (1852-1913) co-founded the Kankokai Craft Company in 1877, and later became the adoptive father of the eldest daughter of the renowned lacquerer Shibata Zeshin (1807-1891). Although he is best known for his ivory carvings, he also commissioned figures in bronze.Auction comparison:Compare a related Tokyo school ivory okimono of Sho-Kannon with a dragon, signed Ono Hakujitsu koku, at Bonhams, Chinese & Other Asian Works of Art, 3 March 2010, London, lot 42 (sold for GBP 18,000).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number DK-K-230425-198). 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.

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: NIHONBASHI, VIEW OF DAWN CLOUDSBy Utagawa Hiroshige I (1797–1858), signed Hiroshige hitsuJapan, dated 1855 (Ansei 2), 7th monthColor woodblock print on paper. Vertical oban. Signed Hiroshige hitsu, censor's seals: aratame, Hare 7; publisher Tsutaya Kichizo (Koeido). Titled Nihonbashi, Shinonome no kei (Nihonbashi: View of Dawn Clouds), number 1 in the series Gojusan tsugi meisho zue (Illustrated Guide to Famous Places along the Fifty-three Stations).Nihonbashi bridge with storehouses, Edo Castle to the right and Mt. Fuji at the upper left.SIZE of the sheet 36.1 x 25.3 cmCondition: Shows wear, fading, mounting holes, and browning of paper commensurate with age, otherwise presenting well.Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige's work focuses on landscape. 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 traveling that coastal route linking Edo and Kyoto. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856–58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:An identical print is in the collection of the Freer Study Collection in the National Museum of Asian Art, Smithsonian Institution, accession number FSC-GR-705.1. Another identical print, with a British Museum seal, is in the collection of the British Museum, museum number 1915,0823,0.722.

OHARA KOSON: A TOAD ON THE FOREST GROUNDBy Ohara Koson (1877-1945), signed and sealed KosonJapan, first half of 20th century, late Meiji (1868-1912) to early Showa period (1926-1989)Color woodblock print on paper. Vertical aiban. Signed and sealed Koson. Titled A Toad on the Forest Ground.Its skin finely detailed with warts, the large toad with yellow eyes advancing slowly along the wet forest ground beneath a canopy of grass and flowers.SIZE of the sheet 34.5 x 18.5 cmCondition: Good impression and colors with trimmed margins, several holes at the lower part, otherwise presenting well. Mounted firmly on cardboard.Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson.Museum comparison:Compare a related print depicting several Sumo-wrestling toads, by Ohara Koson, in the National Museum of Asian Art, Smithsonian Institution, accession number S2003.8.2075.

HIROSHI YOSHIDA: SAILING BOATS, FORENOON By Hiroshi Yoshida (1876-1950), signed Yoshida with seal HiroshiJapan, dated 1926Color woodblock print on paper. Vertical oban. Signed Yoshida with seal Hiroshi in the image, printed signature Hiroshi Yoshida at the margin. Printed title Hansen, gozen (Sailing Boats – Forenoon), from the series Seto Naikai shu (Inland Sea).This work is part of Yoshida's 1926 Inland Sea series of nine prints. Six of the prints, including the present lot, show sailboats floating in Japan's Inland Sea, a body of water bounded by three of Japan's four main islands. Yoshida used the exact same woodblocks for each of these six prints but adjusted the colors to suggest different weather conditions and times of day. They are a testament to the expressive potential of color.These prints represent Hiroshi's second series of woodblocks depicting sailboats on the Inland Sea. The ones for the original series, published in 1921, were destroyed during an earthquake that devastated eastern Japan in 1923. Yoshida designed a new set of woodblocks based on sketches he had made during a 1910 trip to the Inland Sea.SIZE of the sheet 55 x 40 cmCondition: Excellent condition with only minor wear.Hiroshi Yoshida (1876-1950) began his artistic training with his adoptive father in Kurume, Fukuoka prefecture. Around the age of twenty, he left Kurume to study with Soritsu Tamura in Kyoto, subsequently moving to Tokyo and the tutelage of Shotaro Koyama. Yoshida studied Western-style painting, winning many exhibition prizes, and making several trips to the United States, Europe and North Africa selling his watercolors and oil paintings. While highly successful as an oil painter and watercolor artist, Hiroshi Yoshida turned to woodblock printmaking upon learning of the Western world's infatuation with ukiyo-e. While widely traveled and knowledgeable of Western aesthetics, he maintained an allegiance to traditional Japanese techniques and traditions.Museum comparison:A closely related woodblock print is in the collection of the National Museum of Asian Art, Smithsonian Institution, accession number S2019.3.2026.Auction comparison:Compare a closely related woodblock print, sold at Sotheby's, Fine Japanese Prints, 16 December 2022, London, lot 153 (sold for GBP 11,970).

