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A GILT-BRONZE STANDING FIGURE OF BUDDHA, UNIFIED SILLA DYNASTY, KOREA, 8TH - 9TH CENTURYFinely cast standing with his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing thickly cast voluminous robes which drape from his chest to his ankles in neatly carved U-shaped folds. His serene face with heavy-lidded eyes below gently arched brows, his full lips forming a calm smile, flanked by long pendulous earlobes. The hair arranged in tight curls over the domed ushnisha.Provenance: From the collection of Mr. and Mrs. John Marsing, and thence by descent in the same family. John Marsing (1918-1998) was a Danish businessman who, at the age of 20, had established a pharmaceutical company, Marsing & Co. The firm expanded during the mid-20th century and had branches all over Europe, Canada, and Korea. Marsing was very interested in Asian culture and a passionate collector of Asian works of art, particularly from the Himalayas, China, and Korea. He built a substantial collection over decades, buying in Asia and from antique dealers in Denmark as well as auction houses all around Europe.Condition: Good condition, commensurate with age. Extensive wear, particularly to gilt, signs of weathering and erosion, minor fatigue cracks to the neck, nicks, scratches, losses, casting flaws, encrustations. The bronze with a fine, naturally grown, dark patina.Weight: 1,511 g (incl. stand) Dimensions: Height 25.6 cm (incl. stand) and 20.6 cm (excl. stand) Mounted on a wood stand. (2)The backside of the figure is hollowed with an oval opening at the back of the head above a second, oblong opening at the body, the latter with remnants of a peg inside.The present figure exemplifies the refined style of Buddhist sculpture from the Unified Silla dynasty, which lasted from the late seventh through the ninth centuries and was a period of political stability when an international style held sway throughout East Asia.Literature comparison: For a related figure in the collection of the Nezu Museum, see Matsubara Saburo, ed., Kankoku kondobutsu Kenkyu (Study of Korean gilt bronze Buddhist figures), 1985, page 167 b. Auction result comparison: Type: Closely related Auction: Christie's New York, 25 April 2017, lot 82 Price: USD 106,250 or approx. EUR 122,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze standing figure of Buddha, Unified Silla dynasty, 8th-9th century Expert remark: Compare the closely related manner of casting and modeling with similar robes and pose, as well as the similarly hollowed reserve at the backside, with three openings. Note the similar size (18.4 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 16 March 2021, lot 252Price: USD 162,500 or approx. EUR 173,000 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze standing figure of Buddha, Unified Silla to Early Goryeo dynasty, 9th-10th centuryExpert remark: Compare the closely related manner of casting and modeling with similar robes and pose, as well as the similarly hollowed reserve and extensive wear to gilt. Note the larger size (25.4 cm). 韓國八至九世紀新羅王朝鎏金銅佛立像佛陀立像，右手舉起施無畏印，左手低垂，結與願印；身穿寬大袈裟，從胸前垂至腳踝，衣紋流暢。他面容平靜安詳，雙眼微閉，嘴唇露出微笑，兩側是長耳垂，頭髮在頭頂成螺髻。 來源：John Marsing私人收藏，在同一家族保存至今。 品相：狀況良好，嚴重磨損，尤其是鎏金、風化和侵蝕跡象、頸部輕微裂紋、刻痕、劃痕、結殼。自然包漿。 重量：1,511 克 (含底座) 尺寸：高 25.6 厘米 (含底座) 與20.6 厘米 (不含底座) 木底座 (2) 造像背面為空心，頭後部與身體上個有一個橢圓形開口，有一個釘子的殘餘。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2017年4月25日，lot 82 價格：USD 106,250（相當今日EUR 122,000） 描述：八至九世紀新羅王朝鎏金銅佛立像 專家註釋：比較非常相近鑄造風格、相似的長袍、姿勢，以及背面空心有三個洞。請注意相似的尺寸 (18.4 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2021年3月16日，lot 252 價格：USD 162,500（相當今日EUR 173,000） 描述：九至十世紀新羅王朝製高麗王朝鎏金銅佛立像 專家註釋：比較非常相近鑄造風格 、相似的長袍、姿勢，以及背面空心和鎏金磨損。請注意尺寸較大 (25.4 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 GOLD REPOUSSE PECTORAL PENDANT DEPICTING TWO GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYPublished: The Zelnik Istvan Southeast Asian Gold Museum, Budapest, 2013, page 49.The crescent-shaped pectoral is finely chased, embossed, and incised, with a band of lotus petals along the upper rim above two mirroring Garuda flanking a neatly inlaid, central chalcedony intaglio depicting a four-armed deity, all surrounded by repeating stylized sword designs. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Very good condition, commensurate with age. Some old wear, small manufacturing irregularities, very minor old repairs, and light tarnishing, all as to be expected for a gold object more than a thousand years old.Weight: 24.6 g Dimensions: Length 14.9 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents, is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita, or soma. Garuda performed that feat, thus giving the snakes the ability to slough off their old skins, and, on his way back from the heavens, Garuda met Vishnu and agreed to serve him as his vehicle and also as his emblem. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes Images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on ritual vessels and jewelry, like this lot. Garuda, also referred to as Garula, are golden-winged birds in Buddhist texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 4 December 2020, lot 22 Price: EUR 13,904 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: An extremely rare and fine Cham gemstone-set gold repousse crown with Garudas Expert remark: Compare the closely related material, repousse decoration, and Garuda motif. Note the different form and the size (14.5 cm). Note this crown was also previously in The Zelnik Istvan Southeast Asian Gold Museum.

AN IMPORTANT SILVER-INLAID GOLD REPOUSSE BOWL DEPICTING GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYSuperbly worked, the deep rounded sides supported on a tall faceted foot and flaring to a beaded rim, finely decorated to the exterior with overlapping trefoil-arched panels enclosing rosettes and scrolling foliage, below interlocking scrolling vines. The foot with square panels and indented corners enclosing rosettes, all against ring-punched grounds. The interior with a circular silver-inlaid base depicting a winged Garuda with human face, wearing a richly incised dhoti, foliate crown, and fine jewelry, his arms raised as if about to take flight, surrounded by leafy lotus blossoms, enclosed by a beaded border. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Good condition, commensurate with age, with old wear and casting flaws, small losses, some tarnishing, and dents, all exactly as expected of a gold object more than a thousand years old.Weight: 243.9 g Dimensions: Diameter 18.8 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita or soma. Garuda performed the feat, thus giving the snakes the ability to slough off their old skins, and on his return Garuda met Vishnu, agreeing to serve him as his vehicle. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on jewelry and ritual vessels, like this lot. Garuda, also known as Garula, are golden-winged birds in Buddhist religious texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Expert's note: Depictions of Garuda with a human face like on the present lot are considerably rarer than their bird-faced counterparts, but are found across different cultures and materials. Compare an ivory relief depicting Garuda from Nepal, 10 cm high, dated to the 14th century, in the Victoria & Albert Museum, accession number IS.124-1999. Compare a bronze plaque depicting Garuda from East Java, 12.7 cm high, dated c. 1300, in the Norton Simon Museum, accession number P.2003.01.10. Compare a terracotta sculpture of Garuda from Western Thailand, 48 cm high, dated to the first half of the 7th century, excavated from site 40, Khu Bua, Ratchaburi Province, by the Fine Arts Department, Thailand, in 1962, and now in the National Museum, Bangkok, exhibited by the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April-27 July 2014. Compare a granite figure of Garuda from India, Tamil Nadu, 137.8 cm high, dated second half of the 8th to early 9th century, in the Metropolitan Museum of Art, accession number 1983.518. Compare a gray schist turban ornament with Garuda from Gandhara, 11.4 cm high, dated 2nd-3rd century, at Christie's New York, 18 March 2015, lot 4009.

AN IMPORTANT BRONZE STATUE OF BUDDHA WITHIN A FLAMING AUREOLE, INDONESIA, CENTRAL JAVA, 8TH-9TH CENTURYGracefully cast, the standing Buddha holds both hands out in chin mudra, the gesture of consciousness, evoking peace and concentration. He is clad in a long diaphanous sanghati, his face with sinuously lidded downcast eyes and full lips, the hair arranged in snail-shell curls around the ushnisha. The head is backed by a circular aureole, from which twelve lambent flames emerge, the twelfth flame hidden behind Buddha's back.Provenance: Collection of Paul J. Jewell, acquired 1984 in Singapore. A copy of a provenance statement written and signed by Paul J. Jewell, dated 15 April 2023, confirming the provenance stated above, accompanies this lot. Paul J. Jewell lived and worked in South East Asia for over 20 years, serving as the executive director of the European Chamber of Commerce in Vietnam. To this day, he continues to collect Asian art and antiquities. Condition: Excellent condition, commensurate with age, with ancient wear, minor signs of weathering and erosion, expected casting irregularities, small losses and nicks. The bronze encrusted with a rich, naturally grown patina of vibrant malachite-green color overall. Displaying exceptionally well.Weight: 3,050 g (incl. stand) Dimensions: Height 33.1 cm (incl. stand), 28.2 cm, (excl. stand) Mounted to a wood and metal stand. (2)Expert's note: Buddhist art produced in Indonesia during the 8th and 9th centuries under the patronage of the Shailendra dynasty displays a unique amalgam of regional artistic styles borrowed from the Indian subcontinent. The flowing contours of the body subtly delineated beneath the diaphanous garment are reminiscent of the Gupta style of northern India while the sloping shoulders and oval face with full cheeks recall the Sri Lankan Buddha images produced in Anuradhapura during the 7th and 8th centuries.In Buddhist art, the nimbus is often imagined as consisting not just of light, but also of real flames. While this type seems to first appear in Chinese bronzes of which the earliest surviving examples date from before 450, it became something of a hallmark for the most important Chola bronzes, such as Shiva Nataraja, an image which emerged around 800 AD in Southern India, at the height of the Chola Empire. In the present statue, the depiction of the twelve flames is rather formal, as they are neatly arranged in identical intervals around a ring aureole, almost like on an ancient sundial.Literature comparison:Compare a related Javanese bronze standing figure of Buddha, 19 cm high, dated 9th-10th century, in the British Museum, registration number 1859,1228.98. Compare a related Javanese bronze figure of a seated Buddha Vairocana, 19.4 cm high, dated late 9th century, in the Metropolitan Museum of Art, accession number 1987.142.23. Compare a related Indonesian bronze figure of Buddha, 26.7 cm high, dated 7th-8th century, in the Metropolitan Museum of Art, accession number 1993.64.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 148 Price: USD 22,500 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha, Indonesia, Srivijaya, Palambang, 8th century Expert remark: Compare the closely related facial features and pose. Note the similar size (34.3 cm) and patina. Also note the extensive weathering, losses, and other condition issues.

A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.

A LARGE BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEExhibited: Los Angeles County Museum of Art, USA, according to the expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001.Khmer Empire, late 12th to early 13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity is clad in a short sampot with fishtail pleat and jeweled sash, to the back a flared tang. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, an aquiline nose, an urna, and full lips.Provenance: Former Pan Asian Collection. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001, confirming the dating and provenance above, accompanies this lot. The expertise also states a 'replacement value' of 170,000 FF or EUR 37,500, converted and adjusted for inflation. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Excellent condition, commensurate with age. There is extensive wear, some casting flaws, minor losses, signs of weathering and erosion, small nicks and shallow surface scratches, all as expected from a Khmer bronze of nearly 1,000 years of age. Faint remnants of gilt.Weight: 3,557 gDimensions: Height 38.8 cm Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. Also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 42,500 adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Note the smaller size (32 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 10 December 2002, lot 114Price: EUR 33,460 or approx. EUR 52,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, bronze figure of PrajnaparamitaExpert remark: Note the larger size (46 cm).

A SILVER-INLAID BRONZE FIGURE OF BUDDHA VAIROCANA, SWAT-VALLEY, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 1 September 2020, based on sample number N120d91, confirms the object is “consistent with the suggested period of manufacture." A copy of the report, issued by Oxford Authentication, accompanies this lot.Depicted in the sambhogakaya form, Vairocana holds his hands in the bodhyagrimudra while sitting atop a pedestal supported by two anthropomorphic Buddhist lions. The lions have humanized faces, silver-inlaid eyes, snail-curled hair, and are standing atop a lotus base. The Vairocana wears an ornate crown, tied on both sides with ribbons which drape down around his arms and hang from the pedestal. His face is serene, set with almond-shaped eyes with silver inlays to the pupils and central urna. The back with a tang for attachment to a temple structure.Provenance: From the private collection of Michael Phillips. 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. Expected signs of wear, corrosion and weathering with only small remnants of gilt remaining. The naturally grown patina has distinct malachite and cuprite encrustations and was at some point coated with a layer of varnish or wax for conservation purposes. Some losses, dents and scattered nicks.Weight: 3,090 g Dimensions: Height 26.3 cm The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.The iconography of the crowned Buddha Vairocana has been a subject of dispute amongst scholars due to the lack of clear lines of interpretation within the imagery. Many conclude the crown is intended to denote Sakyamuni as a cakravartin or universal Buddha while some suggest it represents a sambhogakaya Buddha in Mahayana Buddhism. In her 2018 article Images of the Crowned Buddha along the Silk Road, Rebecca Twist examines the iconography of Silk Road crowned Buddhas and concludes the recurring evidence points to the crowned Buddha as sambhogakaya as an early esoteric meditational construct. Many of the Buddha Vairocana that Twist examines are closely related to the present lot. According to Twist, these similar figures which appear from various locations along the Silk Road “demonstrate a systematic form of transmission and religious syncretism in both iconography and ideology." The present lot is a part of the clear pattern of deliberate core iconographic elements which recur in crowned Buddha Vairocana figures along the Silk Road. These elements included the sambhogakaya form, the embodiment of dharmakaya, the bodhyagrimudra, and the similarly styled crown.Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2021, lot 306 Price: USD 50,312 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of a Bodhisattva, Swat Valley, circa 8th century Expert remark: Note the similar patina, the roves with a single narrow sash across the chest, the silver inlaid eyes and urna, and the closely related crown. Note the much smaller size (13 cm).Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 3009 Estimate: USD 450,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Vairocana, Swat Valley, 8th/9th century Expert remark: Note the closely related pose, the similar crown and garments, the Buddhist lions which support the Vairocana atop the lotus pedestal, and the single ring molded to the back of the figure for mounting. Note the size (17.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 七至八世紀斯瓦特谷銅錯銀毘盧遮那佛毘盧佛施智拳印，全跏趺坐。半圓形台座正面有毘盧佛的坐騎--兩頭獅子（立姿）。毘盧佛頭戴華麗王冠，兩側飾有絲帶，從他的手臂上垂下，並懸掛在底座上。面容安詳，瞳孔鑲銀，雙眉之間有白毫。背面有支腳，用於固定到寺廟結構上。 科學檢測報告：牛津認證公司於 2020 年 9 月 1 日出具了一份基於樣品編號 N120d91 的熱釋光分析報告確認該造像“與建議的製作日期一致"。該拍品隨附一份報告副本。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 FINE PAINTING OF A BODHISATTVA OF THE DIAMOND REALM, TABO STYLE, 10TH CENTURYExpert's note: The present lot was once a part of an illuminated manuscript, likely from a Prajnaparamita sutra. This has been confirmed by Tibetologist Dr. Amy Heller, who points towards several comparable works, all dating from the 10th century, and all originating from related manuscripts from this region.To receive a PDF copy of this dossier, please refer to the department. Northern India, Himachal Pradesh. Watercolors and ink on paper. Depicting a Mahabodhisattva seated in dhyanasana upon a cushioned lotus-petaled throne with the hands held in dharmachakra mudra, the palms and soles stained red, wearing a five-pointed crown, and adorned with elaborate jewelry. The figure with an hour-glass shaped torso, surrounded by flowing celestial scarves, and backed by a flaming halo. Provenance: From the collection of Michael Phillips. 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: Good condition, commensurate with age. Extensive wear, loss to margins, soiling, minimal fading to colors, small tears to edges.Scientific Analysis Report: An “Initial Condition Survey" with a microscopic and UV-light examination was conducted by Podany Conservation Services, USA. The examination report concludes: “Given the lack of modern materials there appears to be no clear evidence that this object is an intentional modern forgery or copy." A copy of the signed examination report, dated 18 May 2021, accompanies this lot.Dimensions: Image size 17.3 x 16.4 cm, Size incl. frame 34 x 33.8 cm Framed behind glass. (2) Constructed in 996, the Tabo Monastery was built by the Buddhist king Yeshe-OE (c. 959-1040), who was a descendant of ancient Tibetan nobility that expanded into the Spiti Valley when connecting trade routes between Ladakh and Mustang. The monastery was part of the dynasty's successful political effort to reintroduce Mahayana Buddhism throughout the region, and thus was once richly decorated with paintings and sculptures. While some of the monastery's paintings date to around 1040, we know that there have been restoration campaigns over the centuries. Prajnaparamita refers to an enlightened means of seeing the nature of reality and it is part of the Mahayana scriptures or sutras which discusses this form of transcendental knowledge. It consists of several sutra, the earliest of which is the Aṣṭasahasrika Prajnaparamita Sutra or 'Perfection of Wisdom in 8,000 Lines.' The Prajnaparamita sutras were first brought to Tibet during the reign of Trisong Detsen (742-796) by scholars Jinamitra and Silendrabodhi and the translator Ye shes De. A key theme of the Prajnaparamita sutras is the Bodhisattva, the 'awakening-being,' which is defined in the 8,000-line Prajnaparamita sutra as, “One who trains in all dharmas without obstruction, and knows all dharmas as they really are." The paintings which illuminate these manuscripts had a meditative purpose, delivering illumination through the images. Literature comparison: Compare a related 11th century wall painting in the assembly hall of the Tabo Monastery in the Spiti Valley of Himachal Pradesh. The two paintings are so similar that the present lot possibly served as an inspiration for the Tabo Monastery painting. Compare several paintings of bodhisattvas inside Tabo Monastery, depicted within identical roundels and with similar iconography. The painting also bears a close resemblance to a painting at the White Temple of Tsaparang, which belongs to the Guge style of Western Tibet. Auction result comparison: Type: Related Auction: Bonhams, New York, 27 September 2020, lot 505 Price: USD 16,325 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: An illuminated sutra page with Buddha underneath the bodhi tree, Kashmir or West Tibet, 12th/13th century Expert remark: From Kashmir or neighboring Western Tibet, this comparable is one of a small number of paintings on the market that have a large undecorated section around the central scene, possibly suggesting a similar use for the current lot. The comparable also shares the same vibrant use of color.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A GRANITE STELE OF SHIVA ARDHANARISHVARA AND NANDI, CHOLA PERIOD, SOUTH INDIA, TAMIL NADU, 11TH-12TH CENTURYExpert's note: This inspiring statue was originally carved to depict Ardhanarishvara, Shiva's half-male and half-female form, as indicated by the earring on the left ear, and especially the left half of the chest with an area of loss where a female breast once was, a crucial detail not mentioned by Christie's Amsterdam when they sold this figure in 2007. Ardhanarishvara (lit. 'The half-female Lord'), is a form of the Hindu deity Shiva combined with his consort Parvati, depicted as half-male and half-female, equally split down the middle. The right half is usually the male Shiva, illustrating his traditional attributes, including his abode Nandi, such as in the present lot.Superbly and deeply carved standing in tribhanga and leaning against Nandi, his four arms holding attributes including a trishula, and wearing a dhoti. The deity adorned with beaded jewelry, the face with a serene expression, the hair crowned with a high chignon.Provenance: Werner Coninx, Zurich, Switzerland, and thence by descent within the same family. Christie's Amsterdam, 21 November, 2007, lot 569, sold for EUR 7,450 or approx. EUR 11,000 (adjusted for inflation at the time of writing), by repute acquired from the above. A noted European private collection, acquired from the above. Werner Coninx (1911-1980) was one of the world's most voracious art collectors. The son of a prominent Swiss publisher, and a friend of the important Swiss novelist Max Frisch, who mentioned Coninx in his novel Montauk, he amassed some 14,000 paintings, drawings, and sculptures during his lifetime. In terms of sheer size, his art collection was probably the largest in Switzerland. Broadly based, ranging from Swiss art to German Expressionism and French Impressionism to East Asian art, ancient Greece, and Africa, it remains unforgotten to this day.Condition: Condition commensurate with age. Extensive wear, losses, cracks, nicks, and signs of weathering and erosion, natural encrustations, all as expected from a granite figure with almost an entire millennium of age. The stone with a beautiful and smooth surface, nicely worn down from centuries of rain and devoted worship within the culture, resulting in a remarkably unctuous feel overall.Weight: 151.4 kg (excl. stand) Dimensions: Height 100 cm (excl. stand) and 101 cm (incl. stand) With an associated metal stand. (2)The earliest Ardhanarishvara images are dated to the Kushan period, starting from the first century CE. Its iconography evolved and was perfected in the Gupta era. The Puranas and various iconographic treatises write about the mythology and iconography of Ardhanarishvara, which remains a popular iconographic form found in most Shiva temples throughout India today, though very few temples are dedicated to this deity.Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a symbol of Shiva's all-pervasive nature.Auction result comparison:Type: Closely related Auction: Christie's New York, 21 March 2008, lot 758 Price: USD 51,400 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A granite figure of Vishnu, South India, Chola period, 12th/13th centuryExpert remark: Note the slightly larger size (113.7 cm).

