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STATUETTE D'AVALOKITESHVARA EN ALLIAGE DE CUIVRE AVEC INCRUSTATION D'ARGENTCACHEMIRE, VERS XE SIÈCLE Himalayan Art Resources item no. 1453 42 cm (16 1/2 in.) highFootnotes:A SILVER INLAID COPPER ALLOY FIGURE OF AVALOKITESHVARA KASHMIR, CIRCA 10TH CENTURY 克什米爾 約十世紀 銅錯銀觀音像 Standing tall over a lotus plinth, Avalokiteshvara grips the stem of a flower blossoming over his left shoulder. An effigy of Amitabha seated within the crown's center and the antelope skin draped around his muscular torso confirm the deity's attribution as the bodhisattva of Compassion (see von Schroeder, Buddhist Sculpture in Tibet, Vol. I, 2001, p. 163, no. 45C). Kashmir bronzes echo earlier styles of the Gupta period (4th-6th centuries), demonstrated by its contrapposto, pronounced lower lip, and fleshy cheeks. These images are also noted for their silver inlaid eyes, flaming aureoles, and foot placement over the pedestal's edge, as seen on a bronze sold at Bonhams, Paris, 14 June 2022, lot 29, as well as two images published in von Schroeder, Indo-Tibetan Bronzes, 1981, pp. 123-4, nos. 18F & 19B. Lastly, compare the stupa dome in the crown and the flattened lotus petals of the plinth to a seated Buddha image in the Pan-Asian collection (ibid, p. 20, no. 19E).Exhibited: Rossi and Rossi, Fine Art Asia, Hong Kong, 3-7 October 2011 Provenance: Private Collection, Switzerland, acquired early 1990sThis lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUE D'ARDHANARISHVARA EN GRÈS ROUGEMADHYA PRADESH, XE/XIE SIÈCLE65 cm (25 5/8 in.) highFootnotes:A RED SANDSTONE FIGURE OF ARDHANARISHVARAMADHYA PRADESH, 10TH/11TH CENTURY中央邦 十／十一世紀 紅砂岩半女大自在天像Provenance:With Claude de Marteau, Brussels, by 1970sThe sinuous figure represents Shiva's androgynous form, Ardhanarishvara, 'the Lord who is Half-Woman. The left side shows Parvarti holding a darpana (mirror) and Shiva on the left who holds the trishula (trident). Shiva's lower left hand is in varada mudra (gesture of charity), while Parvati's left hand holds a kamandalu (water-pot). Their mounts, the bull and lion, are stationed at their feet along with male and female attendants. The upper section of the back panel is populated by vyalas and garland bearingapsaras.The flexed pose of the youthful torso compares favorably with a 5th century sandstone representation of Arhanashvara in the Mistry Collection (Chandra, Sculpture of India, 1985, p. 95, no. 35) in contrast to a contemporaneous more hieratic representation in the Asian Art Museum, San Francisco (B73S16). Also compare with a stele of the marriage of Shiva and Parvati sold at Sotheby's, New York, 17 March 2015, lot 1089.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

STATUETTE DE PRAJNAPARAMITA BLANCHE EN ALLIAGE DE CUIVRE DORÉKHASA MALLA, XIIIE/XIVE SIÈCLEHimalayan Art Resources item no. 4887 15.2 cm (6 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF WHITE PRAJNAPARAMITAKHASA MALLA, 13TH/14TH CENTURY卡薩馬拉王朝 十三/十四世紀 銅鎏金白般若佛母像 Provenance:With Claude de Marteau, Brussels, by 1970sWhite Prajnaparamita is part of a group of three deities from the Vajrapanjara Tantra which includes Bhutadamara Vajrapani and White Pratisara. In her two-armed form, the Mother of all Buddhas sits in vajrasana while interlocking her fingers in the gesture of teaching the Dharma. Flanking her shoulders are flowers blossoming forth the very same manuscript she emanates from.The delineation of her finger joints is a stylistic feature attributable to the Khasa Mallas. See a portrait of a Khasa Malla Queen in the National Museum of Asian Art, Washington, D.C. (F1986.23), whose hooked nose, rounded chin, and supple physique closely resemble that of the present figure. Also compare with another Khasa Malla image of White Prajnaparamita, published in Alsop, 'The Metal Sculpture of the Khasa Malla Kingdom' in Singer & Denwood (eds.), Tibetan Art, Towards a Definition of Style, 1997, pp. 68-79, fig. 10; HAR 59110.For further information on this lot please visit Bonhams.com

STÈLE DE VISHNU EN PIERRE NOIREINDE DU NORD-EST, ÉPOQUE PALA-SENA, VERS XIE SIÈCLEInscribed on the base.Himalayan Art Resources item no. 4898 88.3 cm (34 3/4 in.) highFootnotes:A BLACKSTONE STELE OF VISHNUNORTHEASTERN INDIA, PALA-SENA PERIOD, CIRCA 11TH CENTURY印度東北部 帕拉-塞納時期 約十一世紀 毗濕奴黑石碑 Provenance:With Claude de Marteau, Brussels, by 1970sThis Sena-period stele is distinguished by the rounded face and carved regalia of Vishnu, who stands at center in a frontal manner. In his upraised hands, Vishnu grasps a mace and chakra within his sinuous fingers. His lower hands hold a conch and offer the gesture of wish-granting (varadamudra). His consorts, Lakshmi and Sarasvati flank either side of his legs. A garuda is positioned below the lotus pedestal on which Vishnu stands framed by projecting flower heads and donor figures. At the top of the stele, celestial garland bearers are depicted on either side of the protective mask of the kirtimukha.For a closely related example attributed to Bangladesh in the Asian Art Museum, San Francisco, see Huntington, Leaves from the Bodhi Tree Dayton, 1989, no. 36. The stele also compares favorably to another of the same scale and subject sold at Sotheby's, New York, 17 March 2015, lot 1052. Also see examples sold at Christie's, New York, 12 September 2009, lot 579; Sotheby's, New York, 20 March 2013, lot 273; and Bonhams, New York, 23 September 2020, lot 642.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

STATUE D'UN BODHISATTVA EN SCHISTE GRISANICENNE RÉGION DE GANDHARA, VERS IIIE SIÈCLE115 cm (45 1/4 in.) highFootnotes:A GREY SCHIST FIGURE OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY犍陀羅 約三世紀 片岩菩薩像Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1998 & 2003, p. 15, no. 17.Provenance:With Claude de Marteau, Brussels, by 1970sThis majestic figure of a standing bodhisattva evokes both strength and grace. He bears the qualities of a youthful prince, indicated by his jewelry and noble, smooth physiognomy. His pronounced musculature, circular nimbus, and lofty expression convey an idealized image of a divine and enlightened being. He likely represents Maitreya, who in Mahayana Buddhism is destined to succeed Shakyamuni as the next and final Buddha. Maitreya in Gandharan art is frequently depicted with a loosely folded topknot, a right hand raised in the gesture of reassurance (abhaya mudra), and a water flask that was presumably clutched by the lost lowered left hand. Reflecting the cosmopolitan attitude of Gandharan art, which fused Indic content with Iranian and Greco-Roman aesthetics, Maitreya is carved with long wavy locks, standing with a gentle contrapposto in the right knee. Located in what is today northwest Pakistan and southern Afghanistan, the ancient region of Gandhara was once a vibrant economic and cultural hub with an integral position within both overland and maritime silk routes around the 1st century BCE. The vast influx of wealth and commerce enabled Gandhara's urban centers to serve as the crossroads connecting China, Central Asia, the Indian peninsula, and the Mediterranean. However, Gandhara's advantageous geography meant the region fell repeatedly to invasion from powerful ancient empires. Alexander the Great conquered the ancient capital of Taxila in 326 BCE and the region was, for a brief time, absorbed into the Macedonian empire. After the death of Alexander, the Mauryans subsequently ruled for approximately one hundred and fifty years (c. 305-180 BCE). Greco-Bactrian invasions around 180 BCE then turned the region into an independent Indo-Greek kingdom (c. 185-97 BCE). One of its most famous rulers, King Menander I (r. 165/55-130 BCE), became a great patron of Buddhism and is still remembered for his dialogues with the Buddhist sage Nagasena, as recorded in the Milinda Panha, 'The Questions of Menander'. The Kushans, who were originally of Central Asian descent and adopted Greek and Iranian elements in their material culture, later established themselves in Gandhara in the early 1st century CE. The most accomplished of these kings was Kanishka I (r. 127-151 CE), who not only ruled a vast empire extending from Bactria to Pataliputra in Northeast India, but also followed the tradition of religious patronage set by the Indo-Greek kings and actively engaged in the creation and transmission of Buddhist literature, architecture, and art. It was during this cultural landscape of stone monuments and statuary, particularly once Mahayana Buddhism attained popularity in Gandhara by the late 2nd/early 3rd century CE, that images like the following sculpture were instrumental in the eastern transmission of early Buddhist art. Other standing images of Maitreya with similar attributes and stylistic features are found in several museum collections, published in Zwalf, A Catalogue of the Gandharan Sculpture in the British Museum, 1996, p. 38, nos. 51 & 52; Dye, The Arts of India: Virginia Museum of Fine Arts, 2001, p. 97, no.7; and Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, 2007, p. 54, no. 42. For instance, the beaded jewelry adorning the present sculpture's hair and the floral medallions carved on the sides of the platform closely relate to the example in the Metropolitan Museum of Art, New York (13.96.17). Moreover, the acanthus leaves decorating the front of the present figure's platform, the large tassel hanging by the left arm, the sharp angular folds suspended over the left leg, and the deep ripples of the robe around the raised right forearm are striking in appearance to the example in Virginia. Also located beneath Maitreya's feet is an iconic trope illustrating a seated bodhisattva venerated by a congregation, as seen on two Gandharan statues of the Buddha, one sold at Bonham's, Hong Kong, 2 December 2021, lot 1036, and the other also from the Claude de Marteau Collection, Part 1, sold at Bonhams, Paris, 14 June 2022, lot 26.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