A RARE PAIR OF CARVED WOOD 'BAKU' ARCHITECTURAL ELEMENTSJapan, Edo period (1615-1868)The architectural supports, sometimes also called corbels, are finely carved as the heads of two baku with their mouths wide open to reveal tongue and teeth. Both with prominent tusks and ears, showing a fierce expression marked by slanted eyes with thick brows.LENGTH 26.5 cmCondition: Good condition with minor wear, natural age cracks, expected splits, and a few holes from insect activity. Minor chips, a small loss to one baku's tusk, and remnants of pigment to the interior of the mouth.Provenance: From a private collection in Nice, France.Baku are Japanese supernatural beings that are said to devour nightmares. According to legend, they were made from the spare pieces that were left after the gods had finished creating all other animals. Baku heads are commonly placed under the eaves of Japanese Buddhist temples and Shinto shrines to ward off bad spirits. They are protectors against evil, devour nightmares, but cannot be summoned without caution, because - as legend tells - when baku is not satisfied after consuming the nightmares, he may devour one's hopes and dreams too. The open-mouthed baku scares off demons and the closed-mouthed shelters and keeps in good spirits.Auction comparison:Compare a closely related pair of Baku architectural elements, dated to the Kamakura period, at Zacke, Asian Art Discoveries, 27 January 2022, Vienna, lot 356 (sold for EUR 4,298).

KOKEI: A FINE WOOD NETSUKE OF AMA STRUGGLING WITH AN OCTOPUSSigned Kokei 虎溪Japan, Kuwana, Ise province, early 19th century, Edo period (1615-1868)Intricately carved, the intertwined couple forming an unlikely pair and compact netsuke. The diver girl ensnared in the octopus' tentacles, with one hand she feebly pushes the face of the octopus away who presses its funnel shaped mouth forward, the other hand while armed with an awabi (an erotic allusion), appears hesitant to strike the octopus as its limbs reach forth to caress and support Ama as she leans back in pleasure. Naturalistic himotoshi formed by the crashing waves and tentacles to the base.HEIGHT 3.7 cmCondition: Good condition with minor wear. Restoration to foot.Provenance: From the collection of 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.”Literature comparison:Compare a closely related wood netsuke of Ama struggling with an octopus, the only other documented example signed Kokei, illustrated in the International Netsuke Society Journal (INSJ), 1999, vol. 19, no. 3, p. 60: 9.

A FINE IVORY NETSUKE DEPICTING THREE FIGHTING SHISHIUnsignedJapan, 18th century, Edo period (1615-1868)Finely carved and pleasingly tactile, depicting in a playful manner two smaller shishi atop a large one whose back legs flail in the air under the weight. The faces are animated with bulging eyes, finely incised hair, and large teeth. The ivory is stained a beautiful yellow and bears a deep honey patina to the underside.LENGTH 5.2 cmCondition: Minor expected wear and an old repair to the upper jaw of the top Shishi, overall presenting very well.Auction comparison:Compare a related ivory netsuke depicting a Shishi with young, unsigned, at Van Ham, Asian Art, 7 December 2017, Cologne, lot 2304 (sold for 3,870 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0335). 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.