A LARGE JAIN PATA OF PARSHVANATHA, GUJARAT, WESTERN INDIA, 18TH - 19TH CENTURY OR EARLIERPublished: Asian Art Society, Online Catalogue IV, 1 January 2021, p. 90-91, no. 21 (presented by Joost van den Bergh, London, United Kingdom; text by Dr. Gautam Vajracharia, University of Wisconsin), and illustrated on the cover of the catalog.Tempera and gold on cloth. Parshvanatha is depicted in the center standing in koyotsarga protected by a hood of nagas issuing from his golden crown, draped in a white dhoti with foliate designs, his body adorned in gold and silver jewelry, all above a smaller figure of the tirthankara above a lotus. The central deity surrounded by several lobed and star-shaped panels (satkonas) representing the cosmos and its phenomena, with identifying inscriptions. The satkonas depict Sarvavinivritta, Sumangalanatha, and Krishnaranga to the left, and Kunthunatha, Parshvabhrata, and Nyamibhrata to the right.Inscriptions: According to Dr. Piotr Balcerowsczy (Chair of South Asian Studies, Faculty of Oriental Studies, University of Warsaw): “These are mostly (90%) in Sanskrit, with some stray portions of Prakrit. In general, these are “recycled" verses coming from some literature - these were not composed by the author of the pata. My first guess would be that the origin of some of these verses could be Hemacandra's Trịsạsṭiśalākāpuruṣacarita (but that should be checked). Another most possible option is Jinasena's Parsvabhyudaya. The other source (that of the Prakrit passages) could be the respective chapter of Kalpa-sutra."Provenance: Collection of Jose Ramón Pons Oliveras, Barcelona, Spain, 1998. Collection of Carlos Cruañas Dalmau, Barcelona, Spain, acquired from the above. A copy of the original invoice signed by Jose Ramón Pons Oliveras, dated 15 April 1998, addressed to Carlos Cruañas Dalmau, dating the present lot to the 17th-18th century, and stating a purchase for the present lot together with three other Indian paintings; also dated 17th-18th century, of which the present lot is the largest, of EUR 35,000 or approx. EUR 63,000 converted and adjusted for inflation at the time of writing, accompanies this lot. Jose Ramón Pons Oliveras (1928-2013) was a traveler, photographer, and cinematographer of nature, and a noted collector of Indian works of art. He travelled extensively to Asia, Oceania, Africa, and South America, filming in many isolated and inaccessible areas of the world. He acquired rare and important works of art during his travels to India in the 1970s, some of which have been sold by Christie's, including a mottled red sandstone figure of a lion, Mathura, 2nd century, at Christie's New York, 19 March 2013, lot 259.Condition: Good condition with minor wear, soiling, few loose threads, and tiny losses.Dimensions: Size 190 x 167 cm Parshvanatha, the Jaina saint, is believed to be the 23rd Tirthankara. His life story is closely related to the cult of serpents. Although serpents are considered malevolent creatures by some, people in India believe that they are auspicious divine beings. High religions of India such as Hinduism, Buddhism and Jainism, show sympathy to the cult of serpent, which has remained popular since prehistoric time. The present pata shows the episode of the life of Parshvanatha when Yaksha Dharnendra and his wife Yakshini Padmavati endeavored to cover Parshvanatha by creating a canopy of snake-hoods over his head and lifting him up from the ground to save him from submergence.When Parshvanatha was born, his mother saw a serpent crawling near her side, and therefore she named her child Parshva. The auspicious appearance of the snake at his birth is also related to an important event that took place in the earlier life of Parshva, in which he was born as a prince. While wandering in the forest, the prince saw an ascetic, who was about to sacrifice a snake. Such a ritual act was mandatory for the Vedic ritual of fire worship that he was performing. The prince thought that killing a creature for a religious purpose is a cruel act. Therefore, he forcefully interrupted the ongoing ritual of fire worship and saved the life of the snake. The ascetic was so angry with the prince that his anger remained intact even after his death.In the next cycle of birth, the ascetic incarnated himself as the cloud demon, Meghmalin, and the prince as the Jain saint Parshvanatha. Likewise, the serpent was born as a divine serpent, Dharana, with multiple snake-hoods. The cloud demon created a devastating flood when Parshvanatha was practicing yoga in a standing posture called kayotsarga, a technical Sanskrit term, which can be translated as “out of physical body." The flood almost submerged him. But the serpent Dharana, remembering that Parshvanatha protected him in his earlier life, came there to help him. He brought a giant lotus and placed it under Parshvanatha's feet and spread his multiple hoods to shelter him from heavy rain. Thus, the Jain saint was able to continue his yogic practice without being disturbed by the flood.Literature comparison:Compare a related large and rare early example in the Philadelphia Museum of Art, accession number 2003-143-1, illustrated in Pratapaditya Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1994, no. 100, p. 227.Auction result comparison: Type: Related Auction: Bonhams New York, 13 September 2011, lot 1124 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A Jain pata of Sahasraphana Parshvanatha, Gujarat, 15th century Expert remark: Compare the related subject, also depicting Parshvanatha, and manner of painting. Note the earlier dating and the smaller size (83.8 x 54.6 cm).Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2012, lot 617 Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A painting of Mahavira enthroned, Rajasthan or Gujarat, 18th/19th century Expert remark: Compare the related Jain subject and similar manner of painting. Note the much smaller size (43.5 x 28.5 cm).

A PAIR OF CLOISONNE ENAMEL BOMBE-FORM TRIPOD CENSERS, EARLY QING DYNASTYChina, 17th - 18th century. Heavily cast, each with a compressed globular body rising from three short feet to a short waisted neck with a gently rounded everted rim set with two upright loop handles. Finely decorated in bright enamels against a turquoise ground with lotus blossoms amid borne on leafy scrolling vines. (2)Provenance: From the Langlois Collection. Jean-Marie-Charles Langlois (1896-1949) arrived in Vietnam in 1920, where he worked as an engineer for the Societe de Construction des Chemins de Fer Indochinois. He was the principal engineer for the Indochinese railways between 1920 and 1949. As a sinophile who spoke fluent Mandarin, he built an important collection of Asian works of art. In 1949 he was imprisoned by the Viet Minh during a train attack and executed on the same day. His wife and two sons came back to France in Burgundy near Dijon, bringing Jean Langlois' collection with them. Once in France, his family continued to buy Asian works of art on the French art market, paying tribute to Jean Langlois's memory.Condition: Very good condition with extensive old wear as expected and some manufacturing irregularities, including pitting, as well as minor nicks to the enamels. One censer with few losses to the enamels and minor old fills. Please request a video of the censers, shot under strong blue light, directly from the department.Weight: 675 g and 694 gDimensions: Height 10.8 cm and 10.5 cm Literature comparison:The present censers are related to a Ming dynasty prototype dating from the 16th century. See, for example, a small cloisonne enamel tripod censer, dated to the Ming Dynasty, 16th century, sold at Christie's Hong Kong, 29 November 2017, lot 3036. 清初一對銅胎掐絲琺瑯三足爐中國，十七至十八世紀。爐呈圓口，束頸，鼓腹下垂，底承三乳足。口沿鍍金，兩側飾對稱橋形耳。外壁通體以天藍色琺瑯釉為地，用紅、黃、白等色飾纏枝花紋。整體造形比例勻稱，銅胎質地堅實細膩，鍍金光亮，圖案裝飾色彩絢麗。 來源：Langlois 收藏。Jean-Marie-Charles Langlois (1896-1949) 1920 年抵達越南，在Societe de Construction des Chemins de Fer Indochinois擔任工程師。1920 年至 1949 年間，他是印度支那鐵路的首席工程師。作為一名能說流利普通話的親華者，他收藏了一批重要的亞洲藝術品。1949 年，他在一次火車襲擊中被越盟囚禁，並於同一天被處決。他的妻子和兩個兒子帶著 Jean Langlois 的收藏回到法國第戎附近的勃艮第。回到法國，他的家人繼續在法國藝術市場上購買亞洲藝術品，以緬懷Jean Langlois。 品相：狀況極好，有大量磨損和一些製造不規則，包括點蝕，以及琺瑯上的小刻痕。其中一個爐有輕微琺瑯缺損和小修，請直接向部門索取在強藍光下拍攝的香爐視頻。 重量：分別為675 克與 694 克 尺寸：分別爲高10.8 厘米與10.5 厘米 文獻比較： 目前的香爐與 16 世紀的明代原型有關。例如，一件小型景泰藍琺瑯三足香爐，可追溯至 16 世紀明朝，於 2017 年 11 月 29 日於香港佳士得拍賣，lot 3036。

A GILT CLOISONNE ENAMEL 'BAJIXIANG' VASE, CHINA, EARLY 19th CENTURYThe exterior brightly enameled on a deep turquoise ground with four registers separated by stylized bands, the body decorated with a band of four lotus blossoms interspersed by stylized shou characters, the shoulder with the Eight Buddhist Emblems (bajixiang). The globular body supported on a spreading foot rising to a waisted neck and garlic mouth. The base, foot, neck and two waist bands all finely gilt.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. An old collector's label to the base, '5.6'. 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 tightknit 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 minor wear and firing irregularities, including glaze recesses, minimal pitting, dents and losses to enamel, and few dark spots. Small nicks around the rim and scratches to the base.Weight: 941 gDimensions: Height 19.3 cm The Eight Buddhist Emblems (bajixiang) are a set of traditional symbols that represent the offerings made by the gods to Buddha upon his enlightenment. The symbols include the parasol, the golden fish, the conch shell, the endless knot, the lotus flower, the victory banner, the Dharma wheel, and the treasure vase. Each symbol has its own significance and is used in various contexts, such as in religious rituals, on prayer flags, and in artwork. Together, these symbols are believed to bring good fortune, prosperity, and happiness to those who use or encounter them. 十九世紀初鎏金銅胎掐絲琺瑯八吉祥紋瓶深綠松石色地，釉色明亮。蒜頭形狀瓶口，頸部鎏金銅凸紋，器身飾有四朵纏枝蓮紋，頸部壽字紋，肩部飾有八吉祥圖案。圈足。口部、頸部、肩部和足部鎏金。 來源：Mara與Johannes Nickl收藏，在同一家族保存至今，收藏標籤上可見“5.6."。Maria (1926-2022年) 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：狀況良好，有輕微磨損和燒製不規則，包括釉面凹陷和琺瑯缺損，輕微黑點，邊緣周圍有小刻痕，底部有劃痕。 重量：941 克 尺寸：高 19.3 釐米 佛教八吉祥包括寶瓶、寶蓋、雙魚、蓮花、寳螺、盤長、法幢、法輪，是佛教中象徵吉祥的、圓滿、幸福八件法物。

A LARGE SILVER 'DRAGON' RETICULATED PUNCH BOWL, MARKS OF SUI CHANG AND WANG HINGExpert's note: During the 19th and early 20th century, entertaining in Europe and America became a fashionable and prestigious habit amongst the society elites. Chinese export porcelains and silver articles played a significant role in these events as they showcased the owner's level of wealth, refined taste, and culture.China, late 19th to early 20th century. The circular body richly cast, embossed and chased with dragons writhing between a pierced ground of swirling clouds around a flaming pearl cartouche, raised on three dragon supports.Inscriptions: Stamped 'Sui Chang', 'WH' (mark of Wang Hing & Co), and '90' (for 90% silver purity).Provenance: Chicago trade.Condition: Superb condition with minor old wear and manufacturing irregularities. Light scratches and occasional minuscule losses and dents. The glass liner with light scratches and manufacturing irregularities as well.Weight: 4,376 g (incl. glass liner) and 2,379 g (excl. glass liner)Dimensions: Diameter 33 cm With a matching glass bowl to the inside. (2)Probably the greatest and finest Chinese Export retailer of the period, Wang Hing started trading in Canton soon after 1842 when, with the end of the First Opium War and the treaty of Nanking, China opened its ports to foreign merchants and Hong Kong became a British colony.Wang Hing was the trading name chosen by the Lo family who established the business and passed it down for generations until 1941. Although little is known about the founder of the company, we know that the Lo's were a wealthy merchant family living in one of the richest areas of Canton, the district of Xiguan.Thanks to the fine quality of the pieces and to the entrepreneurial abilities of the family members, the reputation of the firm grew. In the 1920's Lo Hung Tong, grandson of the founder, opened a store on Queen's Road, Hong Kong and another in Shanghai.Literature comparison: For further information on Wang Hing, see David Chan, Chinese Export Silver: The Chan Collection, Asian Civilizations Museum, Singapore, 2005. See a related silver dragon punch bowl, retailed by Hung Chong & Co., Shanghai, with Koopman Rare Art, London, illustrated in Roland Arkell, “Silver Linings", Antiques Trade Gazette, October 2019.Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 12 May 2015, lot 158Price: GBP 15,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A Chinese export silver bowl, Wang Hing, Canton and Hong Kong, late 19th/early 20th CenturyExpert remark: Compare the closely related form, cast and chased decoration on a pierced ground, and dragon motif. Note the smaller size (28.4 cm). 大型鏤空龍紋三足銀碗，“遂昌“與"宏興“款中國，十九世紀末至二十世紀初。 碗身滿工鏤空鑄造，浮雕和雕刻龍紋，飛龍騰雲；三龍托碗。 款識：遂昌；宏興；90 來源：芝加哥古玩交易。 品相：狀況極佳，有輕微磨損和製造缺陷，輕微劃痕和微小缺損和凹痕。玻璃內襯有輕微劃痕且製造不規則。 重量：4,376 克 (含玻璃碗) ，2,379 克 (不含玻璃碗) 尺寸：直徑33 厘米 内部配置玻璃碗。 (2) 文獻比較： 更多關於宏興公司介紹，見David Chan，《Chinese Export Silver: The Chan Collection》，新加坡亞洲文明博物館，2005年。一件相近銀製龍紋碗 ，鴻昌公司出品，上海，見Roland Arkell，《Silver Linings》，《Antiques Trade Gazette》，倫敦，2019年10月。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2015年5月12日，lot 158 價格：GBP 15,000（相當於今日EUR 25,500） 描述：十九世紀末和二十世紀初鴻昌款銀製碗 專家評論：比較非常相近的外形，在穿孔的底部鑄造和雕刻裝飾，以及龍紋主題。請注意尺寸較小(28.4厘米)。

A CHINESE CARVED RED CORAL FIGURE OF A MEIREN WITH BOYSChina, early to mid-20th century. The tall beauty is finely carved standing and reaching her arms out to one side, holding a fan as a young boy clings to her right arm and a little girl peaks out from behind her excitedly raising her arms. The skillfully carved flowing garments of the lady and children are decorated with floral designs, the meiren's finely incised hair tightly tied with a ribbon. The exquisite coral is of a beautiful and even reddish-orange hue with scattered white inclusions.Provenance: The collection of Ted Adameck, USA, and thence by descent in the same family. A copy of an old expertise from Adameck's Asian Art accompanies this lot. Ted Adameck (1924-2019) was a legendary collector of Japanese Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Condition: Good condition with minor wear, some small chips and minor losses to the head decoration.Weight: 380 g (excl. stand) Dimensions: Height 22.6 cm (incl. stand) With a fitted wood stand finely carved in openwork. (2)Auction result comparison: Type: Closely related Auction: Bonhams Sydney, 10 August 2022, lot 61 Price: AUD 17,220 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A coral figure of a courtesan and a child, early to mid 20th century Expert remark: Note the similar size (21.2 cm).Auction result comparison: Type: Related Auction: Bonhams San Francisco, 7 June 2005, lot 2040 Price: USD 16,450 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A fine carved coral figural group Expert remark: Note the size (23.5 cm).Auction result comparison: Type: Related Auction: Christies New York, 18 June 2014, lot 76 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A Chinese carved red coral figure of a maiden with birds and flowers Expert remark: Note the larger size (26 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. 珊瑚雕夫人童子像中國，二十世紀早期至中期。美人線條流暢優美，一手持扇子，一個小男孩抱住她的右臂，一個小女孩從她身後探出，興奮地舉起雙臂。婦人與兒童的衣著精雕細刻，飾花卉紋理；婦人的頭髮刻畫分明，佩戴絲帶。珊瑚呈美麗均勻的紅橙色，帶有散落的白色紋理。 來源：美國Ted Adameck收藏，自此同一家族世代相傳。隨附一份Ted Adameck 藝廊的鑒定複印件。Ted Adameck (1924-2019) 是Netsuke的傳奇收藏家，活躍了幾十年，在檀香山經營兩家古董店，寫了無數有關該主題的文章和書籍，以及許多其他有關亞洲藝術和文化的文章。 品相：狀況良好，有輕微磨損、小刻痕、小缺口，頭部裝飾有輕微損失。 重量：380 克 (不含底座) 尺寸：高 22.6 釐米 (含底座) 鏤空雕刻木底座。(2) 拍賣結果比較： 形制：非常相近 拍賣：雪梨邦瀚斯，2022年8月10日，lot 61 價格：AUD 17,220（相當於今日EUR 11,500） 描述：二十世紀早至中期提籃仕女童子像及座、盒 專家評論：請注意相似的尺寸 (21.2 釐米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2005年6月7日，lot 2040 價格：USD 16,450（相當於今日EUR 24,000） 描述：珊瑚仕女像 專家評論：請注意尺寸 (23.5 釐米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2014年6月18日，lot 76 價格：USD 23,750（相當於今日EUR 28,500） 描述：珊瑚雕刻花鳥少女像 專家評論：請注意尺寸較大 (26 釐米)。

