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A RARE AND EXTREMELY LARGE PAIR OF MOULDED FAMILLE ROSE 'WU SHUANG PU' VASESLate Qing DynastyEach vase of baluster form and decorated in mirror image, the body of each finely moulded and painted with the four historical figures Liu Chen, An Min, Dong Fangshou and Yue Fei, the shoulders moulded with the Hehe twins on one side, and the Star Gods Cai and Zi, all against a yellow sgraffito ground set with flowering stems, the shoulders set with elephant head handles suspending a fixed ring, stylised lappets around the foot, the rim with a key-scroll band above a pendent ruyi head border.124cm (48 3/4in) high (2).Footnotes:清晚期 粉彩模印無雙譜人物圖瓶 一對Vases of this massive scale were first produced in the late 17th and 18th Centuries for export to the West where they graced the doorways of European palaces and stately homes. At the time they were typically referred to as 'soldier' or 'dragoon' vases, a name thought to derive from a historical incident in 1717 when Augustus the Strong of Saxony is said to have traded 600 cavalrymen, known as dragoons, for a collection of 150 Chinese porcelain vases in negotiations with Frederick the Great of Prussia. It is therefore fitting that the famous general Yue Fei (1103-1142) has been selected for inclusion on the body of these 'soldier' vases, along with Liu Chen (220-265), prince of Beidi also depicted in military garb. The other two figures are the official and courier of Emperor Wu Dong Fangshuo (154-93 BC) and stone mason An Min (1050-1125).The figures are taken from the Wu shuang pu compiled by Jin Guliang during the mid-17th century. The manual describes forty peerless heroes from the Han to Song dynasties. The descriptive texts reproduced over the body of the vase are also taken from the woodblock printed manual. The text became a popular source of inspiration for famille rose porcelain of the late Qing period. Vases of the subject on this scale are known, for example, a pair of vases 131cm high depicting scenes from Wu Shuang pu was sold Bonhams Knightsbridge, Asian Art, 9 May 2022, lot 152. However, the moulded detail and craftsmanship of the present vase ranks high above other known examples of the subject.For further information on this lot please visit Bonhams.com

A COLLECTION OF CHINESE ART AUCTION CATALOGUESComprising a partial run of approximately 195 Christie's auction catalogues (dating between 1967 to 2017) and 364 Sotheby's auction catalogues (dating between 1973 to 2016) from London, Hong Kong and New York.(Approximately 596).Footnotes:Provenance: From the estate of Robert Hatfield Ellsworth (1929-2014)Christie's 21 Jul 2016, lot 115 [part lot]中國藝術拍賣圖錄 一組Saleroom notices:Please note this lot will be viewable by appointment only at our Oxford storage facility prior to the sale. Please contact the department for further details.The lot includes catalogues of Robert Hatfield Ellsworth collection, the Edward T Chow collection, the J. M. Hu collection, the Ira and Nancy Koger collection, the Meiyintang collection, the Sakamoto collection, the Pilkington collection, the Bloch collection, the Frederick Knight collection, the Dr Ip Yee collection, the Dr S. Y. Yip collection, the Baoyizhai collection, the Toguri Museum of Art collection, 40 years special catalogue, the Georges De Batx collection, the Christina Loke Balsara collection, the Dr Alice Cheng collection, the Jiansongge collection, the British Rail pension fund, the Biegucang collection, the Leshantang collection, the Muwen Tang collection, the Pan-asian collection, the Eugene O Perkings collection, the Aurelius Perenti collection, the Jarras collection, the Jingguantang collection (all 3), the Robert Chang collection, the E.T Hall collection, the Edoris collection, the Pine Moon Studio collection, the Alan and Simone Hartman collection, the Arthur M Sackler collection, the Fonthill collectioin, the Lee family collection, the Yiqingge collection and the Richard Bryant Hobart collection. A full list is available on request.Lot to be sold without reserve.This lot is subject to the following lot symbols: • TP• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Chinese Ru-ware Bowl. Song Dynasty. Dimensions: Diameter 5 5/8 inches, Height 1 3/8 inches (14.5 cm x 3.5 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Ru-ware Bowl. Song Dynasty. Dimensions: Width 7 inches, Height 2 1/8 inches (18 cm x 5.5 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Flambe Glaze Cong Vase. Song Dynasty. Dimensions: Height 8 3/4 inches, Width 3 1/4 inches (22.3 cm x 8.5 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Celadon Glaze Tripod Washer. Song Dynasty. Dimensions: Height 1 3/8 inches, Diameter 3/8 inches (3.5 cm x 1 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Blue and White Figural Story Brushpot. Qing Dynasty. Dimensions: Diameter 7 3/8 inches, Height 7 inches (19 cm x 18 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Copper Red Dragon Vase Meiping. Yuan Dynasty. Dimensions: Height 15 5/8 inches, Width 9 3/8 inches (40 cm x 24 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Ru-ware Lobed Cup. Song Dynasty. Dimensions: Height 4 1/2 inches, Diameter 3 5/8 inches (11.5 cm x 9.5 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Famille Verte Lotus Pond Kettle. Ming Dynasty. Dimensions: Height 10 5/8 inches, Width 7 3/4 inches (27 cm x 20 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Underglaze Blue and Copper Red Vase. Ming Dynasty. Dimensions: Height 9 3/8 inches, Width 5 inches (24 cm x 13 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Carved White Jade Dragon Belthook. Qing Dynasty. Dimensions: Length 5 5/8 inches, Height 1 1/8 inches (14.5 cm x 3 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Carved Jade Mythical Beast. Qing Dynasty. Dimensions: Length 3 7/8 inches, Height 1 7/8 inches (10 cm x 5 cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

A Chinese Scroll Calligraphy By Zhu Yunming. Song Dynasty. Dimensions (Painting View): 53 1/2 x 20 inches (136cm x 51cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

Tribal Art: African paddle, leather covered bow and large Asian bamboo chief's fan

STATUETTE DE BODHISATTVA EN FONTE DE FER PARTIELLEMENT DORÉXVe/XVIe siècle A RARE PARCEL-GILT CAST-IRON FIGURE OF A CROWNED BODHISATTVA15th/16th centurySeated with legs crossed in dhyanasana on a double lotus base atop a high hexagonal pedestal cast with lotus motifs, dressed in diaphanous robes, face with a serene expression, his head crowned with an elaborate five-pointed crown. 45.8cm (18in) high.Footnotes:十五/十六世紀 局部鎏金鐵鑄觀音坐像Provenance:Koller, Zürich, 1 June 1978, lot 495Private collection Rheinfelden, acquired from this collection by the present owner來源： 闊樂拍賣行，蘇黎世，1978年6月1日，編號495Rheinfelden私人收藏現藏家得自上述來源Compare a figure of similar style dated 1520, now in the collection of the Asian Art Museum, San Francisco, illustrated in Rene-Yvon Lefebvre and Diana Turner The Avery Brundage Collection of Chinese, Korean and Japanese Sculpture, San Francisco, 1974, cat.no.164.For further information on this lot please visit Bonhams.com

IMPORTANT BRÛLE-PARFUM COUVERT IMPÉRIAL EN BRONZE, DINGMarque et époque Qianlong AN IMPERIAL BRONZE TRIPOD CENSER AND COVER, DINGQianlong six-character mark and of the periodHeavily cast, raised on three sturdy cabriolet legs, the compressed globular body flanked by a pair of elegantly curved S-shaped handles, the cover a reticulated design of a phoenix and dragon flying amidst swirling clouds, rising to a 'dragon and flaming pearl' finial, the bronze with a lustrous rich brown patina. 35cm (13 3/4in) high (2).Footnotes:清乾隆 御製銅龍鳳紋朝冠耳三足蓋鼎「大清乾隆年製」款Provenance: Collection of Max Müller (1867-1960), German consul in Hankow, acquired in China between 1905 and 1912, thence by descent to his daughter Irmgard Müller-Doertenbach (1909-2011), acquired in 1992 from her collectionExhibited:On loan to the Museum of East Asian Art, Berlin, 2001-2004 來源： 德國駐漢口領事Max Müller（1867–1960）珍藏，於1905年至1912年間得自中國，後傳至其女Irmgard Müller-Doertenbach（1909-2011）現藏家於1992年得自上述來源展覽： 2001年至2004年間借展於柏林東亞藝術博物館Sacrificial ceremonies were among the most important rituals of the Qing court, with the emperor attending, if not performing, all of the major rites. Buddhism was the primary religion of the Qing dynasty and there were numerous Buddhist shrines and temples, as well as altars, in the private quarters of the emperors and empresses. All of these necessitated ritual paraphernalia, including altar sets, which were made in various materials including bronze, porcelain and cloisonné enamel of varying size. For a pair of imperial bronze censers with dragon decoration, see Wan Yi, Daily Life in the Forbidden City, New York, 1988, pls.473 and 474, pp.302-303, where they are shown in situ in the shrine in the interior of the rear Hall of the Imperial Ancestral Temple and in the rear part of the Hall of Ancestral Worship. See a similar bronze censer bearing a Qianlong mark, from the collection of Jürgen L. Fischer, Baden-Baden, sold in Koller Zürich, 29 October 2013, lot 179.For further information on this lot please visit Bonhams.com

RARE STATUETTE DE BOUDDHA ENFANT EN BRONZEDynastie Liao (907-1125)/Song (960-1279)A RARE BRONZE FIGURE OF THE INFANT BUDDHALiao/Song Dynasty Standing on a circular lotus base, his left arm raised to the sky and his right arm extending down pointing at the earth, wearing a diaphanous apron tied around his neck and a skirt loosely tied around his waist, his face with a serene expression, stand. 27.3cm (10 3/4in) high.Footnotes:遼/宋 銅誕生佛立像Provenance:Collection of Joachim Schlotterbeck (1926-2007), Würzburg, acquired from his collection in 1993來源： 符茲堡Joachim Schlotterbeck (1926-2007)珍藏現藏家於1993年得自上述來源Compare with a bronze figure of the infant buddha in the collection of the Asian Art Museum, San Francisco, illustrated in René-Yvon Lefebvre d'Argencé, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, San Francisco, 1974, pl.185, where the textual origins of the iconography is discussed. The distinctive lotus base is comparable to that of a censer, dated to the Liao dynasty, sold Christie's Hong Kong, 30 May 2018, lot 2910.For further information on this lot please visit Bonhams.com

An Important Nanban two-panel folding screen Depicting a procession of Portuguese Tempera and gold leaf on paperEdo Period, first half of the 17th centuryLiterature:Francesco Morena, “Japan The Land of Enchantment – Line and Colour”. Catálogo da exposição no Palácio Pitti, pp. 268-271. Exhibitions: “Japan The Land of Enchantment – Line and Colour”, Palácio Pitti, 2012171,5x186,4 cm The Portuguese ProcessionThe scene on this two-panel folding screen (byobu) depicts five standing figures, four adults and one boy holding a dog on a lead and walking ahead of the procession. The first figure on the left is carrying a chair; the second is holding a large parasol shading the one in front of him who is preceded by another who is looking at him intently.With the exception of the man holding the parasol whose features and complexion are typical of South East Asia, all the other figures are clearly Portuguese and wear loose breeches (bombachas), fitted shirts, and cone-shaped hats. They also have some common facial features: big noses, large bulging eyes, unruly beards, and thick mustaches.This is the most common iconography of the Portuguese in Japanese art. The theme of the European (Nanban, literally "Southern Barbarians") entered the Japanese artistic repertoire at the beginning of the Momoyama period (1573- 1615), and from then on was widely used to decorate different types of objects, from paintings to lacquers, from mirrors to netsuke. Although there were no Portuguese living in Japan after 1639, Japanese artists continued to depict them throughout the Edo period (1615-1868) as they represented distant, mysterious peoples and satisfied Japanese curiosities and desires for the exotic. Taken together, this art with subjects with Western influences is known as Nanban and the term is also used to identify Japanese goods made specifically for export to Europe.Painted screens (Nanban byobu) comprise a very interesting area of Nanban art from both the historical and artistic standpoints. Considering the large number of known examples, they are an important phenomenon in thehistory of Japanese art. Currently, we know of at least ninety including many pairs, single screens, and fragments (A Catalogue Raisonné of the Nanban Screens, Tokyo 2008). Generally these screens with portrayals of Europeansare attributed to the Kano school, since signatures of members of this familyof painters appear on Nanban paintings, while others are stylistically similar to the manner of these artists. However, Nanban screens are so diverse that it would be reckless to say that they all belong to the Kano school.From the iconographic standpoint, there are some recurrent details we seein several screens. It is as if the painters did not only get their inspiration maybe from observing the Portuguese while they were still allowed to live freely in Japan, and not only knew of some sources such as the engravings by Jan Huygen van Linschoten (1563-1611) in his Itineraria (Amsterdam 1596; A. Curvelo in Encomendas: Os Portugueses no Japao da Idade Moderna - Namban Commissions: The Portuguese in Modern Age Japan, Lisbon 2010, nos. 47-48), but were evidently influenced by earlier paintings of the same subjects. The Portuguese ship, for example, can be seen in many of these paintings as it departs from a distant port, or as it is about to land on the Japanese coast. The Japanese painters were highly skilled in narrative renderings and they succeeded in depicting events that followed the arrival of the Portuguese within the available surface space. One of these is the scene showing the procession's entry into the Japanese city, almost always welcomed by the missionaries who already lived there. This type of procession was usually headed by the most important member of the group followed by the others, each of whom carried something. The "Western style" chair was almost a constant: the dignitary would use it to restor to participate in a meeting. Often the group was preceded by a boy holding a dog on a lead, and the porters included dark-complexioned Asian servants.The scene on the screen here fits entirely with the above description. It differs only in that it is focused on the head of the procession; that lacks a setting (originally, it could have a setting coated now); that the figures are big, much bigger than those usually depicted on Nanban screens in which there are more figures and much more complex scenes.Even though these scenes are quite common on Nanban screens, some - with the procession - are much more similar to the one shown here, specifically, the scene on the right screen on the pair in the Atami MOA (no. 41 in the 2008 catalogue), the scene on the two surviving panels in a private collection (no. 42) and the one in the Osaka Municipal Museum (no. 43, also a fragment). On the basis of the grouping done by the curators of the 2008 catalogue these three screens along with other fifteen (nos. 36-53), comprise a homogeneous core in terms of iconography. The prototype has been identified as the pairin the Imperial Collection (no. 7). On the right screen of this pair there is a similar scene but without the dignitary's interlocutor; the man carrying the parasol is also Portuguese and not a Moor; the man behind is carrying a box rather than a chair. Furthermore, the figures are shown in three-quarter views. Notwithstanding these differences, there are stylistic similarities between thepair of screens in the Imperial Collection and the painting discussed here, in the rendering of the figures which are bigger than those in other known examples, and in the painted details, especially the decorations on the clothing (Light and Shadows in Nanban Art. The Mystery of the Western Kings on Horseback, Tokyo 2011, no. 7). Therefore, it is plausible that the anonymous author of the screen displayed here looked to a detail on one of these for his own piece. The proposed dating for all the screens in this group, including the prototype is similar, i.e. the first half of the seventeenth century.Most of the Nanban screens have six panels which offered the artist a very large surface and hence a full composition. However, there are other two-panels screens with scenes of foreigners (cat. I1.3). Generally, Nanban paintings present complex scenes in detailed settings with many figures and descriptive elements. Our screen with its special characteristics, therefore, is an exception. In this regard, we can mention the screen in the Museu do Oriente in Lisbon (cat. II.1), in which the gold ground is clearly prevalent, creating the impression that the figures are floating in space. [...] read more here: https://veritas.art/en/lot/an-important-nanban-two-panel-folding-screen-344191846/In “Japan The Land of Enchantment – Line and Colour”Catálogo da exposição no Palácio Pitti, 2012. Reproduzido com autorização do autor Catalogue of the exhibition at the Pitti Palace, 2012. Reproduction authorized by the author.FRANCESCO MORENAAsian Art Expert