VADYM PYVOVAR: A BOXWOOD NETSUKE OF A DARUMA DOLLBy Vadym Pyvovar, signed with the artist's initialsUkraine, 2023Finely carved as a Daruma doll, shown almost completely enveloped in his voluminous robe, his face with a disgruntled expression, with finely carved amber inlaid eyes below bushy eyebrows, flanked by two pendulous earlobes. Himotoshi to the base and incised with the artist's initials.HEIGHT 3.7 cmCondition: Excellent condition.Auction comparison:Compare an example by Masanao which inspired this model at Zacke, Asian Art Discoveries, 20 January 2023, Vienna, lot 1508 (sold for EUR 2,340).

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.

SEVENTY SIX AUCTION REFERENCE CATALOGUES, MOSTLY ON ASIAN ART, including Poly Auction, Sotheby's, Christie's, Bonhams, Woolley & Wallis, Galerie Zacke, Nagel Auction and others (76)

SIXTY EIGHT REFERENCE CATALOGUES ON ASIAN ART, including 'Arts of Asia', 'Oriental Art', 'Orientations' and others

HUANG JUNBI (1898-1991): 'AUTUMN MOUNTAIN LANDSCAPE', DATED 1951China, 20th century. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Boldly painted with a scholar seated amid bamboo stalks near a bridge in a vast misty landscape with towering mountains, pines and other trees, two waterfalls, and small huts.Inscriptions: Upper left, signed ‘Huang Junbi’, titled ‘Landscape’, and dated ‘In the Summer of the Year of Xinmao’ (corresponding to 1951). Two seals of the artist, ‘Huang Junbi yin’ and ‘Jun Weng’.Provenance: The Oliver Impey Collection of Modern Paintings. Sotheby’s Hong Kong, 3 October 2011, lot 1836, sold for HKD 300,000 or approx. EUR 49,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie’s in Hong Kong in the late 2000s.Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 115 x 54 cm, Size incl. mounting 217 x 64 cmHuang Junbi (1898-1991) was an important Chinese master painter, who strongly believed in the inheritance of traditional brushwork while reforming it constantly to express one’s personal feelings. He moved to Taiwan together with Pu Ru and Zhang Daqian in 1949, the group thus became known as the ‘The Three Masters Crossing The Sea’. Huang studied both Chinese and Western painting in Guangzhou and Japan, eventually teaching at the National University in Chongqing (Guoli zhongyang daxue) during the Second Sino-Japanese war. After 1949, he became the head of the Fine Arts Department at the National Taiwan University.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 16 December 2014, lot 8401 Price: USD 75,000 or approx. EUR 88,500 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Waterfall Landscape, dated 1943 Expert remark: Note the size (102.9 x 59.4 cm)Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 27 November 2012, lot 1339 Price: HKD 800,000 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Mountainous Landscape, dated 1941 Expert remark: Note the size (96 x 40.6 cm)

NAGASAWA ROSETSU (1754-1799): 'TWO PUPPIES BENEATH A BLOOMING PLUM TREE'Japan, 18th century. Ink and watercolor on paper. Mounted as a hanging scroll, on silk brocade coated paper with ivory handles. Masterfully painted, the thick trunk of a plum tree towers above two puppies seated back-to-back. The second puppy is painted in outline as a shadowy figure.Inscriptions: Signed, ‘Rosetsu utsushu’ 蘆雪寫 (‘Painted by Rosetsu’), and sealed ‘Nagasawa’ 長澤 and ‘Gyo’ 魚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.’ Condition: Very good condition with minimal wear and small creases. The silk brocade is in excellent condition, with minor wear and some loose threads. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer.Dimensions: Image size 121.3 x 27.5 cm, Size incl. mounting 212 x 40.2 cmNagasawa Rosetsu (1754-1799) was an 18th-century Japanese painter of the Maruyama School, known for his versatile style. He was born into the family of a low-ranking samurai. He studied with Maruyama Okyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Okyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions from several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more.Auction result comparison: Type: Closely related Auction: Mainichi Auction, Tokyo, 7 September 2018, lot 305 Price: JPY 7,800,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: Chrysanthemum and dogs Expert remark: Compare the related motif albeit with more puppies. Note the similar size (81.8 x 43.3 cm).