A HARDWOOD FIGURE OF AN EMACIATED LUOHAN, CHINA, 17TH-18TH CENTURYThe ascetic figure finely carved seated with his right knee raised and his left leg crossing underneath, resting his head in his left hand, the skeletal rib cage and garment folds well carved, his gaunt face detailed with a long nose, thick furrowed brows, and thin lips, the almond-shaped eyes framed by long pendulous earlobes and narrow chin.Provenance: From the collection of Dr. Aurel Gonda, acquired in Shanghai circa 1937-1947, and thence by descent to the present owner. Dr. Aurel Gonda (1885-1964) was an Austro-Hungarian physician who served as a councilman and health official in Vienna. A street in Inzersdorf, in the 23rd district of Vienna, is named after him. He was the brother of architect Charles Henry Gonda, who was active in Shanghai between the 1920s and 1940s. As C. H. Gonda rose to be a renowned architect, he ran in the same circles as foreign elites, including Shanghai's top oligarch Victor Sassoon. In 1938, Aurel Gonda and his family escaped fascist Vienna and joined C. H. Gonda in Shanghai. After the Communist victory in China in 1949, the brothers and their families left for the US and settled in Lakewood, New Jersey.Condition: Very good condition with minor old wear, few minuscule chips, expected age cracks, fine ancient patina overall.Weight: 225.1 gDimensions: Height 11.6 cm Literature comparison:Compare a similarly posed ascetic from the 18th-19th century in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.4412.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 26 May 2014, lot 21Price: HKD 275,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: A carved wood seated luohan, Qing Dynasty, 18th/19th centuryExpert remark: Compare the closely related pose and expression. 十七至十八世紀木雕羅漢坐像羅漢眉骨高聳，深目突顴，身微左傾，左手托腮，右手垂下輕撫右膝，呈思惟狀，唯妙唯肖。人物雕刻精緻細膩，刻畫出羅漢面貌精瘦而矍鑠，前胸骨胳隱約可見。 來源：Dr. Aurel Gonda收藏，約於1937-1947年間購於上海，保存在同一家族至今。Dr. Aurel Gonda (1885-1964) 曾是來自奧匈帝國的醫生，曾在維也納擔任議員和衛生部官員。維也納第 23 區 Inzersdorf 的一條街道以他的名字命名。他的兄弟Charles Henry Gonda 曾是一位建築師，在 1920 年代至 40 年代活躍於上海。隨著 C. H. Gonda 成為著名建築師，他與外國精英打交道，其中包括上海的頂級寡頭Victor Sassoon。1938 年，Aurel Gonda 和他的家人逃離了法西斯維也納，並在上海與 C. H. Gonda 會合。1949 年共產黨在中國取得勝利後，兄弟倆和他們的家人前往美國，定居在新澤西州萊克伍德。 品相：狀況極好，有輕微磨損，微小的缺口，年代裂縫，整體細膩包漿。 重量：225.1 克 尺寸：高11.6 釐米 文獻比較： 比較一件相似的十八至十九世紀苦行僧像，收藏於史密森學會國立亞洲藝術博物館, 館藏編號S2012.9.4412。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比, 2014年5月26日, lot 21 價格：HKD 275,000（相當於今日EUR 40,000） 描述：十八至十九世紀清代木雕羅漢坐像 專家評論：比較非常相近的姿勢和表情。

A RED-LACQUERED WOOD FIGURE OF BUDDHA, LATE MING DYNASTYChina, 16th-17th century. Carved from hardwood, probably Zitan. Seated in dhyanasana with the hands folded in dhyana mudra and his head bowed slightly creating wrinkles beneath the neck, wearing robes that elegantly drape over the shoulders and fold along the resting arms, the serene face with heavy-lidded eyes below gently arched brows, and pursed bow-shaped lips, the hair arranged in tight curls over the ushnisha.Provenance: A private collection in Vienna, Austria. Galerie Zacke, Vienna, 1996. 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 Galerie Zacke, dated 30 October 1996, addressed to the Nickls, and stating a purchase price for the present lot of ATS 7,000 (or approx. EUR 900 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 tightknit 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 minor wear, small chips, losses, light scratches, remnants of gilt, minor signs of weathering, few expected age cracks. The lacquer commensurate with age and with several layers which have been renewed over a long period of time.Weight: 116 gDimensions: Height 13.5 cm Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 December 2021, lot 29Price: EUR 9,375 or approx. EUR 11,000 adjusted for inflation at the time of writingDescription: A brown and gilt lacquered wood figure of Buddha, Ming dynasty, 16th centuryExpert note: Compare the similar reddish-brown lacquer. Note the larger size (29.5 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. 明末紅漆木雕坐佛中國，十六至十七世紀。用硬木雕刻而成，也可能是紫檀木。佛陀禪定坐，雙手交叉施禪定印，頭微微低下，面容平靜，雙眼微閉，嘴唇豐滿，頭上有螺髻。 來源：奧地利維也納私人收藏； 維也納 Zacke藝廊，1996年；Maria 與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份於1996年10月30日由 Zacke藝廊出局的原始賬單複印件，收件人為Nickls ，當時價格為 ATS 7,000 （根據通貨膨脹約為EUR 900）。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：品相良好，有輕微磨損、小缺口、缺損、輕微劃痕、金彩餘留、輕微風化跡象，輕微老化裂紋。漆層有多次更新。重量：116 克 尺寸：高13.5 厘米 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2021年12月8日 ，lot 29 價格：EUR 9,375（相當於今日EUR 11,000） 描述：十六世紀明代棕漆木雕坐佛 專家評論：比較相似的類似的紅棕色漆。請注意尺寸較大 (29.5厘米)。

A LAPIS LAZULI SEATED FIGURE OF BUDDHA, CHINA, 18TH - 19TH CENTURYFinely carved seated in dhyanasana on a double lotus base with his right hand lowered in bhumisparsha mudra and the left in dhyana mudra, wearing a voluminous robe falling down the body in naturalistic folds. The contemplative face with downcast eyes and gentle smile, below the hair formed from rows of snail-shell curls encircling the domed ushnisha. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: Central London trade, United Kingdom. Condition: Very good condition with expected old wear, minor nicks and losses. The stone has natural inclusions, fissures and veins, some of which have developed into small hairline cracks.Weight: 1,782 g Dimensions: Height 19.3 cm The base finely incised with a four-character mark Qianlong yuzhi.Lapis lazuli was highly prized during the Qianlong era and subsequent period, as evidenced by a pair of Qianlong period stone lions dyed to imitate the stone, included in the exhibition 'Tributes from Guangdong to the Qing Court', Hong Kong, 1987, cat. Nos. 71 and 72, and a Qianlong period lapis lazuli mountain in the Asian Art Museum of San Francisco, illustrated in Michael Knight, He Li and Terese Tse Bartholomew, Chinese Jades, San Francisco, 2007, plate 354. The stone was mostly imported from Afghanistan, and was used principally for carving vessels, figures in relatively small sizes and boulder or grotto carvings, often with solitary luohans. Buddha figures, such as the present lot, were often made for imperial altars during the late 18th century and onwards.Literature comparison:Examples of lapis lazuli figures of Buddha are illustrated in Buddhist Art from Rehol, Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, no.81, and by M. Knight, He Li and T. Tse Bartholomew, Chinese Jades, San Francisco, 2007, no. 327, dated to the 18th century. Compare a closely related lapis lazuli figure of Buddha, dated 18th century, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 25 June 2013, lot 8009 Price: USD 52,500 or approx. EUR 63,500 converted and adjusted for inflation at the time of writing Description: A carved lapis lazuli figure of the Buddha Expert remark: Compare the related modeling, with similar robes and seated pose, manner of carving, and stone with similar mica flecks and gray veins. Note the absence of a lotus pedestal and the size (18 cm). 十八至十九世紀青金石坐佛像釋尊結全跏趺坐於蓮花座之上，頭頂高肉髻，螺髮密集，頂嚴雙珠，分明嚴整。眼長眉彎，雙目低垂，呈微笑慈悲和善之態；身著漢式雙肩袈裟，袒露前胸，內著僧祇支，胸襟束帶繫結，衣紋俐落流暢。左手置腹前，施禪定印，右手施觸地印，青金石中雲母斑點閃爍，藍色艷麗。 來源：英國倫敦私人收藏。 品相：狀況非常好，有磨損、輕微劃痕。青金石有天然包裹體、裂隙和紋理，有的已發展成細小的裂紋。 重量：1,782 克 尺寸：高 19.3 厘米 底座刻“乾隆御製"四字款。文獻比較： 幾件相近的十八世紀青金石雕佛陀坐像，見Buddhist Art from Rehol，《Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde》，台北，1999年，編號81。M. Knight，He Li和T. Tse Bartholomew，《Chinese Jades》，舊金山，2007年，編號327。比較一件非常相近的十八世紀青金石雕佛陀坐像，展覽於東方陶瓷協會，見倫敦邦瀚斯， 2021年10月27，Reginald和Lena Palmer收藏，1921-1970年。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2013年6月25日，lot 8009 價格：USD 52,500（相當於今日EUR 63,500） 描述：十八世紀青金石雕佛陀坐像 專家評論：比較相近的模組、相近的長袍和坐姿、雕刻風格 。請注意此像沒有蓮座和尺寸 (18 釐米)。

AN ARCHAIC GREEN JADE AXE BLADE, DAO, NEOLITHIC PERIODChina, c. 3000-1700 BC. Of trapezoidal form with a thin blade and beveled lower edge, pierced with three apertures along the upper edge. The translucent stone of a dark green hue with russet clouding and veins, and black shadings around the edges.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition with ancient wear, some losses, chips and nibbles which have smoothened over the centuries of handling. Natural fissures in the stone, some of which have developed into small hairlines.Weight: 269.3 gDimensions: Length 24 cm Expert's note: Jessica Rawson in Chinese Jade from the Neolithic to the Qing, British Museum, 1995, pages 184, discusses jade ceremonial blades of the neolithic period and how they evolved from stone reaping implements.Literature comparison: Compare a related jade harvesting knife, hu, 62.7 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F1916.417. Compare a related jade harvesting knife, hu, 32.4 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F 1916.375.Auction result comparison: Type: RelatedAuction: Bonhams London, 18 March 2023, lot 4Price: GBP 17,850 or approx. EUR 21,000 converted at the time of writingDescription: A very large archaic jade axe blade, dao, Neolithic periodExpert remark: Note the larger size (38.5 cm). 新石器時代青玉刀中國，西元前約 3000-1700年。青玉質，局部褐色沁。刀呈扁平片狀，長條形，淺圓弧刃。上端有三個單面鑽螺旋式孔，一側局部漸增灰白色土沁，一面有黃褐色紋理，通體光素，圓潤渾厚。來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有磨損，一些缺損、磕損。玉料上有天然裂縫。 重量：269.3 克 尺寸：長 24 厘米 專家注釋：Jessica Rawson 在 《Chinese Jade from the Neolithic to the Qing》（大英博物館，1995年，第184頁）討論新石器時代的玉祭刀以及它們如何從石製收割工具演變而來的專題。 文獻比較： 比較一件相近的新石器時代青玉刀笏，長62.7 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F1916.417。比較一件相近的新石器時代青玉留皮刀笏，長32.4 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F 1916.375。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2023年3月18日，lot 4 價格：GBP 17,850（相當於今日EUR 21,000） 描述：新石器時代玉刀 專家評論：請注意尺寸較大 (38.5 厘米)。

A RARE GOLD-MOUNTED JADEITE OPIUM PIPE, CHINA, c. 1900-1930The pipe is constructed from two pieces of apple-green jade, all with a smooth polish. The bowl holder is made of solid gold in the shape of a stylized leaf with engraved and incised foliate decorations. The opaque jade is of a striking apple green tone with scattered cloudy pale inclusions. Provenance: The collection of Ted Adameck, USA, and thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Japanese Netsuke, active for many decades, operating two galleries in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.Condition: Very good condition with expected old wear and minuscule nicks here and there. The bowl lost. Due to the lack of hallmarks on the gold fitting, the exact carat e.g. purity cannot be ascertained. The hollowed half of the jade pipe with traces of use including minor pockmarks due to an extended exposure to heat, and slightly loose.Weight: 381.7 g Dimensions: Length 35.5 cm Expert's note: Jadeite opium pipes of good color with gold mountings are very rare. Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 21 Price: EUR 4,550 or approx. EUR 5,500 adjusted for inflation at the time of writing Description: A jade and gilt-bronze 'wufu' opium pipe, Qing dynasty Expert remark: Compare the related form. Note that the mounting is gilt-bronze, as opposed to gold on the present lot. 中國罕見包金翡翠鴉片煙槍，約1900-1930年煙槍由兩塊綠翡翠製成，素面拋光。碗架由純金製成，呈卷葉紋，帶有葉狀裝飾。不透明翡翠呈美麗的蘋果綠色，玉石内有淺色絮狀物。 來源：Ted Adameck收藏，自此同一家族世代相傳。Ted Adameck (1924-2019年) 是Netsuke的傳奇收藏家，活躍了幾十年，在檀香山經營兩家古董店，寫了無數有關該主題的文章和書籍，以及許多其他有關亞洲藝術和文化的文章。 品相：狀況非常好，有磨損，大面積微小的劃痕。碗遺失。由於金配件上沒有標記，因此精確的克拉數例如為 1 克拉。 純度無法確定。玉管的一半是空心的，有使用痕跡，包括由於長時間受熱而出現的輕微裂痕，並且略有鬆動。 重量：381.7 克 尺寸：長35.5 厘米 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke，維也納，2021年3月5日，lot 21 價格：EUR 4,550（相當於今日EUR 5,500） 描述：清代鎏金玉煙槍 專家評論：比較相近的外形。請注意碗架為鎏金銅

A WHITE JADE 'BUTTERFLY' SNUFF BOTTLE, POSSIBLY IMPERIAL, 18TH CENTURYChina. Well hollowed, the flattened globular body supported on a flat oval foot and rising to a short waisted neck with a straight lip. Finely carved on either side in relief with a strictly formalized design showing a pair of confronted butterflies, their antennas interlocked and resplendent wings spread out, a style typical of the workshops in Suzhou. The smoothly polished and translucent stone of a fine white tone with very few icy inclusions. Good polish overall, rendering an unctuous feel.Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Very good condition with minor wear and minuscule nibbling.Butterflies are a popular motif in China for their highly auspicious meaning, representing the wish for 'accumulation of blessings' (fudie). Designs with pairs of butterflies suggest the duplication of an auspicious wish, since the character for butterfly (die) is a homophone for 'repeat' (die). It also a homophone with 'die' meaning 'over seventy or eighty years of age', and thus expresses a wish for longevity. Butterflies also symbolize happiness in marriage and everlasting romantic love. The latter interpretation is due to a number of traditional Chinese stories in which butterflies play a significant part. Feng Menglong (1574-1646), for example, narrates the popular story of the 'butterfly lovers' Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. The philosopher Zhuangzi's famous dream of being a butterfly also made them symbols of the boundary between dream and reality.Stopper: Carnelian with gilt-metal collarWeight: 51.3 g Dimensions: Height including stopper 63 mm. Diameter neck 21 mm and mouth 6 mm Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2013, lot 133 Price: HKD 400,000 or approx. EUR 60,500 converted and adjusted for inflation at the time of writing Description: A white jade 'kui dragon' snuff bottle, possibly Imperial, Qing dynasty, mid-18th / early 19th century Expert remark: Compare the closely related white color and the highly formalized design, here with interlocked dragons instead of interlocked butterflies. 十八世紀白玉蝴蝶紋鼻煙壺中國，掏膛良好，壺口外撇，束頸，四角圓肩，扁平壺身，橢圓形足。兩側精雕細琢，一對蝴蝶，觸角交錯，羽翼展開，這是蘇作的典型風格。白玉光滑半透明，細膩瑩潤，内含細微絮狀物。來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。 品相：狀況非常好，有輕微磨損和磕損。 壺蓋: 玉髓，金屬托片 重量：51.3 克 尺寸：總高63 毫米，頸部直徑 21毫米，壺口直徑6毫米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年5月26日，lot 133 價格：HKD 400,000（相當於今日EUR 60,500） 描述：清十八世紀中葉 / 十九世紀初白玉仿古「夔龍」紋鼻煙壺或御製 專家評論：比較非常相近的白玉顏色、外形，但僅有相連的龍而不是相連的蝴蝶。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 WHITE JADE 'POMEGRANATE' SNUFF BOTTLE, 18TH CENTURYChina. Well hollowed, the ovoid body supported on a short thick foot and rising to a tall cylindrical neck. Finely carved in low relief with a gnarled fruiting pomegranate branch with seeds both in the fruit and scattered between the veined leaves. The translucent stone is of a good white tone with a few icy inclusions.Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. The base with an old collector's label, '38.' The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Very good condition with minor wear, few tiny nicks, minuscule nibbles to mouth.Stopper: Coral stopperWeight: 53.8 g Dimensions: Height including stopper 58 mm. Diameter neck 10 mm and mouth 6 mmFruits and flowers encapsulating auspicious messages were highly favored in the 18th century. The pomegranate was especially popular as it symbolized fertility, and the bursting flesh of the pomegranate, exposing its many seeds inside, symbolized the wish for a large family. As the Chinese character for 'seed' (zi) is the same as that for 'son,' the many-seeded pomegranate is viewed as a symbol for having multiple sons who are expected to continue the family line. Auction result comparison: Type: RelatedAuction: Sotheby's Hong Kong, 28 November 2019, lot 519Price: HKD 150,000 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A white jade 'flowers and butterfly' snuff bottle, Qing dynasty, 18th-19th centuryExpert remark: Compare the related low relief carving. Note the size (6.5 cm). 十八世紀白玉石榴紋鼻煙壺中國。掏膛良好，圓柱形頸部，丰肩，腹部下斂，橢圓形圈足。淺浮雕石榴果枝，雕刻生動，石榴果内可見石榴籽。半透明的玉石呈良好的白色，帶有一些絮狀物。來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。 品相：狀況極好，有輕微磨損，少量小刻痕，壺口有微小的咬痕。 壺蓋：珊瑚 重量：53.8 克 尺寸：含蓋高58 毫米. 頸部直徑10 毫米 壺口直徑6 毫米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年11月28日，lot 519 價格：HKD 150,000（相當於今日EUR 19,000） 描述：清十八至十九世紀白玉花蝶紋鼻煙壺 專家評論：比較相近的下半部浮雕。請注意尺寸 (6.5厘米)。

A HAIR CRYSTAL SNUFF BOTTLE, QING DYNASTYChina, 19th century. Well hollowed, the rounded rectangular body tapering to the slightly concave foot and rising to a cylindrical neck with a flat lip. The transparent smoky quartz stone suffused with many thousands of hair-like black tourmaline inclusions.Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Very good condition with minor wear, few tiny nicks, light scratches, and minor nibbling to the mouth. The stone with natural fissures, some of which may have developed into small hairline cracks. Stopper: Coral and pearlWeight: 35.4 g Dimensions: Height including stopper 67 mm. Diameter neck 15 mm and mouth 7 mm Auction result comparison: Type: Closely relatedAuction: Bonhams London, 12 May 2022, lot 216Price: GBP 2,040 or approx. EUR 2,600 converted and adjusted for inflation at the time of writingDescription: A hair crystal snuff bottle, 19th centuryExpert remark: Compare the closely related stone with similar hair-like inclusions. Note the size (5.8 cm). 清代髮晶鼻煙壺中國，十九世紀。掏膛良好，圓柱形頸部，圓肩，肩部以下收斂，圈足。透明的煙晶中充滿髮絲狀的黑色金屬線。 來源： VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。The VWS collection收藏講述了一個家庭逃離沙皇俄羅斯帝國的非凡故事。他們的旅程始於 1903 年，當時西伯利亞大鐵路東部支線中東鐵路竣工。和其他人一樣，為了逃離政治迫害和反猶太主義的環境，全家定居在中國最北端的城市哈爾濱，並從 1906 年開始發展業務。像許多其他人一樣，他們被這個國際化的城市吸引，因為這裡有龐大的猶太社區，當時這裡是滿洲的主要經濟和文化中心。在哈爾濱，父親是一個有教養、思想開放、會說多種語言的人，他早年在商業上的成功為他贏得了尊重。1932 年，日本入侵滿洲後，他和家人再次被迫逃離，並在上海找到了新家。從那裡開始，他的生意將他帶到了香港、北美和其他亞洲國家，他的家人在那裡待了很多年。 他們於 1930 年代開始在中國收藏藝術品，這些藝術品自此一直由家族繼承人保管。 品相：狀況極好，有輕微磨損、刻痕、細小劃痕，以及壺口輕微的磕損。玉石上有天然裂縫，有的可能發展成細小裂縫。 壺蓋：珊瑚和珍珠 重量：35.4 克 尺寸：含蓋高67 毫米. 頸部直徑15 毫米，壺口直徑7 毫米 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2022年5月12日，lot 216 價格：GBP 2,040（相當於今日EUR 2,600） 描述：十九世紀髮晶鼻煙壺 專家評論：比較非常相近的髮晶石。請注意尺寸 (5.8厘米)。