Seltener Dessertteller mit Zackenrand. Meissen. Schwertermarke, um 1740.Polychrom bemalt, goldstaffiert. Ø 24 cm. Flacher Teller mit gezacktem, hochgebogenem Rand. Auf dem unteren Drittel ein schachbrettartiges Brokatmuster mit goldenen Lotosblüten und blattartig gezackter Begrenzungslinie zur weißen Fläche. Darüber Eichhörnchendekor. Braune Randlinie. Minimale Glasurfehlstellen im Spiegel.Dieser außergewöhnliche und fantasievoll durchgestaltete Teller lebt von zwei fast gegensätzlichen und dennoch zusammenhängenden Darstellungen : Der grafischen geometrischen Anordnung von fein gemalten Quadraten (Schachbrett) und einer Kakiemon-Malerei in der Weißfläche, auch bekannt unter der Bezeichnung "Eichhörnchen, Reben und Reisighecke". In der Fahne des Tellers findet sich ein weiteres anscheinend fliegendes Tier. Die Begrenzungslinie beider Flächen erinnert an den gezackten Rand eines Blattes. Über die dargestellten Tiere auf dem Teller gehen die Meinungen auseinander. Zu sehen sind zwei Nager. Sie gingen in die Porzellanliteratur auch als "Trauben naschende Eichhörnchen" ein. Eines (gelb) sitzt naschend auf einem Bambuszweig und könnte auch eine große Maus sein. Das andere schwebt auf der Fahne und erinnert an ein Flughörnchen, vielleicht auch an einen Fuchs. Ursprünglich findet sich dieses Motiv auf Nanking-Porzellan des 16. Jahrhunderts, wurde von japanischen Porzellanmalern aufgegriffen und weiterbearbeitet und gelangte schließlich auch nach Meissen, wo es in die Hoym-Lemaire-Affäre verwickelt war (s.o., Weber, Meißener Porzellane mit Dekoren nach ostasiatischen Vorbildern). In Meissen wurde es ab ca. 1730 auf Schüsseln, Blattschüsseln und Zackentellern verewigt. Ein Teller dieser Art befindet sich u.a. in der Sammlung Ernst Schneider (Schloss Lustheim, München). Im Bestandskatalog zu den Porzellanen mit Dekoren nach ostasiatischen Vorbildern in Schloss Lustheim hat Frau Julia Weber den Dekor und auch Formen sehr gut aufgearbeitet. Eine Schüssel dieser Art verwahrt auch das Victoria and Albert Museum, London.Literatur : Vgl. auch Gielke (2003), S. 116/Kat.-Nr. 99.| Nachtrag 21.10.23: kleine Farbrestaurierung im SpiegelAufrufzeit 27. | Okt 2023 | voraussichtlich 10:35 Uhr (CET)Rare dessert plate with serrated edge. Meissen. Sword mark, circa 1740.Polychrome painted, gold decorated. Ø 24 cm.Flat plate with serrated, upturned rim. On the lower third a checkerboard brocade pattern with golden lotus flowers and leaf-like serrated border line to the white surface. Over it oak horn decor. Brown border line. Minimal glaze flaws in the mirror.This unusual and imaginatively designed plate thrives on two almost contradictory yet related representations : the graphic geometric arrangement of finely painted squares (checkerboard) and a Kakiemon painting in the white area, also known as "squirrels, vines and brushwood hedge". In the flag of the plate there is another apparently flying animal. The boundary line of both areas resembles the serrated edge of a leaf. Opinions differ about the animals depicted on the plate. Two rodents can be seen. They also entered the porcelain literature as "squirrels snacking on grapes". One (yellow) sits snacking on a bamboo branch and could also be a large mouse. The other hovers on the flag and is reminiscent of a flying squirrel, or perhaps a fox. Originally found on 16th-century Nanking porcelain, this motif was picked up and worked on by Japanese porcelain painters and eventually made its way to Meissen, where it was involved in the Hoym-Lemaire affair (see above, Weber, Meissen Porcelains with Decorations Based on East Asian Models). In Meissen it was perpetuated on bowls, leaf bowls and serrated plates from about 1730. A plate of this type can be found, among others, in the Ernst Schneider collection (Lustheim Palace, Munich). In the inventory catalog of porcelains with decorations after East Asian models in Lustheim Castle, Mrs. Julia Weber has very well elaborated the decor and also forms. A bowl of this type is also kept by the Victoria and Albert Museum, London.Literature : See also Gielke (2003), p. 116/cat.-no. 99.Call time 27 | Oct 2023 | probably 10:35 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Mokkaservice "Mandelbäumchen". Meissen. Schwertermarke, Jahreszeichen 1980er Jahre, 1. Wahl, Dekor Nr. 1486.b/700110. Polychrom bemalt, goldstaffiert. 22 Teile. Form "Großer Ausschnitt". Mokkakanne (H 19,5 cm), Sahnegießer, Zuckerschale, 6 Mokkatassen, 6 Untertassen und 7 Kuchenteller. Der Dekor "Mandelbäumchen", eine landschaftliche Idylle, wurde speziell für die Serviceform "Großer Ausschnitt" ca. 1975 geschaffen. Dem Künstler Heinz Werner gelingt es, Form und Dekor auf unvergleichliche Art in harmonischen Einklang zu bringen. Er gehört in seiner zurückhaltenden Farbgebung, der feinen, pastelligen und luftigen Ausführung zu den "leisen" Dekoren moderner Meissener Kunstfertigkeit. "Mandelbäumchen" steht nicht zuletzt in der Tradition, europäisches und asiatisches Naturempfinden zu verschmelzen: ein einzigartiger Glanzpunkt Meissener Tafelkultur. (vgl. Meissener Konturen 1960 - 1990, S. 88f und S. 256 f). Aufrufzeit 27. | Okt 2023 | voraussichtlich 19:54 Uhr (CET)Mocha service "Almond Tree". Meissen. Sword mark, year mark 1980s, 1st choice, decor no. 1486.b/700110. Polychrome painted, gold trim. 22 pieces. Shape "Large cutout". Mocha pot (h 19.5 cm), cream jug, sugar bowl, 6 demitasse cups, 6 saucers and 7 cake plates. The decor "Mandelbäumchen", a scenic idyll, was created especially for the service form "Großer Ausschnitt" ca. 1975. The artist Heinz Werner succeeds in bringing form and decor in harmony in an incomparable way. With its restrained color scheme, fine, pastel and airy finish, it is one of the "quiet" decorations of modern Meissen craftsmanship. "Almond Tree" is not least in the tradition of merging European and Asian sensibilities of nature: a unique highlight of Meissen table culture. (cf. Meissen Contours 1960 - 1990, p. 88f and p. 256 f). Call time 27 | Oct 2023 | expected 19:54 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

VOIGT, Bruno(1912 Gotha - 1988 Ost-Berlin) Paar vor FachwerkhausÖl/Leinwand. Links unten monogrammiert mit undeutlichem Zusatz. (19)42. 75 x 49,5 cm. Knicke. Deutscher Maler, Grafiker und Museumsdirektor, studierte in Weimar bei Klemm. Im Dritten Reich wurde seine Kunst als "entartet" eingestuft. 1951 war er Museumsdirektor der Staatlichen Museen in Gotha, ab 1954 Direktor der Ostasiatischen Sammlung der Staatlichen Museen zu Berlin. Literatur : Eisold. Aufrufzeit 28. | Okt 2023 | voraussichtlich 20:00 Uhr (CET) VOIGT, Bruno(1912 Gotha - 1988 East Berlin) Couple before half-timbered houseOil / canvas. Monogrammed lower left with indistinct addition. (19)42. 75 x 49.5 cm. creases. German painter, graphic artist and museum director, studied in Weimar with Klemm. In the Third Reich, his art was classified as "degenerate". In 1951 he was museum director of the State Museums in Gotha, from 1954 director of the East Asian Collection of the State Museums in Berlin. Literature : Eisold. Call time 28 | Oct 2023 | expected 20:00 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

VOIGT, Bruno(1912 Gotha - 1988 Ost-Berlin) Bucht von Collioure mit der WehrkircheÖl/Leinwand. Links unten monogrammiert mit Ortsangabe "Collioure". Darstellung 53 x 38 cm. Wenige Farbabsplitterungen. Deutscher Maler, Grafiker und Museumsdirektor, studierte in Weimar bei Klemm. Im Dritten Reich wurde seine Kunst als "entartet" eingestuft. 1951 war er Museumsdirektor der Staatlichen Museen in Gotha, ab 1954 Direktor der Ostasiatischen Sammlung der Staatlichen Museen zu Berlin. Literatur : Eisold. Aufrufzeit 28. | Okt 2023 | voraussichtlich 20:01 Uhr (CET) VOIGT, Bruno(1912 Gotha - 1988 East Berlin) Bay of Collioure with the fortified churchOil/canvas. Monogrammed lower left with location "Collioure". Depiction 53 x 38 cm. Few paint chips. German painter, graphic artist and museum director, studied in Weimar with Klemm. In the Third Reich his art was classified as "degenerate". In 1951 he was museum director of the State Museums in Gotha, from 1954 director of the East Asian Collection of the State Museums in Berlin. Literature : Eisold. Call time 28 | Oct 2023 | expected 20:01 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

VOIGT, Bruno(1912 Gotha - 1988 Ost-Berlin) US-Streitkräfte im HafenMischtechnik/Papier. Unsigniert. 59 x 42 cm. Fehlstellen. Deutscher Maler, Grafiker und Museumsdirektor, studierte in Weimar bei Klemm. Im Dritten Reich wurde seine Kunst als "entartet" eingestuft. 1951 war er Museumsdirektor der Staatlichen Museen in Gotha, ab 1954 Direktor der Ostasiatischen Sammlung der Staatlichen Museen zu Berlin. Literatur : Eisold. Aufrufzeit 28. | Okt 2023 | voraussichtlich 20:02 Uhr (CET) VOIGT, Bruno(1912 Gotha - 1988 East Berlin) US Forces in PortMixed media/paper. Unsigned. 59 x 42 cm. Missing areas. German painter, graphic artist and museum director, studied in Weimar with Klemm. In the Third Reich his art was classified as "degenerate". In 1951 he was museum director of the State Museums in Gotha, from 1954 director of the East Asian Collection of the State Museums in Berlin. Literature : Eisold. Call time 28 | Oct 2023 | expected 20:02 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

VOIGT, Bruno(1912 Gotha - 1988 Ost-Berlin) Drei Frauen zusammen stehendPastell. Rechts oben monogrammiert mit Ortsangabe "Fleury sur Orne". (19)47. 59 x 42 cm. Knicke an einer Ecke. Deutscher Maler, Grafiker und Museumsdirektor, studierte in Weimar bei Klemm. Im Dritten Reich wurde seine Kunst als "entartet" eingestuft. 1951 war er Museumsdirektor der Staatlichen Museen in Gotha, ab 1954 Direktor der Ostasiatischen Sammlung der Staatlichen Museen zu Berlin. Literatur : Eisold. Aufrufzeit 28. | Okt 2023 | voraussichtlich 20:02 Uhr (CET) VOIGT, Bruno(1912 Gotha - 1988 East Berlin) Three women standing togetherPastel. Monogrammed in the upper right corner with place "Fleury sur Orne". (19)47. 59 x 42 cm. Kinks at one corner. German painter, graphic artist and museum director, studied in Weimar with Klemm. In the Third Reich his art was classified as "degenerate". In 1951 he was museum director of the State Museums in Gotha, from 1954 director of the East Asian Collection of the State Museums in Berlin. Literature : Eisold. Call time 28 | Oct 2023 | expected 20:02 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

VOIGT, Bruno(1912 Gotha - 1988 Ost-Berlin) FrauenbildnisMischtechnik/Papier. Rechts unten monogrammiert mit undeutlichem Zusatz. (19)47. 59 x 42 cm. Ein Knick. Deutscher Maler, Grafiker und Museumsdirektor, studierte in Weimar bei Klemm. Im Dritten Reich wurde seine Kunst als "entartet" eingestuft. 1951 war er Museumsdirektor der Staatlichen Museen in Gotha, ab 1954 Direktor der Ostasiatischen Sammlung der Staatlichen Museen zu Berlin. Literatur : Eisold. Aufrufzeit 28. | Okt 2023 | voraussichtlich 20:03 Uhr (CET) VOIGT, Bruno(1912 Gotha - 1988 East Berlin) Woman portraitMixed media/paper. Monogrammed lower right with indistinct addition. (19)47. 59 x 42 cm. One crease. German painter, graphic artist and museum director, studied in Weimar with Klemm. In the Third Reich, his art was classified as "degenerate". In 1951 he was museum director of the State Museums in Gotha, from 1954 director of the East Asian Collection of the State Museums in Berlin. Literature : Eisold. Call time 28 | Oct 2023 | expected 20:03 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

GT Marsh & Co., a silver and carnelian bracelet, designed in the Chinoiserie style, set with panels of carnelian carved with designs of birds among flowers, spaced by geometric openwork links in silver, length 17.5cm, signed GT Marsh & Co.GT Marsh & Co. was established in San Francisco in 1876 by George Turner Marsh, an Australian who had emigrated to America via Japan. One of the earliest US galleries specialising in Japanese art, by the 1930s GT Marsh & Co were also producing highly distinctive Art Deco jewels, famed for their unique blackened metal and strikingly modern aesthetic, and jewels such as the present bracelet, infused with the founder's passion for East Asian decorative arts.

A MINIATURE RED PEKING GLASS BOTTLE VASE With straight neck and high shouldered spherical body, recessed base, wood stand with Spink label to underside Provenance: Spink & Son, Ltd., London, The Goldschmidt Collection, purchased from the above in June 1983 Bonhams, Los Angeles, Asian Works of Art Online, 18-28 June 2023, Part lot 303, Property from The Estate of the Late Ellen C. Goldschmidt 6.5cm high excluding stand Condition: Has very small fleck chip to centre body below shoulder, and minor light scratches to surface. Both are only visible under reflected light, and additional photographs have been added. Overall, still in good condition. 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.

A GROUP OF CHRISTIE'S AND SOTHEBY'S ASIAN ART CATALOGUES Mostly, Chinese ceramics and Works of Art, predominantly late 1990s, Hong Kong; London and New York, to include The Jingguantang Collection, Part I; II; and III; together with Bonhams Singapore and Christies Singapore examples; and the Christie's Nureyev Sale Part II Provenance: From the collection of the late Dr. Ho Wing Meng Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. 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.