KAIHO YUSHO (1533-1615): 'KAKU SHIGI'Japan, 16th century. Ink on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame, with ivory handles. Displaying the classical aesthetics of the Kano School, depicting Kaku Shigi dressed in voluminous robes with billowing sleeves holding a banana leaf.Inscriptions: Two seals, ‘Kaihō’ 海北 and ‘Yushō’ 友松. The tomobako storage box further inscribed in English and Japanese.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his first own gallery in Berlin. The entire family survived the Holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.Condition: Shows few tears, material loss, and associated touch-ups, but still presenting well. The brocade frame with usual traces of wear and creasing.Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer.Dimensions: Image size 104 x 50 cm, Size incl. mounting 188 x 52.5 cmWith an inscribed tomobako storage box. (2)Kaihō Yushō (1533-1615) was a Japanese painter of the Azuchi–Momoyama period. He was born in Omi province to Kaiho Tsunachika, who was a vassal of Azai Nagamasa. At an early age he became a page at the Tofuku-ji in Kyoto and later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. He then worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei. At first, he patterned his work after Song painter Liang Kai, producing only monochrome ink paintings, using a ‘reduced brush stroke,’ relying more on ink washes than sharp hard strokes. Later, he worked with fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.Kaku Shigi or Guo Ziyi (697-781) was a Tang dynasty general, known for his military conquests and progeny. He rose to fame when he led the Chinese army on several central Asian campaigns and then crushed the An Lushan rebellion of 755-63. Guo's eight sons and seven daughters produced so many grandchildren that, reportedly, he could not remember all their names. He became a symbol of longevity, wealth, and fatherhood in China and was popular with Japanese merchants of the Edo period. Auction result comparison: Type: RelatedAuction: Christie’s, New York, Japanese & Korean Art, 15 September 2010, lot 526Price: USD 30,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: Kaiho Yusho (1533-1615), Kaiho Yusho (1533-1615) Gibbon grasping at the reflected moon and Sofu (Ch'cao-fu) leading his oxAuction result comparison: Type: Closely relatedAuction: Bonhams, The Ethereal Brush, 10 November 2016, London, lot 13Estimate: GBP 20,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: Attributed to Kaihō Yushō (1533-1615) and Karasuma Mitsuhiro (1579-1638) Kinkō Riding a CarpExpert remark: Note the very similar expression of Kinko sennin.