AN INSIDE-PAINTED SMOKEY CRYSTAL SNUFF BOTTLE BY YE BENGQI, CHINA, 1920-1940Of flattened form, the rounded rectangular body supported on a thick foot and surmounted by a short cylindrical neck. Delicately painted in a crisp color palette with a bird about to land on a lychee branch to one side and a long-tailed bird resting and singing on a peach bough to the other.Inscriptions: To one side, signed 'Ye Bengqi'. One seal.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. The base with an old collector's label, '5'. 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 tightknit 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 minor wear and expected manufacturing irregularities, two tiny nibbles to the edge of the foot.Stopper: Jadeite Weight: 53.8 g Dimensions: Height including stopper 66 mm, Diameter neck 18 mm and mouth 6 mm Ye Bengqi was the son of the famous snuff bottle painter Ye Zhongsan (1875-1945) and the artist who revitalized the Beijing school of painting in the late 1950s. After World War 2, Ye Bengqi took on Wang Xisan (born 1938) as his student.Literature comparison: For another stylistically similar bottle signed Ye Zhongsan, see Lilla S. Perry, Chinese Snuff Bottles, The Adventures and Studies of a Collector, 1960, pp. 135-37, no. 131.Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2018, lot 618 Price: USD 5,250 or approx. EUR 5,900 adjusted for inflation at the time of writing Description: An inside painted crystal snuff bottle, attributed to Ye Benqi, 1920-1940Expert remark: Compare the related style of painting and color palette. Note that this bottle is signed Ye Zhongsan but attributed to Ye Benqi. 1920-1940年葉蓁祺款內畫煙晶鼻煙壺扁平瓶，平口，圓柱形頸，削肩，橢圓形圈足。內畫，一面為飛向荔枝樹枝頭的小鳥，另一面則是一隻在桃樹枝上停留的喜鵲。 款識：葉菶祺作 來源：Maria 與Johannes Nickl收藏，在同一家族保存至今。底部有藏家舊標簽，上可見 '5'。Maria 與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份於1996年10月30日由 Zacke藝廊出局的原始賬單複印件，收件人為Nickls，當時價格為 ATS 7,000 （根據通貨膨脹約為EUR 900）。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，有輕微磨損和製造不規則性，足部邊緣有兩個小磕損。 壺蓋：翡翠 重量：53.8 克 尺寸：含壺蓋高66 毫米，頸部直徑18 毫米，壺口直徑 6 毫米 文獻比較： 一件風格相同的葉仲三鼻煙壺，見Lilla S. Perry，《Chinese Snuff Bottles，The Adventures and Studies of a Collector》，1960年，頁135-37，編號131。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2018年9月12日，lot 618 價格：USD 5,250（相當於今日EUR 5,900） 描述：1920-1940年葉仲三仿葉菶祺內畫鼻煙壺 專家評論：比較相近的內畫風格和顏色。請注意此壺雖是葉仲三簽名，但是是仿葉菶祺

A ROOT AMBER SNUFF BOTTLE, MID-QING DYNASTYExpert's note: Fine 'Root Amber' snuff bottles of an early date are quite rare. The present example with its distinct honey-toned swirls, somewhat reminiscent of the 'ghost eyes' found in huanghuali wood, is of the most desirable type.China, 1750-1850. The ovoid body supported on an oval foot with concave base and rising to a cylindrical neck with a flat lip. The shoulders boldly carved with lion masks suspending mock-ring handles, the remaining surfaces unadorned to best display the swirled and variegated material with patterns resembling an ancient piece of burl wood.Provenance: The Maurice Fry Collection, Illinois, USA. Maurice Fry (1931-2019) was an American entrepreneur and businessman. He discovered Asian art during his time in the US Army, when he served in the Korean War. In 1956, Maurice found his life partner in Elizabeth C. Fry (1934-2022), and together they embarked on a decades-long and captivating journey of collecting.Condition: Good condition with significant old wear and expected natural imperfections, one with a minuscule fill. Natural inclusions and fissures overall, some of which have developed into fine hairline cracks over time. One shallow chip to the lip. Fine naturally grown patina.Stopper: Glass Weight: 43.7 g Dimensions: Height including stopper 76 mm. Diameter neck 17 mm and mouth 6 mm. One of the more exotic materials used for snuff bottles, amber is the translucent fossilized resin of ancient coniferous trees from the Tertiary period. Three main varieties of amber were used during the Qing Dynasty: a range of transparent brown, golden-brown and reddish amber; a yellow, cloudy amber associated with the Baltics; and 'root amber', such as the present bottle, where the range of material has inclusions of opaque yellow-ochre and brown colors. 'Root' amber, is so called because it was believed that the resin combines with clay at the root of the tree to obtain its distinct color. Amber was valued long before the snuff-bottle era and was considered to be a symbol of longevity, since it was known to have laid in the ground being transformed over millennia.Literature comparison: For a similar root-amber bottle still in the Imperial Collection see Chang Lin-Sheng, 'Snuff Bottles in the Collection of the National Palace Museum', Taipei, 1991, p. 252, no.374.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 19 March 2018, lot 144Price: USD 3,125 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A root amber snuff bottle, 1780-1850Expert remark: Compare the closely related manner of carving, decoration, with similar lion mask and mock ring handles, and color. Note the size (6.7 cm). While the two bottles likely date to different ends of the 1750-1850 period, with the current lot possibly being the older example, the Bonham's bottle provides a good basis for comparison based upon the form and material. 清代中期根珀鼻煙壺中國，1750-1850 年。 鼻煙壺圓柱體頸部，削肩，收腹，橢圓形圈足。肩部兩側各有一個輔首圓環。除此之外鼻煙壺表面未加任何裝飾，展示出材料獨有的紋理，如老樹根。 來源：Maurice Fry收藏，美國伊利諾伊州。 Maurice Fry（1931-2019）是一位美國企業家和商人。他在美國陸軍服役期間，在朝鮮戰爭中服役期間發現了亞洲藝術。 1956年，Maurice找到了自己的人生伴侶Elizabeth C. Fry（1934-2022），他們一起踏上了長達數十年的收藏之旅。 品相：品相良好，有磨損和自然瑕疵，輕微填充物，有天然內沁和裂隙，其中一些隨著時間的推移已發展成細小的裂紋。 壺口上有一個淺淺的缺口。自然精美包漿。 壺蓋：玻璃 重量：43.7 克 尺寸：含蓋高76 毫米，頸部直徑17 毫米，壺口直徑6 毫米 文獻比較： 一件相似的宮廷所藏琥珀色鼻煙壺，Chang Lin-Sheng，《故宮鼻煙壺》，台北，1991年，頁252，編號374。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2018年3月19日，lot 144 價格：USD 3,125（相當於今日EUR 3,500） 描述：1780-1850年雀腦琥珀鋪首耳鼻煙壺 專家評論：比較非常相近雕刻風格，裝飾，具有類似的輔面和手柄，以及顏色。請注意尺寸(6.7厘米)。雖然這兩件鼻煙壺可能生產於 1750-1850 年間的不同時期，而我們拍品可能年代較早。

A HORNBILL 'CAT AND BUTTERFLY' SNUFF BOTTLE, 1800-1880Opinion: The superb color and excellent polish of the present bottle suggest that it was created by using the ancient and today lost method of treating hornbill (see detailed note below), giving the material a rich translucency and protecting it from cracking over time. The carved decoration is well rendered and rare to find in such an elaborate manner on hornbill snuff bottles. China. The rounded rectangular body supported on a short foot with recessed base and rising to an oval neck. Finely carved in relief on both sides with panels, one enclosing a cat and butterfly framed by a gnarled prunus tree and the other with dynamic warriors and cavalry in front of a fortress. The short sides each carved with a dragon, retaining the characteristic deep red color of the outer sheath layer of the hornbill, creating a unique contrast to the inner layer of translucent honey-yellow to pale cream tone.Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.Condition: Good condition with minor wear and natural imperfections to the material, including expected age cracks. Few tiny nicks, the mouth possibly with a small chip that has been smoothened. Magnificent natural patina overall.Stopper: Hornbill (matching) Weight: 34 g Dimensions: Height including stopper 64 mm, Diameter neck 15 mm and mouth 4 mm Cats and butterflies are symbols of longevity. The cat (mao) is a homonym for 'seventy', while the butterfly (die) shares the same sound as 'eighty'. Together, they form a rebus for maodie. This term implies that one would live to be seventy or eighty - considered high age in ancient China.Hornbill was a highly valued material in China well before snuff bottles came into fashion in the Qing dynasty, after tobacco was introduced from the West in the early 18th century. The precise value is listed in the official regulations of the Ming dynasty, which set it for a single piece of 'ho-ting' (the term given to the material by Ming scholars, writing it with the characters for 'crane' and for 'head') at a thousand cash, the same amount given for half an ounce of precious coral beads, or a fifth of an ounce of rare seed pearls. This also shows that hornbill was worth far more than elephant ivory at that time, for the latter was valued at five hundred cash per pound, while it would have taken a great many pieces of ho-ting to make a pound, especially since the term was sometimes applied to the red sheathing alone.It is thought that there were once two distinct methods of treating hornbill, the solid casque with the tough red sheath that sits atop the upper beak, protecting the brain of the bird. The secret of the first method appears to have been lost but may have involved heating and perhaps permeating the material with some preservative. All known early pieces seem to have been handled this way, including snuff bottles. This treatment preserves the material very well, giving it a rich translucency and strength. We can only infer this preliminary manipulation from the finished product since no direct information about the techniques of treating hornbill ivory has been recorded. Any special methods used by Chinese craftsmen were always kept as closely guarded secrets by the guilds involved to forestall outside competition. The second method involved carving the material directly, which left the surface prone to cracking.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 23 August 2010, lot 6138 Price: USD 3,965 or approx. EUR 4,500 converted and adjusted for inflation at the time of writing Description: A carved hornbill snuff bottle, 1800-1880 Expert remark: Compare the material, carving and treatment technique, as well as the characteristic deep red color of the outer sheath layer, creating a unique contrast to the inner layer of translucent honey-yellow to pale cream tone.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. 1800-1880年鶴頂紅“貓蝶戲"鼻煙壺中國。扁平壺，直頸，溜肩，橢圓圈足。兩面分別浮雕屬下靈貓戲蝶圖與人物刀馬圖。壺兩側各雕刻一條龍，保留了鶴頂紅外鞘層特有的深紅色，與半透明的蜜黃色形成獨特的對比。 專家注釋: 本瓶的絕妙的顏色運用和極佳的拋光，説明它是使用古老但如今已失傳的處理鶴頂紅的方法製成的，賦予材料豐富的半透明性並防止其隨著時間的推移而開裂。鶴頂紅鼻煙壺上的雕工精細，實屬罕見。橢圓形壺身與常見的方形截然不同，更佳體現其稀有。 來源：Ted Adameck收藏，在同一家族保存至今。br /> 品相：狀況良好，有輕微磨損和自然缺陷，包括老化裂紋，細小的劃痕，壺口處有一個可能已經磨平的小缺口，整體包漿自然。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 UNUSUAL 'ROBIN'S EGG' GLAZED PORCELAIN SNUFF BOTTLE, CHINA, 1780-1860The cylindrical body supported on a tapered foot and rising to a rounded shoulder surmounted by a waisted neck with a lipped rim. Covered in a turquoise and sapphire-blue 'Robin's Egg' glaze save for the foot, which reveals the white ware. The glaze is of exceptional quality, the turquoise completely even and opaque, the translucent sapphire-blue swirls applied with remarkable precision and density, showing an elegant luster and unctuous feel overall.Provenance: Clare Chu, Asian Art Studio, Los Angeles, California. Cynthia Graser Locke, USA, acquired from the above. A copy of the original invoice from Asian Art Studio, dated 19 November 2003, signed by Clare Chu, accompanies this lot. Note that Clare Chu dated this bottle 1800-1880 in her invoice. Clare Chu has been active in the field of Chinese snuff bottles for 40 years as a gallery owner, curator, auction consultant, lecturer, and writer. She is the author of many articles, books, and snuff bottle catalogs, and has curated exhibitions at the Los Angeles County Museum of Art (2016), and at the Walters Art Museum in Baltimore (2018). In October 2021 she curated an exhibition of over 750 snuff bottles held at the Dr. Sun Yat-Sen Memorial Hall in Taipei. Cynthia Graser Locke (1923-2019) was an American collector of snuff bottles who lived in Duxbury, Massachusetts. She was an active member of the International Chinese Snuff Bottle Society which allowed her to travel the world, attending many of the Society's conventions.Condition: Excellent condition with minor wear and manufacturing flaws. Stopper: Ruby-red glass stopper with a beaded metal rim and spoon. Weight: 45 g Dimensions: Height including stopper 75 mm. Diameter neck 12 mm and mouth 7 mm. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 26 May 2013, lot 106 Price: HKD 125,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A 'robin's egg' porcelain 'double-gourd' snuff bottle, probably Imperial, Qing dynasty, Qianlong / early Jiaqing period Expert remark: Compare the related, but earlier robin's egg glaze. Note the double-gourd form. 1780-1860年爐鈞釉陶瓷鼻煙壺圓柱形壺身，圈足，溜肩。 壺身施綠松石色和寶石藍色的爐鈞釉，足部露出了白色胎。釉色品質卓越，松石色完全均勻不透明，色彩鮮亮，整體呈現出優雅的光澤和盈潤。 來源：加利福尼亞州洛杉磯Clare Chu亞洲藝術藝廊；美國Cynthia Graser Locke，購自上述藝廊。此拍品附有亞洲藝術藝廊於 2003 年 11 月 19 日出具的原始發票副本，並由 Clare Chu 簽名。請注意，Clare Chu 在她的發票中將這件鼻煙壺日期標註為 1800-1880 年。 Clare Chu作為藝廊老闆、策展人、拍賣顧問、講師和作家，活躍在中國鼻煙壺領域40年。她是許多文章、書籍和鼻煙壺目錄的作者，並在洛杉磯縣藝術博物館（2016年）和巴爾的摩沃爾特斯藝術博物館（2018年）策劃了展覽。2021年10月，她在台北國父紀念館策劃了一場展出超過750個鼻煙壺的展覽。Cynthia Graser Locke (1923-2019年) 是一位住在美國馬薩諸塞州達克斯伯里的鼻煙壺收藏家。她是國際中國鼻煙壺協會的活躍成員，她曾環遊世界，參加協會的許多會議。 品相：狀況良好，有輕微磨損和製造缺陷。 壺蓋：寶石紅色玻璃塞，帶有串珠金屬邊緣和勺子。 重量：45 克 尺寸：含蓋高75 毫米，頸部直徑12 毫米及壺口直徑7 毫米. 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2013年5月26日，lot 106 價格：HKD 125,000（相當於今日EUR 18,500） 描述：清乾隆 / 嘉慶初年爐鈞釉葫蘆鼻煙壺或御製 專家評論：比較相近的爐鈞釉面。請注意雙葫蘆的外形。

AN INSCRIBED AND TRANSLUCENT JADE 'ORCHIDS' BOWL, CHINA, 18th CENTURYInscription: 'Although the orchids belong to the grass, they are graceful and fragrant.'The deep rounded sides rising from a slightly splayed, massive ring foot to a gently everted rim, with a neatly slanted lip, a distinct hallmark of 18th century jade bowls. The remarkably well-polished stone is of a fine white color with hues of pale celadon and some cloudy inclusions. To one side, raised in high relief, we find a single orchid growing from a craggy rock next to a small lingzhi mushroom. The masterfully incised calligraphy is well-defined in gilt and highlighted in red lacquer. Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco. Isidore Cohn, Jr., MD, New Orleans, USA, acquired c. 2002 from the above and thence by descent in the same family. Label to the foot: 'S. Bernstein & Co, San Francisco 2787.' Isidore Cohn (1921-2015) was a prominent surgeon in New Orleans. Dr. Cohn served as the first Vice President of the American College of Surgeons (1993). He was a passionate collector of art, with several exhibitions of pieces from his collection conducted by The New Orleans Museum of Art, including 'Chinese Jades from the Collection of Marianne and Isidore Cohn, Jr.' in 2013-2014. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including 'The Emperor's Jade Suit' and 'Chinese Jade: The Immortal Stone'. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Superb condition with only minor old wear. The stone with natural inclusions.Weight: 145.6 gDimensions: Diameter 9 cm Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2013, lot 1697Price: USD 32,500 or approx. EUR 39,000 converted and adjusted for inflation at the time of writingDescription: An Inscribed Pale Olive-White Jade Bowl, Late 18th/19th CenturyExpert remark: Compare the inscription.Auction result comparison:Type: RelatedAuction: Christie's London, 6 November 2012, lot 143Price: GBP 27,500 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A Pair Of Inscribed And Gilt-Decorated Pale Celadon Jade Bowls, 18th CenturyExpert remark: Compare the inscriptions. Note that this lot is for two bowls. 十八世紀詩文蘭草玉碗侈口，深圓腹，圈足。碗口邊緣整齊，這是十八世紀玉碗的明顯標誌。 玉石經過精心打磨，呈現出細膩的白色，帶有淺青色調和一些絮狀物。在碗的一側高浮雕一朵蘭花從崎嶇的岩石中生長出來，旁邊是一朵小靈芝。詩句鎏金雕刻精美，並以紅漆突出。款識：蘭雖為草秀而香 來源：舊金山S. Bernstein & Co.Jade & Oriental Art藝廊；. Isidore Cohn，M.D收藏，2002年購於上述藝廊，自此保存在同一家族中。足部可見藝廊標籤“S. Bernstein & Co, San Francisco 2787"。品相：狀況極佳，只有輕微磨損，具有天然內沁。 重量：145.6 克 尺寸：直徑 9 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年9月20日，lot 1697 價格：USD 32,500（相當於今日EUR 39,000） 描述：清十八/十九世紀青白玉御題詩文盌 專家評論：比較款識。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2012年11月6日，lot 143 價格：GBP 27,500（相當於今日EUR 51,000） 描述：青白玉雕石榴紋題詩盌一對 專家評論：比較款識。請注意此為一對。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 GOLD-EMBROIDERED BLUE-GROUND SEMIFORMAL NINE-DRAGON ROBE, JIFU, JIAQING PERIODChina, 1796-1820. Finely embroidered in couched gold threads with the prescribed nine writhing five-clawed dragons chasing flaming pearls amid ruyi-shaped cloud clusters interspersed by baskets with flowers and fruit, flying bats, stylized shou characters, and auspicious attributes of the Eight Immortals (anbaxian), all above embroidered 'Mountains of Immortality', dragons, coral, and lingzhi emerging from a roiling sea, a continuous panel of gold lishui stripes at the lower section of the robe, repeated at the sleeves.Provenance: From the Norma Canelas and Bill Roth Collection. Norma Canelas Roth (1944-2022) was a celebrated art collector, patron, and benefactor. An accomplished painter herself, Norma had a gift for anticipating rising artists and overlooked art genres. Norma found inspiration from the arts of other cultures and began collecting Chinese, Japanese, Central Asian, African, and other works of art. She and her husband Bill were well received in the vibrant New York art world of the 1970s. They became patrons of the Pattern and Decoration movement, which New York Times art critic Holland Cotter called “the last genuine art movement of the 20th Century". Norma and Bill gifted important works of art from their collection to museums including the Orlando Museum of Art and the Polk Museum of Art.Condition: Superb condition with minor only wear and little soiling, few loose threads.Dimensions: Length 137 cm, Width 210 cm (across sleeves) The black-ground collar similarly decorated with dragons, the gold-striped sleeve extensions tapering to horse-hoof cuffs also with dragons. With five original gilt-metal buttons.The attributes of the eight Immortals (anbaxian) symbolize Daoism, transmutation, and happiness. Each of the symbols is the attribute of one of the Eight Immortals. They include the double gourd of Li Tieguai, containing all medicines; the fan of Zhongli Quan, resurrecting the dead; the flower basket of Lan Caihe, the patron of florists and a symbol of delusive pleasure; the bamboo rod of Zhang Guo, representing old age and longevity; the lotus of He Ziangu; the sword of Lu Dongbin, ridding the world of all evil; the flute of Han Xiangsi, an emblem of harmony; and the castanets of Cao Guojiu, the patron saint of theater actors.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 21 March 2018, lot 615 Price: USD 16,250 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A blue embroidered 'dragon' robe (jifu), Qing dynasty, Jiaqing period Expert remark: Compare the closely related embroidering of couched gold threads on a blue ground with similar dragon and lishui decoration. Note the size (142.6 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 23 March 2019, lot 1627 Price: USD 17,500 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A blue embroidered 'dragon' robe, jifu, Qing dynasty, Jiaqing period Expert remark: Compare the closely related embroidering of couched gold threads on a blue ground with similar dragon and lishui decoration. Note the trellis ground and the size (143.6 cm). 嘉慶朝藍地金線九龍紋吉服中國，1796-1820年。藍地龍袍，大襟右衽、馬蹄袖，金線繡有九條蜿蜒五爪龍雲中戲珠，中間點綴著吉祥花果與百福紋、壽字紋以及神獸的吉祥紋。下擺部分金線海水江崖紋，與袖子局部相同。整體華麗奪目。 來源：Norma Canelas 與Bill Roth收藏。 品相：狀況極佳，僅有輕微磨損，輕微污垢與鬆脫的線頭。 尺寸：長137 厘米, 寬210 厘米 (兩袖之間) 黑地衣領同樣飾有龍紋。五個原裝鎏金鈕。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2018年3月21日，lot 615 價格：USD 16,250（相當於今日EUR 18,000） 描述：清嘉慶藍緞金線繡雲龍紋吉服 專家評論：比較非常相近的藍底塗金線繡，類似龍和立水的裝飾。請注意尺寸(142.6 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月23日，lot 1627 價格：USD 17,500（相當於今日EUR 19,000） 描述：清嘉慶藍緞繡暗八仙雲龍紋吉服 專家評論：比較非常相近的藍底塗金線繡，類似龍和立水的裝飾。請注意格子地面和尺寸(143.6 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