STÈLE DE SURYA EN GRÈS BEIGEINDE DU NORD, VERS XE SIÈCLE68.5 cm (27 in.) highFootnotes:A BUFF SANDSTONE STELE OF SURYANORTH INDIA, CIRCA 10TH CENTURY 印度北部 約十世紀 砂岩太陽神石碑Provenance:With Claude de Marteau, Brussels, by 1970sIdentified by his characteristic boots, breast plate, and tall cylindrical crown—as well as by the two disc lotuses he wields—this stele is devoted to the ancient Vedic sun god Surya, whose cult at one time rivaled that of Shiva and Vishnu. Surya became prominently incorporated into the Vaishnavite tradition in northern India. He is dressed according to traditional conventions that depict him as a king. His 'northern' garb is thought to resemble that of Central Asian Indo-Scythian tribesmen, such as the Kushans, who ruled northern India in the first centuries of the common era. It is also thought to reflect the influence of ancient Iranian religious ideas, where the worship of the sun occurs through a personified form (Rosenfield, The Arts of India and Nepal, 1966, p. 43). This near-complete composition includes Surya's wife, Ushas, the goddess of dawn, standing immediately before him as the herald of each new day. At either side of his feet are Surya's clerk and measurer, Pingala and Danda, carved in complementary tribhangha poses. Behind them are two further wives of Surya, possibly the shapelier Sarenu, daughter of heaven, on the right, and her shadow, Chaya, on the left (although his wives Rajni and Nikshubha are also possible). As Dye noted, in his discussion of a closely related example, Surya's bold lotus blossoms and crisp lotus halo, 'suggest both the sun itself and the boundless life it nurtures.' (Dye III, The Arts of India, Richmond, 2001, p.136). As with the present lot, the Virginia Surya has a prominent sash suspended from each elbow to form a broad flat arch across the shins which terminates with subtle pleats over the retinue figures on each side.The ornamentation of the miter follows the convention popular in the Central Indian in the 10th century as seen in a closely related head with a prominent triangular crown leaf and similar high-arching brows (Heeramaneck, Masterpieces of Indian Sculpture, 1979, no. 84. Also compare with a closely related Vishnu attributed to Uttar Pradesh in Desai & Mason (eds.), Gods, Guardians, and Lovers, 1993, p. 263, no. 70. Also see a Vamana in the Walters Art Gallery, Baltimore (25.260).This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Seltenes und feines röhrenförmiges Jade-OrnamentChina, Neolithikum, Hongshan-Kultur, ca. 3800-2700 v.Chr.H. 14,2 cmAus grüner, etwas gefleckter, durchscheinender Jade mit ockerfarbenen Kalzifizierungen, an der Basis mit zwei gegenüberliegenden Bohrungen.Aus der Sammlung Zeileis, in den 1980er- und 90er-Jahren gesammeltDie Funktion dieser Ornamente aus Jade wurde in der Vergangenheit oft diskutiert und früher als auf dem Kopf zu tragende Verzierung gesehen, durch welche ein Haarzopf geführt wurde. Eine mögliche andere Funktion wurde in der des Kornmessgeräts vermutet. Da dies jedoch ebenfalls nicht als gesichert angesehen werden kann, werden diese Objekte üblicherweise nicht in ihrer Funktion beschrieben sondern lediglich in ihrer Form.Das hier vorliegende Stück zählt zu den wohl beeindruckendsten Beispielen dieser Gattung von Jadeschnitzereien aus der Hongshan-Kultur. Sowohl in Form als auch Zustand und Qualität der Bearbeitung sticht es aus ähnlichen Vergleichsstücken hervor.Vgl. eines aus hellgrüner Jade in Avery Brundage Collection, im Asian Art Museum San Francisco, Objektnr. B60J226 sowie zwei kleinere Exemplare in: Neolithic Jades in the Collection of the National Palace Museum, Taipei, 1992, Nr. 125 und 126.Vgl. außerdem einige Exemplare auf vergangenen Auktionen: Sotheby's Hong Kong, 10. Juli 2020, Lot 136; Sotheby's Paris, 15. Dezember 2016, Lot 23 (ex Slg. Max Loehr); Christie's Hong Kong, 30. November 2016, Lot 3209Publiziert in: Friedrich Georg Zeileis, 'Ausgewählte Chinesische Jade aus sieben Jahrtausenden', Gallspach, 1994, Nr. 7, S. 10-11 - Minim. alte Best. am unteren Rand

Liu Guosong / Liu Kuo-sung (geb. 1932)China, datiert 1970138 x 74 cm'Monolithic Solitude'. Tusche und Farbe auf Papier, Hängerolle. Signatur des Künstlers: "Liu Guosong 1970". Siegel des Künstlers: "Liu Guosong". Außen an der Rolle Titelschild beschriftet vom Künstler in Chinesisch: "Liu Guosong zuo 「Yue zhi Gu Jue」 55 x 29"" und in Englisch: "Monolithic Solitude 1970 by LIU, Kuo-sung".Aus einer süddeutschen Privatsammlung, vermutlich direkt beim Künstler erworben - Guter Zustand, Montierung außen minim. beriebenPubl. Lee Chun-yi, ed.: "Selected Essays on Liu Kuo-sung", Taipei, National Museum of History, 1996, S. 233, Abb. 11. Dieses Werk wird laut Information der Liu Kuo-sung Foundation in den Liu Kuo-sung Catalogue Raisonne (in Vorbereitung) aufgenommenLiu Guosong (Liu Kuo-Sung), geboren 1932, auch bekannt als der Gründer der "Fünften Mondgruppe", wurde in den 1950er Jahren in Taiwan bekannt. Im Jahr 1968 ließ er sich von der Fotografie Earthrise des Astronauten William Anders inspirieren, die während der Apollo-8-Mission aufgenommen wurde, und begann, seine "Space Series" zu entwickeln. Er beginnt, die Sonne und den Mond, die über der Erde scheinen, mit breiten, abstrakten Pinselstrichen darzustellen, die die Landmassen und Ozeane der Erde repräsentieren und seinen Einfluss auf westliche Malereikonzepte deutlich machen. Dennoch drücken seine minimalistischen Kompositionen eine poetische Stimmung aus, die in seiner östlichen Herkunft verwurzelt ist. Im Jahr 2016 wurde er als erster chinesischer Maler zum Ehrenmitglied der American Academy of Arts & Science ernannt und gilt als "Vater der zeitgenössischen Tuschemalerei". Seine Werke werden von Museen auf der ganzen Welt gesammelt, darunter das Palastmuseum in Peking, das British Museum, das Asian Art Museum in San Francisco, die National Gallery in Singapur usw.

Tang Haiwen (T'ang Thien Phuoc Haywen, Zeng Haiwen, 1927-1991)China/Vietnam/Paris15 x 12 cm, R.Ohne Titel. Aquarell auf Papier, unter Glas gerahmt. Unten rechts signiert "T'ang" in pinyin und "Haiwen" auf Chinesisch.Ehemals aus einer Schweizer Privatsammlung, vor 2007 erworbenTang Haiwen (Zeng Haiwen) wurde 1927 in Xiamen der Provinz Fujian geboren une hieß Tseng (Zeng) Tianfu. Seit seiner Kindheit lernte er Kalligrafie von seinem Großvater. Nach Ausbruch des Antijapanischen Krieges 1937 zog seine Familie nach Vietnam und er bekam dort den vietnamesischen Namen T'ang Thien Phuoc. 1948 ging er auf eine Studienreise nach Paris. Durch den geschickten Einsatz von Linien stellen seine Werke die traditionelle chinesische Philosophie über östliche und westliche Techniken hinweg dar. Nachdem er 1955 seine erste Einzelausstellung abgehalten hatte, reiste er weiter und stellte an verschiedenen Orten aus. Nach seinem Tod im Jahr 1991 veranstaltete das Taipei Fine Arts Museum 1997 eine „Retrospektive Ausstellung“ für ihn; das Paris Asian Art Museum veranstaltete eine große retrospektive Ausstellung im Jahr 2002. Seine Werke befinden sich in den Sammlungen vieler französischer Museen für moderne Kunst und Privatsammlungen, darunter das Pariser Museum für Moderne Kunst und das Musée Senousil