NAGASAWA ROSETSU (1754-1799): PERSIMMON WITH RED AUTUMN LEAVES AND PUPPIESJapan, 18th century. Ink and watercolor on silk. Mounted as a hanging scroll, with a silk brocade coated paper frame and wooden handles. The free brushwork and playful composition depicting two recumbent puppies sitting under a tree.Inscriptions: To the bottom-left, signed ‘Rosetsu.’ One seal, ‘Gyo’ 魚. The tomobako (storage box) with inscriptions, to the cover, inscribed ‘Rosetsu, Two Puppies,’ a collector’s label to one side ‘Rosetsu komainu-ko (hakushi)’ 蘆雪狛子 (‘Puppies by Rosetsu’), the other side 第三一七號、蘆雪、柿紅葉狛 (‘Number 317, Rosetsu, Persimmon with red autumn leaves and puppies’).Provenance: Collection of Baron Masuda Takashi, Tokyo, Japan, by repute. Louis Pappas Works of Art, San Francisco, 8 August 1969. The James and Marilynn Alsdorf Collection, Chicago, acquired from the above and thence by descent. Baron Masuda Takashi (1848-1938) was a Japanese industrialist, investor, and art collector. He was a prominent entrepreneur in Meiji, Taishō and early Shōwa period Japan, responsible for transforming Mitsui into a zaibatsu through the creation of a general trading company, Mitsui Bussan. Masuda's collection was a legend during his lifetime but was sold by his son after Masuda's death in 1938. Most of the collection is said to have been purchased at that time by Tokyo art dealer Setsu Inosuke. Louis Pappas (1926 - 2018) was an important art dealer in San Francisco, United States. James and Marilynn Alsdorf got married in 1952 and built a life that was centered on art, philanthropy and family. Studying and collecting art was their all-consuming passion, and it took them all over the world. Their spirit of adventure was unique; they went places that few collectors at the time were curious and confident enough to explore. As their interests diversified, so did their collection. ‘They were not strategic in their collecting,’ recalls Bridget Alsdorf, the couple’s granddaughter. ‘They were guided by what fascinated them and gave them pleasure, by knowledge and instinct. They were an incredible team.’ As well as being great collectors, the Alsdorfs were loyal supporters of museums and cultural institutions across Chicago and the wider United States, including the National Gallery of Art in Washington, D.C., the Leigh Block Museum of Art at Northwestern University and the Art Institute of Chicago. James Alsdorf served as Chairman of the AIC from 1975 to 1978, and Marilynn sat on various committees. In 1967, the Alsdorfs joined other prominent Chicago collectors, including, Edwin and Lindy Bergman and Robert and Beatrice Mayer, in founding the Museum of Contemporary Art Chicago, an institution to which they would provide extensive financial and personal leadership. After James’s passing in 1990, Marilynn, who was known as ‘the queen of the Chicago arts community’, continued to build upon her husband’s legacy in art and philanthropy, making a transformative bequest to the AIC in 1997, and funding a curatorial position in Indian and Southeast Asian Art at the AIC in 2006. Condition: Excellent condition with only minor wear. The silk brocade mounting in excellent condition with expected wear.Dimensions: Image size 118.8 x 46 cm, Size incl. mounting 211 x 58.5 cmWith an inscribed tomobako storage box. (2)Following the style of his early teacher Maruyama Ōkyo, especially his naturalistic depiction of animals, birds, and fish, Rosetsu established a reputation as an unrestrained and imaginative painter.Nagasawa Rosetsu (1754-1799) was an 18th-century Japanese painter of the Maruyama School, known for his versatile style. He was born to the family of a low-ranking samurai. He studied with Maruyama Ōkyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Ōkyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions at several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more.Museum comparison:Compare a closely related painting by Nagasaw Rosetsu in The Walters Art Museum, Baltimore, USA, accession no. 35.74.

Two modern Chinese embroidered silk rotating panels with decorative wooden stands, resin faux scrimshaw, framed Asian fabric print, Asian blow pipe, art glass baubles, collectors plates, etc.

Full title: A Thai sandstone Ayutthaya style head of Buddha Shakyamuni, 17th C.Description:H 41,5 - 28 cm (with and without stand) Ref.: - A very similar head offered at Christie's, Amsterdam, Sale 'Indian, Himalayan and Southeast Asian Art', Dec. 10, 2002, lot 106 (€1195, link).Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

AN ENAMELLED YIXING POTTERY SPITTOON Decorated with butterflies and birds amongst flowering foliage and lotus on a mottled purple ground, the interior and underside of base with a crackled white glaze Provenance: From the collection of Dato Prof. Cheah Jin Seng; Christie's Singapore, Straits Chinese Ceramics and Works of Art, 31 March 1996, Lot 834 Notes: A similar example, now in the collection of the Asian Civilisations Museum, Singapore, illustrated in Dr. Ho Wing Meng, Straits Chinese Porcelain, A Collector's Guide, Fig.59, Pg.95 8cm high Condition: Minor crazing to enamel, very small scratch to underside of foot rim. Fine condition with no visible chips, hairlines or cracks. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.