AN EMBROIDERED SILK PINK-GROUND SHORT ROBE, CHINA, LATE 19TH - EARLY 20TH CENTURYFinely woven with floral roundels of peony, prunus, chrysanthemum, and magnolia growing from pierced rockwork against a pink ground, the collar, cuffs, and hems with butterflies, antique treasures, and immortals against a black ground, framed by green-ground bands of peony and prunus borne on meandering vines. Provenance: From the Norma Canelas and Bill Roth Collection. Norma Canelas Roth (1944-2022) was a celebrated art collector, patron, and benefactor. An accomplished painter herself, Norma had a gift for anticipating rising artists and overlooked art genres. Norma found inspiration from the arts of other cultures and began collecting Chinese, Japanese, Central Asian, African, and other works of art. She and her husband Bill were well received in the vibrant New York art world of the 1970s. They became patrons of the Pattern and Decoration movement, which New York Times art critic Holland Cotter called “the last genuine art movement of the 20th Century". Norma and Bill gifted important works of art from their collection to museums including the Orlando Museum of Art and the Polk Museum of Art. Condition: Very good condition with minor wear, few loose threads, minimal fading to colors, minor soiling, little foxing.Dimensions: Length 101 cm, Width 162 cm (across sleeves) Auction result comparison: Type: Related Auction: Christie's New York, 24 October 2022, lot 990 Price: USD 20,160 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A Chinese embroidered silk short robe, 20th century Expert remark: Compare the related embroidery and vivid colors. Note the size (99 x 170 cm).Auction result comparison: Type: Related Auction: Christie's New York, 24 October 2022, lot 997 Price: USD 20,160 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A Chinese embroidered silk short robe, late 19th/20th century Expert remark: Compare the related embroidery and vivid colors. Note the size (88 x 145 cm).Auction result comparison: Type: Related Auction: Christie's New York, 24 October 2022, lot 1025 Price: USD 15,120 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A Chinese embroidered silk robe, 19th/20th century Expert remark: Compare the related embroidery and vivid colors. Note the size (108 x 152.2 cm). 十九世紀末至二十世紀初粉地花卉紋氅衣圓領，大襟右衽，綴銅鎏金鏨花扣，前後開據，寬挽袖。粉色地，團花以牡丹、桃花、菊花和木蘭以及假山石為飾。並環以博古紋與蝴蝶等吉祥紋飾，以祝“富貴滿堂"與“長壽多福"。花間點綴暗八仙紋樣，再添驅邪納吉之意。繡工細膩，平整規矩。 來源：Norma Canelas 與Bill Roth收藏。 品相：狀況非常好，有輕微磨損與鬆線，褪色程度極低，輕微髒污與起毛。 尺寸：長101 厘米, 寬162 厘米 (兩袖之間) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2022年10月24日，lot 990 價格：USD 20,160（相當於今日EUR 18,500） 描述：二十世紀刺繡短襯衣 專家評論：比較相近的刺繡和鮮豔的色彩。請注意尺寸(99 x 170 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2022年10月24日，lot 997 價格：USD 20,160（相當於今日EUR 18,500） 描述：十九世紀末至二十世紀刺繡短襯衣 專家評論：比較相近的刺繡和鮮豔的色彩。請注意尺寸(88 x 145 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2022年10月24日，lot 1025 價格：USD 15,120（相當於今日EUR 14,000） 描述：十九至二十世紀刺繡短襯衣 專家評論：比較相近的刺繡和鮮豔的色彩。請注意尺寸(108 x 152.2 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 GREEN-GLAZED POTTERY EAR CUP, HAN DYNASTYChina, 206 BC to 220 AD. Of oval shape, the robust vessel is covered overall in a vibrant green glaze which is finely crackled. The thick ear-shaped handles protrude from the sides and the vessel stands on a short, flat foot.Provenance: From the personal collection of Michael B. Weisbrod, New York. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Good condition, commensurate with age. Some firing irregularities, such as glaze recesses, signs of weathering, a few losses to the glaze with associated minor touch-ups. The glaze has undergone some oxidization, amplifying the ear cup's bright green color.Weight: 274.5 g Dimensions: Width 15 cm Literature comparison:Compare a related glazed ear cup, 9.2 cm long, dated to the Han dynasty, in the Victoria & Albert Museum, accession number FE.150-1974. Compare a related green lead-glazed ear cup, 11.1 cm, dated to the Han dynasty, in the Victoria & Albert Museum, accession number C.50-1911.Auction result comparison: Type: Closely related Auction: Sotheby's London, 8 December 2022, lot 220 Price: GBP 4,788 or approx. EUR 5,800 converted and adjusted for inflation at the time of writing Description: A green-glazed pottery earcup, Han dynasty Expert remark: Note the vibrant green glaze similar to this lot. Note the size (13.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 漢代綠釉陶耳杯中國，西元前206-西元220年。耳備呈橢圓形，短平足，雙耳，胎體堅固，通體覆蓋著綠釉，細碎的裂紋。 來源：美國紐約Michael B. Weisbrod私人收藏，在20世紀90年代以約30,000美元的價格在蘇富比拍賣會上購得。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀況良好，一些燒製缺陷，釉面凹陷、風化跡象、釉面缺損，輕微小修。釉面有一些氧化，綠色更爲鮮亮。 重量：274.5 克 尺寸：寬15 釐米 文獻比較： 比較一件相近的漢代陶耳杯，長9.2 釐米，收藏於維多利亞和亞伯特博物館，館藏編號FE.150-1974。比較一件相近的漢代綠釉 陶耳杯，11.1 釐米，收藏於維多利亞和亞伯特博物館，館藏編號C.50-1911。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2022年12月8日，lot 220 價格：GBP 4,788（相當於今日EUR 5,800） 描述：漢綠釉耳杯 專家評論：請注意與此杯的釉料相似。請注意尺寸 (13.5 釐米)。

A RARE YUE BOWL AND COVER, FIVE DYNASTIES PERIODChina, 907-960. Finely potted, the gently flared sides supported on a short foot and surmounted by a domed cover applied at the top with a small rope-twist handle. The interior deeply carved with spiral decoration, the greyish-beige ware covered almost entirely in a pale olive green glaze, characteristic of the Yue kilns.Provenance: From a private collection in Sydney, Australia. Condition: Good condition with minimal wear and minor firing flaws, kiln grit, and minuscule chips. The rim with old kintsugi repairs.Weight: 328.1 g Dimensions: Diameter 10.2 cm With an associated silk storage box. (2)Yue ware originated in the Yue kilns of Northern Zhejiang, in the site of Jiyuan near Shaoxing, called 'Yuezhou' in ancient times. Its name goes back to the Yue Kingdom of the Spring and Autumn period. Yue ware was first manufactured in the 2nd century AD, when it consisted of very precise imitations of bronze vessels, many of which have been found in tombs of the Nanjing region. After this initial phase, Yue ware evolved progressively into true ceramic form, and became a medium of artistic expression. Production in Jiyuan stopped in the 6th century, but expanded to various areas of Zhejiang, especially the Shanglin Lake Yue Kilns near Ningbo. The 179 kiln sites located in this area appear to have been the earliest original celadon producers in China and elsewhere. From the late Eastern Han dynasty to the Southern Song dynasty (c. 200-1200), celadon was produced in vast amounts and traded in regional networks.Literature comparison: Compare a related yue bowl with a similar glaze, albeit with incised decoration depicting parrots, 14.6 cm diameter, also dated to the Five Dynasties period, in the Asian Art Museum of San Francisco, object number B60P1391.Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2019, lot 1701 Price: USD 75,000 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: A rare yue box and cover, Five Dynasties period Expert remark: Compare the related greyish-beige ware covered almost entirely in a pale olive green glaze, and the similarly plain form. Note the size (8.7 cm). 五代越窯蓋盒中國，907-960年。盒直口，直腹上寬下窄，平底足上有弦紋。盒蓋面弧形。蓋面一繩紋鈕。盒内數道弦紋。盒里外及足內滿釉，釉呈青黃色。來源：澳大利亞雪梨私人收藏。 品相：狀況良好，磨損極小，燒製缺陷、窯砂和少量微小碎片，邊緣用金繼技術修復。 重量：328.1 克 尺寸：直徑 10.2 厘米 配有絲綢儲物盒。(2)文獻比較： 比較一件相近的五代鸚鵡紋越窯碗，直徑14.6 厘米， 收藏於舊金山亞洲藝術博物館，館藏編號B60P1391。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年3月22日，lot 1701 價格：USD 75,000（相當於今日EUR 81,000） 描述：五代越窯青釉蓋盒 專家評論：比較相近的類似於橄欖綠釉面和外形。請注意尺寸(8.7 厘米)。

A PAIR OF BLACK-GLAZED CUP STANDS, YAOZHOU, NORTHERN SONG DYNASTYChina, 11th-12th century. Each finely potted and supported on a tall spreading foot, flaring to a wide curved dish, surmounted by a small globular cup, applied overall in a lustrous black glaze with a slight russet tinge, stopping irregularly above the unglazed base revealing the buff ware. The cups each pierced with three gourd-form cut-outs, the feet each with three floral cut-outs. Provenance: Hang Tang Cheng, Dragon House, San Francisco, USA, 1998. A private collector in Toronto, Canada, acquired from the above. Two old labels, 'N. Song 12c Henan Blackware Altar Cup Stand Pair NLM 2200 98-349(2) SL5-98-14(2). Three floral cutout upper cup and 3 on foot 3 ¼" H 5 ¼" D', and '12c Altar N. Song Henan Northern Blackware Cizhou Style 98-349(2) SL5-98-14(2). Cup Stands matched pair Double melon + Floral cutouts. Superb Condition. #2200 Pr. NLM.' A copy of a Certificate of Appraisal written and signed by Hang Tang Cheng, dated 7 August 1998, and dating the present lot to the Song dynasty, accompanies this lot. Hang Tang (Hank) Cheng is a well-respected dealer and appraiser of Asian art who ran the famous Dragon House antiques shop in San Francisco, established in 1979. Hank Cheng worked closely with museums, institutions, and auction houses including the Asian Art Museum, Bonhams, and Christie's.Condition: Very good condition with some wear and firing irregularities, including glaze recesses and pitting, a tiny chip to the rim of one cup stand.Weight: 367 g and 365 g Dimensions: Height 9.3 cm and 9 cm With a padded silk box and cover. (3)The use of stands was a practical development for the drinking of hot liquid from tea bowls without handles. In the Zu xia lu (Record of Leisurely Enjoyment) the 9th century author Li Kuangyi states that the first bowl stands were made in the Jianzong reign (AD 780-83). However, the earliest bowl stand excavated to date comes from a Jin dynasty tomb in Changsha, Hunan province. Certainly by the Song dynasty bowl stands were very popular in both lacquer and ceramics. The lacquer bowls and bowl stands were very costly, and so ceramics which copied the color and texture of lacquer were much appreciated.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 4 June 2020, lot 317 Price: HKD 125,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A rare Yaozhou black-glazed cupstand, Song dynasty Expert remark: Compare the related form and glaze. Note this is a single cup stand only. Also note the size (11.8 cm). 北宋一對耀州窯黑釉盞托中國，十一至十二世紀。盞托杯圓口內斂，薄唇，深筒腹，弧壁外鼓，中空無底，下出斜敞式托盤，底出圈足，與托杯相連通，圈足上各有三個鏤空花紋飾。盞托胎壁稍厚， 來源：美國舊金山Hang Tang Cheng，龍宮古物，上世紀九十年代；北美私人收藏購於上述藝廊。兩個舊收藏標簽 'N. Song 12c Henan Blackware Altar Cup Stand Pair NLM 2200 98-349(2) SL5-98-14(2). Three floral cutout upper cup and 3 on foot 3 ¼" H 5 ¼" D'與“12c Altar N. Song Henan Northern Blackware Cizhou Style 98-349(2) SL5-98-14(2). Cup Stands matched pair Double melon + Floral cutouts. Superb Condition. #2200 Pr. NLM."隨附一份Hang Tang Cheng1998年8月7日 出具並簽名的證書複印件。Hang Tang (Hank) Cheng 是一位備受尊敬的亞洲藝術品經銷商和鑑定師，他經營著舊金山著名的 Dragon House 古董店，該店成立於 1979 年。Hank Cheng 與亞洲藝術博物館、邦瀚斯和佳士得等博物館、機構和拍賣行密切合作。 品相：狀況極好，有一些磨損和燒製不規則之處，包括釉面凹陷和凹坑，一個杯架邊緣有微小缺口。 重量：分別367克與365克 尺寸：高9.3 厘米與9 厘米 配有内襯絲綢的蓋盒。(3) 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2020年6月4日，lot 317 價格：HKD 125,000（相當於今日EUR 15,500） 描述：宋耀州黑釉盞托 專家評論：比較相近的外形和釉面。請注意此為僅一隻盞托和尺寸(11.8 厘米)。

A LARGE LOBED QINGBAI GLAZED PORCELAIN BOWL, SONG DYNASTYChina, 960-1279. Of conical form supported on a short straight foot rising to a gently everted rim. The rounded sides divided into six petal lobes by notches around the rim. The interior carved and combed with foliate designs, covered overall in a smooth grayish-straw glaze save for the base.Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. Theodor “Teddy" Hahn (1933-2012) was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been."Condition: Very good condition with minor wear and manufacturing irregularities including pitting and dark spots. Some crackling and minor glaze lines. Few shallow chips to foot.Weight: 387.5 gDimensions: Diameter 18.1 cm Expert's note: Among the Fujian Qingbai, there is an interesting group of thinly potted bowls with more elaborately carved and combed floral or wave motifs. They usually have a straw color or grayish-white glaze and are characterized by pooling of glaze near the inner and outer rim and sometimes even the inner and outer wall. It has been argued that the glaze is intended to imitate the ivory Ding glaze with the typical pooling of teardrop-like effect. The Minqing Yi kiln has been identified as the major place that produced such bowls. Substantial quantities were recovered from the Nanhai 1, the Indonesian Java wreck, and the Philippines Breaker Shoal wreck.Literature comparison:Compare a related bowl of similar form, associated with the Tongan kilns of Fujian, dated to the 13th century, exhibited by the Southeast Asian Ceramics Society, and illustrated in Chinese Celadons And Other Related Wares in Southeast Asia, Singapore, 1979, pp. 156-157, no. 78, pls. 66-67. Compare closely related bowls from the cargo of the Nanhai no. 1 shipwreck, illustrated in the Nanhai Ship No. 1 1989-2004 Excavation Report, p. 434-436.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 26 Jun 2019, lot 6Price: USD 5,625 or approx. EUR 6,200 converted and adjusted for inflation at the time of writingDescription: A carved Qingbai bowl, Song dynastyExpert remark: Compare the closely related form and similar carving. Note the size (19.7 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2013, lot 1508Price: USD 11,875 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A Qingbai carved deep conical bowl, Southern Song dynastyExpert remark: Note the size (19.7 cm). 青白釉刻花葵口碗中國，960-1279年。葵口外翻，淺弧腹，圈足。碗内暗刻卷葉紋，整體施淺灰色白釉，圈足内露胎。 來源：德國達姆施塔特Teddy Hahn收藏，並由其後裔傳承。Theodor “Teddy" Hahn 是一位著名且受人尊敬的根付和其他亞洲藝術品收藏家。他花了很多時間在博物館研究世界早期文化，對雕塑特別感興趣。之後他開始收集，並說道：“我不知何故知道這將對我的生活產生深遠的影響。我是多麼正確啊。 我是多麼高興啊。" 品相：狀況極好，有輕微磨損和製造缺陷，包括凹坑和黑點，一些裂紋和輕微的冲線，足部細微磕損。 重量：387.5 克 尺寸：直徑18.1 厘米文獻比較： 比較一件相近的十三世紀相似外形福建同安窯碗，展覽於《Southeast Asian Ceramics Society》，見《Chinese Celadons And Other Related Wares in Southeast Asia》，新加坡，1979，頁156-157，編號78，圖66-67。比較非常相近的青白瓷碗，出土於南海1號沈船，見南海1號沈船考古報告之一-1989-2004年調查，頁434-436。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年6月26日，lot 6 價格：USD 5,625（相當於今日EUR 6,200） 描述：宋青白釉刻花盌 專家評論：比較非常相近的外形和相近的雕刻。請注意尺寸(19.7厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月20日，lot 1508 價格：USD 11,875（相當於今日EUR 14,500） 描述：南宋青白釉牡丹紋笠式花口盌 專家評論：請注意尺寸(19.7厘米)。