Assorted Asian Art, including three Chinese glass snuff bottles painted inside out, a pressed tea brick, three Tibetan prayer bells, a jade pendant, pale celadon jade rabbit and two similar carvings etc (one tray)

Assorted Asian Art, including a Cantonese enamel bowl, a Ming-style porcelain guglet, soapstone carvings, opium pipe, two Indian polychrome wood bottle vases, wooden figures etc (one tray)

The circular foot rising to a high bulbous shoulder beneath a short neck with rolled rim, the buff stoneware body covered in white slip, the foot loosely painted with a swirling pattern beneath a band of stylised flowers and foliage, the shoulder with foliate scrolls and flowerheads applied an with opaque caramel-colour glaze26,5cm high LOT ESSAYFor an example of similar form refer to Smithsonian National Museum of Asian Art, Accession Number F1968.50CONDITION REPORT * Fine overall condition free from restoration* The unglazed mouth with minor chips* Minor imperfection* Spur and sagger marks to the lower body and shoulder* Fine discoloured glaze cracks throughout * Shelf wear to foot

The slightly domed well gently impressed with a basket-weave pattern enclosed within an incised ring, the shallow rounded sides rising to a flattened rim, the recessed based fired orange, the reverse with three characters drilled into the glaze, the whole under a soft sea-green celadon glaze 32cm diameter cf Bonhams, Asian Art, Lot 432, November 1, 2021, Montpelier Street, London CONDITION REPORT* Fine overall condition free from restoration* Gentle glaze wear throughout * Firing blemish to interior

Rising form a short circular foot, each bell-shaped bowl with deep rounded side and flaring rim, the translucent moss-green stone with paler and darker mottling 10,4cm diameter (2)cf Bonhams, Chinese and other Asian Works of Art, Lot 134, May 10, 2010, London, Knightsbridge CONDITION REPORT* Fine overall condition* Stone untested

The low foot rising to shallow rounded sides enclosed by a slight flaring rim, the whole under a soft greyish-celadon glaze suffused by a network of fine cracks, the unglazed recessed foot fired to orange and dark grey 40cm diameter cf Bonham's, Asian Art, Lot 353, November 2, 2020, Montpelier Street, London CONDITION REPORT * Fine overall condition free from restoration* Discolouration glaze cracks throughout

A PALE YELLOW JADE DOUBLE-HOLE ORNAMENT PLAQUE, HONGSHAN CULTUREChina, Neolithic period, 3500-2500 BC. With two primary perforations, the two semi-circular shapes connect in the middle. Four funnel shaped piercings, two on each half, drilled through for suspension. The smoothly polished, translucent stone is of a fine pale-yellow and celadon tone with russet and chestnut-brown inclusions. Areas of opaque creamy-white calcifications interspersed with gray speckles.Provenance: Collection of Harry Geoffrey Beasley and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite, acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate, as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley's death, he acquired a number of objects from Irene Beasley, including the present lot. Condition: Very good condition, commensurate with age, with expected wear and minor weathering, small nicks which have smoothened over time. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 70.6 g Dimensions: Length 13.5 cm With an associated metal stand. (2) This type of jade plaque, initially modelled with only two perforations, is believed to originate from the Xinkailiu culture (c. 5300-4800 BC) and continued to be produced in subsequent Northeast prehistoric sites including those of the Hongshan culture. Literature comparison: Compare a closely related jade pendant, dated to the late Neolithic period, see the Complete Collection of Jade Unearthed in China, Volume 2, page 210. Compare a related pendant in the form of a disk, 11.1 cm, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.66.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 35 Price: HKD 226,800 or approx. EUR 29,000 converted and adjusted for inflation at the time of writing Description: A celadon jade three-hole plaque, Neolithic period, Hongshan culture Expert remark: Compare the related form and color of the jade. Note the three apertures and smaller size (8.8 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 10 June 2021, lot 88 Price: 11,340 or approx. EUR 12,000 adjusted for inflation at the time of writing Description: A calcified jade double-holed ornament, Neolithic period, Hongshan culture Expert remark: Note the similar shape and two primary perforations. Note the smaller size (7.6 cm).紅山文化雙孔青玉雙聯玉璧中國，新石器時代，西元前3500-2500 年。有兩個主要穿孔，四個小孔，用於懸掛。表面光滑，半透明玉石呈精美的淺黃色和青白色，帶有赤褐色和栗棕色內沁，不透明的乳白色鈣化區域散佈著灰色斑點。來源：Harry Geoffrey Beasley (1881-1939)收藏，他逝世后由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Harry Geoffrey Beasley (1881-1939) 是一位英國人類學家和博物館館長，他在二十世紀初建立了一個重要的民族志收藏，現在收藏在英國的各個博物館中。Beasley和他的妻子Irene一起建立了Cranmore民族志博物館，該博物館最終收藏了 6,000 多件民族志方面的物品。Beasley 收集了來自歐洲各地的物品，從拍賣行和當地博物館購買以擴大收藏範圍，其中包含來自太平洋、亞洲、非洲和美國西北部的資料。Beasley為人類學期刊撰寫了大量文章，被公認爲是該領域的專家。他於 1939 年去世，他的藏品幸虧在戰爭期間被存放在大英博物館裏，而Cranmore博物館被轟炸摧毀。戰後，大部分藏品被轉移到大英博物館、愛丁堡皇家博物館、劍橋大學考古與人類學博物館、Pitt Rivers博物館和Merseyside County博物館。其他收藏，例如現在的拍品，由他的遺孀出售，在她 1974 年去世後，由他們的女兒出售。Alfred William Cowperthwaite (1890-1964) 曾是Cranmore 民族志博物館重要支持人，也曾是 Harry Beasley的好友。在Harry Beasley去世不久，他從Irene Beasley 處購買了一些收藏，包括此件拍品。品相：狀況非常好，有磨損和輕微風化，局部劃痕已平滑，具有天然內沁和裂縫的玉石，其中一些可能隨著時間的推移發展成細小的裂縫。重量：70.6 克尺寸：長 13.5 厘米金屬支架 (2)這種玉匾最初只有兩個穿孔，據信起源於新開流文化（約公元前5300-4800年），並在隨後的東北史前遺址（包括紅山文化）中繼續生產。文獻比較:比較一件非常相近的新石器時代玉佩，見《中國出土玉器全集》，卷二，頁210。比較一件相近的新石器時代玉碟，11.1 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S2012.9.66。拍賣結果比較:形制：相近拍賣：香港蘇富比，2020年10月9日，lot 35價格：HKD 226,800（相當於今日EUR 29,000）描述：新石器時代紅山文化青白玉三聯璧專家評論：比較相近的外形和玉石顏色。請注意有三個孔和尺寸較小 (8.8 厘米)。拍賣結果比較:形制：相近拍賣：巴黎蘇富比，2021年6月10日，lot 88價格：EUR11,340（相當於今日EUR 12,000）描述：新石器時代紅山文化雙聯玉璧專家評論：請注意相似的外形和兩個穿孔。請注意尺寸較小 (7.6 厘米)。

AN ARCHAIC CEREMONIAL JADE BLADE, YUE, NEOLITHIC PERIOD TO SHANG DYNASTYPublished:Henry Trubner and Tsugio Mikami, Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no. 108.Roger Keverne Ltd., Winter Exhibition, London, 2004, no. 86.China, c. 3500-1500 BC. The slender slab tapers toward the back where there is a small hole drilled from one side. One long edge and the cutting edge are beveled, and now slightly worn. A longitudinal rib made by the saw runs along one face. The translucent stone is a deep olive-green tone.Provenance: Idemitsu Museum, Tokyo, Japan, prior to 1989. Roger Keverne, London, United Kingdom, 2004. Private English collection, acquired from the above. The Idemitsu Museum of Arts was opened in 1966 as an exhibition hall for the private collection of Idemitsu Sazo. Idemitsu Sazo (1885-1981) was a Japanese businessman, founder of Idemitsu Kosan, a petroleum company, and an important art collector. He acquired his first work of art at the age of 20, which was a painting of the Chinese monk Putai by Sengai Gibon. In later years, his collection grew, culminating in a large number of Chinese ceramics, paintings, jades, and other works of art. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020.Condition: Excellent condition, commensurate with age. Ancient wear, minor signs of weathering and erosion, tiny nibbles. Minute chips to edges, one at the top has been smoothened probably millennia ago. The jade with natural fissures, some of which may have developed into small hairline cracks.Weight: 68.1 g Dimensions: Length 16.7 cm Literature comparison:Compare a related jade blade in The Hubei Provincial Institute of Cultural Relics and Archaeology, The Panlongcheng Site: Report of Archaeological Excavation from 1963-1994, pl. CXVII, fig. 6. Compare a related jade blade illustrated in Liu and Capon's book Masks of Mystery: Ancient Chinese Bronzes from Sanxingdui, no. 36, p. 104. Compare a related jade blade excavated by the Institute of Archaeology, CASS, illustrated in Tomb of Lady Hao at Yinxu in Anyang, pl. 20, fig, 1. Compare a closely related jade blade, 19.5 cm long, dated to the Neolithic period, in the collection of the Harvard Art Museums, accession number 1943.50.113, illustrated in Ancient Chinese Jades from the Greenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, no. 1, pp. 4-5. Compare a related jade blade illustrated ibid., no. 202, pp. 159.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2019, lot 2717 Price: HKD 81,250 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A dark green jade axe, Neolithic period, circa 3500 BC Expert remark: Compare the closely related form and color as well as the similar wear. Note the larger size (28.8 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2015, lot 545 Price: USD 16,250 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A mottled, blackish-green opaque jade axe, late Neolithic period, 3rd-early 2nd millennium BC Expert remark: Compare the related form. Note the darker color and the larger size (23.8 cm).

A WHITE AND YELLOW JADE AX, FU, NEOLITHIC PERIODChina, c. 3rd millennium. The quite thick yet translucent blade is elegantly shaped and of rectangular form, flaring slightly toward the sharp beveled edge, pierced from the front side with a hafting hole. The jade is of a fine white tone with yellow and russet shadings as well as cloudy inclusions, that look like lambent flames when held against the sunlight (see detail image).Provenance: Galerie Beer, Brussels, 20 June 1951 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Condition: Good condition with wear, minor signs of weathering and erosions, minor chips and losses to the edges. The stone with natural fissures, some of which may have developed into small hairline cracks. Good ancient polish with an unctuous feel overall.Weight: 108.1 gDimensions: Length 9.2 cm Literature comparison: Compare a related brown jade ax, 16.3 cm long, dated c. 3300-2250 BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1916.498. Compare a related green jade ax, 15.5 cm long, dated to the Neolithic period, in the British Museum, registration number 1937,0416.16. Compare a related gray jade ax, 13.3 cm long, dated between 3000-2500 BC, in the British Museum, registration number 1991,0223.2.Auction result comparison: Type: RelatedAuction: Christie's Hong Kong, 27 November 2019, lot 2740Price: HKD 437,500 or approx. EUR 55,500 converted and adjusted for inflation at the time of writingDescription: A jade axe, Longshan culture, circa 2500-2000 BCExpert remark: Note the larger size (13.9 cm).新石器時代玉斧中國，西元前三千年。此斧白玉質，局部帶沁，為略呈扁平的梯形器，頂部截平，鑽有一孔，可縛紮執柄，下端為刃，兩面斜削呈弧凸形，周身光素無紋。整件玉質滋潤柔和，光澤細膩，手藝精良。來源：布魯塞爾Beer藝廊，1951年6月20日 (根據法國巴黎Portier內閣在評估整個de Strycker莊園時的一份家族老帳本； 該帳本仍由 de Strycker 家族所有，不得複製)。Robert與Isabelle de Strycker收藏，購於上述藝廊，在同一家族保存至今。Robert de Strycker (1903-1968) 是一位法國冶金工程師。他畢業於史丹佛大學，曾是魯汶大學教授，同時也是魯汶天主教大學冶金研究所所長，是應用科學學院最有影響力的成員之一。二戰後，他為法國的戰後復興做出了巨大貢獻。Robert與他的妻子Isabelle （1915-2010）於 上世紀三十年代在大英博物館首次接觸到中國藝術。因爲其風格和美感所吸引，他們決定研究和收藏中國藝術品。1938 年，他們開始建立自己的收藏，從比利時、巴黎和英國經銷商處購買。他們與英國著名收藏家Harry Garner爵士（1891-1977）和捷克著名收藏家兼專家Fritz Low-Beer (1906-1976）保持著密切聯繫。品相：狀況良好，有磨損、輕微風化和侵蝕跡象、邊緣有輕微磕損和缺口。玉料上有天然裂縫，有的可能發展成細小裂縫。整體細膩盈潤。重量：108.1 克尺寸：長 9.2 釐米文獻比較：比較一件相近的約西元前3300-2250年玉斧，長16.3 釐米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F1916.498。比較一件相近的新石器時代青玉斧，長15.5 厘米，收藏於大英博物館，館藏編號1937,0416.16。比較一件相近的西元前3000-2500年灰玉斧，長13.3 厘米，收藏於大英博物館，館藏編號1991,0223.2。拍賣結果比較：形制：相近拍賣：香港佳士得，2019年11月27日，lot 2740價格：HKD 437,500（相當於今日EUR 55,500）描述：龍山文化玉鉞專家評論：請注意尺寸較大 (13.9 厘米)。

A DEEP CELADON JADE 'FISH' PENDANT, LATE SHANG TO WESTERN ZHOU DYNASTYChina, 11th-10th century BC. Of flattened form, finely carved as a fish with a curved body and round eyes, the long dorsal fin rising along the spine and two smaller fins extending from the stomach, the mouth with an aperture for suspension. The semi-translucent stone of a deep celadon tone with areas of white calcification and pale russet clouds.Provenance: Collection of Robert and Isabelle de Strycker, and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Condition: Very good condition with expected old wear, signs of weathering and erosion, encrustations, minuscule nibbling to edges.Weight: 7.1 gDimensions: Length 7.3 cm Literature comparison: Compare a related fish-shaped pendant, 10.1 cm long, dated c. 1200-901 BC, in the British Museum, registration number 1937,0416.82. Compare a similar pendant in the form of a fish, 6.2 cm long, dated c. 1300-1050 BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.473.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 10 September 2019, lot 37Price: USD 17,500 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A calcified jade 'fish pendant, Shang-Western Zhou dynastyExpert remark: Note the slight larger size (8.8 cm).Auction result comparison: Type: RelatedAuction: Christie's New York, 13 September 2019, lot 823Price: USD 25,000 or approx. EUR 27,500 converted and adjusted for inflation at the time of writingDescription: A pale yellowish-green, jade fish-form pendant, Western Zhou dynastyExpert remark: Note the slightly smaller size (6.4 cm). 商末至西周青玉魚形佩中國，西元前十一至十世紀。玉魚成平直狀，吻部斜伸向前下方、分尾斜向後下方，以陰刻線飾眼、尾、鱗片。略帶半透明的青色石料，帶有青白色斑紋和白色鈣化物。 來源：Robert與Isabelle de Strycker收藏，在同一家族保存至今。Robert de Strycker (1903-1968) 是一位法國冶金工程師。他畢業於史丹佛大學，曾是魯汶大學教授，同時也是魯汶天主教大學冶金研究所所長，是應用科學學院最有影響力的成員之一。二戰後，他為法國的戰後復興做出了巨大貢獻。 Robert與他的妻子Isabelle （1915-2010）於 上世紀三十年代在大英博物館首次接觸到中國藝術。因爲其風格和美感所吸引，他們決定研究和收藏中國藝術品。1938 年，他們開始建立自己的收藏，從比利時、巴黎和英國經銷商處購買。 他們與英國著名收藏家Harry Garner爵士（1891-1977）和捷克著名收藏家兼專家Fritz Low-Beer (1906-1976）保持著密切聯繫。 品相：狀況極好，有磨損、風化和侵蝕的跡象、結殼、邊緣微小磕損。 重量：7.1 克 尺寸：長 7.3 厘米 文獻比較： 比較一件相近的約西元前1200-901年魚形玉佩，長10.1 厘米，收藏於大英博物館，館藏編號1937,0416.82。比較一件相似的約西元前1300-1050年魚形玉佩，長6.2 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S1987.473。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月10日，lot 37 價格：USD 17,500（相當於今日EUR 19,500） 描述：商至西周玉雕魚形珮 專家評論：請注意尺寸較大 (8.8 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年9月13日，lot 823 價格：USD 25,000（相當於今日EUR 27,500） 描述：西周 青黃玉魚形珮 專家評論：請注意尺寸較小(6.4 厘米)。