Feuervergoldete Bronze des Buddha ShakyamuniTibet, 15. Jh.H. 14 cmIn Vajrasana auf einem Lotusl mit Vajra-Emblem sitzend, die rechte Hand im Bhumisparshamudra gesenkt, die linke auf dem Schoß ruhend, trägt er einen diaphanen Mönchsumhang mit einem kleinen, über die linke Schulter drapierten Stoffteil in Form eines Schwalbenschwanzes, dessen erhöhter Rand mit Rankenwerk verziert ist, sein Gesicht zeigt einen gelassenen Ausdruck mit niedergeschlagenen Augen unter gewölbten Augenbrauen, die in den Nasensteg übergehen, erhabene Una an der Stirn, verlängerte Ohrläppchen, die blaue Lockenfrisur setzt sich in der Ushnisha fort, die von einer Lotusknospe gekrönt wird, wieder verschlossen.Aus einer deutschen Privatsammlung, erworben vor 2007 - Bodenplatte des Buddha mit Papieretikett: Trocadero, Kenny & Higgins Asian Art - Etwas berieben

Seltene Nackenstütze mit Sancai-Glasur in Form eines ruhenden buddhistischer LöwenChina, Liao-DynastieB. 27,5 cmIn Form eines liegenden Löwen modelliert, der Kopf nach links gewandt und auf den Vorderpfoten ruhend, der kunstvoll eingerollte Schwanz um die linke Keule gewickelt, das Tier trägt eine blütenförmige Liegefläche.Aus einer deutschen Privatsammlung, erworben bei Günter Venzke. Kopie der von Günter Venzkein Auftrag gegebene TL- Analyse liegt vor, datiert am 06. September 1987. Eine TL-Analyse von Oxford Authentication (C123a94) bestätigt die Datierung Für ein ähnliche Nackenstütze aus der Jin-Dynastie siehe 'The Museum Of East Asian Art, Bath', Inventarnummer h441144 - Minim. best.

Bedeutender und sehr großer kaiserlich gelber Behang mit fünf goldenen DrachenChina, 18./ 19. Jh.469 cm x 475 cmKaiserlich gelbe und dunkelblaue Satinseide, bestickt mit farbiger Seide in Plattstich und Goldfaden in Anlegetechnik. Im Zentrum ein frontaler Drachen um ein flammende Perle, flankiert von jeweils zwei weiteren, die nach Perlen haschen. Die Wolken kugelig und verbunden. Dazwischen Shou-Zeichen, rote Fledermäuse und die buddhistischen Schätze. Das Muster erstreckt sich über den Rahmen in Dunkelblau.Alte europäische Privatsammlung, vor 1980 gesammeltSolche Behänge wurden benutzt, um im kaiserlichen Palast Bereiche abzutrennen, aber auch um Wände zu verkleiden. Kaiserliche gelbe Behänge waren für den Kaiser und nur wenige Personen aus seinem direkten familiären Umfeld vorgesehen. Die Shou-Zeichen könnten darauf hindeuten, dass dieser Behang als Hintergrund für einen Thron bei einer Geburtstagsfeierlichkeit verwendet wurdeVgl. Smithonian, National Museum of Asian Art, Inv. Nr. S1991.142. https://asia.si.edu/object/S1991.142/ - Leichte Gebrauchsspuren

Ca. 300 AD. A schist carving depicting a standing couple, most probably Hariti and Panchika, respectively the Goddess of Fertility and the God of Wealth. Cf. Christie's, Live Auction 2271, Indian and South East Asian Art: Including Highlights from The Star Collection, 20 Mar 2009, Lot 1232.Size: L:335mm / W:200mm ; 6.41kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 1368-1644 AD or later . A glazed-terracotta figurine depicting an attendant in an upright position, standing atop an integral, small base. The gentleman is dressed in a carefully glazed robe, which is beautifully detailed and adds a sense of elegance and refinement to the piece. The most striking feature of this mingqi is the level of detail that has been lavished on the gentleman's face. Every feature, from his eyes to his nose to his mouth, is rendered with incredible precision and skill, creating a sense of realism and individuality that is truly remarkable. Mingqi were an important part of Chinese funerary art during the Ming Dynasty, and they were often used to provide the deceased with the objects and attendants they would need in the afterlife. These figures were typically made from unglazed earthenware or glazed pottery, and they were often highly detailed and elaborately decorated. Cf. Christie's Live Auction 5564, Asian Art, 15 September 2005, Lot 407.Size: L:180mm / W:50mm ; 275gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 1368-1644 AD or later . A glazed terracotta mingqi depicting a standing attendant on a tiered, integral base. He is portrayed in a noble and dignified manner, with an upright posture and an expression of calm composure. The gentle contours of the figure's face, including the high cheekbones, a prominent nose, and small lips, are carefully crafted with fine details such as the almond-shaped eyes, and the delicately arched eyebrows. The figure is dressed in a long, flowing navy-glazed robe with contrasting accents on the sides, which are painted in red. The robe is tied with a sash of pale blue color, which enhances the elegance of the ensemble. The figure's both hands are clenched. Mingqi, or "spirit objects," were created to be buried with the deceased and were believed to accompany the soul into the afterlife. These objects were often crafted with great attention to detail and were intended to represent the various aspects of life that would be important in the afterworld. Cf. Christie's Live Auction 5564, Asian Art, 15 September 2005, Lot 407.Size: L:190mm / W:50mm ; 260gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 100-200 AD. A strikingly expressive schist torso of emaciated Siddhartha, whose physical austerity is palpably conveyed through the intricate details of his skeletal frame. His face, with sunken eyes and wavy hair gathered at the top of the head in a bun, gazes inward, contemplative and serene. This sculpture represents a profound moment in the life of Siddhartha Gautama, the founder of Buddhism, who famously embarked on a six-year ascetic journey, enduring extreme privations in his search for enlightenment. This period of self-mortification culminated in Siddhartha's emaciation, which is poignantly depicted in this sculpture. The revealed ribcage, tendons, and veins, along with the bony shoulders, symbolize his sacrifice and determination to transcend the material world. The halo encircling the head of the sculpture adds a spiritual dimension, alluding to the attainment of enlightenment that Siddhartha ultimately achieved. The reverse side remains flat and unworked. Cf. Christie's Live Auction 1974, Indian & Southeast Asian Art, 21 Mar 2008, Lot 569.Size: L:250mm / W:165mm ; 3.13kgProvenance: Private London collection; acquired in Japan between 2000 - 2005; formerly in an old Japanese collection.

Sui Dynasty, ca. 581-618 AD or later. A stone head of a Bodhisattva depicted with a regal headdress and elaborately coiffured hair, suggesting the importance and significance of this figure. The face is rendered with great attention to detail, with arched brows, heavily lidded, half-closed eyes, a bulbous nose, full lips, a rounded chin, and large, pendulous ears. Bodhisattvas were revered figures in Mahayana Buddhism, embodying the ideal of enlightenment and compassion. They are beings who have attained enlightenment but choose to remain in the earthly realm to help others achieve enlightenment. The Bodhisattva ideal emphasizes the importance of compassion and altruism in the pursuit of spiritual awakening. The Sui Dynasty was a crucial period in Chinese history, known for its unification of the northern and southern regions and the restoration of a centralized government. This era also saw the emergence of a distinctive style of Buddhist art, which fused elements of Indian, Central Asian, and Chinese traditions. This Bodhisattva head is a superb example of this artistic fusion, combining the sophistication of Chinese art with the spiritual depth of Buddhist symbolism.Size: L:240mm / W:175mm ; 5.74kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

A Collection of Asian Art, including a Chinese hardstone carving of Shou Lao, a gilt wood statue of a seated dignitary, cloisonne vessels, and a copper and white metal mounted shell (one tray)

Seven Boxes of Assorted Pottery, China and Glassware, including Staffordshire figure, Denby, Gouda, Asian Art, etc

KOKUTA SUDA (1906-1990)Sans titre 1959 signé ; porte des inscriptions en japonais au revers gouache et encre sur papier embossé marouflé sur papiersigned ; bears inscriptions in Japanese on the reversegouache and ink on embossed paper laid on paper37 x 27.4 cm.14 9/16 x 10 13/16 in. Réalisé en 1959.Footnotes:ProvenanceCollection de l'artiste, JaponCollection particulière, JaponGregg Baker Asian Art, LondresAcquis auprès de celle-ci par le propriétaire actuelThis lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