A SLIP-INLAID CELADON-GLAZED STONEWARE 'FLORAL' BOWL, GORYEO DYNASTYKorea, 12th-13th century. The deep rounded sides rising from a flat base to a slightly incurved rim. Inlaid in white and iron slip to both the interior and exterior with evenly spaced stylized floral sprays, the interior further with a central flowerhead, all beneath the finely crackled celadon glaze.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 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: Good condition, commensurate with age. Old wear and firing flaws, including a distinct bump to the interior, three spur marks to the base, and pitting. The rim with few minor chips.Weight: 154.3 g (excl. stand)Dimensions: Diameter 11.4 cm With an associated wood stand. (2)This inlay technique is called 'sanggam', which was invented by Korean ceramic artists in the twelfth century. The design was incised into the clay body of the vessel and then filled with slip (diluted clay). The excess slip would have been removed before the piece was biscuit fired, then the bottle was covered with a translucent celadon glaze and fired again. The development of the sanggam inlay technique signifies the elegance and innovativeness of Goryeo ceramic production; no similar inlay technique was used by Chinese craftsmen at this time.Literature comparison: Compare a related bowl with floral medallions dated to the 12th-13th century, 18.7 cm in diameter, in the Princeton University Art Museum, reference number 2006-831.Auction result comparison: Type: RelatedAuction: Christie's New York, 28 March 2006, lot 448Price: USD 9,600 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: An inlaid celadon deep bowl, Goryeo dynasty, 13th centuryExpert remark: Note the size (14.6 cm).Auction result comparison: Type: RelatedAuction: Christie's New York, 15 October 2001, lot 291Price: USD 15,275 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: An inlaid celadon stoneware bowl, Goryeo dynasty, 12th-13th centuryExpert remark: Note the size (18.3 cm). 高麗王朝青釉內嵌花卉炻器碗韓國，十二至十三世紀。深圓弧腹，平底。白色和鐵質鑲嵌在碗內壁和外壁，纏枝花卉紋，碗內中央有一朵花，青釉細膩開片。 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：狀態良好，有磨損和燒製缺陷，包括內部明顯的凸起、底部的三個刺痕和凹坑，邊緣有少量小缺口。 重量：154.3 克 (不含底座) 尺寸：直徑11.4 釐米 木底座 (2) 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 WHITE JADE 'DRAGON' SNUFF BOTTLE, CHINA, 18TH CENTURYWell hollowed, the rounded rectangular body supported on a wide oval foot and rising to a short cylindrical neck with a flat lip. Neatly incised to one side with a ferocious dragon emerging from swirling clouds and exhaling smoke as it reaches for the sacred pearl in the water below, and to the other side with fishermen in a sampan floating along a river, with a pavilion on the shore under a cliff. The base incised with a fruiting peach branch. The translucent stone is of a superb white color, near-absolutely pure, with very few minute cloudy and pale brown inclusions.Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the northernmost city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Very good condition with only minor wear and minuscule nibbling to the interior of the mouth. Natural inclusions and fissures, mostly invisible to the naked eye. Stopper: Coral cabochon of good color, carved as a coiled chilong Weight: 66.6 gDimensions: Height including stopper 65 mm. Diameter neck 19 mm and mouth 6 mm Auction comparison: Type: RelatedAuction: Christie's New York, 24 March 2011, lot 1574Price: USD 80,500 or approx. EUR 94,000 converted and adjusted for inflation at the time of writingDescription: A white jade 'kui dragons' snuff bottle, 1750-1850Expert remark: Compare the related depiction of dragons and the identical color of the jade. 十八世紀白玉龍紋鼻煙壺掏膛良好，圓頸，溜肩，長方壺身，橢圓形圈足。一面淺浮雕雲海騰龍，口吐煙霧，水上飛著一顆寶珠；另一面浮雕漁民沿河漂流，下方岸邊有一座亭子。圈足刻有仙桃。半透明玉石，輕微内沁，玉質油潤，雕工細膩，製作精良。 來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。VWS收藏講述了一個家庭逃離沙皇俄羅斯帝國的非凡故事。他們的旅程始於 1903 年，當時西伯利亞大鐵路東部支線中東鐵路竣工。 和其他人一樣，為了逃離政治迫害和反猶太主義的環境，全家定居在中國最北端的城市哈爾濱，並從 1906 年開始發展業務。 像許多其他人一樣，他們被這個國際化的城市吸引，因為這裡有龐大的猶太社區，當時這裡是滿洲的主要經濟和文化中心。 在哈爾濱，父親是一個有教養、思想開放、會說多種語言的人，他早年在商業上的成功為他贏得了尊重。 1932 年，日本入侵滿洲後，他和家人再次被迫逃離，並在上海找到了新家。 從那裡開始，他的生意將他帶到了香港、北美和其他亞洲國家，他的家人在那裡待了很多年。 他們於 1930 年代開始在中國收藏藝術品，這些藝術品自此一直由家族繼承人保管。 品相：狀況極好，只有輕微磨損，壺口內的微小磕損。自然的內沁和天然裂縫，大部分肉眼不可見。 壺蓋：圓面珊瑚，螭龍紋 重量：66.6 克 尺寸：含蓋高 65 毫米，頸部直徑19 毫米，壺口6 毫米 拍賣比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1574 價錢：USD 80,500（相當今日EUR 94,000） 描述：1750-1850年白玉雕夔龍鼻煙壺 專家註釋：比較相近的龍紋和相同的玉石顏色。

A BLUE AND WHITE OCTAGONAL DOUBLE-GOURD VASE, KANGXI PERIODChina, 1662-1722. Finely painted in shades of cobalt blue, the lower facets with panels enclosing alternating landscapes and antique treasures, the upper facets similarly painted with floral sprays and antiques, each below a band of ruyi heads, all above floral sprays. The interior of the flared rim painted with a geometric band, the exterior with a scroll design along the rim above a pendent leaf band.Provenance: New York trade, formerly in the E & J Frankel Collection, no. 3126 (according to label). E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs.Condition: Very good condition with minor wear and firing irregularities, some fritting to edges, the vase slightly leaning.Weight: 1,167 gDimensions: Height 27.5 cm Auction result comparison: Type: RelatedAuction: Sotheby's New York, 18 January 2008, lot 88Estimate: USD 5,000 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese export blue and white octagonal double-gourd vases, 18th centuryExpert remark: Note the smaller size (23.8 cm) and that these vases have “small chips and restoration." 康熙青花八角葫蘆瓶 中國，1662-1722年。此瓶為葫蘆瓶，因形似葫蘆而得名。自唐以來，因其諧音"福祿"，為民間所喜愛，遂成為傳統器形。整器紋飾滿密，層次分明，青花發色濃淡相宜。瓶身分上下兩部分，分別交替飾花卉紋與博古紋以及佛教寶物。頸部和肩部飾芭蕉紋，足部開光飾花卉紋。 來源：紐約古玩交易，來自 E & J Frankel 收藏，編號 3126 (見標籤)。E & J Frankel是紐約自 1967 年以來專門從事亞洲藝術的主要藝廊。由Edith（1939-2012）和Joel Frankel（1937-2018年）經營，是美國歷史最悠久的亞洲藝廊之一。Frankel夫婦周遊世界尋找亞洲藝術瑰寶，並向公眾展示他們共同的熱情。他們位於紐約市麥迪遜大道的藝廊是當地重要藝術場所，定期舉辦創新主題展覽，參觀者衆多，如Eskenazi，Ellsworth，Junkunc，以及Alsdorfs家族。 品相：狀況極好，有輕微磨損和燒製不規則，邊緣有一些磨損，花瓶稍微傾斜。 重量：1,167 克 尺寸：高 27.5 釐米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2008年1月18日，lot 88 估價：USD 5,000（相當於今日EUR 6,700） 描述：十八世紀一對中國出口青花八角雙葫蘆瓶 專家評論：請注意尺寸較小(23.8 厘米) ，以及此對花瓶有“小缺口和修復"。

A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國，十九世紀。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 GOLD-, SILVER- AND TURQUOISE-INLAID BRONZE 'DRAGON' GARMENT HOOK, WARRING STATES PERIODChina, 475-221 BC. Superbly cast with a dragon-head hook with neatly inlaid turquoise eyes and crest, finely decorated with a central floral design composed of a turquoise-inlaid circle surrounded by a gold-inlaid band and four ruyi petals, further decorated with turquoise-inlaid angular scroll, terminating in a second dragon head with laidback ears and long snout, the underside with a circular button.Provenance: Collection of Miklos Grunberg, and thence by decent in the same family. Mossgreen Auctions, Melbourne, Australia, 2 June 2008, lot 127. A private collection in Melbourne, Australia, acquired from the above. Miklos Grunberg (1918-1988) was born in Budapest, Hungary, and immigrated to Australia in the 1940s. In the early 1950s, he founded a mining consulting firm in Sydney, where he worked for various mining projects including the Uranium mine in Silver Valley. He was an avid collector of Chinese artifacts and works of art, and he donated several pieces to the National Library of Australia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, minor losses, tiny nicks, light scratches, small dents, encrustations. The finely polished silver and bronze surface with a rich, naturally grown patina with malachite and cuprite encrustations.Weight: 121.8 gDimensions: Length 20.4 cm Literature comparison:Compare a related turquoise inlaid belt hook of thin elongated shape, dated to the Warring States period, published in Julia White et al., Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection, Hong Kong 1999, p. 109. Compare a related garment hook with geometric decorations, 21 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1948.27. Compare a closely related belt hook with a similar four-petal design in the center, albeit inlaid in turquoise, illustrated in Chinese Art from the Collection of H.M. King Gustaf VI Adolf of Sweden, Tokyo and Osaka, 1971, no. 32. Compare a related turquoise-inlaid gilt-bronze belt hook, dated to the 4th century BC, in the Museum of East Asian Art, Bath, record number BATEA : 238.Auction result comparison: Type: RelatedAuction: Bonhams New York, 21 September 2020, lot 308Estimate: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare inlaid bronze garment hook, Warring States/Western Han dynastyExpert remark: Note the size (21.3 cm). 戰國錯金銀嵌綠松石龍頭鈎中國，西元前475-221 年。鑄工精良，龍頭鉤，一頭眼部和頭部鑲綠松石，鑲嵌工整，龍身錯金銀，飾綠松石，形如龍爪；第二個龍頭可見耳朵和長鼻子。身下有一個圓形鈕。來源：Miklos Grunberg收藏，自此在同一家族保存；澳洲墨爾本Mossgreen 拍賣行，2008年6月2日，lot 127；墨爾本私人收藏購於上述拍賣。Miklos Grunberg (1918-1988) 出生於匈牙利布達佩斯，二十世紀四十年代移居澳洲。二十世紀五十年代初，他在雪梨創立了一家採礦諮詢公司，負責多個採礦項目，包括銀穀的鈾礦。他收藏中國文物和藝術品，並向澳洲國家圖書館捐贈了多件作品。 品相：狀態良好，與年齡相稱。廣泛磨損、風化和侵蝕跡象、鑄造缺陷、輕微損失、微小刻痕、輕微劃痕、小凹痕、結殼。精細拋光的銀和青銅表面具有豐富的自然生長的銅綠，帶有孔雀石和赤銅礦結殼。 重量：121.8 克 尺寸：長 20.4 厘米 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2020年9月21日，lot 308 估價：USD 20,000（相當於今日EUR 22,000） 描述：戰國/西漢局部鎏金銅錯銀嵌松石雙獸首帶鈎一件 專家評論：請注意尺寸(21.3 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 SILVER-INLAID BRONZE CROSSBOW FITTING, WARRING STATES PERIODChina, 475-221 BC. Of rounded rectangular form, the hollow fitting has a square base and an aperture at the back for mounting it to the weapon. It is decorated overall with a geometric design of lozenge silver inlays with C-scrolls and stylized leafy scrolls. The top has a raised oval that extends down the side and is covered in the same design.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Good condition, commensurate with age. Signs of wear and weathering, dents, scratches, extensive rubbing to one side, soil encrustations, losses, corrosion. The inside seems to bear small remnants of fabric. Naturally grown patina with solid malachite encrustations overall.Weight: 201.4 g Dimensions: Width 5.5 cm Literature comparison:Compare a related corner fitting, 5.8 cm long, dated 4th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1605. Compare a related finial with gold and silver inlays, 6.3 cm long, dated 5th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2236. Compare a pair of bronze finials with silver inlays decorated with a similar geometric design, 6 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1677.1-2.Auction result comparison: Type: Related Auction: Christies New York, 16 March 2017, lot 865 Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Silver-Inlaid Bronze Circular Ornament, Warring States Period (475-221 Bc) Expert remark: Note the similar inlay work and size (6 cm). 戰國錯銀銅十字弓配件中國，公元前475-221年。中空配件呈圓角矩形，有一個方形底座，背面有一個孔，用於將其安裝到武器上。 整體裝飾採用菱形銀色鑲嵌幾何設計，帶有卷葉紋。頂部有一個凸起的橢圓形，向下延伸到側面，並覆蓋有相同的紋飾。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：品相良好，有磨損和風化跡象、凹痕、劃痕、一側有大面積磨損、土壤結殼、損失、腐蝕。內部似乎有少量織物殘留。自然包漿，整體帶有堅固的結殼。 重量：201.4 克 尺寸：寬 5.5 厘米 文獻比較： 比較一件相近的西元前四至三世紀十字弓配件，5.8 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1605。比較一件相近的西元前五至三世紀錯金銀鑲嵌矛，6.3 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.2236。比較一對西元前五至四世紀錯銀鑲嵌相似的幾何設計頂端，6 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1677.1-2。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年3月16日，lot 865 價格：USD 9,375（相當於今日EUR 10,500） 描述：戰國銅錯銀圓飾 專家評論：請注意相似的鑲嵌和尺寸(6 厘米)。

A SET OF BRONZE SWORDS, EASTERN ZHOU TO EARLY HAN DYNASTYChina, 3rd-2nd century BC. Each with a scalloped cross-section and edge, the swords are slightly waisted to the point with a pronounced median ridge. The handles have two rings on the grip and are without pommels. One sword shows a vibrant malachite green patina, while the other is of a rather dark green color overall.Provenance: From the personal collection of Michael B. Weisbrod, New York. The fitted box has an old auction label, '19 MAR 97. Sale 8602. Lot 179.' Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Good condition, commensurate with age. Expected signs of weathering and erosion corresponding to an extended period of burial. Losses, chips, metal flaking due to fatigue, soil encrustations, and remnants of ancient pigment.Weight: 473.9 g and 496.9 g Dimensions: Length 48 cm and 51.8 cm With a fitted wood box, neatly padded with silk. (3)Literature comparison: Compare a related bronze sword, 41 cm long, dated 5th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1979.2. Compare a related bronze sword, 43 cm long, dated 4th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1979.4.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 6 October 2022 Price: HKD 201,600 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A bronze sword, Eastern Zhou-Han dynasty, 3rd-2nd century BC Expert remark: Note the similar double rings on the handle. Note the size (65.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 東周至漢初一組銅劍中國，公元前三至二世紀。劍柄扁圓分格，劍身有道稜於中間突起，通身積厚綠銅鏽。來源：紐約 Michael B. Weisbrod 的私人收藏。盒子上有一個舊拍賣標籤：“97 年3 月19 日。拍賣編號8602。拍品179。" Michael B. Weisbrod 是一位著名的中國藝術學者，他在50 多年的時間裡發表了大量有關中國藝術的文章。1972年，Michael加入了他父親Gerald Weisbrod博士在加拿大多倫多的亞洲藝廊。 這對父子團隊於1977 年在麥迪遜大道開設了他們的紐約分店，在接下來的45 年裡，藝廊舉辦了大量展覽，向全球各地的博物館和私人收藏家出售作品，最終在上海和香港開設了更多分店。 品相：品相良好，有風化和侵蝕跡象。有缺損、磕損、金屬剝落、土壤結殼，以及顏料殘留。 重量：分別爲473.9克與496.9克 尺寸：分別長48 厘米與51.8 厘米 配木盒，内襯絲綢。(3) 文獻比較： 比較一件相近的西元前五至三世紀銅劍，長41 厘米，收藏於史密森國立亞洲藝術博物館，館藏編號F1979.2。比較一件相近的西元前五至三世紀銅劍，長43 厘米，收藏於史密森國立亞洲藝術博物館，館藏編號F1979.4。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年10月6日 價格：HKD 201,600（相當於今日EUR 24,000） 描述：東周至漢公元前三至二世紀青銅劍 專家評論：請注意相似的劍柄扁圓分格。請注意尺寸(65.2 厘米)。