A JADE 'DRAGON' BI DISK, WESTERN ZHOU DYNASTYChina, 10th-9th century BC. The jade disk is carved on both sides with profiles of dragon heads and joined by scroll motifs. The contours and details are rendered with double-line grooves. The translucent stone is of a pale celadon tone with russet and brown shadings and veins.Provenance: From an old private collection in Budapest, Hungary, acquired during the first half of the 20th century. Condition: Good condition commensurate with age with some ancient wear, minor chips and nibbles, signs of weathering and erosion. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 177.3 gDimensions: Diameter 14.5 cm Literature comparison:Compare a related jade bi, 17 cm diameter, dated to the Spring and Autumn period, ca. 7th-6th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.674.Auction result comparison: Type: Closely relatedAuction: Christie's Hong Kong, 28 November 2018, lot 2730Price: HKD 437,500 or approx. EUR 57,000, converted and adjusted for inflation at the time of writingDescription: A celadon jade 'dragon' disc, bi, mid-Western Zhou dynastyExpert remark: Compare the closely related circular form and decoration with similar double-line grooves. Note the much smaller size (6.1 cm). 西周龍紋玉璧中國，西元前十至九世紀。玉璧兩面陰線雙槽雕刻龍紋，身飾羽形斑紋，長卷尾。青綠色玉質，局部有白色和褐色沁斑。 來源：匈牙利布達佩斯私人舊藏，購於上世紀上半葉。 品相：狀況良好，有一些磨損、輕微的磕損，以及風化和侵蝕的跡象。玉料有天然內沁和紋理，有些隨著時間的推移已經發展成細小裂紋。 重量：177.3 克 尺寸：直徑14.5 釐米 文獻比較： 比較一件相近的約公元七至六世紀春秋時期玉璧，直徑17 厘米，收藏於史密森學會國立亞洲藝術博物館，收藏編號 S1987.674。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2018年11月28日，lot 2730 價格：HKD 437,500（相當於今日EUR 57,000） 描述：西周中期青玉龍紋璧 專家評論：比較非常相近圓形形狀和裝飾，具有類似的雙線凹槽。請注意尺寸較小(6.1 厘米)。

A SMALL JADE 'DRAGON HEAD' PENDANT, WARRING STATES PERIODChina, 475-221 BC. Carved in the form of a powerful dragon head profile, the pendant has a single aperture drilled through the nose of the creature for suspension. The dragon with stylized curls and an open mouth finely incised. The smooth, partly translucent stone is of a pale green hue with russet inclusions and milky-white calcification throughout.Provenance: Collection of Harry Geoffrey Beasley and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite, acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley's death, he acquired a number of objects from Irene Beasley, including the present lot. Condition: Very good condition, commensurate with age, with expected wear and weathering. Some small nicks which have smoothened over time. The stone with inclusions and natural fissures, some of which may have developed into small hairline cracks with time. Note that this was most likely once the top of a Huang, which broke to pieces, and has since been repurposed, probably already in ancient times.Weight: 3.1 g Dimensions: Width 2.4 cm Literature comparison:Compare a related 'dragon head' jade pendant, Huang, at Christie's Hong Kong, 3 December 2021, lot 2737. Compare the related dragon head with an identical aperture through the nose, 9.6 cm long, dated to the Warring States period, in the National Museum of Asian Art, Smithsonian Institution, accession number F1931.16.

AN IMPORTANT AND RARE JADE 'MASK' PENDANT, HUANG, LIANGZHU CULTUREChina, circa 3300-2200 BC. Finely decorated to all sides and edges with neatly applied incision work depicting cosmic cloud scrolls, the present Huang has a prominently carved godhead mask located at the center of the front side, just beneath a zoomorphic bird head with a pointed beak at the top. Both wings are pierced with funneled apertures for suspension. The opaque stone is of a brown hue with beige clouding and dark brown inclusions.Provenance: From the Sir Percival David collection, according to an old paper label reading 'The Percival Collection, of Chinese Jades' and manually inscribed 'Zoomorphic Figure'. Collection of Harry Geoffrey Beasley, probably acquired from the above between 1923 and 1939, and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite, acquired from the above c. 1939 and thence by descent in the same family. Sir Percival David (1892-1964) was a Bombay-born British financier who is best known as a scholar and collector of Chinese ceramics, postal stamps, and jades. He became enamored with Chinese art after his visit to China in 1923 and started the Percival David Foundation to promote the research of Chinese art and culture. His collection grew to an astounding 1,700 pieces, which are now on display at the British Museum. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley's death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Very good condition, commensurate with age. Extensive wear and weathering, as expected, with rubbing and abrasion to the fine incision work, and some nicks and chips which have smoothened over time. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Calcification throughout.Weight: 73.7 g Dimensions: Length 10.3 cm With an associated metal stand. (2)Huang were a part of the elite adornments during the Neolithic period, especially within Hongshan, Liangzhu, and Longshan cultures. These were worn along with headgear, knee decorations, elaborate beaded necklaces, and other body ornaments, all made primarily from jade. Dr. Elizabeth Childs-Johnson dubs these cultures a part of the 'Jade Age', a period during which an abundance of jade objects accompanied the elite burials for the first time. The imagery carved on these jade adornments was highly standardized, and the most prominent image, which appears on this lot, is that of the godhead (also called a spirit person, shenren, or an anthropomorphized deity). This image is flat, often covered in cosmic cloud scrolls, and has zoomorphic attributes combining bird and semi-human elements.Literature comparison:Compare a closely related but much smaller jade pendant with godhead incision work, 6.3 cm long, dated to the Neolithic period, Liangzhu culture, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.734. Compare also a related jade ornament with a mask godhead, 8.3 cm wide, dated to the Neolithic period, Liangzhu culture, in the Metropolitan Museum of Art, accession number 18.63.良渚文化罕見神面玉璜中國，西元前約3300-2200年。器形下端圓弧，上端有三叉，中叉較短，兩側叉較長。玉璜四面和邊緣均有精美的紋理如雲紋一般，正面中央有一個突出的雕刻神人面具，頂部有尖喙的動物形鳥頭。兩翼都穿有用於懸掛的小孔。不透明的玉石呈棕色，帶有雲霧和深棕色內沁。來源：Percival David 爵士收藏，紙標籤上可見 “The Percival Collection，of Chinese Jades” 以及 “Zoomorphic Figure”字樣。Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Sir Percival David (1892-1964) 出生於孟買的英國金融家，收藏中國陶瓷、郵票和玉器。1923年訪問中國後，他迷上了中國藝術，並創辦了Percival David基金會，以促進中國藝術和文化的研究。他的藏品已增至驚人的 1,700 件，現陳列於大英博物館。Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Harry Geoffrey Beasley (1881-1939) 是一位英國人類學家和博物館館長，他在二十世紀初建立了一個重要的民族志收藏，現在收藏在英國的各個博物館中。Beasley和他的妻子Irene一起建立了Cranmore民族志博物館，該博物館最終收藏了 6,000 多件民族志方面的物品。Beasley 收集了來自歐洲各地的物品，從拍賣行和當地博物館購買以擴大收藏範圍，其中包含來自太平洋、亞洲、非洲和美國西北部的資料。Beasley為人類學期刊撰寫了大量文章，被公認爲是該領域的專家。他於 1939 年去世，他的藏品幸虧在戰爭期間被存放在大英博物館裏，而Cranmore博物館被轟炸摧毀。戰後，大部分藏品被轉移到大英博物館、愛丁堡皇家博物館、劍橋大學考古與人類學博物館、Pitt Rivers博物館和Merseyside County博物館。其他收藏，例如現在的拍品，由他的遺孀出售，在她 1974 年去世後，由他們的女兒出售。Alfred William Cowperthwaite (1890-1964) 曾是Cranmore 民族志博物館重要支持人，也曾是 Harry Beasley的好友。在Harry Beasley去世不久，他從Irene Beasley 處購買了一些收藏，包括此件拍品。品相：狀況極好，大面積磨損和風化，精細切口的摩擦和磨損，以及一些隨著時間的推移而變得平滑的刻痕和缺口。具有天然內沁和裂縫的玉石，其中一些可能隨著時間的推移發展成細小的裂縫。整體鈣化。重量：73.7 克尺寸：長 10.3 釐米金屬支架。(2)玉璜是新石器時代，特別是在紅山、良渚和龍山文化中，屬於權力階層裝飾品。 它們與頭飾、衣服配飾、精緻的串珠項鍊和其他裝飾品一起佩戴，所有這些都主要由玉製成。 Elizabeth Childs-Johnson博士將這些文化稱為“玉器時代”的一部分，在此期間，大量玉器首次伴隨著權力階層墓葬。 這些玉佩上雕刻的圖像非常標準化，而這批作品中最突出的圖像是神格（也稱為神人，或擬人化的神）。 該圖像是平坦的，通常覆蓋雲紋，並具有結合鳥類和半人類元素的動物形態。文獻比較:比較一件非常相近且尺寸較小的新石器時代良渚文化神面玉佩，長6.3 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S1987.734。比較相近的新石器時代良渚文化神面玉佩，收藏於大都會藝術博物館，館藏編號18.63。

A CELADON AND BROWN JADE BI DISK, WESTERN HAN DYNASTYChina, 2nd-1st century BC. Each side finely carved in low relief with a dense pattern of raised bosses neatly arranged in a hexagonal grid pattern, within narrow plain borders encircling the rim and enclosing the central aperture. The translucent stone of a pale yellowish-green color pale brown shadings, cloudy inclusions, and grayish-white calcification.Provenance: Collection of Harry Geoffrey Beasley (1881-1939) and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite (1890-1964), acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley's death, he acquired several objects from Irene Beasley, including the present lot.Condition: Excellent condition, commensurate with age. Old wear, signs of weathering and erosion, minuscule nibbling, few minor nicks, tiny losses to edges which have smoothened over time.Weight: 212.8 gDimensions: Diameter 15 cm A Confucian text likely dating to the Western Han period, the Zhou Li, or Rites of Zhou, states that the six ritual jades, or Liu Yu Liu Rue, comprise the bi, cong, gui, zhang, hu, and huang, among which, the bi disk and the cong tube were by far the most important and the longest lived. The bi, a circular disk with a circular perforation in the center, was said to symbolize the sun and to have been used in ceremonies paying homage to the sun. As a parallel, the cong - an implement square in section, open at both ends, and with a cylindrical passageway connecting the two ends - was believed to represent the earth and to have been used in ceremonies honoring the earth. Alas, the exact meaning and function of the bi and cong remain unknown, as those ritual implements originated in Neolithic times, more than 2,000 years before the Zhou Li was written. In all probability, that text thus merely states the conventional wisdom held at the time of its writing, which may or may not have anything to do with the implements' original use and significance or their evolution over the millennia.The earliest bi disks, which date to the Neolithic period, which are undecorated and were crafted in a variety of colored hardstones, tend to be large, relatively thick, and sometimes slightly irregular in shape. Occasionally slightly off-center, the central perforation typically was worked from both sides, with the result that a low ridge often encircles the middle of the perforation, indicating the point where the tools met. By the Shang dynasty, bi disks, though still undecorated but with the perforation perfectly centered, were very regular in form, were usually crafted in sea-green or bluish-green nephrite and were generally thinner than earlier examples. In the late Eastern Zhou, most bi disks were finished with a subtly raised border around the periphery and another around the central perforation; in addition, the surface of the usually pale greenish-white stone, sometimes enlivened with a splash of brown, was typically ornamented with an array of small, spiral, or comma-shaped embellishments that are regularly spaced and rise in low relief and that are known as guwen or guliwen, meaning 'grain patterns.' (For a short essay on the emergence, development, and decline of the late Eastern Zhou relief embellishment, see Marcel Loehr, Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum, Cambridge, 1975, pp. 21-28.)As demonstrated by this exquisite example, the late Eastern Zhou preference for thin bi disks in white or pale greenish white jade marked with brown persisted into the Western Han, as did the taste for subtly raised borders and ornamented surfaces. In Western Han disks, however, the relief embellishments are polygonal, rather than round or comma-shaped, and they line up in very neat, regular rows and columns, in appearance often seemingly diagonally set, that well-defined order clearly reflecting the method with which the stone was worked. (Of course, the nearly arranged and regularly spaced spiral embellishments on late Eastern Zhou jades also appear in regular rows, but usually not in both rows and columns or set on diagonals.)Literature comparison: Compare a closely related bi disk with similar decoration, dated 475-100 BC, 13.7 cm diameter, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.594. Compare two closely related jade disks, also dated to the Western Han dynasty, 14 cm and 14.1 cm diameter, in the Grenville L. Winthrop Collection at the Harvard Art Museums, object numbers 1943.50.545 and 1943.50.550. A jade disk of related size and decorated with a similar hexagonal grid pattern was included in the National Palace Museum exhibition and illustrated in A Catalogue of National Palace Museum's Special Exhibition of Circular Jade, Taipei, 2006, pl. 82.Auction result comparison: Type: RelatedAuction: Christie's New York, 19 March 2015, lot 592Price: USD 106,250 or approx. EUR 127,000 converted and adjusted for inflation at the time of writingDescription: A pale greenish-white and brown jade bi disk, Western Han dynasty, 206 BC-AD 8Expert remark: Note the size (15.8 cm).Auction result comparison: Type: Closely relatedAuction: Christie's Hong Kong, 29 November 2022, lot 2711Price: HKD 226,800 or approx. EUR 27,500 converted and adjusted for inflation at the time of writingDescription: A carved jade disc, bi, Western Han dynasty 206 BC-AD 8Expert remark: Note the size (14 cm).