KOKUTA SUDA (1906-1990)Sans titre 1960 signé ; signé, daté 1960. 8.87 et porte des inscriptions en japonais sur le châssistechnique mixte sur toilesigned ; signed, dated 1960. 8.87 and bears incriptions in Japanese on the stretchermixed media on canvas 72.5 x 53 cm.28 9/16 x 20 7/8 in.Footnotes:ProvenanceCollection de l'artiste, JaponCollection particulière, JaponGregg Baker Asian Art, LondonAcquis auprès de celle-ci par le propriétaire actuelSuda Kokuta (1906-1990) est présenté comme l'un des artistes les plus innovants du Japon d'après-guerre. Son œuvre est surtout reconnue pour ses peintures à l'huile et ses gouaches, bien qu'il soit également et incontestablement un maître de la calligraphie, de la céramique et de l'illustration. Né à Saitama, il débute d'abord sa carrière comme peintre autodidacte. C'est à partir d'une rencontre avec le pionnier de la peinture abstraite japonaise Hasegawa Saburō (1906-1957) en 1949, que son art emprunte un chemin différent. Suda se consacre à l'art abstrait tout au long des années 1950 et 1960, avant qu'il ne revienne à l'art figuratif à partir des années 1970. Les trois œuvres présentées dans cette vente ont été peintes au cours des années 1960, figurant la démarche expérimentale employée par Suda dans son œuvre abstraite, qui dura pendant près de vingt années. La composition de ses œuvres conserve un aspect tactile et très texturé. La peinture à l'huile est souvent mélangée avec des matériaux et utilisée avec des techniques expérimentales – il faut à cet égard observer les empâtements épais du gesso appliqué sur la toile, le relief tactile des pierres et du sable broyés, et le verni transparent ; parfois, d'épaisses couches de peinture sont creusées à l'aide de peignes et d'outils faits à la main. L'artiste emploie les mêmes efforts pour ses œuvres sur papier - le papier japonais épais est gaufré pour ajouter un effet tridimensionnel, tandis que d'autres matériaux comme des pigments, ajoutent une touche intéressante de texture et de couleur à la couche picturale sur la toile. Pour Suda, l'art abstrait appelle à la créativité profonde de l'artiste, mais permet aussi d'exprimer l'intangible et des idées métaphysiques. D'abord encouragé par Hasegawa Saburō qui était familier de la philosophie et de la culture d'Asie du Sud-Est, Suda étudie avec passion la philosophie médiévale Zen à partir de laquelle il s'inspira pour créer. L'abstraction de Suda est donc profondément imprégnée de cette dimension spirituelle. La philosophie zen traditionnelle n'est pas en contradiction avec le langage moderne et universel de l'abstraction ; elle est au contraire devenue essentielle pour amener son art vers la transcendance. A cette période, ces idées étaient partagées par de nombreux artistes de l'avant-garde japonaise, comme Yoshihara Jirō (1905-1972), chef de file du groupe Gutai, comme les membres de l'avant-garde du groupe Bokujinkai conduit par Morita Shiryū (1912-1999) et Inoue Yūichi (1916- 1985). Suda et les principaux membres des groupes Gutai et Bokujinkai ont beaucoup échangé autour des modes d'expression artistique d'avant-garde en parallèle avec la culture et les idées traditionnelles japonaises. Dans la région du Kansai, où Suda s'est installé dans les années 1940, ces artistes ont activement participé à des groupes d'étude et se sont inspirés les uns avec les autres, partageant la même vision d'aspirer à de nouvelles formes d'expression artistique. Yoshihara a invité Suda à rejoindre Gutai au moment de sa fondation, mais ce dernier a choisi de rester indépendant et a continué à produire des œuvres puissantes et métaphysiques caractérisées par une esthétique très singulière.Suda Kokuta (1906-1990) one of the most innovative artists of post-war Japan, best known for his distinctive oil and gouache paintings, was also a master calligrapher, ceramicist and illustrator. Born in Saitama, he initially started his career as a self-taught figurative painter. However, following a watershed meeting with a pioneer of Japanese abstract painting Hasegawa Saburō (1906-1957) in 1949, Suda fully devoted his artistic career of the 1950s and 1960s to abstraction, before returning to figurative paintings in the 1970s onwards. Three works in this sale were executed circa 1960, in the middle of his abstract period which lasted over twenty years, with each representing Suda's diverse, experimental abstraction. His works are distinctively tactile and diversely textured, the oil often combined with unconventional materials and techniques – one would notice thick impasto of applied gesso, tactile materiality of crushed stones and sands, and a glaze like finish of a transparent medium; sometimes thick layers of paint are variously marked with combs and handmade tools. An equal effort is put into his works on paper – thick Japanese paper is diversely embossed to add a three-dimensional effect while various media, notably traditional mineral pigments, add an interesting twist of texture and palette to the painting surface. To Suda, abstraction was the field of creative endeavour but also the best mode to express intangible, metaphysical ideas. Initially motivated by Hasegawa Saburō who was also well acquainted with traditional East Asian philosophy and culture, Suda intensely studied medieval Zen philosophy from which he constantly drew inspiration. As such, Suda's abstraction is deeply imbued with spiritual dimensions. For Suda, the traditional Zen philosophy was not something that contradicts the modern, universal language of abstraction – rather, it became essential to bring his art to the next level. Such ideas were shared by many ground-breaking Japanese artists at the time, including Yoshihara Jirō (1905–1972), leader of the Gutai group, as well as members of the avant-garde calligraphy circle Bokujinkai, led by Morita Shiryū (1912-1999) and Inoue Yūichi (1916- 1985). Suda and the key members of both the Gutai and Bokujinkai groups often discussed avant-garde modes of artistic expression in parallel with Japanese traditional culture and ideas. In the Kansai region where Suda was based from the 1940s, these artists actively interacted in study groups and inspired each other, sharing a vision to aspire to new artistic forms of expression. Yoshihara invited Suda to join the Gutai at the time of its foundation, however, Suda chose to remain independent and continued to produce powerful, metaphysical work with his unique aesthetic.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

A bronze figure of Krishna South India, 17th/ 18th Centuryon a square stepped base, in a dancing posture on a lotus, holding in the right hand a ball of butter, the left stretched out to the side, depicted naked and adorned with jewels 15.4 cm. highFootnotes:ProvenanceChristie's Paris, Art d'Asie, 8 June 2010, lot 395.Private US collection. According to ancient epics, Krishna was brought up by foster parents who were cow-herders, leading to the association of the deity with cows, milkmaids and, as demonstrated in the present lot, butter, which he would steal from his neighbours.For a similar example sold at Christie's and dated to the 17th Century, see Indian and Southeast Asian Art, 16 September 2008, lot 428. A similar depiction is also in the Los Angeles County Museum of Art, California, (Inv. No. M.87.124) (see P. Pratapaditya, Indian Sculpture, Volume 2, Los Angeles, 1988, p. 223, cat. 116).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A large painting on cloth depicting a nobleman holding a cosmic diagram (adhaidvipa) Rajasthan, 19th Centurygouache on cloth 181 x 119.5 cm.Footnotes:Diagrams illustrating the Jain conception of the cosmos, with the lower (adholoka) and middle (madhyaloka) worlds, and the heavens (urdhvaloka), appear in self-contained paintings of various sizes. Here the depiction is combined with a human figure, in the form of a nobleman, in a variation on the lokapurusha painting, which depicts the relationship between human beings and the cosmos by making a visual comparison between the body and the universe. In these cases, the cosmic being has the circular jambudvipa (representing the world and its continents) at its navel, and further levels of heaven and hell are depicted expanded into the body with further stylised cosmological diagrams. In our painting the relationship between cosmos and human might be said to be more explicit, with the cosmos in one diagram, and the human figure depicted in 'realistic' terms. See P. Pal, The Peaceful Liberators: Jain Art from India, Los Angeles 1994, no. 103, for an example and discussion of the type.For a very similar painting, depicting apparently the same figure and the same cosmological diagram, with minor differences (notably the mythical beasts in each corner), see Christie's New York, Indian and Southeast Asian Art, 21st September 2007, lot 255.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sawlaram Laxman Haldankar (Indian, 1882-1969)Untitled (Landscape from Panhala Fort,Kolhapur) signed 'S.L.H' lower right; further inscribed Panhala Fort/ 22.5 x 17.4 cms/ SH1/ l5184.B, 839 A BW, 920 A indecipherable, 823A stone, Plain 8/ 55 (on the reverse)watercolour on paper18 x 23.4cm (7 1/16 x 9 3/16in).Footnotes:ProvenanceProperty from a private collection, Sri Lanka. Acquired by LTP Manjushri from the artist in India;Acquired from the above;Thence by decent to the present owner.Born in Maharashtra, India, in 1882, Haldankar began his art education at the J. J. School of Art in Mumbai, where he studied under notable Indian artists like John Lockwood Kipling and and Cecil Burns.After completing his studies, Haldankar went on to work as a professional artist. Celebrated for their realism and attention to detail, his works often depicted women in traditional Indian attire, and he became famous for his ability to capture the grace, beauty, and inner strength of his subjects. The present lot is a fine example of his landscapes, specifically that from Panhala Fort, Kolhapur and is beautifully rendered in watercolour with splashes of wash to add depth to the background and the clouds. The fort itself is an important historical site. A hill fortress, it was built during the medieval period and is known for its impressive fortifications, stunning views, and rich history. It played an important role in the history of Maharashtra, as it was the site of several significant battles and events. To see a similar work sold at auction see Sotheby's, Modern & Contemporary South Asian Art, London, 25th October 2022, lot 57.For further information on this lot please visit Bonhams.com