A BRONZE OIL LAMP, HAN DYNASTY, EX MICHAEL GOEDHUISChina, 202 BC-220 AD. Finely cast with a circular drip pan with a straight rim and flattened curved handle, supported on a long shaped stem rising from a circular dish with everted rim.Provenance: Michael Goedhuis, London, United Kingdom, 1998. A private collection in France, acquired from the above. A copy of the original invoice, dated 27 September 1998, confirming the dating above and stating a 'special price' for the present lot of FRF 20,000 or approx. EUR 4,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Goedhuis trained as an economist, graduating with an MBA from the Courtauld Institute in Art History. He started a successful career in investment banking in New York and London, only to leave it in 1975 to pursue his passion for art. He joined Jacob Rothschild's Colnaghi Oriental Gallery specializing in Persian, Mughal, and Islamic art. It was here that he published a catalog focused entirely on the subject of post-archaic East Asian bronzes, a first in the field, authored by Ulrich Hausmann in 1989. Major collections were curated and sold by Mr. Goedhuis to numerous institutions including The Rothschild Collection to the Shahbanu of Iran, and the Vever Collection to the Smithsonian Institution. He subsequently expanded his activities to India, Japan, and China, concentrating on important antiquities. Today, Mr. Goedhuis continues to exhibit around the world, including in New York and Maastricht.Condition: Excellent condition, commensurate with age. Old wear, losses, nicks, scratches, encrustations, signs of weathering and erosion. The bronze with a rich, naturally grown, solid patina with malachite and azurite encrustations.Weight: 768.9 g Dimensions: Height 11.4 cm, Diameter 15.5 cm Literature comparison:A related bronze lamp was excavated from a Western Han dynasty tomb at Bicun, Hunyuan county, Shanxi province, illustrated in Wenwu, Beijing, 1980, no. 6, pl. 5, fig. 1. Auction result comparison: Type: Closely relatedAuction: Christie's New York, 19 March 2021, lot 808Estimate: USD 6,875 or approx. EUR 7,200 converted and adjusted for inflation at the time of writingDescription: A bronze oil lamp, Han dynastyExpert remark: Compare the related form and manner of casting. Note the phoenix and tortoise as well as the height (15.2 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 28 July 2022, lot 3026Estimate: HKD 81,900 or approx. EUR 9,900 converted and adjusted for inflation at the time of writingDescription: A bronze 'dragons' oil lamp, Han dynastyExpert remark: Compare the related form and manner of casting. Note the dragon decoration and the height (15.6 cm). 漢代銅油燈中國，公元前 202 年至公元 220 年。小盤内有一尖頂，一側有扁平弧形手柄。底盤大，支柱有弦紋。來源：英國倫敦Michael Goedhuis，1998 年；法國私人收藏，購自上述機構。隨附原始發票副本，日期為 1998 年 9 月 27 日，確認上述日期，並註明當前拍品的“特別價格"為 20.000 法郎或約 4,500 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）。 品相：品相極佳，有磨損、刻痕、劃痕、結殼、風化和侵蝕跡象。油燈有豐富的、自然包漿，有孔雀石和藍銅礦結殼。 重量：768.9 克 尺寸：高 11.4 厘米, 直徑15.5 厘米文獻比較： 一件相近的西漢油燈，出土於山西省渾源縣畢村墓地，見《文物》，北京，1980年，編號6，圖5，圖1。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年3月19日，lot 808 估價：USD 6,875（相當於今日EUR 7,200） 描述：漢銅朱雀玄武燈 專家評論：比較相近的外形和鑄造風格。請注意朱雀玄武，以及高(15.2厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年7月28日，lot 3026 估價：HKD 81,900（相當於今日EUR 9,900） 描述：漢青銅龍紋油燈 專家評論：比較相近的外形和鑄造風格。請注意龍紋裝飾和高 (15.6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 GILT-BRONZE VOTIVE PLAQUE DEPICTING THE MAITREYA, JIN DYNASTY, CHINA, 5TH CENTURYScientific Analysis Reports: 1.A technical examination was conducted by Podany Conservation Services, USA. The examination report concludes: “The characteristics observed by visual examination only of the corrosion patina and the encrustation, as well as the relationship between them and the base metal, as well as the remains of gilding and pigment suggest that the object is ancient." A copy of the signed examination report, dated 15 May 2021, accompanies this lot. 2.A scientific and technical examination was conducted by John Twilley, art conservation scientist. The report concludes that “The results of these tests show that the disk retains its as-cast microstructure and consists of a simple leaded tin bronze…Considering two likely origins, Korea or China, Buddhist sculptures from Korea have been noted to often be cast from unalloyed copper or leaded copper with minimal tin content, making a Korean origin somewhat less likely for the disk." A copy of the examination report, dated 29 December 2021, accompanies this lot. 3.An expert report was conducted by Antiques Analytics at the Institute for Scientific Authenticity Testing, Professor Robert Neunteufel. The examination concluded, “The results of the metal analysis are not in contradiction to a manufacture within the 5th" A signed copy of the report, dated 19 May 2023, accompanies this lot.The circular plaque is molded with a central Buddha Maitreya, seated on a lotus in dhyanasana with his hands raised in the abhayamudra and flanked by a flaming mandorla. The robed buddha is surrounded by a pair of acolytes at his feet, bodhisattva to his left and right, and two apsara flying above him. The surrounding figures are accompanied by two small rosettes and scrolling clouds. The remnants of three iron nail heads remain along the rim of the plaque.Provenance: From the private collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Very good condition, commensurate with age. Expected signs of weathering and erosion, soiling, flaking, dents, losses from corrosion, casting irregularities, remnants of red pigment, and loss to the gilding. The naturally grown patina has vibrant malachite and cuprite encrustations.Weight: 5,030 gDimension: Diameter 41.3 cmMaitreya, also known as the Buddha of the Future, may be considered as a Bodhisattva according to the sutras, or a Buddha according to the tantras. In Tibet, when represented as a Bodhisattva, he may be depicted standing or seated in European style with the feet resting on a small lotus throne, as in the present lot. The princely seated appearance of the figure, as in the present lot, is one of the most popular manifestations of Maitreya.Merchants trading in Silk Road goods, South and Central Asian Buddhist proselytizers, and pilgrims who had traveled to India to study Buddhism at its source brought countless paintings, scriptures, and small bronze sculptures and plaques to China and Tibet. These later served as the inspirations for works commissioned by local patrons. Few early Chinese and Tibetan bronze plaques survive, as later generations melted them down to make coins, weapons, or new icons.Literature comparison:Compare a closely related plaque depicting Maitreya surrounded by acolytes, bodhisattva, and apsaras, 17.2 cm high, dated to 460 AD through an inscription left by the devotee Faliang, in the Asian Art Museum of San Francisco, accession number B60B643. Compare a later related plaque depicting Maitreya similarly surrounded by acolytes, bodhisattva, and apsaras, 15.2 cm high, dated to the Sui dynasty (518-618), in the Harvard Art Museums, accession number 1943.53.74.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 晉代銅鎏金彌勒佛鎏金銅許願牌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 'XINIU' WEIGHT, MING DYNASTYChina, 1368-1644. Finely cast, the legendary beast seated in a recumbent position with its head turned back over its body. The tail of the creature flicked across its haunches as its hooved feet are tucked up underneath it. The hair of the xiniu's mane flowing down the back of its neck parallel to its single horn. The eyes, ears, nose, and mouth are detailed in bold lines, and the ribs are indicated by a series of deep striations.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 tightknit 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 some casting flaws. Small nicks, light scratches, minor dents. Expected signs of weathering. Patches of fine patina with extensive wear to the gilding, small spots of cuprite and malachite encrustation.Weight: 162 gDimensions: Length 5.4 cm Animal-form weights have been used since antiquity, with numerous examples surviving from the Han dynasty, from which they continued to be essential for scholars in subsequent periods. The Guyu Tu, found in the Illustrated Compendium of Ancient Jades, notes that Zhao Mengfu once bought an ancient jade bixie for use as a paperweight, indicating that scholars would sometimes appropriate favorite antiquities to serve this utilitarian function. The Xuande period in particular witnessed a renewed interest in bronze wares for the scholar's desk, including bronze animal-form weights such as the present lot. The xiniu is a legendary Chinese animal. In ancient Chinese texts, the term xiniu originally meant rhinoceros. In later periods, the creature became increasingly mythologized after the rhinoceros was extinct in post-archaic China. By the Song dynasty, it had become a beast of legend, known only through literary references.Literature comparison: For a Xuande mark and period mythical beast-form weight from the Xiaogushan Guan Studio Collection, see Rochers de Lettres, Itineraires de l'Art en Chine, Musee des Arts Asiatiques Guimet, Paris, 2012, cat. no. 58. Two weights, one cast as a scaly mythical beast and another of leonine form, were included in the exhibition Arts from the Scholar's Studio, Fung Ping Shan Museum, Hong Kong, 1986, cat. nos 194 and 195. See a comparable example in the Victoria and Albert Museum, London, illustrated by Rose Kerr, Later Chinese Bronzes, London, 1990, p.101, no. 87.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 26 May 2013, lot 372Price: HKD 56,250 or approx. EUR 8,500 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze 'tianlu' paperweight, late Ming/early Qing dynastyExcerpt: Compare the size (5.6 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 18 March 2014, lot 254Price: USD 16,250 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze lion-form paper weight, Ming dynastyExpert remark: Observe the similar wear, recumbent pose, and ribs. 明代銅鎏金犀牛鎮紙中國，1368-1644年。銅製犀牛，轉首仰視，四腿臥於身下，鬃毛細長，披撒在頸兩側，周身鎏金，雄健之神態自然流露。此器形態意趣憨樸，法度古拙。 來源：Maria 與Johannes Nickl收藏，在同一家族保存至今。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：品相良好，有一些鑄造缺陷，小嗑損、輕微劃痕、輕微凹痕，有風化跡象。鎏金大面積磨損，包漿細膩，紅褐色藍綠色結殼。 重量：162 克 尺寸：長 5.4 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 RARE IRON-SPLASHED 'YUE' FIGURE OF A RECUMBENT RAM, WESTERN JIN DYNASTYChina, 3rd century. The well-modelled ram with its front and rear legs folded beneath the body, with a curvaceous spine and robust rump, its head raised and with a pierced aperture on top, detailed with a pair of bulging eyes and curved striated horns encircling long ears, all highlighted with dark iron splashes and painted overall with a finely crackled olive-green glaze, the body neatly incised beneath the glaze with a pair of wings.Provenance: From the estate of a prominent Chinese musician in New York, USA. Condition: Excellent condition with some wear, encrustations, and firing flaws including kiln grit and glaze recesses.Weight: 299.1 g Dimensions: Length 11.5 cm Expert's note: Stoneware figures of recumbent rams kneeling with their forelegs and their hind legs tucked in and covered in the same olive-green glaze, belong to a group of playful objects for the scholar's desk made in kilns in northern Zhejiang and southern Jinagsu province. Numerous vessels of this type, in the form of various animals, have been recovered from tombs of the Three Kingdoms (220-265) and the Western Jin dynasty (265-316), suggesting they were treasured items.Literature comparison: A closely related figure was included in the exhibition Treasures from the Shanghai Museum, 6000 years of Chinese Art, Asian Art Museum of San Francisco, San Francisco, 1983, cat. no. 57. A closely related figure from the Barlow collection was included in the Oriental Ceramic Society exhibition The Ceramic Art of China, Victoria and Albert Museum, London, 1971, cat. no. 26. See also the ram with brown wash details excavated in 1980 at the Jianbi Brick and Tile Factory, Dantu County, Zhenjiang City, published in Zhongguo chutu ciqi quanji, vol. 7: Jiangsu Shanghai, 2008, no. 64, p. 53 (as early Yue ware, Eastern Jin dynasty, 16 cm long). Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 127 Price: GBP 40,000 or approx. EUR 60,500 converted and adjusted for inflation at the time of writing Description: A rare 'yue' figure of a recumbent ram, Western Jin dynasty, 3rd century AD Expert remark: Compare the closely related modeling, glaze, and iron splashes. Note the larger size (16.3 cm). 西晉越窯青釉臥羊中國，三世紀。羊作跪伏狀，昂首張口，雙耳長伸，卷角後彎，下顎貼塑鬍鬚，臀部上端貼印短尾，頭頂有一圓孔，中空。胎灰白色，釉色瑩潤，眼睛、嘴部、肌肉突出部點有褐彩。 來源：美國紐約知名中國音樂家收藏。 品相：狀況極好，有一些磨損、結殼和燒製缺陷，包括窯砂和釉面凹陷。 重量：299.1 克 尺寸：長11.5 釐米 專家注釋：炻器上的公羊跪臥造型，前腿內收，覆蓋著淺綠色釉，屬於浙北、江南窯爐製作文案用品。 三國（220-265）和西晉（265-316）墓葬中出土了大量此類動物形狀的器皿，非常珍貴。文獻比較： 一件非常相近的瓷羊，展覽於《Treasures from the Shanghai Museum，6000 years of Chinese Art》，舊金山亞洲博物館，1983年，圖錄編號57。一件非常相近的瓷羊，來自Barlow收藏，東方陶瓷學會，展覽於《The Ceramic Art of China，Victoria and Albert Museum》，倫敦，1971年，圖錄編號26。見棕斑瓷羊出土於1980年浙江丹徒區，《中國出土瓷器‧卷七‧江蘇上海》，2008年，編號64，頁53 (東晉越窰瓷器，長16 釐米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2019年11月6日，lot 127 價格：GBP 40,000（相當於今日EUR 60,500） 描述：西晉三世紀越窰青釉臥羊水注 專家評論：比較非常相近的模像、釉面和鐵紅點。請注意尺寸較大 (16.3 釐米)。

A MARBLE STELE FRAGMENT OF THE BUDDHA, EASTERN WEI DYNASTYChina, 532-546 AD. The finely carved fragment depicts the Buddha, with his serene face, heavy lidded eyes, and calm smile, in repose backed by a tear-drop mandorla. His robes are smooth, draping off his shoulders to naturalistically expose his chest. His head with a round ushnisha, worn through centuries of worhip.Provenance: From a private collection in Brescia, Italy.Condition: Good condition, commensurate with age. The marble has been smoothened through extensive weathering and worship, with soil remnants likely from a prolonged period of burial, cracks and losses, all of which only add to the exceptionally breathtaking appearance of this little gem.Weight: 517.1 gDimensions: Height 11.5 cm With an associated metal stand. (2)Steles played an important role in the development of religious art in China. During the Northern Wei dynasty, state-sponsorship of Buddhism enabled the rapid spread of the religion throughout northern China. At this time, Buddhist voluntary groups affiliated to local temples and organized by laymen became the main patrons of Buddhist steles which commemorated the group's religious, social, and territorial identity. The relative ubiquity of the medium employed to manufacture steles, and their small size, prompted a multitude of regional workshops, many of which developed their own style using the monumental cave temple carvings as a basis.Literature comparison:Compare a related stele with the buddha, 3.2 m high, from the Shanxi province and dated to the Northern Wei dynasty, in the Metropolitan Museum of Art, accession number 65.29.3, published by Denise Leidy and Donna Strahan in Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, 2011. Compare a related head of the Buddha with a very similar style, 25.3 cm high, in the Museum for East Asian Art Cologne, accession number Bc 40,2. Compare a related sandstone stele which has the tear-drop mandorla enveloping the entire figure, 134 cm high, dated to the Eastern Wei Dynasty, in the Brooklyn Museum, accession number 2015.3. Compare a much later stele of the buddha with a similar tear-drop mandorla, 55.9 cm high, dated to the Tang dynasty, in the Minneapolis Institute of Art, accession number 2021.34. Compare a closely related stele, 174 cm high, from the Shaanxi province and dated 520 AD, in the Victoria & Albert Museum, accession number A.9-1935. Compare a closely related stele, 92.5 cm high, from the Shaanxi province and dated 544 AD, in the Victoria & Albert Museum, accession number FE.7-1971. Compare a related sandstone stele, 195.5 cm high, dated 515-525 AD, in the National Museum of Asian Art, Smithsonian Institution, accession number S1991.157.Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2004, lot 77 Price: GBP 8,365 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A limestone stele fragment, late Northern Wei/Eastern Wei dynasty Expert remark: Note the similar carving style used to craft this bodhisattva. Note the much larger size (41 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 26 October 2022, lot 231 Price: EUR 50,000 or approx. EUR 52,500 adjusted for inflation at the time of writing Description: A stone documentary stele of Buddha, Northern Wei Dynasty Expert remark: Note the related style of the Buddha and the tear-drop mandorla. Note the much larger size (36.8 cm). 東魏漢白玉佛頭殘片中國，532-546年。精美雕刻半身佛陀，面容平靜，雙眼微閉，笑容安詳，背靠水滴狀光背。他的長袍衣紋光滑，從肩膀上垂下來，自然地露出胸部。他的頭上有螺髻，經過幾個世紀的崇拜而磨損。 來源：義大利布雷西亞的私人收藏。 品相：品相良好，土壤殘留可能是長期埋藏所致，有裂縫和缺損。 重量：517.1 克 尺寸：高11.5 厘米 金屬支架 (2) 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰斯，2004年11月8日，lot 77 價格：GBP 8,365（相當於今日EUR 20,000） 描述：北魏末至東魏石灰岩石像 專家評論：請注意相似的雕刻風格。請注意尺寸較大 (41 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎邦翰斯，2022年10月26日，lot 231 價格：EUR 50,000（相當於EUR 52,500今日） 描述：北魏永平三年石雕佛龕 專家評論：請注意相近的雕刻風格和水滴狀光背。請注意尺寸較大 (36.8 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 BRONZE FIGURE OF VAJRAPANI, TIBET, 13TH-14TH CENTURYFinely cast striding in alidhasana, trampling on a prostrate figure atop a lotus pedestal, holding a vajra in his raised right hand and a ghanta in his left, wearing a tiger skin dhoti and a billowing scarf, adorned with a garland of severed heads (mundamala) and beaded jewelry. His face with a fierce expression, the mouth agape showing sharp teeth, the almond-shaped eyes and arched brows centered by an oval urna, the neatly incised flaming hair secured by a skull tiara tied on both sides, all flanked by a flaming mandorla.The sealed base incised with a double vajra emblem.Provenance: From a private collection in the United Kingdom, by repute acquired from Kenny & Higgins Asian Art, Washington DC, USA. David Kenny and Kitty Higgins are prominent dealers of Asian art. Their expertise in Asian antiquities grew out of their deep passion for exploring and traveling. Beginning in the South American textile trade, David and Kitty found themselves slowly immersing in Asian culture out of an insatiable curiosity. After publishing several books on Asian art, both continue to work in the field of Asian antiquities. Condition: Good condition with significant old wear, expected casting irregularities, dents and nicks, obvious losses. Remnants of ancient gilt and pigment. The bronze is covered in a rich, naturally grown patina overall.Weight: 369.1 g Dimensions: 12.9 cm Vajrapani is regarded as one of the eight heart-sons of Shakyamuni Buddha. In the tradition of Vajrayana Buddhism, Vajrapani is typically shown in a wrathful form and historically he is the main recipient, holder and protector of all the Tantra texts and teachings received from the Buddha Shakyamuni. Auction result comparison: Type: Related Auction: Christie's New York, 17 September 1998, lot 101 Price: USD 6,900 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Vajrapani, Tibet, 14th/15th century Expert remark: Compare a the related pose, fierce expression, and lotus pedestal. Note the simpler tiara and adornments, as well as the size (20.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 20 September 2006, lot 122 Price: USD 19,200 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Vajrapani, Tibet 11th century Expert remark: Compare the related pose and garland of severed heads. Note the better-preserved mandorla and nimbus as well as the earlier dating. Also note the size (14.5 cm). 西藏十三至十四世紀金剛手菩薩銅像金剛手菩薩雙目圓睜，雙眉之間有白毫，蓄短鬚，忿怒相，袒胸露腹，頭戴骷髏花冠，火焰狀的赤飄揚於頭頂，左手持金剛鈴，右手高舉金剛杵，下身著虎皮裙，左展姿立於蓮座之上。後有光背。封底刻有雙金剛杵印記。 來源：英國私人收藏，據說是從美國華盛頓特區Kenny & Higgins Asian Art藝廊購得。David Kenny和Kitty Higgins是著名的亞洲藝術品經銷商。他們在亞洲文物方面的專業知識源於他們對探索和旅行的濃厚熱情。從南美紡織品貿易開始，David和Kitty有著永不滿足的好奇心，慢慢沉浸在亞洲文化中。他們先後出版了幾本有關亞洲藝術的書並繼續在亞洲古董領域工作。 品相：狀況良好，有磨損、鑄造不規則、凹痕和刻痕、明顯缺損，鎏金和顏料的殘留物。銅器整體覆蓋著一層自然包漿。 重量：369.1 克 尺寸：12.9 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，1998年9月17日，lot 101 價格：USD 6,900（相當於今日EUR 12,000） 描述：十四至十五世紀金剛手菩薩銅像 專家評論：比較一件相近的姿勢，兇猛的表情和蓮座。請注意較簡單的王冠和光背，以及尺寸 (20.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年9月20日，lot 122 價格：USD 19,200（相當於今日EUR 27,500） 描述：十一世紀金剛手菩薩銅像 專家評論：比較相近的姿勢和花環。請注意保存較好的曼陀羅和雨雲，以及年代較早。請注意尺寸 (14.5 厘米)。

A LIMESTONE FIGURE OF BUDDHA AMITABHA UNDER THE BODHI TREE, NEPAL, 17TH-18TH CENTURYSeated in vajraparyankasana on a double lotus pedestal, framed by floral foliage representing the Bodhi tree under which the Buddha attained enlightenment, his hands lowered in dhyana mudra holding an alms bowl, wearing neatly incised monastic robes. The serene face finely carved with heavy-lidded eyes below gently arched eyebrows centered by an urna, above a broad nose and full lips forming a benevolent smile, flanked by long pendulous earlobes, backed by a halo. The hair arranged in tight curls over the ushnisha surmounted by a jewel.Provenance: Loiseau Schmitz, St-Germain-en-Laye, France, 11 November 1979, lot 164. French private collection, acquired from the above. Cornette de Saint Cyr, Paris, France, March 24, 2017, lot 115. A private collection in Paris, France, acquired from the above. The expert for the 1979 Loiseau Schmitz sale was Josette Schulmann. She and her husband Theo were passionate dealers and scholars of Asian Art. The couple have donated several important works to the Cernuschi Museum. The expert for the 2017 Cornette de Saint Cyr sale was Jean-Luc Estournel, who, after studying art history at the Ecole du Louvre and Asian Art at the Musee Guimet, opened his first art gallery in 1984 and has been working as an expert for several major French auction houses since 1993. Jean-Luc Estournel is also in charge of the Densatil Project, a 'catalogue raisonne' of the relics from the Densatil Monastery in Tibet now dispersed around the world.Condition: Good condition with minor wear, small losses, minuscule chips, light scratches.Weight: 3,643 g (excl. stand) and 4,056 g (incl. stand)Dimensions: Height 30.1 cm (excl. stand) and 30.4 cm (incl. stand) With an fitted wood stand, dating from the 20th century. (2)Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 624 Price: USD 17,500 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Chakrasamvara and Vajravarahi Expert remark: Compare the related stele form, manner of carving, dating and material. Note the similar size (27.6 cm). 尼泊爾十七至十八世紀石灰石菩提樹下阿彌陀佛坐蓮像阿彌陀佛結跏趺坐於雙曾蓮花座上，兩棵菩提樹形成光背，雙手結禪定印托缽，身著袈裟。頭頂飾有小螺髮，肉髻高聳，面部豐滿而圓潤，頭額寬平，五官秀雅，兩眼細長，雙眉之間有白毫，神情恬靜親切。佛像穿著坦右肩式袈裟，輕薄貼體，表面不飾衣紋。 來源：法國聖日耳曼昂萊Loiseau Schmitz，1979 年 11 月 11 日，拍品 164；法國私人收藏，購自上述收藏；法國巴黎Cornette de Saint Cyr，2017年3月24日，拍品115；法國巴黎私人收藏，購自上述拍賣。1979 年 Loiseau Schmitz 拍賣會的專家是 Josette Schulmann。她和她的丈夫 Theo 都是亞洲藝術經銷商和學者。這對夫婦向塞爾努斯基博物館捐贈了幾件重要的作品。2017 年 Cornette de Saint Cyr 拍賣會的專家是 Jean-Luc Estournel，他在盧浮宮學院學習藝術史並在吉美博物館學習亞洲藝術後，於 1984 年開設了他的第一家美術館，並自1993 年以來一直擔任專家，法國幾家主要拍賣行都曾與Jean-Luc Estournel 合作。Jean-Luc Estournel 還負責丹薩替項目，該項目是西藏丹薩替寺文物的“目錄全集"。 品相：狀況良好，有輕微磨損、小缺損、輕微劃痕。 重量：3,643 克 (不含底座) 與4,056 克 (含底座) 尺寸：高30.1 厘米 (不含底座) 與 30.4 厘米 (含底座) 配有木支架，其歷史可追溯至二十世紀。(2)拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年3月20日，lot 624 價格：USD 17,500（相當於今日EUR 19,000） 描述：十七世紀尼泊爾勝樂金剛和金剛亥母黑石像 專家評論：比較相近的外形，雕刻風格、年代和材質。請注意相似的 尺寸(27.6 厘米)。