Full title: A pair of Chinese famille verte 'Emperor Yang' dishes, KangxiDescription:Dia.: 34,5 cm Provenance:- By repute, from the Collection of Duchess Isabella Lubomirska (nee Czartoryska) (1736-1816), Lancut Castle, Poland.- The Counts Potocki, Lancut Castle, Poland, until circa 1944.- Paul-Louis Weiller (1893-1993), and thence by descent.- An important European private collection. Ref.: - Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp. 30-33.- Emperor Yang of the Sui dynasty (éš‹ç‚€å¸, r. 606-18) is known for many achievements, such as linking the Yellow and Yangzi Rivers with the man-made Grand Canal, leading successful military campaigns expanding the Sui territory, and being accomplished in the arts. Despite those, Emperor Yang is also considered to have brought disaster to the country and misery to the people late in his life with his unwise rule and decadent and debauched lifestyle with his concubines. In the West Park, outside Luoyang, his consorts (wives who ranked lower than his primary wife, the empress) often organised his concubines to do equestrian performances and variety shows to entertain the emperor and please his inflated ego. One of the best known of these vignettes was the procession of Lady Wang Zhaojun (王昭å›, c. 52 – c. 15 BCE) in a moonlit night. (Lady Wang Zhaojun was one of the legendary Four Beauties of Ancient China. She had been in the harem of Emperor Yuan of the Western Han dynasty [汉元å¸, 206 BCE – 8 CE]. He eventually sent her off by horseback in a procession to marry a Central Asian tribal chieftain.) The elderly Emperor Yang is often depicted enthusiastically observing his elegant court ladies showing off their riding skills in the spirit of Lady Wang, while anticipating further antics to follow. This scene has often been mistaken as ‘female generals of the Yang family’(æ¨é—¨å¥³å°†) by many art historians. However, Dr Yibin Ni has found that historical woodblock illustrations such as that of the novel Romance of Sui and Tang (éš‹å”演义), and New-Year prints such as Wang Zhaojun’s Galloping Horses (新彩昭å›è·‘马) bear similar scenes with clear written titles which reveal that the scene is actually meant to be a cautionary tale for rulers. Chu Renhuo (褚人获)’s Romance of Sui and Tang fictionalises the historical events leading to the fall of the Sui dynasty and the subsequent rise of the Tang. (source: tutuhaoyi.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

AN IVORY PENDANT DEPICTING LI TIEGUAI AND KUI XING, MING DYNASTYChina, 1368-1644. Of rectangular form with rounded corners, carved in relief depicting on one side Li Tieguai with his characteristic iron crutch amid tufts of grass flanked by a craggy rock and towering pine tree amid swirling clouds, and to the other Kui Xing, the God of Examinations, standing atop a cloud in his characteristically vigorous pose holding a writing brush in his raised right hand and an ingot in the left.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tight-knit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Very good condition with some wear, natural imperfections including expected age cracks, light scratches, few tiny nicks. One minuscule old fill to upper edge. Magnificent ancient and natural patina.CITES: European Union Certificate number AT 23-B-0235, dated 06.7.2023.Weight: 48.1 gDimensions: Height 7 cm Literature comparison: Compare a related ivory plaque depicting a figure and Buddhist lion, also dated to the Ming dynasty, 6.8 cm high, in the British Museum, registration number 2018,3005.551.Auction result comparison: Type: RelatedAuction: Sotheby's London, 9 November 2011, lot 14Estimate: GBP 30,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writingDescription: A carved ivory pendant, Ming dynastyExpert remark: Note the similar form and the more extensive wear to this ivory pendant as opposed to the present lot which is still in very good condition.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. 明代象牙雕鐵拐李與魁星佩飾中國，1368-1644年。圓角長方，一面浮雕李鐵拐，手持鐵杖，周圍草叢怪石，松樹參天，雲霧繚繞；另一面是魁星立在雲端，右手舉著毛筆，左手拿著金錠。來源：Maria 與Johannes Nickl收藏，在同一家族保存至今。Maria (1926-2022年) 與 Johannes Nickl (d. 2020) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。品相：狀況極好，有一些磨損、自然瑕疵，包括老化裂紋、輕微劃痕、一些微小刻痕。上部邊緣有舊修補。自然包漿。CITES：歐盟證書編號AT 23-B-0235，於2023年7月6日發行。 重量：48.1 克 尺寸：高 7 釐米 文獻比較： 比較一件相近的明代象牙雕人物太獅佩飾，高6.8 釐米，收藏於大英博物館，館藏編號2018,3005.551。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2011年11月9日，lot 14 估價：GBP 30,000（相當於今日EUR 55,000） 描述：明代象牙雕鶴配飾 專家評論：請注意相似的外形，該象牙配飾磨損較嚴重。

A WHITE-GLAZED PORCELAIN WATER DROPPER, JOSEON DYNASTYKorea, 18th-19th century century. Of compressed globular form descending to a short foot, a round tapered opening in the center and an S-shaped spout with a flush top, and a short, tapered foot. The clear glaze of bluish hue covering all surfaces. Provenance: Collection of Winslow Ames. Property of the Trustees of Phillips Academy, Andover, Massachusetts, USA, gifted from the above. The Phillips Academy was founded in 1778 during the American Revolution. The highly selective academy has among its alumni U.S. Presidents George H.W. Bush and George W. Bush, along with numerous notable politicians, Nobel laureates, and recipients of the Medal of Honor. Edward Winslow Ames Jr. (1907-1990) was a prominent American art historian, author, and museum director. He attended Phillips Academy as a child, and later studied art history at Harvard. He went on to become the founding director of Lyman Allyn Art Museum in New London, Connecticut, in 1930. After World War II, he was the first director of the Huntington Hartford's Gallery of Modern Art at Columbus Circle in Manhattan, working with the collection before the museum opened to the public. He started collecting drawings and furniture in the 1930s and eventually branched out into European and Asian works of art.Condition: Very good condition with old wear and firing irregularities, including kiln grit and glaze recesses. Weight: 223.8 gDimensions: Diameter 10.2 cmLiterature comparison:Compare a closely related glazed porcelain water dropper, 8 cm diameter, dated to the Joseon dynasty, 19th century, in the Brooklyn Museum, accession number 84.262.28. Compare a related glazed porcelain water dropper, 8.6 cm diameter, dated to the Joseon dynasty, 19th century, in the Brooklyn Museum, accession number 84.189.1.Auction result comparison: Type: RelatedAuction: Christie's New York, 20 March 2007, lot 506Price: USD 12,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A white porcelain domed water dropper, Joseon dynasty, 19th centuryExpert remark: Note the size (9.3 cm). 朝鮮王朝白釉硯滴韓國，十八至十九世紀。呈半球體狀，圈足，表面中心有圓形錐形開口，曲形滴口，短足為錐形。表面施青色透明釉。 來源： Winslow Ames收藏；美國馬賽諸塞州安多弗菲力浦斯學院受託人財產。菲力浦斯學院成立於 1778 年美國革命期間。 這所經過嚴格篩選的學院的校友中有美國總統喬治·H·W·布希和喬治·W·布希，以及眾多著名政治家、諾貝爾獎獲得者和榮譽勛章獲得者。Edward Winslow Ames Jr. (1907-1990) 是一位著名的美國藝術史學家、作家和博物館館長。 他小時候就讀於菲力浦斯學院，後來在哈佛大學學習藝術史。1930 年，他成為康涅狄格州新倫敦萊曼·艾林藝術博物館的創始館長。二戰後，他成為曼哈頓哥倫布圓環亨廷頓·哈特福德現代藝術畫廊的首任館長，博物館向公眾開放。他從二十世紀三十年代開始收集繪畫和傢俱，最終涉獵歐洲和亞洲的藝術作品。 品相：狀況非常好，有磨損和燒製缺陷，包括窯砂和釉料凹槽。 重量：223.8 克 尺寸：直徑10.2 厘米文獻比較：比較一個密切相關的釉面硯滴，直徑 8 厘米，可追溯至十九世紀朝鮮王朝，藏於布魯克林博物館，藏品號 84.262.28。 比較一件相關的釉面瓷硯滴，直徑 8.6 厘米，可追溯至十九世紀朝鮮王朝，藏於布魯克林博物館，藏品編號 84.189.1。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年3月20日，lot 506 價格：USD 12,000（相當於今日EUR 16,500） 描述：十九世紀白釉硯滴 專家評論：請注意尺寸(9.3 厘米)。

A LARGE INSCRIBED BRONZE RITUAL FOOD VESSEL AND COVER, DING, SPRING AND AUTUMN PERIODInscriptions: A twelve-character inscription in Jinwen is neatly incised into a circumferential band on the cover, divided in three groups of four characters each, separated by one of the three recumbent mythical beasts sitting on top of the cover. The second character is “ding", which means “to sacrifice". It was originally developed from oracle bones and normally depicts a bowl shaped vessel on legs with two upright handles. On the present lot, there is a sacrifice depicted inside the ding. For reference, see Childs-Johnson, Elizabeth, Big Ding and China Power: Divine Authority and Legitimacy, Asian Perspectives, vol. 51, no. 2, 2012, pages 164-220. The third and eleventh characters both contain the symbol for tree or wood. When combined with other symbols, such as in this case, they can have different meanings like “season" or “food". Wood can even be seen as “roots", as in ancestral heritage. The first character is referring to a village area, most likely the original location of this vessel.Scientific Analysis Report: A thermoluminescence analysis report issued by Artemis Testing Lab on 23 February 2018, based on sample number 131703, sets the firing date of two samples taken at about 3500 years ago. A copy of the report accompanies this lot.China, 6th century BC. Superbly cast, the tripod body supported on three tall cabriole legs, flanked by angular U-shaped, upright handles, below the domed cover surmounted by three horned mythical beasts. The sides of the deep vessel flat-cast with two wide bands of tightly interlaced dragons, repeated on the handles and on the cover, which is further decorated with zoomorphic bands and a central medallion enclosing a feline creature with a sinuous scaly body.Provenance: From an old private collection in Los Angeles, California, USA, and thence by descent within the same family. Condition: Remarkably well preserved, commensurate with age. Old wear, expected casting flaws, dents and nicks, signs of weathering and erosion, soil encrustations. Minor fatigue cracks and losses. The bronze with a spectacular, rich, and naturally grown patina with distinct malachite, cuprite, and azurite encrustations.Weight: 4,728 g Dimensions: Width 34.3 cm (across handles) Expert's note: Ding vessels were first cast by the Shang and were undoubtedly an important Chinese bronze vessel. Used originally as cauldrons to cook food, the tripod vessel could easily be set above an open fire. The earliest examples of Ding were found in Zhengzhou and date from the end of the 15th century BC. During the Spring and Autumn period, ding started being cast with a cover, often equipped with a set of rings for easier removal. The recumbent mythical beasts on the cover of the present lot have the same function, but are much rarer and hence also serve as evidence of the high status of the original owner of this particular ding.Literature comparison: Compare a related bronze ding and cover, also with a circular inscription and with similar animal-form finials on the cover, dated to the early Warring States period, 5th century BC, formerly in the collection of Robert Hatfield Ellsworth, no. B1300, sold by Sotheby's New York, 19 March 2002, lot 32. Compare a related bronze ding, with similar bands of flat-cast decoration and with a similar feline with granulated body occupying the central medallion on the cover, 24.3 cm high, dated to the mid-Spring and Autumn period, illustrated by Jenny So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, pp. 127, no. 12, where the author also illustrates a 6th century BC ding and cover from Shanxi Houma Shanguacun M13, p. 129, Fig. 12.1, which shares a similar shape, legs and decorative bands. Compare a related bronze ding, 17.8 cm high, dated to Eastern Zhou dynasty, 5th-4th century BC, in the Metropolitan Museum of Art, accession number 49.135.1a.b. Compare a related bronze ding, 38.5 cm high, dated ca. late 6th to early 5th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1947.20a-b. Compare two related bronze ding vessels dated to the Spring and Autumn period in the Palace Museum, Beijing, accession numbers Xin00086998 and Xin00074731.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 Novermber 2013, lot 468 Price: HKD 812,500 or approx. EUR 120,000 converted and adjusted for inflation at the time of writing Description: An inscribed archaic bronze tripod incense burner and cover, ding, Eastern Zhou dynasty Expert remark: Compare the related ding form and flat-cast decoration with similar interlaced dragons. Note mythical beasts and the slightly smaller size (height 26.7 cm).Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2013, lot 1232 Price: USD 109,350 or approx. EUR 128,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual tripod food vessel and cover, ding, Spring and Autumn period, 6th century BC Expert remark: Compare the related form, flat-cast decoration, and animal-form handles on the cover. Note the much smaller size (18 cm).Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2012, lot 1243 Price: USD 86,500 or approx. EUR 102,000 converted and adjusted for inflation at the time of writing Description: A large bronze ritual tripod food vessel and cover, ding, Spring and Autumn period, early to mid-6th century BC Expert remark: Compare the related ding form and flat-cast decoration. Note the slightly larger width (40.3 cm) and the lack of mythical beasts. 春秋時期大型青銅蓋鼎中國，西元前六世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A BRONZE FIGURE OF A BUDDHA, CHINA, FIVE DYNASTIES - NORTHERN SONG DYNASTY (907-1126)Expert's note: The closely related buddha, listed below in the auction result comparison and published in Saburo Matsubara's book Chogoku Bukkyo Chokokushi Kenkyu (History Chinese Buddhist Sculpture), Tokyo, 1961, holds unique similarities to the present figure. For one, the hair of both Buddha curl in an identical manner around the central ushnisha, which is slightly recessed. The robes also are configured similarly, tied at the waist in a similar pattern and folding below the feet in a near identical fashion. This comparison places the present figure firmly within the 10th century.Finely cast seated in dhyanasana, his left hand raised in a rare mudra with the ring finger bent and the others extended, his right hand resting on his knee. He is wearing loose-fitting robes opening at the chest. His serene face with heavy-lidded eyes below arched brows as well as full lips flanked by long pendulous earlobes. His hair arranged in deeply incised wavy locks over the high ushnisha.Provenance: From the private collection of Michael Phillips, acquired through the Japanese trade. 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 art, 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: Very good condition, commensurate with age, showing expected old wear overall. Signs of weathering and erosion, remnants of gilding, small nicks here and there. The naturally grown dark patina with cuprite and malachite encrustations. Aureole and lotus base (see auction result comparison below) are lost.Weight: 185 g Dimensions: 8.2 cm This figure may belong to a group of Buddhist votive figures produced in Zhejiang during the Wuyue kingdom (AD 907-978), four of which are illustrated in Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections, vol. 6, Beijing, 2005, pls. 1234-37: one in the Seikado Bunko Art Museum, Japan (pl. 1234); two in the Harvard University Art Museum, Arthur M. Sackler Museum, Cambridge, (pls. 1235 and 1236); and one in The Metropolitan Museum of Art, New York, pl. 1237; all dated to the 10th century. Of these four, only the figure in the Seikado Bunko Art Museum represents Buddha, while the other three represent bodhisattvas. All of these figures, including the present lot, have similar, distinctive facial features.The bodhisattva in The Metropolitan Museum of Art is also illustrated by D. Leidy and D. Strahan in Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, New York, 2010, p. 110-12, no. 22, where the authors ascribe the figure to Zhejiang province, which during the 10th century was the center of the Wuyue kingdom (AD 907-978). They note that the "kingdom was ruled by members of the Qian family, noted for their devotion to Buddhism and their patronage of the arts".Auction result comparison: Type: Closely related Auction: Christie's New York, 14 September 2017, lot 838 Price: USD 468,500 or approx. EUR 534,000 converted and adjusted for inflation at the time of writing Description: A rare bronze seated figure of Buddha, Five Dynasties-Northern Song dynasty (AD 907-1126), 10th century Expert remark: Note the closely related buddha figure, retaining its original aureole and lotus pedestal, which are both missing on the present lot. Note the total size (16.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 五代至北宋佛陀銅像由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A RARE GOLD REPOUSSE MELON-FORM JAR AND COVER, TANG DYNASTYChina, 618-907. The lobed sides of the vessel supported on a slightly concave base and surmounted by a short straight rim, the domed cover similarly lobed and centered by a finial in the form of the melon's stem. The shoulder is finely decorated with a wide band of neatly incised scrolling foliage against a ring-punched ground, the foot encircled by a band of overlapping petals.Provenance: From the collection of Dr. Jonathan Broido (1941-2008), who was a professor of mathematics and philosophy as well as a passionate collector of Chinese art and archaic Turkoman weavings, known for his expertise and scholarly approach. He traveled throughout Asia acquiring pieces for his collection, as well as making some spectacular finds in UK and US antique markets, auctions and trade. Condition: Excellent condition, commensurate with age. Expected old wear, soil encrustations, minor dents and nicks, a few light scratches, all as expected for a gold object with over a thousand years of age. Tested purity c. 750/1000.Weight: 129 g Dimensions: Height 12.4 cm Literature comparison:Compare a related parcel-gilt silver box and cover, also in the form of a melon, 6.4 cm high, dated late 7th to early 8th century, in the National Museum of Asian Art, accession number F1930.39a-b.Auction result comparison: Type: Closely related Auction: Poly Auction Hong Kong Limited, 14 July 2022, lot 3137 Estimate: HKD 700,000 or approx. EUR 83,500 converted and adjusted for inflation at the time of writing Description: A fine repousse gold floral box and cover, Tang dynasty Expert remark: Compare the closely related lobed form, as well as the similar repousse, incision and punching work. Note the slightly smaller size (9 cm). This lot was exhibited by the Musee Baur, Geneva, L'or des steppes, Arts somptuaires de la dynastie Liao, 2007, catalog no. 13. 唐代錘鍱瓜棱形金罐中國，618-907年。罐身成瓜棱形，小口鼓腹，平底。頸部和足部分別以錘鍱工藝修飾卷葉籐紋和雙層花瓣紋。罐蓋成瓜皮帶瓜蒂狀。 來源：Jonathan Broido (1941-2008年) 博士是一位數學和哲學教授，也是一位熱衷於中國藝術和古代土庫曼編織品的收藏家，以其專業知識和學術方法而聞名。 他走遍亞洲尋找藏品，並在英國和美國的古董市場、拍賣和交易中取得了一些驚人的發現。 品相：狀態極佳，有磨損、土壤結殼、輕微的凹痕和刻痕、一些輕微的劃痕，測試純度 C. 750/1000。重量：129 克 尺寸：高 12.4 厘米 文獻比較: 比較一件相近的七世紀末至八世紀初鎏金銀蓋盒，以及瓜形的外形，高6.4 厘米，收藏於國立亞洲藝術博物館，館藏編號F1930.39a-b。 拍賣比較： 形制：非常相近 拍賣：香港保利，2022年7月14日，lot 3137 估價：HKD 700,000（相當今日EUR 83,500） 描述：唐代錘鍱花紋蓋盒 專家註釋：比較非常相近的外形，相似的錘鍱、雕刻技術。請注意尺寸較小 (9 厘米)。此蓋盒展覽於Musee Baur，日內瓦，L'or des steppes，《Arts somptuaires de la dynastie Liao》，2007年，圖錄編號13。