Zubeida Agha (Pakistani, 1922-1997)Female Composition signed 'Z. Agha Dec '45' lower right; further inscribed 'Female Composition'/ 1945 / Ms Hameeda Khan on the reverse oil on canvas, framed65.4 x 80.2cm (25 3/4 x 31 9/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan. Acquired from the artist.The Collection of Imran R. Sheikh; family of the artist.PublishedMusarrat Hasan, Zubeida Agha: A Pioneer of Modern Art in Pakistan, 2004, p.31, Illustration. 8.There is a label on the reverse with the title of the picture, competition number, medium, price and name and address of the artist. 2022 marked Zubeida Agha's birth centenary and it is fitting that the grand dame of Pakistani Art was the first artist in 1949 to hold a solo exhibition of modern art in newly formed Pakistan. Born in Faisalabad in 1922, she obtained her degrees in philosophy and political science at Kinnaird College, Lahore after which she pursued art at the Lahore School of Fine Art. Here, she was introduced to Western art, specifically that of Pablo Picasso, which would have a profound effect on her works. Composition, painted in 1945, the year Pakistan was born, is one of her early works and is a fine example of the amalgamation of experiences and ideas that influenced her. She married abstraction with rich colours and focussed on painting the conceptual, to evoke the viewers emotions. Composition has not entirely given way to abstraction and elements of figuration are visible on closer inspection. There appear to be eight females, all wearing hijabs who are inexplicably intertwined in a dance of sorts. They are conversing with each other, in two groups perhaps and completely engrossed in their respective conversations. There is a rhythm to the composition, and the complementary colours capture the mood of her subjects. Structurally, the work illustrates Agha's ability to respect and enhance the two-dimensionality of the canvas and despite the absence of depth, the tonal gradations and sophisticated brush strokes imply a continuity to the group of women, beyond the limits of the canvas. To see a similar work sold at Sotheby's dating from 1946, see Modern & Contemporary South Asian Art, New York, 20th March 2023, lot 67.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Badri Narayan (Indian, 1929-2013)Untitled (Couple) initial 'B' in Devanagari lower rightmixed media on paper, framed29.1 x 29.1cm (11 7/16 x 11 7/16in).Footnotes:ProvenanceProperty from a private collection, UK; Acquired in the late 1970s from the artist.There is a Chemould label on the reverse.One of the recurring themes in his works is the depiction of couples as seen in the present lot. He often portrays couples as a symbol of love and companionship. There is tenderness and affection evident in this work, denoted by the physical closeness of the couples' face to each other. The man is looking directly at the woman, and the sombre colours used to paint them accentuate the feeling that one is being able to enter a private moment. The absence of negative space and the small scale of the work further amplify this moment of intimacy. For a similar work sold at Sotheby's see Modern & Contemporary South Asian Art, 25th October 2022, lot. 41.For further information on this lot please visit Bonhams.com

Zarina Hashmi (American-Indian, 1937-2020)A thousand knots (c.1980s) signed 'Zarina' lower right and edition 2/10 lower leftcast paper pulp/mixed media, framed61.6 x 61.6cm (24 1/4 x 24 1/4in).Footnotes:ProvenanceProperty from a private collection, New York.Gifted to the vendor by a Prominent Collector;Acquired from the artist.'Paper is an organic material, almost like human skin,' the artist Zarina Hashmi has said. 'You can scratch it, you can mold it. It even ages.' Zarina in Reveling in the Multicultural Possibilities of Paper by Karen Rosenberg, 31st January 2013, The New York Times'Watching paper being made and seeing the liquid paper pulp gave me all sorts of new ideas: What if I pour this pulp into my plate? Will my plate act like a mold? Will the paper dry in that shape? Can I cast paper? The papermakers said it couldn't be done, but I kept thinking about it.'Zarina, Zarina with Sarah Burney, Directions to my house, Asian/Pacific, American Institute, New York University, 2018, p.63Born in the university town of Aligarh, India in 1937, Zarina Rashid was the youngest of four children, two boys and two girls and grew up in a traditional Muslim home. She was closest to her elder sister, Rani and enjoyed sleeping outdoors 'under the stars and plotting our journeys in life' in the scorching summer heat of her childhood home, whose walls enclosed a fragrant garden. (Holland Cotter, Zarina Hashmi, Artist of a World in Search of Home, Dies at 82, New York Times, 5th May 2020). This all changed in 1947, when aged 10 she witnessed the Partition of India. Her idyllic life ended abruptly. She saw mass atrocities being committed by both Hindu's and Muslims and the memories of the ensuing violence, fear of separation, migration, and longing for home, would haunt her and mould her life and career. During this turbulent time, her father sent the family to Karachi, in the newly formed Pakistan for their safety. She would however later return to India to obtain her degree in mathematics and statistics at the university of Aligarh, although the place would never be home again.Shortly after graduating, aged 21, she married Saad Hashmi, a foreign service diplomat, which commenced a new chapter in her life. The nature of Saad's career meant frequent travel, and over the ensuing years she would end up living in over 25 countries across the continents of Asia, the Middle East, Europe, Latin America and finally the United States where she would reside permanently from 1975 onwards. Zarina also studied in London, England when she enrolled at St. Martin's School of Art in London, England. This was a turning point in her career as it cemented her desire to become a fully-fledged artist. She returned to India, and in the ensuing half decade participated in group and solo exhibitions. Her works were showcased at the likes of Gallery Chanakya, Delhi, Kunka Chemould and Pundole Art Gallery in Bombay. It was during this time, that she went to Bonn, Germany where along with studying silk-screening, she was captivated by the prints of Dürer. In Tokyo, her two-week stint turned into a year long stay as she immersed herself in studying the woodblock techniques with Toshi Yoshida. It was here that she began to experiment with printmaking styles and abandoned colour. She printed the grain textures found on scraps of wood that she collected on the roadside, having cleaned, oiled, and inked them herself. She identified with the resilience of the damaged organic material and wanted to capture its inherent beauty. She also either slashed and punctured the surface of handmade paper or built it up sculpturally with pulp.She relocated to the United States in 1975, having arrived in Los Angeles, before moving to New York in 1976, where she would reside for the remainder of her life. Here, she broadened her horizons further by teaching papermaking at the Feminist Art Institute, and being part of the of Heresies Collective, a feminist publication on art and politics. She was part of their issue on Third World artists and it was the first time she encountered works by other discriminated minorities including the Afro-Americans, the native Americans and the Hispanics. This experience fundamentally altered her perception of her own experiences and made her realise how her plight was universal. Questions pertaining to notions of 'home,' 'geographical boundaries' and 'nation' would now be examined in her prints, and the amalgamation of her learnings would come to the fore. She would simplify these complex experiences in the precise and uncluttered works that she would produce, which would be the culmination of all her experiences; the influence of artists such as Sol LeWitt, Yves Klein and Jean Arp, her own background of mathematics, and adherence to Islamic notions of geometry. The two works on offer in this auction are exquisite examples from her oeuvre and illustrate Zarina's lifelong adherence to the creation of 'multiples.' The multiplicity of prints appealed to her sensibilities, as they were the mainstays of printmaking, but also allowed for a plurality of ownership. Having grown up being surrounded by books, multiples of the original, meant that she could have access to something that might hitherto have been inaccessible. She therefore applied the aesthetic and mechanics of printmaking onto other mediums that had previously been the preserve of a singular work. In 'A thousand knots,' (lot 8) Zarina's sculptural work we see the continuation and extension of her works on paper. It retains the expertise she had been cultivating in propagating a geometric purity and lyrical form. What makes it unique is that it is injected with colour which is reminiscent of the red sandstone of the Buland Darwaza and Jodha Bai Mahalat Fatehpur Sikri. Having lived in 25 cities and inculcated numerous experiences and cultures, she was simultaneously at home and not at home. She was likely aware of the inscriptions that surmount the doorway of the Buland Darwaza, one of which reads, 'Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it.'Known for being deeply interested in Sufism, the title of the work might allude to a line in the Sufi poem, Tum Ek Gorakh Dhanda Ho by Naz Khialvi, rendered beautifully by Ustad Nusrat Fateh Ali Khan, a world-renowned singer of qawwalis, a form of devotional Sufi music. The line in the poem mentions that one is looking to untangle the cord but fails to find top. The title might therefore be self-referential, as Zarina was constantly 'searching' for home. Structurally, much like her white works on paper from the 60s and 70s, this work is about shadows. As you approach the work, you'll see thousands of tiny holes which pierce the pulp, and the work keeps changing based on which angle you approach it from. It's a sculpture made of shadow, caught in the interstices of each fine hole. It recalls the notion of home and is perhaps best explained by Zarina in her own words: 'I often wonder what my life would have been like had I never left my house of four walls in India [...] I do not feel at home anywhere, but the idea of home follows me wherever I go. In dreams and on sleepless nights, the fragrance of the garden, image of the sky, and sound of language returns. I go back to the roads I have crossed many times. They are my companions and my solace.' (Zarina Hashmi, Cities I called home, 2010.)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ahmed Parvez (Pakistani, 1926-1979)Untitled signed and dated 'Parvez 78' lower leftoil, chalk and crayon on paper, framed54.8 x 35.5cm (21 9/16 x 14in).Footnotes:ProvenanceProperty from a private collection, Singapore.Acquired from the artist;Thence by descent to the present owner.To see a similar work sold in these rooms dating from 1979 see Bonhams, Modern and Contemporary South Asian Art, 24th May 2022, London, lot 34.For further information on this lot please visit Bonhams.com