A GOLD REPOUSSE 'LION' PENDANT, WITH AN AGATE INTAGLIO OF A HINDU GODDESS, CHAM PERIODVietnam, former kingdoms of Champa, circa 10th century. The rounded pendant is finely chased, embossed, and incised to depict two anthropomorphized lions flanking a central lotus flower and an agate intaglio depicting a female Hindu deity surrounded by foliate designs, all below two inlaid amethyst cabochons, all enclosed by a scroll border. The reverse with two flattened gold wire loops for suspension. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Very good condition, commensurate with age, with some wear, small manufacturing irregularities, light tarnishing, and encrustations, all as to be expected for a gold object more than a thousand years old.Weight: 21.2 g Dimensions: Length 9.8 cm

A BRONZE DEATH MASK, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 220, no. 112.Indonesia. Finely cast from thin bronze, the mask is realistically styled with thin arched brows above heavy-lidded pierced eyes, a broad nose, and full butterfly lips curling into a calm smile. The face has finely aged, covered overall in a solid layer of malachite green encrustation.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 7 October 2002, showing an image of the present lot, and stating a purchase price of ITL 8,000,000 or approx. EUR 6,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition commensurate with age. The shape has remained in its original form. As expected, the bronze has corroded overall and there are a soil encrustations. Minor losses and old wear.Weight: 191.1 g Dimensions: Height 18.5 cm Goa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first introduced to the site in 1999. He brought back several sample fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supported the dating of to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads. Rispoli suggested that the underground temple was most likely a water control system but offers no explanation as to why or how the heads, a clear part of East Java religious practices, came to be placed there. Most scholars disagree with Rispoli's arguments, especially given that it is primarily based off a single faulty thermoluminescence test she discovered.Cultural acculturation, the mixture of elements from various cultures over various ages implemented in religious contexts is a well-known practice in Indonesia. Settlers of the Indonesian archipelago had consistent contact with Indian traders which led to the adoption of many foreign religious practices. Unsurprisingly, this had a direct effect on the cultural material of Indonesia. Dong Son, the earliest bronze culture in Southeast Asia, was likely introduced to Indonesia by traders during the 1st millennium BC. More than 100 objects from Goa Made are bronze objects, and the majority of these are bronze masks. Many of the masks have characteristics elements which reflect the style of face common to the Majapahit period (13th-16th century). However, the masks which do not illustrate Indonesian facial styles, like the Malayan-Mongoloid face of this lot, are similar to nekara bronzes. This suggests a far earlier dating for these masks. Given the origin of bronze working in Indonesia came from the Don Son culture, these masks can be dated as far back as 2000 BC. However, archeologists are still not unified on this dating. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.

A GOLD REPOUSSE OIL LAMP, KAMANDALU, JAVA, INDONESIA, 13TH-14TH CENTURYThe baluster body raised on a circular base with ribbed stem, the mouth surmounted by a tall segmented hollow finial decorated with foliate designs and topped by an open bud. The spout modeled as a sinuous dragon with large open mouth showing teeth and fangs, the head adorned with a ruby and the base with glass and garnet beads. The base, shoulder and mouth are decorated with lappet petals beneath beadwork.Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Condition commensurate with age and material, showing ancient wear, expected manufacturing flaws, scratches, small losses, creases and dents.Weight: 250.5 g Dimensions: Height 35.1 cm Literature comparison:Compare a related bronze Javanese oil lamp, 27.3 cm high, dated to the 13th century, in the British Museum, registration number 1976,0406.1.

A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 7th-9th century. Sensitively carved with heavy-lidded downcast eyes and finely incised pupils, thick ridged brows, a narrow nose, elongated earlobes, and full lips forming a calm smile, the hair in snail-shell curls.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Old wear, losses, nicks, scratches, signs of weathering and erosion, encrustations, cracks. Very minor old fills. Fine, naturally grown patina overall.Weight: 1,772.1 g (incl. stand) Dimensions: Height 18.7 cm (incl. stand), 12.5 cm (excl. stand)Mounted on an associated stand. (2)While there is great variation within the Mon-Dvaravati tradition, the sensitivity paid to the modeling of these facial features is in keeping with the period's focus on the purity and fluidity of form. As expressed by Jean Boisselier in The Heritage of Thai Sculpture, 1975, page 73, “The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia."Literature comparison:Compare a closely related sandstone head of Buddha in the National Museum Bangkok, dated 8th-10th century, with nearly identical facial features. Compare a related head of a Buddha, 19.5 cm high, dated to the 8th century, in the Metropolitan Museum of Art, accession number 1983.13.Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2019, lot 874 Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writing Description: A Blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th century Expert remark: Note the related facial features and hair style. Also note the slightly larger size (23.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 15 March 2016, lot 318 Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writing Description: A gray sandstone head of Buddha, Thailand, Mon-Dvaravati period, 9th century Expert remark: Compare the related facial features and material. Note the slightly larger size (24 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

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

A SANDSTONE STELE OF AMBIKA, INDIA, 11TH-12TH CENTURYSeated beneath a floral canopy with a central Buddha figure, the goddess wraps her arm around a child seated on her lap. In her right hand she holds a lotus stem, and around her neck is a torc and a beaded necklace which extends down between her shapely breasts. She is adorned with a large headdress, and above the child hovers a single apsara.Provenance: From the private collection of Dr. Rainer Kreissl, and thence by descent in the same family. Dr. Rainer Josef Kreissl (1924-2005) was a German-Czech art collector and the recipient of the Czech Republic's Medal of Merit. Born in Bohemia, Dr. Kreissl's family was permitted to remain in Czechoslovakia after World War II because of his father's efforts in smuggling jews out of the Third Reich. Dr. Kreissl studied business in Žatec and became an antiquities dealer in the late 1950s. Due to his association with various foreign diplomats, Dr. Kreissl emigrated to west Germany after becoming a person of interest to the KGB. Dr. Kreissl continued to work as an antiquities dealer, assembling an impressive collection which he donated to the various museums in the Czech Republic. In 1995, Dr. Kreissl received an honorary Doctorates from Charles University and was later awarded honorary citizenship of the city of Prague. His broad collection can be seen in the Thimble Museum, the National Gallery, and in Prague Castle. Condition: Fine condition, commensurate with age, and presenting remarkably well. Extensive weathering, erosion, losses, cracks. Good care was taken to fit the sculpture into a solid stand, backing some of the losses with a nicely grained wood. Good natural patina overall.Weight: 22.7 kg (incl. stand) Dimensions: Height 63.5 cm (incl. stand), 52.8 (excl. stand) With a fitted wood stand from the 20th century. (2)In Jainism, Ambika is the yakshi (attendant deity) or sasana devi (protector goddess) of the 22nd Tirthankara, Neminatha. She is often shown with one or more children and sometimes under a tree. The name Ambika literally means 'mother,' hence she is the Mother Goddess.According to Jain text, Ambika is said to have been an ordinary woman named Agnila who became a goddess. She lived with her husband Somasarman and her two children Shubhanakar and Prabhankara in Girinagar. One day, Somasarman invited Brahmins to perform Sraddha (funeral ceremony) and left Agnila at home. Varadatta, the chief disciple of Neminatha, was passing by and asked for food from Agnila to end his month-long fast. Somasarman and Brahmins were furious at her as they considered the food to be impure now. Somasarman drove her out of the house along with her children; she went up to a hill. She was blessed with power for her virtue, and the tree she sat down under became a Kalpavriksha (wish-granting tree). The gods were angry at the treatment of Angila and decided to drown everything in her village but her house. After seeing this, Somasarman and Brahmins felt this was because of Angila's saintliness and went to beg for her forgiveness. Upon looking at her husband, afraid of his punishment, Angila committed suicide by jumping off a cliff, but was instantly reborn as the goddess Ambika. Her husband was reborn as a lion and he came to her, licked her feet, and eventually became her vehicle. Neminatha initiated her two sons and Ambika became Neminatha's yakshi.Literature comparison:Compare a precursor sandstone figure of Ambika, 68.6 cm high, dated 6th-7th century, in the Los Angeles County Museum of Art, accession number M.90.165. Compare a precursor sandstone figure of Ambika to this lot, 25.7 cm high, dated 9th-10th century, in the Norton Simon Museum, accession number P.2004.01.1. Compare a closely related sandstone figure of Ambika, 83.8 cm high, dated 11th-12th century, in the Asian Art Museum of San Francisco, accession number B62S37+. Compare a related sandstone frieze with Ambika, 29 cm high, dated to the 11th century, in the Victoria & Albert Museum, accession number IM.83-1916. Compare a related gray sandstone figure of Ambika, 55.8 cm high, dated 11th century, in the British Museum, registration number 1962,1113.2. Compare a related sandstone figure of Ambika, 16 cm high, in the British Museum, registration number 1887,0717.64.

AN EARLY FAHUA-GLAZED 'LOTUS' JAR, GUAN, WITH FOUR LION-MASK HANDLES, MING DYNASTYExpert's note: The lion mask-handles in such high relief are extremely rare in fahua-glazed Guan jars of this type. While they did exist with other styles of fahua vessels, like the stools at Sotheby's referenced in the literature comparison below, no other jars of this type are recorded in public or private collections. China, late 15th to early 16th century. Heavily potted with a baluster body supported on a short tapered foot and rising to a short waisted neck with a galleried rim. The exterior is slip decorated and brightly glazed in blue, turquoise, aubergine, yellow, and cream with two egrets, one standing and the other flying, in a lotus pond with blossoms, buds, and leaves, in the back with a small butterfly, all above crashing waves. The shoulder encircled by a band of lotus scroll and applied with four pierced lion-mask handles that once suspended loose bronze rings, below a band of foliate scroll to the neck.Provenance: From the Langlois Collection. Jean-Marie-Charles Langlois (1896-1949) arrived in Vietnam in 1920, where he served as the principal engineer for the Indochinese railways until 1949. As a sinophile who spoke fluent Mandarin, he built an important collection of Asian works of art. In 1949, he was imprisoned by the Viet Minh during a train attack and executed on the same day. His wife and two sons came back to Burgundy near Dijon, France, bringing Jean Langlois' collection with them. Once in France, his family continued to buy Asian works of art on the French art market, thus paying tribute to Jean Langlois's memory.Condition: The raised slip is remarkably well preserved. The jar remains in its absolutely original condition with no restorations of any kind. Obvious glaze losses as seen on images, some of them smoothened. Old wear, expected firing flaws, shallow surface scratches and tiny nicks. Displaying exceptionally well, despite its age of roughly half a millennia.Weight: 4,451 g Dimensions: Height 28.8 cm The term 'fahua' may derive from the Chinese term 'fenhua', meaning 'powdered decoration' and refers to a group of medium-fired glazes developed in the late 15th century on the basis of the Yuan Dynasty liu li glazes (see Q. Wang, A Dictionary of Chinese Ceramics, Shanghai, 1989, p. 220). Due to the very liquid nature of the glazes, the variously colored areas are isolated from one another by clay walls which tend to vary in thickness.Variations in the vivacity of the colors applied, as well as different shapes and subjects of decoration, may be attributed to different eras of production (see D. Lion-Goldschmidt, Ming Porcelain, London, 1978, p. 127). On this matter, Lion-Goldschmidt also notes that the early fahua wares tend to feature motifs of lotus rising from water, as well as cranes, birds, and figures. The author further points out that complimentary decoration on fahua, i.e. that found on necks, rims, and feet, also relates to the designs, found on late 15th century blue and white wares. Egrets or cranes provide a homonym for 'lu' ('a path'), alluding to attainment. When this imagery is combined with flowering lotus (lian) it forms the rebus, 'Yilu lianke' ('May you pass your exams one after another'). Literature comparison:Compare a related pair of fahua-glazed stools also decorated with egrets in a lotus pond and applied with similar lion-mask handles suspending gilt-bronze rings, 44 cm high, dated to the Ming dynasty, at Sotheby's Paris, 11 April 2018, lot 305.Auction result comparison: Type: Closely related Auction: Sotheby's London, 13 May 2015, lot 289 Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A large fahua 'lotus' jar, Guan, Ming dynasty Expert remark: Compare the related guan form, lotus pond decoration, and fahua glaze. Note the associated wood cover and that the jar is restored to the neck unlike the present lot which is in absolutely original condition. 明代琺華釉蓮花罐中國，十五世紀末至十六世紀初。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

TABAKA, TARAS (Ukrainian b. 1965) 'Spring' an atmospheric abstract view of spring with blossoms, oil on canvas 50 x 60 cms (1)Further information:Taras Tabaka, Born in 1965 in Uzhhorod. 1992-1997 - Ukrainian Academv of Arts (monumental art). Kviv. 1984-1989 - Lviv Polytechnic Institute (architecture), Lviv Painter, curator of contemporary art projects . Ihe studios are located in Uzhhorod, Budapest, Essen and Long Island. Member ot the Association of Artists-Activists of Ukraine (2002) and the Union of Artists of Westphalia, RKB (2010, Germany).CURATORIAL PROJECTS:2021 ONE HUNDRED YEARS OF LONELYNESS (Palace of Arts, Lviv), 2020 "TELL ME ABOUT SILENCE". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2020 "( de )TERMINATION". Korsakiv Museum of Modern Ukrainian Art. Lutsk. Ukraine2019 "And NTRO". Ilko Gallery Art Center, Uzhhorod; Korsakiv Museum of Modern Ukrainian Art. Lutsk Ukraine, 2018 "FRAGMENTATIONS. NAMEZHI". Fair of modern Ukrainian photography "KYIV PHOTO FAIR"." Chicago Central House". Kyiv, Ukraine2017-2018 "FAREWELL, WORD.!", Ilko Gallery Art Center, Uzhhorod; Museum of the History of the City of Kyiv. Kyiv, Ukraine, 2016-2017 "LATEST REALISM" (cycle of exhibitions). Ilko Gallery Art Center, Uzhhorod, 2014 "INSOMNIA". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2013 "FRAGMENTATIONS". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2011 "INDEFERENTA". Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2010 "CINEMA IS NOT FOR EVERYONE". A week of contemporary Hungarian independent films. Uzhgorod National University. Uzhgorod, Ukraine, 2009 "IDEALIST™ . Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2005 "UNKNOWN HOLLYWOOD", week of American arthouse. Transcarpathian Regional Music and Drama Theater. Uzhgorod, Ukraine, 2004 "SENSEI OF EASTERN CINEMA", East Asian Cinema Week. Transcarpathian Regional Music and Drama Theater. Uzhgorod, UkrainePERSONAL EXHIBITIONS:2017 Personal exhibition. " Reflection gallery», Santa Fe, USA2016 Personal exhibition "EGOIST". Ilko Gallery Art Center. Uzhgorod, Ukraine2011 Personal exhibition project. Zollferrein, Germany.2008-2009 series of personal exhibitions in Essen, Wuppertal and Duisburg, Germany2007-2009 New Year's art fair of modern art. Hungarian pavilion. Linz, Austria1993 "STORAGE". Bombosfovishche House of Life. Uzhgorod, Ukraine1988 Personal exhibition. Kosice, Slovakia 

TABAKA, TARAS (Ukrainian, b. 1965) "NU",a painting loosely based on figurative nude, oil on canvas, 60 x 50 cms, signed verso (1)Further information:Taras Tabaka, Born in 1965 in Uzhhorod. 1992-1997 - Ukrainian Academv of Arts (monumental art). Kviv. 1984-1989 - Lviv Polytechnic Institute (architecture), Lviv Painter, curator of contemporary art projects . Ihe studios are located in Uzhhorod, Budapest, Essen and Long Island. Member ot the Association of Artists-Activists of Ukraine (2002) and the Union of Artists of Westphalia, RKB (2010, Germany).CURATORIAL PROJECTS:2021 ONE HUNDRED YEARS OF LONELYNESS (Palace of Arts, Lviv), 2020 "TELL ME ABOUT SILENCE". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2020 "( de )TERMINATION". Korsakiv Museum of Modern Ukrainian Art. Lutsk. Ukraine2019 "And NTRO". Ilko Gallery Art Center, Uzhhorod; Korsakiv Museum of Modern Ukrainian Art. Lutsk Ukraine, 2018 "FRAGMENTATIONS. NAMEZHI". Fair of modern Ukrainian photography "KYIV PHOTO FAIR"." Chicago Central House". Kyiv, Ukraine2017-2018 "FAREWELL, WORD.!", Ilko Gallery Art Center, Uzhhorod; Museum of the History of the City of Kyiv. Kyiv, Ukraine, 2016-2017 "LATEST REALISM" (cycle of exhibitions). Ilko Gallery Art Center, Uzhhorod, 2014 "INSOMNIA". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2013 "FRAGMENTATIONS". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2011 "INDEFERENTA". Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2010 "CINEMA IS NOT FOR EVERYONE". A week of contemporary Hungarian independent films. Uzhgorod National University. Uzhgorod, Ukraine, 2009 "IDEALIST™ . Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2005 "UNKNOWN HOLLYWOOD", week of American arthouse. Transcarpathian Regional Music and Drama Theater. Uzhgorod, Ukraine, 2004 "SENSEI OF EASTERN CINEMA", East Asian Cinema Week. Transcarpathian Regional Music and Drama Theater. Uzhgorod, UkrainePERSONAL EXHIBITIONS:2017 Personal exhibition. " Reflection gallery», Santa Fe, USA2016 Personal exhibition "EGOIST". Ilko Gallery Art Center. Uzhgorod, Ukraine2011 Personal exhibition project. Zollferrein, Germany.2008-2009 series of personal exhibitions in Essen, Wuppertal and Duisburg, Germany2007-2009 New Year's art fair of modern art. Hungarian pavilion. Linz, Austria1993 "STORAGE". Bombosfovishche House of Life. Uzhgorod, Ukraine1988 Personal exhibition. Kosice, Slovakia

Miscellaneous South East Asian works of art, to include a Chinese brass gong, etc Good condition

KETNA PATEL (B.1968) - 'ANOTHER ASIAN' (1999) Mixed media: Photographs; oil; ink and paper collage Signed and dated lower right, titled to Philip Morris Group Asean Art Awards label verso 187 x 184cm Provenance: London Fine Arts, Tudor Court, Singapore Condition: Fine condition, very minor abrasion/wear to collage on underside bottom edge and left corner, otherwise no visible damage. 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 PAIR OF OTTOMAN PORTRAIT MINIATURES OF SOLDIERS 19th century, watercolour on card, each depicting a moustached gentleman with fur hat and jacket, 9.5cm x 7.5cm (2)Provenance: Purchased from Duke's Asian Art, 18th May 2017, Lot 125.

A TIBETAN PAINTED CABINET 19th century, the panelled front decorated in polychrome with vases of flowers against a yellow ground, two sets of cupboard doors, 96cm high x 93cm wide x 43cm deepProvenance: Purchased from Duke's Asian Art, 9th May 2013. Formerly of the James Yarrow Collection of Chinese and Tibetan Furniture.