AN ARCHAISTIC MINATURE GOLD AND SILVER-INLAID BRONZE VESSEL, POU, SONG TO MING DYNASTYChina, 960-1644. Of flattened ovoid shape, short waisted neck with a flat rim and a flat base decorated overall in gold and silver inlays in a geometric design with pendent leaves which enclose scroll designs within silver wire enclosures. The double handles inlaid with a gold design.Provenance: Galerie Zacke, Vienna, c. 1990. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. An old exhibition label from Galerie Zacke, dating the present lot to the 13th-14th century, stating a purchase price of ATS 10,000 (or approx. EUR 1,300 converted and adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tight-knit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with ancient wear and a solid, natural patina with scattered malachite encrustations. Minor signs of weathering, encrustations, small nicks and chips, light scratches.Weight: 70 gDimensions: Height 4 cm Literature comparison:Compare a related small archaistic gold and silver-inlaid bronze handled vessel, dated to the Song dynasty, 8.7 cm wide, at Sotheby's London, 3 November 2021, lot 159. Compare a related miniature gold and silver-inlaid bronze gu, 5.6 cm tall, dated Song to Ming dynasty, at Sotheby's Hong Kong, 22 April 2021, lot 3667. Compare two related miniature inlaid bronze archaistic censers, dated to the 18th century, at Christie's New York, 19 March 2008, lot 326. Compare a related miniature inlaid bronze covered ding, dated to the Ming dynasty, at Sotheby's Hong Kong, 3 April 2012, lot 173.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2019, lot 3123Price: HKD 137,500 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A Gold and Silver-Inlaid Bronze Miniature Wine Vessel, Zun, Ming DynastyExpert remark: Compare the closely related decor and inlay work. Note the miniature size of 8 cm. 宋至明錯金銀小銅郶中國，960-1644年。敞口外翻，束頸，豐肩，肩部有雙系環錯金，斂足，圈足。器身地飾鳥紋與繩紋帶。器身錯金銀對稱蕉葉紋。雙手柄有鑲金。造型美觀。 來源：維也納 Zacke藝廊，約1990年；Maria 與Johannes Nickl收藏，在同一家族保存至今。隨附一個維也納 Zacke藝廊展廊老標籤，上顯示此拍品為十三至十四世紀，售價 ATS 10,000 (根據通貨膨脹率相當於 EUR 1,300) 。Maria (1926-2022) 與 Johannes Nickl (d. 2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。 這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。 品相：品相完好，古色古香，包漿緊緻，天然藍綠色結殼。輕微風化跡象、結殼、小劃痕和缺口、輕微劃痕。 重量：70 克 尺寸：高4 釐米 文獻比較： 比較一件相近宋銅錯金銀仿古水盂，寬8.7 釐米，見倫敦蘇富比，2021年11月3日，lot 159。比較一件相近的宋至明 銅錯金銀蕉葉卷草紋出戟袖珍型觚，高5.6 厘米，見香港蘇富比，2021年4月22日，lot 3667。比較兩件相近的十八世紀仿古內嵌青銅器，見紐約佳士得，2008年3月19日，lot 326。比較一件相近明十六至十七世紀銅貼金銀仿古雙耳三足小蓋鼎，見香港蘇富比，2012年4月3日，lot 173。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年4月1日，lot 3123 價格：HKD 137,500（相當於今日EUR 17,500） 描述：明銅錯金銀獸面紋出戟小花觚 專家評論：比較相近的裝飾和內嵌設計。請注意尺寸僅有 8 厘米。

A LIMESTONE TORSO OF A BODHISATTVA, TANG DYNASTYChina, early 8th century. The slender, elegant figure well carved standing in a subtle tribhanga pose, wearing a clinging diaphanous skirt falling in graceful folds, with scarves tied diagonally around the torso and draped from the shoulders, richly adorned with elaborate jewelry including beaded and foliate necklaces as well as pendent ornaments of floral design. The gray limestone with hues of maroon and a superb, naturally grown patina overall.Provenance: From the personal collection of Ed Hardy, who is an American artist known for his strong influence on the development of modern tattoo styles, and his eponymous apparel and accessories brand. He became recognized for being the main driver in incorporating ancient Asian tattoo aesthetics and techniques into Western styles of work, taking tattoos from a fringe culture into the mainstream. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, a minor structural crack with an associated old fill (only visible under strong blue light), signs of weathering and erosion, encrustations. Overall displaying exceptionally well.Weight: 39.9 kg (incl. stand) Dimensions: Height 58.5 cm (excl. stand) and 67.4 cm (incl. stand) With a modern metal stand. (2) Expert's note: The 5th-century Gupta influence on Tang Buddhist sculpture is manifest in the sensuously rounded body of the present lot, together with the diaphanous robes and jewelry. Two related Tang Dynasty bodhisattvas, standing in contrapposto and currently residing in the Zhengzhou Museum, published in Annette Juliano's Treasures of Ancient China in 1981 (see image section), were unearthed at the site of the Dahai Monastery in Xingyang County, Henan Province. The folds to the robes, the simplified jewelry over the outlined pectorals, and the slightly forward abdominal bulge are all similar to the current lot, which may originate from the same region.Literature comparison: Stylistically, the present figure relates most closely to some of the Tianlongshan figures. Compare a related sandstone figure from Tianlongshan, Shanxi Province, 101.6 cm high, dated approx. 700-750, in the Asian Art Museum of San Francisco, object number B60S6+. The present figure is also related to some of the larger figures from Longmen, such as the standing bodhisattva in a similar pose, with U-shaped drapery folds and roll of material at the waist, illustrated in Longmen Liusan Diaoxiang Ji (The Lost Statues of the Longmen Caves), Shanghai, 1993, p. 71, no. 78. Compare a similar stone figure of a bodhisattva illustrated by O. Siren, Kinas Kunst Under Tre Artusenden, vol. 2, Stockholm, 1943, fig. 73A. For a related figure in white marble with more elaborate realization of the drapery and with one foot placed slightly forward, see the figure from Longyenshan, Hebei, illustrated by W. Willetts, Foundations of Chinese Art, London, 1965, p. 222, fig. 139.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 162 Price: USD 134,500 or approx. EUR 218,000 converted and adjusted for inflation at the time of writing Description: A rare well-carved gray stone torso of a bodhisattva, Tang dynasty, early 8th century Expert remark: Compare the closely related pose, drapery, and folds. Note the related size (63.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 唐代石灰石菩薩殘軀優雅身姿，三曲式，外衣輕薄而貼身，飾有精美的珠寶，如串珠和葉狀項鍊以及花卉紋的吊飾。順著身體結構起伏，雙腿輪廓隱約可見，褶皺線條流暢。灰色石灰石，自然包漿光滑。 來源：美國藝術家 Ed Hardy 私人收藏，Ed Hardy 因其對現代紋身風格發展的強大影響而聞名，以及他的同名服裝和配飾品牌。他可以説是將古代亞洲紋身美學和技術融入西方工作風格的主要推動者，將紋身從邊緣文化帶入主流。 品相：狀態良好，大面積磨損、缺損、刻痕、劃痕、與舊填充物相關的輕微結構裂縫（僅在強藍光下可見）、風化和侵蝕的跡象、結殼。 重量：39.9 公斤 (含底座) 尺寸：高 58.5 厘米 (不含底座) 及67.4 厘米 (含底座) 現代金屬支架 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 162 價格：USD 134,500（相當於今日EUR 218,000） 描述：八世紀初期唐代菩薩殘軀 專家評論：比較非常相近的姿勢、罩衫和皺褶。請注意相近 尺寸 (63.5 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT-BRONZE FIGURE OF AVALOKITESHVARA, LIAO DYNASTY, CHINA, 907-1125Two Scientific Analysis Reports: A technical examination was conducted by Podany Conservation Services, LLC, Los Angeles. The report concludes: “The bronze casting (Figure 1) exhibits no clear evidence of modern origin/manufacture." A copy of the signed examination report, dated 4 March 2021, accompanies this lot. A metal alloy analysis was conducted by Antiques Analytics, Institute for Scientific Authenticity Testing, Dr. Robert Neunteufel, Germany. The report concludes: “The results of the metal analysis are not in contradiction to a manufacture within the Liao Dynasty." A copy of the signed examination report, dated 19 May 2023, accompanies this lot.Superbly cast, seated on a lotus pedestal atop a stepped lobed base, the right hand held in vitarka mudra and the left in avakasha mudra, the bodhisattva clad in cascading loose robes falling in voluminous folds. The serene face with heavy-lidded almond-shaped eyes and lips rendered in a gentle smile, flanked by a pair of pendulous earlobes, all below an elaborate headdress with an incised miniature Amitabha enclosing a high chignon with tresses falling on the shoulders.Provenance: From the collection of Michael Phillips (*1943), the Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, 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 with expected wear to gilt and some casting irregularities as expected. Small dents and losses, shallow surface scratches, a very minor old repair to the back. Naturally grown patina overall, with some distinct and solid malachite encrustations. To the base, a small hole drilled for metal sampling.Weight: 744.1 gDimensions: 18.4 cm Avalokiteshvara is the successor of Buddha Amitabha and will continue to deliver living beings from sufferings when Amitabha attains nirvana. The crown with the miniature Amitabha, like the one shown here, is a key feature of Avalokiteshvara iconography.This free-seated image is an example of classic Liao style, and the modeling of the body is voluminous. The figure has an oval face, refined features, and a solemn expression. The hair, crown, and jewelry are rich with minute detailing. Sumptuous attire and a lotus throne with thick petals are often seen in Liao dynasty statutes. The torso is elongated, and the meandering design of the drapery forms linear patterns.Literature comparison:Compare a closely related smaller figure of Avalokiteshvara in the Museum of East Asian Art, Bath, dated to the Liao dynasty, accession no. BATEA: 277. Also compare a closely related Liao dynasty Avalokiteshvara illustrated in 'Imprints of Buddha: Buddhist Art in the National Palace Museum Collection', in the National Palace Museum Taipei, pp. 148-149, no. 62. Compare a related gilt-bronze figure of Liao dynasty Avalokiteshvara seated on a lotus pedestal, in the Palace Museum, Beijing, published in Classics of the Forbidden City: Guanyin in the Collection of The Palace Museum, Beijing, 2012, pl. 26. Also compare related Avalokiteshvara in the Rijksmuseum, Amsterdam, published in Hai-Wai Yi-Chen: Chinese Art in Overseas Collections, Buddhist Sculpture I, Taipei, 1998, pl. 146.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2019, lot 3104Estimate: HKD 300,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writingDescription: A rare gilt-bronze figure of Avalokiteshvara Liao DynastyExpert remark: Compare the closely related form. Note the similar size (19 cm). Also note the almost complete loss of gilt.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 2008, lot 392Estimate: USD 74,500 or approx. EUR 97,000 converted and adjusted for inflation at the time of writingDescription: A Rare Small Gilt-Bronze Figure of Buddha, Liao Dynasty (907-1125)Expert remark: Compare the closely related form, casting, incision work, and the naturally grown patina overall. Note the smaller size (14 cm). Also note that the gilt is worn off, most similarly as on the present lot.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 18 March 2016, lot 1408Estimate: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writingDescription: A Small Gilt-Bronze Figure of Buddha Vairochana, Liao Dynasty (AD 907-1125)Expert remark: Compare the closely related form. Note the much smaller size (9 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 遼代銅鎏金觀音坐蓮像觀音銅鑄鎏金由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE HUANGHUALI APOTHECARY CABINET (YAOGUI) WITH FOURTEEN DRAWERS, EARLY QING DYNASTYChina, 17th-18th century. The rectangular frame set with a pair of finely figured paneled doors fitted flush with the surface and opening to reveal a pair of smaller doors beneath three rows of three sets of drawers, enclosed by two smaller drawers on both sides and a single larger drawer beneath it. These two smaller doors open to an inner cabinet with a carved frame. Each drawer is fitted with elegant baitong pulls, the exterior with foliate door escutcheons with loose rectangular pulls, rectangular hinges, and loose ring handles set to the sides also made of baitong. The wood of an attractive grain and color with impressive 'ghost eyes' on the cabinet doors.Provenance: Tomlinson Antique House, Geylang, Singapore, before 1995. From a French private collection, acquired from the above and thence by descent. A copy of a Certificate of Antiquity from Tomlinson Antique House, with photos of the present lot and dating it to the 18th century, accompanies this lot. Tomlinson Antique House was established 1976 in Singapore and specializes in antique Chinese furniture and Asian antiquities. Condition: Good condition, commensurate with age, showing old wear and traces of use, light surface scratches, natural age cracks and splits, small losses, tarnishing to the baitong fittings. Possibly with minor replacements, as expected from ancient Chinese furniture with an age of 250 years or more. Overall with a magnificent naturally grown patina, thus displaying exceptionally well.Weight: 52 kg Dimensions: Height 73 cm, Width 71.7 cm, Depth 39 cm Cabinets of this size and form are generally described as traveling bookcases if the interior contains shelves, and as apothecary chests if there are numerous drawers, as in the present example. The large size and luxurious hardwood render these forms quite heavy and not easy to move, and thus they are often described as table cabinets. In fact, the drawers could have been used to store a variety of things from treasured scholarly objects to cosmetics and accessories.Expert's note: See Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Dynasties, vol. I, Hong Kong, 1990, pp. 94-95, for a discussion on apothecary chests.Literature comparison: See a similar example illustrated by Wang Shixiang, Classic Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1986, pl. 159. Another example of smaller size is illustrated in Grace Wu, The Best of the Best, The MQJ Collection of Ming Furniture, vol. 2., Hong Kong, 2017, pp. 334-5. See also a related cabinet, a traveling bookcase with side posts and top rail, in the Minneapolis Museum of Art, illustrated in Robert D. Jacobsen with Nicholas Grindley, Classical Chinese Furniture in the Minneapolis Institute of Art, Minneapolis, 1999, pl. 70.Auction result comparison: Type: Closely related Auction: Bonhams New York, 20 March 2023, lot 87 Price: USD 120,075 or approx. EUR 109,000 converted at the time of writing Description: A rare huanghuali apothecary cabinet, yaogui, early Qing dynasty, 17th century Expert remark: Compare the closely related form, also with fourteen drawers surrounding a central compartment with doors, and baitong mounts with similar pulls and hinges. Note the related size (74.9 x 60.7 x 35.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 21 September 2004, lot 15 Price: USD 77,675 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: A fine huanghuali apothecary cabinet, yaoxiang, 17th century Expert remark: Compare the related form, huanghuali wood, and baitong mounts with similar side handles, pulls, and hinges. Note the related size (78.1 x 71.1 x 38.9 cm) and that the interior encloses twenty-eight drawers.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2019, lot 702 Price: USD 68,750 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A 'huanghuali' square-corner apothecary cabinet (yaoxiang), 17th/18th century Expert remark: Compare the related form, huanghuali wood, and mounts with similar side handles, pulls, and hinges. Note the related size (73.7 x 69.2 x 30.8 cm) and that the interior encloses sixteen drawers.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. 清代早期黃花梨藥櫃，十四個抽屜中國，十七至十八世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