Jagdish Swaminathan (Indian, 1928-1994)Untitled signed and dated in Devanagiri and English 'J Swaminathan 92' versooil on canvas, framed81.1 x 116.1cm (31 15/16 x 45 11/16in).Footnotes:Property from the Estate of Chresten PetersenProvenanceAcquired by Mr Pedersen, a Danish diplomat in India in the 1990s.Madhya Pradesh also brought about a basic shift in my painting again. The live and vibrant contact with tribal cultures triggered off my natural bent for the primeval, and I started on a new phase recalling my work of the early sixties. If my work of the early sixties anticipated the journey of the eighties, my present phase recapitulates my beginnings.- Jagdish Swaminathan, 1993Swaminathan oscillates between lucidity that captures the most abstract ideas into jewel-like analogies and dark obscurity, where the ideas that swarm fail to emerge to the surface in words or in images. (G. Kapur, Reaching Out to the Past, Lalit Kala Contemporary 40, March 1995, p. 17)'Swaminathan's aesthetic, which held that folk art, tribal art, and urban art are all equally valid versions of the contemporary, might appropriately be termed a 'post-colonial aesthetic'' (V. Dehejia, Text Decoded, Beyond the Legacy, Washington, 1998, p. 202).In the late 1980s, Jagdish Swaminathan's paintings underwent a dramatic stylistic and technical shift. In these later works, texture plays an important role in the creation of the overall image, and it is arrived at through the skilful combination of staining and the interplay of horizontal and vertical bands. Moreover, 'the surface of the canvas ceases to be a two-dimensional support system upon which is represented a world, whether abstract or figurative. The surface becomes an arena within which to act and from which the creative ace and material world arise.' (K.B. Goel, The Other, J. Swaminathan, Vadehra Art Gallery, Exhibition Catalogue, New Delhi, 1993.)From the beginning of his artistic career, Jagdish Swaminathan has concerned himself with the exploration of the tribal in modern art. His works draw 'upon the collective assemblage of myths and symbols in folk, and other subterranean passages of culture that attempted to reach the unknown in a kind of blind intuitiveness.' (G. Kapur, Reaching Out to the Past, Lalit Kala Contemporary 40, New Delhi, March 1995, p. 17.)Swaminathan was more than an artist. Along with being a founding member of the artist collective Group 1890, he was also known for his membership of the Communist Party of India, for his journal Contra, albeit short lived, for starting a movement to reform the Lalit Kala Akademi in the 1970s and for establishing an interdisciplinary arts centre in Bhopal in the 1980s, called Bharat Bhavan. He lived outside the cultural influence of the Progressive Artists' Group, rejected academism and the teachings of the Bengal School, which allowed for a flourishing of ideas that was rooted in the mystical, spiritual, and primal. His art was an amalgamation of these ideas, and this distinct outlook kept him at the forefront of the development of a unique idiom of modern Indian art. His counter-cultural approach is evident in his works that can be grouped under distinct phases. The present work, dating from 1993 is from the last phase of his oeuvre, yet not only pays homage to the works that preceded it but also succeeds in creating a distinct visual language. We can see the influences of symbolism and surrealism despite the innate simplicity and natural order that govern the canvas. The dominant colours are the earthy browns and blacks, punctuated with smatterings of whites. Squares, circles, rectangles, diamonds, and triangles are the geometric motifs that compete and complement each other and are reminiscent of his iconic Bird, Mountain, and Tree series from the 1960s. What makes them unique in this painting however is their greater symbolic significance. The triangle for example, is the mountain, Kailash and symbolises the abode of Shiva, the Hindu God. These additional layers are almost totemic, and 'capable of exercising its magical eternal influence on those who come within its field of vision.' (J. Swaminathan, 'The Cube and the Rectangle', op. c Lalit Kala Contemporary 40, March 1995, p. 23)This is a vocabulary unique to Swaminathan, and the symbols that he deployed can be read as 'non descriptive, partially associated images' that may not be recognisable, but when seen as a whole, they take on a new and collective meaning. 'Whatever specific context they may belong to, he uses images and icons of the past, that in a similar attempt at identification become evocative and remain so even at this point in time. Through the transformed context and relationships in his painting, they become one with traditional and contemporary, because they are born of a motivation that bridges the two in a continuum.' (G. Kapur, ibid, p. 17.)To see a similar work sold at auction see Christies, South Asian Modern & Contemporary Art including works from the collection of Mahinder and Sharad Tak, New York, 23rd March 2022, lot 623.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

George Keyt (Sri Lankan, 1901-1993)Girl and Cactus signed 'G Keyt 62' upper right and title versooil on board, framed81 x 39.5cm (31 7/8 x 15 9/16in).Footnotes:ProvenanceProperty from a private collection, Ireland.Acquired from Adams, Contemporary Paintings and Prints, 7th April 2009, lot 31.When it comes to George Keyt most art historians highlight the impact and influence of Western modern art on his artistic production. This focus might stem from the fact that Keyt's childhood was deeply rooted in the British Empire and those of other European colonial countries. Born in 1901, he was a Burgher of Eurasian descent. The social environment in which he grew up and the education he received can be described as pro-western and supportive of British imperialism. This Eurocentric upbringing drew Keyt's attention to the other side of his origins, those of the country and the culture in which he lived. Keyt studied Buddhism, Hindu myths and developed a keen interest in Indian culture. This apparent idiosyncrasy epitomises the foundation of Keyt's genius. The juxtaposition of ancient traditions and modern forms and styles is what places this artist on the centre stage of the Sri Lankan and South Asian art scene. The formal influence of Wester art comes from different medium, including painting, sculpture, and photography. He worked for a firm of photographers, where he met Lionel Wendt (1900-1944), who encouraged the artist to enter the art world. In 1927 aged 26, Keyt began his artistic education. Soon he deviated from Western Victorian and Edwardian traditions, in favour of more modern styles. His early works are often associated with Gauguin, due their pastoral subjects and the style adopted. However, Gauguin is not the only European artist Keyt is compared to. In 1930 Keyt's works were exhibited in London alongside Pablo Picasso (1881-1973) and George Braques (1882-1963). Cubism, Fauvism, and Post-Impressionism's formal qualities represent a pivotal source of inspiration in the everchanging and progressing style of the artist. In 1943, Keyt, Wendt and other artists founded the '43 Group'. The aim of this collective was to depict Sri Lankan subject matters in radical ways, and they pursued a freedom of expression inspired by European modernism. The group exhibited at the 1955 Venice Biennale where their works were recognised as one of the most radical examples of modern Asian Art. Despite his clear interest in western art principles, Keyt's subjects are largely rooted in local tradition, depicting vernacular buildings and scenery, villagers, dancers, tradesmen, and Gods often drawn from Hindu and Buddhist mythology. In Keyt's paintings, European art forms, Hindu iconography, Buddhism and Indian literature are so skilfully integrated that they cannot be acknowledged separately. Girl and Cactus comprises Keyt's typical themes of folklore and representation of the female body in the manner of European Expressionism. The paint is dense and flat, and yet the rhythmic lines and the rounded shapes create the illusion of movement. We can imagine the central figure removing and repositioning the yellow scarf over her head. The spotlight is on her. Keyt makes her the protagonist of the painting with a clever use of oppositions. The harsh lines of the plant contrast with the softness of the woman's naked body, highlighting her grace, innate elegance, and beauty. The bright colour of the scarf envelopes the figure in a delicate embrace that glorifies her shape and brings her figure out of the darker background. The intense pigments of the surrounding place this painting in an expressionist setting, although the colours used to depict the woman appear more realistic, akin to post-impressionistic works. This painting is another fantastic example of Keyt's skilful merging of European 20th century styles with local scenes and imagery.Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Krishen Khanna (Indian, b. 1925)Untitled (Patricia) signed 'K.Khanna 13/6/1954' lower left oil on canvas, framed56 x 33cm (22 1/16 x 13in).Footnotes:ProvenanceProperty from a private collection, England. Painted by the artist for the vendor's mother;Thence by descent.'I am talking about the painting I did of Patricia Atkinson which dates back from the days we were both with Keith, her husband, and I were working in Grindlay's Bank and we were in Madras at the time. I was transferred there to relieve Keith, and his duties in the bank, which was Grindlay's, and this painting came about because he said why don't you paint, I said maybe, I'll paint Patricia, so I did with whatever I had at hand and so forth and it turned out to be a very good painting actually. BBC showed this picture at one of their soiree's and that was it. Well, I hope this painting goes to a house which will like it.' Krishen Khanna, February 2023An artist in residence: Krishen KhannaKeith Atkinson (our father) worked for Grindlays Bank in India which is where he met Krishen, in the 1950s, in Madras (Chennai). Krishen needed temporary lodgings and as Patricia and Keith had a spare bedroom, they offered it to Krishen. The offer came with a gentle warning, the presence of two small boys (my brothers: John 2yrs ish; Aidan 0yrs). Would that be acceptable? It was, and Krishen came to stay. An artist in residence proved to be very exciting; Patricia, Keith and friends would visit Krishen when he was painting. As his favoured spot was the bathroom, because it had the best light, there would, on occasion, be an enthusiastic audience perched on the side of the bath observing his progress. One can only wonder that this attention must have been a mixed blessing for an artist exploring his burgeoning talent and style. Patricia's portrait is well travelled within India, East Pakistan, Bangladesh and finally to Ashover in Derbyshire. For over 60 years the painting has been an integral part of our lives; enjoyed and admired by family and friends alike. Jane Graham nee Atkinson, John Atkinson and Aidan AtkinsonPainted in 1954, this portrait of Patricia Atkinson was featured on the BBC series, the Antiques Road Show on 2nd October 2016, and it instantly captured the attention of the viewers. It is an early painting from Khanna's oeuvre, yet could be mistaken to be a painting by a European artist from the 1930s owing to the style and subject portrayed; Amrita Shergil's portrait titled 'Self portrait at the easel,' for example immediately comes to mind. Regardless, it is a deeply personal painting for both Khanna and the Atkinson family as evidenced from their recollection above. Painted in a thick impasto style, its genius lies in both its subject and use of colours, for it foreshadows the works that Khanna will come to be known for, the bandwalas. Khanna is foremost a figurative painter, and he seeks to capture moments in history, much like photographs. Patricia's portrait is photographic but transcends the photo-realist technique. She is seated, but her gaze is turned away from the viewer. Her expression is unreadable, and yet the muted colours used here, the blues, blacks, maroons, yellows and whites give the painting a soothing quality. Despite this soothing quality, we can detect elements of spontaneity. The background for example, is a mesh of various shades of reds, maroons and oranges, and is laced with black. Khanna appears to have enjoyed the process of creating this work, whilst experimenting to find his own style. Figurative painting was the norm for much of art history, and therefore elevating the repetitious, through the expressionistic brush stroke, and economical use of colours is what makes this painting a tour de force. To see another figurative work sold in these rooms dating from the late 1950s, see Bonhams, Modern & Contemporary South Asian Art, 11th June 2015, London, lot 21.Bonhams extends their gratitude to Krishen Khanna for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Jamini Roy (Indian, 1887-1972)Untitled (Four Santhal Drummers) signed in Bengali lower rightgouache on paper on card42.8 x 54.3cm (16 7/8 x 21 3/8in).Footnotes:ProvenanceProperty from a private collection, Sri Lanka.Acquired by LTP Manjushri from the artist in India;Acquired from the above;Thence by descent to the present owner.Santhal Drummers is a fantastic example of Roy's unique style, wherein he combined traditional Indian folk art with modern painting techniques. He was particularly fascinated by the art and culture of the Santhal tribe, one of the largest indigenous communities in India, and likely painted this work as a tribute to their culture.Santhal Drummers is one of Jamini Roy's most famous paintings, and in the present lot it depicts four Santhal men playing traditional drums. Roy was drawn to the Santhal culture and their art, which he saw as pure and unadulterated by the influence of modern civilization. In his paintings of Santhal life, he sought to capture the simplicity, purity, and vibrancy of their culture.Roy was also interested in exploring the formal aspects of art, such as colour, line, and form, which he has captured well in the present lot. The bold, simple lines and bright colours used in the painting are characteristic of his unique style, which was influenced by traditional Indian folk art.To see a similar work sold in these rooms see Bonhams, Modern and Contemporary Middle Eastern and South Asian Art, London, 2nd June 2010, lot 8.For further information on this lot please visit Bonhams.com