MAITREYA IN THE TUSHITA HEAVEN, AN EXTREMELY RARE GILT-BRONZE FIGURE, XUANDE INCISED SIX-CHARACTER MARK AND OF THE PERIOD, CHINA, 1425-1435Expert's note: Maitreya is visualized here in his manifestation as a princely bodhisattva, teaching in the Tushita heaven, thus with his hands held in dharmachakra mudra, the teaching pose (turning the wheel of the second law), after which Maitreya will leave the Tushita heaven and come upon earth to 'establish the lost truths in all their purity.' Maitreya's face is imbued with compassion, the essential quality of the bodhisattva, with a downward gaze and gentle smile. Maitreya is the only Boddhisattva who is popular among all sects of Buddhism, such as the Mahayana, the Hinayana, and the Vajrayana, and he is often shown with his long hair hanging over his shoulders, such as in the present portrayal.Superbly cast, the bodhisattva seated in vajraparyankasana on a double-lotus base with beaded edges, his hands held in dharmachakra mudra, wearing a dhoti with exquisitely carved folds gathered at the waist and fastened by a beaded girdle and a scarf around the bare shoulders flowing over the arms, revealing the chest adorned with beaded pendent jewelry. The upper surface of the base is engraved with a six-character mark da Ming Xuande nian shi and of the period.Provenance: Spink & Son, London, United Kingdom, c. 1966. Adrian Maynard, London, United Kingdom, acquired from the above and thence by descent within the family. A noted Hungarian collector, acquired from the above after 2015. Adrian Maynard joined Spink & Sons in 1947, where he was appointed Director from 1962 and eventually Deputy Chairman until his retirement in 1984. He was a man of enormous drive and undoubtedly the most flamboyant character to take charge of the Asian art department, which he took to the height of its success. Maynard believed firmly that "a dealer, whose fortune and good name depends on knowing what to buy, has a much greater responsibility to be right about the objects that come into his hands than, say, an academic, who never handles large sums of money." Condition: Good condition with expected old wear. Minimal casting flaws, few minuscule nicks, and remnants of old pigment and varnish. The base retains the original sealing.Weight: 1,520 g Dimensions: Height 18.2 cm Maitreya is richly adorned with further fine bodhisattva jewelry including a foliate crown framing the forehead and tied with billowing sashes at the ears, circular studded earrings, and beaded bracelets, armbands, anklets, and foot adornments. The serene face with a benevolent expression, the eyes with heavy sinuous lids below gently arched brows centered by a raised circular urna. The smiling mouth with full bow-shaped lips, the neatly incised hair drawn up in a knotted jatamakuta topped by a cintamani jewel and falling elegantly in tresses to the shoulders. The base is sealed with a plate, neatly incised with a visvavajra emblem.During the Yuan Dynasty in the 13th and 14th centuries, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals. At the beginning of the 15th century, the Buddhist fervor of the Ming court encouraged a cultural exchange between Tibet and China through Imperial patronage. Bronze sculptures in the Tibeto-Chinese style were first produced during the reign of Emperor Yongle (1403-1424) and are highly distinguished for their unsurpassed craftsmanship, overall refinement, and gracefulness. Emperor Yongle (1403-1425), a devout Buddhist himself, bestowed generous patronage to Buddhist monasteries and artistic ateliers, fostering the production of artworks depicting Tibetan Buddhist deities and imagery in a highly refined style, executed with the highest level of technical mastery. Gilt bronzes were commissioned from the Imperial workshops in Beijing for personal religious practices and as gifts for the many Tibetan emissaries invited to the court.Fewer examples bear the reign mark of Xuande (1425-1435) and the present lot is closely related to its Yongle predecessors, both stylistically and technically. The present figure was made at the Imperial ateliers in Beijing, probably during the early phase of the Xuande period, by the same craftsmen who continued their work from the Yongle period.Literature comparison: Very few other figures of Maitreya from this group of reign-marked, early-15th-century gilt-bronzes have been published. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pl. 343F. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in The Chang Foundation, Buddhist Images in Gilt Metal, Taipei, 1993, cat. 22. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, 147E (later restored without a vase and now in the Aschmann collection). For a related Xuande-marked gilt-bronze figure of Vajrasattva, see The Complete Collection of Treasures of the Palace Museum, Buddhist Statues of Tibet, p. 230, no. 219.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 9 July 2020, lot 2702 Price: HKD 4,325,000 or approx. EUR 516,000 converted and adjusted for inflation at the time of writing Description: A very rare and finely cast gilt-bronze figure of Maitreya, incised Yongle six-character presentation mark and of the period Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark and the related size (20 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 7 October 2010, lot 2144 Price: HKD 6,020,000 or approx. EUR 989,000 converted and adjusted for inflation at the time of writing Description: A fine and rare gilt-bronze seated Maitreya, mark and period of Yongle Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark. 明代宣德六字款罕見銅鎏金兜率天彌勒坐像彌勒佛結跏趺坐於雙層蓮花座上，雙手結法輪印，底座上表面刻有“大明宣德年施"六字款。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN EXTREMELY RARE SILVER-INLAID 'FUDING DING' BRONZE TRIPOD CENSER, SONG TO MING DYNASTYChina, 960-1644. Of archaic ding form, the bowl cast with shallow rounded sides supported on three tall bird-shaped legs, the rim set with two upright loop handles. Finely inlaid in remarkably thin silver wire to the body with bands of scroll, raised bosses and geometric designs against leiwen grounds, stiff pendent leaves enclosing key-fret and S-scrolls, and to the legs with further scroll designs. The bronze with a fine, naturally grown patina with scattered malachite encrustations.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. T.5.6. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. In 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with expected old wear, some corrosion and casting irregularities, few minuscule nicks, light scratches, small dents, and few losses to inlays.Weight: 298.4 gDimensions: Height 10.3 cm Literature comparison:This finely cast bronze vessel is after late Shang and early Western Zhou period archaic ding. Compare a Western Zhou bronze censer of this form, dated 11th-10th century BC, preserved in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.20. The hemispherical body, handles and flattened legs of this censer relate to several bronze tripod censers of Shang dynasty date, illustrated by Robert W. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1987, pp. 448-51, figs. 80.2-80.4, no. 81 and fig. 81.1. For further examples, see one in the Palace Museum, Beijing, illustrated in Bronzes in the Palace Museum, Beijing, 1999, pl. 86, standing on related bird-form feet; and the late Shang dynasty bronze fangding, its legs cast as birds standing on their long tails, illustrated in Ancient Chinese Bronzes from the Stoclet and Wessen Collections, Eskenazi London, 1975, cat. nos. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 3 April 2012, lot 155 Price: HKD 275,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writing Description: An archaistic bronze censer, Ming dynasty Expert remark: Compare the closely related form. Note the complete lack of inlay decoration. 宋至明錯銀三足銅爐中國，960-1644年。古鼎式，淺圓邊，鳥形足，雙耳直立。精細的錯銀線，雷紋，芭蕉葉與雲紋。銅爐有細膩的自然包漿，綠色結殼。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號T.5.6。 品相：狀況良好，有磨損、一些腐蝕和鑄造不規則、微小刻痕與劃痕、小凹痕以及少量鑲嵌缺損。 重量：298.4 克 尺寸：高 10.3 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2012年4月3日，lot 155 價格：HKD 275,000（相當於今日EUR 42,500） 描述：明青銅仿古「鳥紋」出戟雙耳三足爐 專家評論：比較非常相近外形。請注意此爐沒有鑲嵌裝飾由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A COPPER-INLAID COPPER ALLOY FIGURE OF DEVI, NEPAL, 10TH-11TH CENTURYExpert's note: The remarkable degree of wear originating from sustained ritual procedures is a common trait of the earliest Nepalese sculpture that is directly handled during worship. With the features almost worn smooth, the present figure's divine face has taken on an additional ethereal trait, amplifying her divine qualities.Elegantly cast standing on a pedestal with her legs crossed, shifting her weight to the right, holding a copper-inlaid lotus stem in her right hand, her dhoti drawn tightly over her thighs and neatly incised, her body richly adorned with beaded jewelry, the hair pulled back with a jeweled crown atop.Provenance: Wiener Kunstauktionen, Vienna, Austria, 29 September 1994, lot 1124. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original invoice from Wiener Kunstauktionen, dated 29 September 1994, describing the present lot as a figure of Devi, confirming the dating above, and stating a purchase price of ATS 22,196 (or approx. EUR 3,000 adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tight-knit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with extensive wear, predominantly from centuries of worship within the culture. Remnants of gilt. Tiny nicks, losses, and light scratches. The base with an old fill.Weight: 102.9 gDimensions: Height 8 cm As Lakshmi, Parvati, and Tara are all known to hold the lotus seed as an attribute, Devi (the Sanskrit word for goddess) is an encompassing term that refers to the goddess regardless of her many forms. Having had several names during her long published history, statues such as the present lot have most commonly been identified as Devi on the basis of the ambiguity of her lone attribute, the lotus seed or gem.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 7 October 2019, lot 924 Price: HKD 250,625 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A gilt copper figure of Surya, Nepal, circa 10th century Expert remark: Compare the closely related manner of casting, copper alloy material, and extensive wear. Note the slightly larger size (11.6 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2014, lot 1037 Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Padmapani, Nepal, Licchavi period, circa 10th century Expert remark: Compare the related style, material, casting technique and wear from worship within the culture. Note the slightly larger size (10.8 cm). 尼泊爾十至十一世紀鎏金鑲銅提毗像神女造型優雅，盤腿立於台座上，重心右移，右手執鑲銅蓮花莖，腰係布巾，身上綴滿珠飾，頭髮向後梳，頭頂鑲寶王冠。 專家注釋：由於祭祀儀式造成的顯著磨損是尼泊爾造像的一個共同特徵。隨著五官幾乎被磨得光滑，現在的女神臉龐呈現出更加祥和的特徵，增添了她的神聖品質。 來源：奧地利維也納藝術拍賣，1994年9月29日，lot 1124；Mara與Johannes Nickl收藏，購於上述拍賣，在同一家族保存至今。隨附一份維亞納藝術拍賣行1994年9月29日出具的原始發票複印件，描述這件拍品為提毗像，確認了斷代，售價為 ATS 22,196 (或相當於 EUR 3,000 ，根據通貨膨脹率)。 品相：狀況良好，大面積磨損，應爲使用所致。鎏金殘餘，微小的刻痕、缺損和輕微的劃痕。底座舊時填補。 重量：102.9 克 尺寸：高 8 釐米 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2019年10月7日，lot 924 價格：HKD 250,625（相當於今日EUR 32,000） 描述：尼泊爾約十世紀銅鎏金太陽神像 專家評論：比較非常相近的鑄造風格、銅合金和大面積磨損。請注意尺寸稍大 (11.6 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT COPPER-ALLOY REPOUSSE FIGURE OF BUDDHA AMITABHA, WITH AN INSCRIPTION REFERRING TO THE SECOND KIRTI LAMA, TENPA RINCHEN (1474-1558)Tibet, 15th-16th century. Seated in vajraparyankasana on a double-lotus base with beaded edges, neatly incised at the top beneath each knee with consecrated and dedicatory inscriptions. His hands are lowered in dhyana mudra. He is wearing a long flowing robe finely incised with foliate designs at the hems and gathering in carved folds at the base. The serene face with heavy-lidded, painted eyes, gently arched brows centered by an urna, and full lips forming a calm smile. The hair arranged in tight curls over the domed ushnisha topped by a jewel.Inscriptions: The complete translation of the inscription reads: “chos rje bstan pa’i rin chen nas bzhengs so“ (this was constructed by (or for) the Lord of Dharma, Tenpai Rinchen) and “jig rten ‘od“ (the light of the world).Provenance: Ute Asboth, Galerie Asboth, Vienna, May 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original expertise letter written and signed by Ute Asboth, describing the illustrated present bronze as a gilt copper repousse figure of Amitabha and dating it to the 17th century, accompanies this lot. A copy of the original handwritten receipt, written and signed by Ute Asboth, dated 31 May 2000, accompanies this lot. Ute Asboth (c. 1927-2018) began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art.Condition: Very good condition with expected old wear, small dents, few tiny losses, light scratches. The base unsealed.Weight: 929 gDimensions: Height 26.5 cm The Second Kirti Lama, Tenpa Rinchen (1474-1558) was born in a place called Dungsha in the lower region of Ngawa, in Amdo. In 1489, at the age of sixteen, he traveled to U, where he studied medicine under a physician named Dondrub and the sutras of Maitreya under Lama Chopel Zangpo at a hermitage named Rakhadrak. He studied Abhidharma and Vinaya under Meru Jampa Rinchen, who, in 1493, gave him full ordination together with the name Tenpa Rinchen Chokyi Gyeltsen. After studying sutra and tantra for six years, he received empowerments for various dharma protectors from the Sakya lama Kunga Rinchen, after which he went into retreat for three years. In total, he spent fourteen years in U, returning home in 1504 at the age of thirty-one.Upon his return, Tenpa Rinchen first went to Tala Hermitage in Taktsang Lhamo, which had been established by Rongchen Gendun Gyeltsen (1374-1450). There he gave empowerments and teachings on language, poetry, medicine, and astrology. He lived at Tala for seven years, expanding it and overseeing the community. Afterwards, he announced that he was the reincarnation of Rongchen Gendun Gyeltsen, and then went to Kalari Kirti monastery, which Gendun Gyeltsen had established in 1412 as his seat. He took for himself the title of Kirti Lama, and posthumously gave the title of the First Kirti to Gendun Gyeltsen.As part of his activity in expanding the Gelug tradition in Amdo, he converted a Jonang monastery to Geluk, apparently by force. In retaliation, a Jonang Tulku sent the army of Tsangpa Lhundup Rabten to attack Kalari Kirti Monastery, forcing Tenpa Rinchen to flee. He was invited to Muge Monastery in Ngawa, where he gave teachings. At around the same time, the Chinese Ming Emperor Zhengde invited him to China. He declined the invitation but he did a divination for the Emperor and recommended what prayers he should read. Zhengde again sent an envoy with gold and silver gifts and an ivory stamp, which read 'The Precious Accomplished and Enlightened Teacher'. 鎏金銅阿彌陀佛像，刻有第二世格爾登喇嘛丹巴仁欽 (1474-1558) 銘文西藏，十五至十六世紀。阿彌陀佛呈金剛菩提坐於雙層蓮座上，膝蓋下方頂部整齊地刻有銘文。佛陀雙手低垂，結禪定印，面容安詳，雙眼微閉，雙眉之間有白毫，面露微笑，螺髻。身著一件袈裟，蓮座邊緣飾有串珠紋。款識: 底座頂部，佛陀左膝下方，寫有“Jigten Hoe"，後面是數字或日期； 右膝下方刻有“Choe Je Tenpa Rinchen Ne She So"。 來源: Ute Asboth, 維也納Asboth藝廊，2000年5月；Maria與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份由Ute Asboth出具的鑒定書複印件，上可見關於造像的描述並斷代為十七世紀。Ute Asboth (約1927-2018) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯，之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版，她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作，並策劃了幾個著名的展覽。Maria (1926-2022) 與 Johannes Nickl (d. 2020) 曾生活在奧地利維也納，是知名的亞洲藝術、佛教藝術以及埃及手工藝品收藏家。品相: 狀況極好，有磨損、小凹痕、輕微缺損、輕微劃痕。 底座未密封。 重量: 929 克 尺寸：高 26.5 厘米

A LARGE AND HIGHLY IMPORTANT ZITAN AND GILT-LACQUERED STATUE OF SARIPUTRA, THE FIRST OF BUDDHA'S TWO CHIEF DISCIPLES, CHINA, 1520-1580The Ming dynasty's largest surviving Zitan sculpture.Scientific Analysis Report: The result of a radiocarbon dating test (C14) conducted by Re. S. Artes, no. C 245112A, 2 August 2023, based on one sample taken from the wooden core of the figure, is consistent with the dating of this lot. The report states a probability of 95.4 % for a dating range of 1517-1656, of which a predominant probability of 63.5 % is for the range of 1517-1589. Copies of the analysis certificate and the detailed scientific report accompany this lot. X-Rays: Conventional X-ray scans conducted in 2023 confirm the existence of multiple vertical cavities within the statue. Some of these voids may still hold ancient scriptures, or sutras, on paper and/or textile. It's important to note that an X-ray image captured in 1985 (published in Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48) using an X-ray image intensifier (XRII) discloses the possible presence of several objects, which remain beyond the purview of standard X-ray imaging methods. Given that the statue is hermetically sealed and must remain unopened, the actual confirmation of its contents is unattainable, thus precluding any assurance regarding their nature.The face and the exposed body are gilded overall. He is powerfully carved standing in samabhanga, his right hand held in karana mudra, and his left in dhyana mudra. His voluminous monastic robe is precisely carved with undulating folds and outlined in gold with patchwork, the hems similarly decorated with scroll and lozenge diaper, the undergarment with floral designs. His serene face shows heavy-lidded eyes, picked out in ancient pigments, gently arched brows, and bow-shaped lips forming a calm smile, flanked by pendulous earlobes, his short hair lacquered entirely black.His back shows a rectangular aperture for consecration, and another to the back of his head, both sealed (see X-Ray section for more details).The wood shows an attractive grain and elegant deep-red color, as expected from Zitan with a naturally grown patina, that is 500 years old.The disciple stands on a finely carved, lacquered, and fitted wood pedestal decorated with overlapping lotus petals below a thickly beaded edge, dating from the 1700-1750 (see condition report and expert's note for more details).Condition: The statue is in superb condition, especially considering its high age of half a millennia and the rather sensitive Zitan wood. It is constructed of meticulously joined pieces of wood. Expected old wear, rubbing to gilt, and natural age cracks. Occasional light scratches, few minuscule chips. The original base is lost (see expert's note) and was replaced between 1700 and 1750 with the present pedestal, which is in good condition with expected old wear, natural age cracks, minor flaking to lacquer and small losses.Provenance: - Collection of Anton Exner (1882-1952), Vienna, Austria, acquired in the Republic of China after the Xinhai Revolution of 1911- Collection of Walter Exner (1911-2003), Bad Wildungen, Germany, acquired from the above after 1945- Galerie Zacke, Vienna, Austria, acquired from the above and exhibited in 1985- A noted private collection in Vienna, AustriaAnton 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.Walter Exner (1911-2003), among other family members, inherited parts of the vast collection, which he had built together with his father from 1935 onwards, after their first joint trip to East Asia. He spent a year in Beijing from 1936 to 1937 and from 1956 to 1963, he directed the Asian Institute in Frankenau, Germany, which he founded, as well as its museum. The present lot was exhibited at the opening of this museum in June 1956. In 1965, Walter Exner moved the institute and the museum to Bad Wildungen, Germany. To fund the museum, he deaccessioned pieces from the collection until his passing in 2003.Published: Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48.Exhibited: Asien-Institut Frankenau, 1956-1963 Asien Institut Bad Wildungen, 1965-1977 Galerie Zacke, Vienna, 1985Weight: 20.1 kgDimensions: Height 91 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2002, lot 69 Price: USD 116,000 or approx. EUR 182,000 converted and adjusted for inflation at the time of writing Description: A very rare zitan and gilt-lacquered figure of Shakyamuni, Tibeto-Chinese, Yongle nine-character mark and period Expert remark: Compare the closely related material, lacquer gilding, modeling with similar robe and face, and sealed aperture to the back. Note the Yongle reign mark to the base. Also note the much smaller size (33 cm).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.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE GILT-LACQUERED BRONZE FIGURE OF THE MEDICINE BUDDHA (BHAISAJYAGURU), MING DYNASTYChina, 1368-1644. Finely cast, the Buddha is seated in dhyanasana with his right hand extended in varadamudra while holding a small myrobalan fruit and his left raised above his lap. He wears monastic, loosely draped, and layered robes, belted at the waist and opening at the chest. His serene face with heavy-lidded eyes below elegantly arched brows centered by a circular urna, his full bow-shaped lips forming a calm smile, flanked by long pendulous earlobes. His hair is dressed in tight curls that continue up over the domed ushnisha.Provenance: From the collection of Captain Peter Dircks and thence by descent in the same family. Peter Leonardus Dircks (1883-1954) was a naval officer in the Siam Steam Navigation Company. He was posted between the ports of Beijing, Shanghai, Singapore, Bangkok, and Jakarta, and during his time with the Company he developed a profound interest and knowledge of Asian antiques and works of art. After years of travel, Dircks arrived in Copenhagen in the late 1920s, eventually settling in the Danish capital. From this time until his death in 1954, he kept collecting permanently.Condition: Good condition, commensurate with age. The lacquer coating is ancient and original, with absolutely no restoration whatsoever - something that is exceedingly rare to find. Old wear, signs of weathering and erosion, encrustations, flaking to lacquer, nicks, scratches, minor dents. Figure and stand do not fit 100% perfectly, possibly due to heat influence at some point in time, but definitely belong together originally. The bronze is covered overall in a rich, naturally grown, dark patina and displays exceptionally well.Weight: 15.1 kgDimensions: Height 49.6 cm The figure is raised on a separately cast lotus base comprised of three tiers of naturalistic petals above an openworked foot of scrolling foliage. (2)Auction result comparison: Type: Related Auction: Christie's London, 3 November 2020, lot 75 Price: GBP 43,750 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A lacquered gilt-bronze figure of Buddha Shakyamuni, 16th century Expert remark: Compare the closely related modeling as well as the related lacquer gilding, also flaking off in some minor areas. Note the lacking base and the much smaller size (38 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 777 Price: USD 250,000 or approx. EUR 254,000 converted and adjusted for inflation at the time of writing Description: A gilt-lacquered bronze figure of the Medicine Buddha, Ming dynasty Expert remark: Compare the closely related subject, modeling with similar pose, robes, expression, hair, and separately cast base, manner of casting, and lacquer-gilding. Note the larger size (71.1 cm). 明代鎏金漆藥師佛銅像中國，1368-1644年。此尊髮髻高束，面龐豐腴，雙目垂俯，眉間有白毫，相容和熙，頭髮成螺髻。肩胸寬厚，體態飽滿。身著敞胸袈裟，衣緣鏨刻精美的纏枝花卉，折疊曲复，流回自然。左手結禪定印，右手指地結觸地印，跏趺端坐於仰覆蓮台座。 來源：來自 Peter Dircks 船長的收藏，在同一家族傳承； 品相：狀態良好，漆層沒有經過任何修復。磨損、風化和侵蝕跡象、結殼、漆層剝落、刻痕、劃痕、輕微凹痕。造像和底座並非完美契合，但絕對是一套。造像整體上覆蓋著一層自然神色包漿。 重量：15.1 公斤 尺寸：高 49.6 厘米 底座鏤空，飾卷葉紋 (2) 拍賣比較： 形制：相近 拍賣：倫敦佳士得，2020年11月3日，lot 75 價格：GBP 43,750（相當今日EUR 65,500） 描述：明十六世紀鎏金銅紅金漆釋迦摩尼佛坐像 專家註釋：比較非常相近模型、相近金漆鎏金，有些地方漆層剝落。請注意 模有底座和尺寸較小 (38 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2021年9月24日，lot 777 價格：USD 250,000（相當今日EUR 254,000） 描述：明銅漆金藥師佛坐像 專家註釋：比較非常相近主題、相似的姿勢、長袍、表情、髮型和另外鑄造的底座、鑄造風格，以及金漆鎏金。請注意 尺寸較大 (71.1 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A REMARKABLY FINE THANGKA DEPICTING SIX ARHATS, TIBET, 18TH CENTURYThe upper section with Kanaka Bharadvaja seated on a throne with a kundika, alms bowl, and lotus leaves beside him, his hands held in dhyana mudra, flanked below by Pindola Bharadvaja seated on a cushion holding a manuscript and alms bowl as well as Cudapanthaka seated with his hands folded in front, all above the central Rahula holding a foliate crown. The lower section depicts Panthaka seated on an elaborate throne with his right hand in vitarkamudra while the left holds a manuscript, beside Nagasena placed on a bench resting against a cushion holding a khakkhara in his right hand and a vase in his left.Provenance: From a private collection in southern Corsica, France, acquired 1992 or earlier, and thence by descent in the family. The back of the frame with a signed label from the Corsican framer, dated 10 September 1992.Condition: Good condition with old wear, some soiling and abrasions, light creasing, minor losses. Not inspected outside the frame.Dimensions: Image size 63.4 x 46 cm, Size incl. frame 72 x 51 cm Each arhat with an identifying inscription, the border with further inscriptions. All are clad in monk's garments, surrounded by worshipers or attendants, and placed in a verdant mountain landscape with deer, a tiger, and long-tailed birds perched on a fruiting tree, with exquisite rockwork and trickling streams that roll elegantly down the hillside. The lower section with a Nagini emerging from the water holding a sacred jewel. Ushnishavijaya is seated on a lotus cushion, backed by a mandorla and halo, in the upper right corner amid swirling clouds.Distemper and gold on cloth. Framed behind glass. (2)The present painting belongs to a noted group of thangkas, always depicting several of the Sixteen Arhats. The grouping of sixteen Arhats was brought to Tibet from India and they are well represented in Tibetan art. They are also known as the sixteen sthaviras (elders) and are the subject of a liturgical practice associated with the festival of the Buddha's birth, composed by the Kashmiri teacher Shakyahribhadra (1127-1225).Literature comparison:Compare a six-part set of related arhat thangkas dated to the 19th century, from the Alice S. Kandell Collection and now in the National Museum of Asian Art, Smithsonian Institution, accession numbers S2013.28.1-6.Auction result comparison: Type: Related Auction: Christie's London, 7 November 2014, lot 490 Price: GBP 30,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A thangka depicting four arhats, Tibet, ca. 17th century Expert remark: Compare the related subject and manner of painting. Note the size (59.1 x 41.9 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2012, lot 354 Price: USD 15,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A pair of arhat thangkas distemper on cloth laid on boar, Tibet Expert remark: Compare the related subject and manner of painting. Note this lot comprises a pair. Note the size (56.5 x 36.2 cm). 西藏十八世紀六羅漢唐卡半部分是迦諾迦跋厘尊者坐在寶座上，身旁有軍持壺、施捨缽和蓮葉，雙手結禪定印；賓度羅跋囉尊者坐在坐墊上，手裡拿著經書和施捨缽，而注荼半吒迦尊者雙手合十，坐於中央羅睺羅之上，手持葉冠。下半部分描繪了半託迦尊者坐在精緻的寶座上，右手結了維塔卡手印，而左手則拿著一份經文，旁邊的那迦犀那尊者坐在長凳上，右手拿著錫杖，左手拿著花瓶。來源：法國科西嘉島南部的私人收藏，1992 年或更早購得，家族傳承。框架背面帶有科西嘉框架製造商的簽名標籤，日期為 1992 年 9 月 10 日。 品相：狀況良好，有磨損，一些污垢和擦傷，有輕微摺痕。未在框架外進行檢查。 尺寸：畫面63.4 x 46 厘米，總72 x 51 厘米 文獻比較: 比較一件相近的十九世紀羅漢唐卡，來自Alice S. Kandell收藏，現藏於史密森學會國立藝術博物館，館藏編號S2013.28.1-6。 拍賣比較： 形制：相近 拍賣：倫敦佳士得，2014年11月7日，lot 490 價格：GBP 30,000（相當今日EUR 52,000） 描述：約十七世紀四羅漢唐卡 專家註釋：比較相近的主題和繪畫風格。請注意尺寸 (59.1 x 41.9 厘米)。 拍賣比較： 形制：相近 拍賣：紐約蘇富比，2012年3月21日，lot 354 價格：USD 15,000（相當今日EUR 18,500） 描述：西藏一對布製羅漢唐卡 專家註釋：比較相近的主題和繪畫風格. 請注意此為一對，以及尺寸 (56.5 x 36.2 厘米)。