Bhupen Khakhar (Indian, 1934-2003)Residency Bungalow signed and dated in Gujarati 'Bhupen 69' centre right; further signed 'A. Gupta 30/5/1969 Bhupen' and titled 'Residency Bungalow' (sic) verso oil on canvas, framed130.5 x 122.5cm (51 3/8 x 48 1/4in).Footnotes:Property from the Estate of Robert & Janice ShawProvenanceAcquired by Robert & Janice Shaw from India in the early 1970s.ExhibitedX Bienal Setembro-Dezembro 1969 (Sao Paolo Biennale), Work 23. Bangalô Residencial, 1969. 130 x 122 X Bienal Setembro-Dezembro 1969 (Sao Paolo Biennale), Work 23. Bangalô Residencial, 1969. 130 x 122, pg. 109. Lines of Descent: The Family in Contemporary Asian Art, Queensland Art Gallery, June 2000-February 2001 https://www.visualarts.qld.gov.au/linesofdescent/works/bhupen.html Timothy Hyman, Bhupen Khakhar, Chemould Publication & Arts, 1998, pg. 118 , Referred to as Sheikh at Residency Bungalow(not illustrated)There is a 'Biennial of São Paulo' label on the reverse with the name and surname of the artist (Bhupen Khakar), title of the work (Residency Bungalow), category and dimensions (painting and 130 x 122 cm), technique (oil), sale price (US 1500), owner (artist) and address (Lalit Kala Akademi, Rabindra Bhavan, New Dehi, India). There is an additional price of RS 3500 Rupees Three thousand five hundred written on to the label. This label is overlaid on top of another label, through which we can read 'For Sao Paolo Exhibition.' 'Bhupen Khakkar paints naively humorous or satirical works. His flat colours are broken by stiff characters and ornamental vegetation. Vast spaces are contrasted with little doll like figures.' (X Bienal Setembro-Dezembro 1969, p. 108)Making its auction debut, 'Residency Bungalow' is an exquisite example from Khakhar's early oeuvre and is a masterful and intimate work. Painted in 1969, two years prior to 'Portraits of my mother and my father going to Yatra,' it is not only referenced in Timothy Hyman's book, Bhupen Khakhar, as 'Sheikh at Residency Bungalow,' but was also exhibited at the September-December 1969 X São Paulo, after which it was acquired by Robert and Janice Shaw in India in the early 1970s. Robert L. Shaw had a dual career as an army intelligence offer and lawyer. He graduated from the University of Oregon in 1955, where he was president of the Chi Psi fraternity, after which he was commissioned as a regular U.S. Army officer and served as an adviser to the King's Royal Guard in Saudi Arabia. He also served two tours in Vietnam. During his career, he earned a master's and doctorate degree. His career took him to India, where he resided from 1969 until at least 1974. He served as a foreign area specialist and travelled extensively in India, Pakistan, and Afghanistan. The Bhupen Khakhar and B. Prabha (Lot 15) were acquired during his stay in India, along with carpets, and works by the Vietnamese artist Le-Minh, the latter of which is also being offered in Bonhams' future Hong Kong sale. He learnt to speak Hindi whilst in India and was the first American to travel to Tibet and have an audience with the Dalai Lama. He wrote about the experience in an article which was published in Liberty Magazine in the 1980s. Considered a political-military scholar, he became the director of the South Asia Bureau of the Defence Intelligence Agency in Washington D.C. and retired from the army in 1977. He took a sabbatical for a year, and then enrolled at the University of Oregon's law school, from where he obtained his law degree in 1981. He subsequently joined the Eugene law firm, Luvaas, Cobb, Richards & Fraser, and was a member of the Oregon State Bar, American Bar Association, Oregon Association of Defence Counsel and the Eugene Country Club. He passed away in 1989, having battled cancer for a year and was survived by his wife, Janice, and son Scott both of whom passed away in 2022. An avid sportsman, he enjoyed polo, skiing, fly fishing and golf and spent many years sailing in Chesapeake Bay and in Hawaii, from where he collected local works of art.'Residency Bungalow' measures 130.5 x 122.5 cm and depicts a sprawling bungalow set against a vibrant blue sky. This house was Khakhar's first significant home away from Bombay and is important because it was symbolic of the new 'artistic,' 'home' and 'family' that Khakhar adopted from 1962 in Baroda. (Bhupen Khakhar in Lines of Descent: The Family in Contemporary Asian Art, a Queensland Art Gallery travelling exhibition (visualarts.qld.gov.au). Khakhar was a qualified chartered accountant and worked as such but was drawn towards art and would spend his free time pursing the subject. His interest in art can be traced to his teenage years, when aged 18 he attended an evening art class in Grant Road. Here he was taught free hand drawings and flower studies. In his 20s, he would begin to visit contemporary art exhibitions and acquired a group of intellectually minded friends who were drawn towards literature. It was during this time that he befriended Gulammohammed Sheikh, who had attended the newly Founded Faculty of Fine Arts at Baroda, and this relationship would alter the course of his career. In 1958, while taking his accountancy exams, Khakhar met a young Gujarati painter-poet, Gulammohamad Sheikh...Sheikh had attended the newly founded Faculty of Fine Arts at Baroda and spoke of it in a way that fired Khakhar's imagination. By 1960, Khakar was still helpless; he was attending an evening class at the main Bombay Art College, the Sir J.J. School of Art, which offered 'absolutely no teaching' and 'hardly any direction.' He remembers his teacher, Palsikar, speaking only to the girl students. 'He never came to instruct me, even once in six months...I was very cheesed off.' In 1961, he joined the graphics and woodcut class of Vasant Para who Khakhar considers 'my first teacher.' It was around this time that he finally took the step of showing Sheikh – by now part of the Baroda Faculty – his portfolio. The response was guarded but sympathetic. 'Why don't you come to Baroda? You are now a fully qualified accountant; if it doesn't work out well, you can always resume.' (Timothy Hyman, Bhupen Khakhar, Chemould Publication and Arts, 1998, p. 9)Residency Bungalow becomes the starting point in many ways for Bhupen, as this is his first proper home away from Bombay and where the style of work he becomes known for flourishes; he did live with GM Sheikh at the Shivmahal Palace Farmhouse and later rented a room in a bazaar, before moving into Residency Bungalow in 1968. The old house of a one-time 'British Resident' it was divided into five residential quarters and the inhabitants included the artists, K.G Subramanyan and his family, Bhupen Khakhar, Gulammohammed Sheikh, Jeram Patel, and Krishna Chhatpar. They lived here for about a year, and it was during this time that Khakhar travelled around India, to Bundi-Kota, Udaipur, Nathdwara and Chandigarh along with Sheikh and began to absorb the techniques of traditional Indian paintings. Upon his return from these travels, his style had altered, and there was a marked difference in his works. For further information on this lot please visit Bonhams.com

Three Volumes, Robert and Lisa Sainsbury Collection Edited by Steven Hooper to Comprise Vol. I European 19th and 20th Century Paintings, Drawings and Sculpture, Vol. II Pacific, African and Native North American Art and Vol. III Precolumbian, Asian, Egyptian and European Antiques Published by Yale University Press

A collection of Japanese and Asian works of art, including hardwood and lacquered stans, textiles and other items

Georges Spiro, Polish/French 1909-1994 - Surrealist still life, 1963; oil on canvas, signed lower right 'Spiro', 45 x 54cm (ARR)Provenance:Bonhams, Oxford, 'Pictures, Furniture, Tribal, European & Asian Works of Art', 8th June 2011, lot 65;private collection 

Twins Seven Seven, Nigerian 1944-2011 - An Iron of God in His Shrine; ink on paper, signed, titled and inscribed lower right 'An Iron of God in His Shrine, Twin Seven Seven', 99 x 64 cm Provenance: Gerald Moore and thence by descentNote:full inscription reads:" 'An Iron of God in His Shrine' with An Invisible God of Iron on a Miracle DrumPens work by Twins Seven Seven Georgina Art School P.O.68 OshogboAn Illustration from the Book of Brave African Huntress"'The Brave African Huntress' is a book by Amos Tutuola first published in 1958 with illustrations by Ben Enwonwu.Gerald Moore was an important, writer, teacher and scholar of contemporary African anglophone and francophone poetry. He lived and taught in Nigeria in the 1950s and again during the 1970s, becoming friendly with writer Ulli Beier and artist Susanne Wenger. With Beier he edited the influential anthology ‘Modern Poetry from Africa’ published in 1963 and he also wrote a biography of poet Wole Soyinka in 1971. His collection also included works by Gerard Sekoto and Muraina Oyelami.Moore helped organise an exhibition of the artist’s work at the School of African and Asian Studies at the University of Sussex, when he was working there in the late 1960s to the early 1970s. Twins Seven-Seven is one of the best know artists of the Oshogbo School, using his experience as a singer and dancer to create his highly individual vision. His work has been exhibited across the world, including the Pompidou Centre, Paris,  Houston Contemporary Arts Museum, MoMA, New York, the National Museum of African Art, Washington, D.C. and the National Modern Art Gallery in Lagos. 

A FINE WHITE GLAZED BEEHIVE WATER POT, TAIBAIZUN, LATE QING DYNASTYChina, 19th century. Well potted with rounded sides rising to a short flaring rim, molded with three archaistic dragon roundels on the body, and covered with a translucent white glaze.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear and firing irregularities.Weight: 412.2 g Dimensions: Height 9.4 cm, Diameter 12.6 cmThe recessed base with an apocryphal six-character mark da Qing Kangxi nianzhi.Literature comparison:Compare a related waterpot illustrated by J. Ayers, Chinese Ceramics: The Koger Collection, p. 167, pl. 139, where the glaze is described as “moon-white” and the medallions are of “a dragon biting another creature, and a bat”.清末白釉太白尊中國，十九世紀。太白尊小口微撇，短頸，圓肩，豐底內凹。通體施白釉。外壁三組團螭紋。 來源：已故Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損和燒製不規則。 重量：412.2 克 尺寸：高 9.4 厘米，直徑 12.6 厘米 圈足内有“大清康熙年製”款。 文獻比較： 比較一件相近的太白尊，見J. Ayers，《Chinese Ceramics: The Koger Collection》，頁167，圖139。此件太白尊得釉色被描述為「月白色」，飾有「龍和蝙蝠紋」。

A PAIR OF LOTUS-SHAPED WATER POTS, CHINA, EARLY 19TH CENTURY Of globular form with three rows of petals issuing from a coiled stem at the base, the upper rim with small green petal tips, the exterior finely enameled in delicately graduated shades of pink, the interior covered in a turquoise glaze, one waterpot with a turquoise base, the other with a bright green base. (2)Provenance: Alistair Sampson Antiques Ltd., London, 1997. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Alistair Sampson Antiques Ltd., London, dated 24 February 1997, describing the lot as a pair of lotus-shaped waterpots, dated to the early 19th century, accompanies this lot. Alistair Sampson (1929-2006) was a lawyer, noted antiques dealer, and humorist. After completing military service in the Royal Navy, he practiced law, specialized in criminal and family law, and was appointed a judge's marshal. By his own account, Sampson was a collector almost all his life, specializing in Leeds creamware. In 1969, he made the long-pondered change to become a dealer, focusing on seventeenth and eighteenth-century English pottery and opened a shop on Brompton Road where he sold antiques from all over the world, ranging from paintings to metalwork to Western and Chinese ceramics. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Their earliest works date from the beginning of the Qing dynasty and generally reflect the Western taste for the famille verte and famille rose wares of the Kangxi, Yongzheng, and Qianlong reigns. Condition: Very good condition with minor wear to the enamels, and manufacturing flaws including few glaze recesses, and little pitting.Weight: 69.3 g and 73.8 g Dimensions: Height 4.7 cm and 4.6 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 23 January 2012, lot 373Price: USD 3,500 or approx. EUR 4,400 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese export lotus-form waterpots, 19th centuryExpert remark: Compare the related form and color. Note the sizes (11 cm).十九世紀初一對蓮花形水丞成球形花苞狀，三層蓮瓣，邊緣有綠色花瓣尖，精美細膩的漸變的粉色釉，內部覆蓋著綠色釉，一個圈足内淺綠色，另一個為亮綠色。 來源：倫敦Alistair Sampson Antiques Ltd.藝廊，1997年；Richard 與Maxine Markell購於上述藝廊。隨附一份1997年2月24日Alistair Sampson Antiques Ltd.藝廊出具的原始發票複印本，認爲這對水丞為十九世紀初。Alistair Sampson (1929-2006年) 是一名律師、著名的古董商和幽默家。在皇家海軍服完兵役後，他從事法律工作，專攻刑法和家庭法，並被任命為法官元帥。根據他自己的說法，他幾乎一生都是一名收藏家，專攻利茲白釉器皿。1969 年，他做出了深思熟慮的轉變，成為一名專注於十七和 十八 世紀英國瓷器的經銷商，並在 Brompton Road 開了一家商店，出售來自世界各地的古董，從繪畫到金屬製品，再到西方和中國的陶瓷。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。 多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。 他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況極好，琺瑯有輕微磨損，製造缺陷如少量釉面凹陷和點蝕。 重量：分別69.3 克與73.8 克 尺寸：高 4.7 厘米與4.6 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年1月23日，lot 373 價格：USD 3,500（相當於今日EUR 4,400） 描述：十九世紀一對中國出口蓮花形水丞 專家評論：比較相近的外形和顏色。請注意尺寸 (11 厘米)。

A 'FIRE AND FOUR-PETAL LEAVES' BRONZE RITUAL FOOD VESSEL, GUI, EARLY WESTERN ZHOU DYNASTY China, 11th century BC. The deep body of slight S-profile raised on a spreading foot with a tall straight foot rim below a band of leiwen divided by four flanges, cast below the everted rim with a band of alternating fire and four-petal leaves centered on two sides with a small animal mask, flanked by a pair of loop handles with an animal mask at the top and a hooked tab projecting from the bottom. The bronze with a superb, naturally grown, rich, brown patina with distinct malachite and cuprite encrustations.Provenance: Gottfried and Helga Hertel, Cologne, Germany. The property of a gentleman in the United States, acquired from the above. Gottfried Hertel (1925-2019) was the Executive Director of the German Nuclear Reactor Insurance Association in Cologne. Together with his wife, Helga (1928-2013), he formed a substantial collection of Asian art, antiquities, and Old Master paintings, over many decades, beginning in 1970. Parts of the Egyptian art and classical antiquities collection were sold at Bonhams in London, 3 July 2019. Condition: Excellent condition, commensurate with age. Old wear and shallow surface scratches, losses, small nicks and dents. One side of the wall and an area of the foot rim sympathetically restored. The interior of the foot rim with minor flaking. Superb, naturally grown patina overall and thus displaying exceptionally well.X-Ray imagery: X-Ray images of the present lot are available on request.Weight: 1,447 g Dimensions: Width 25.5 cm (across)Literature comparison: Compare a related early Western Zhou dynasty gui, illustrated by Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, pl. 3862. The decoration on the present gui, resembling fire and four-petal leaves, belongs to a distinct type which first appeared in the Western Zhou dynasty, see Shang Zhou qingtongqi wenshi (Decorative Patterns on Shang and Zhou dynasties Bronzes), Beijing, 1984, p. 248, pl. 703-708 for a related discussion and study carried out by the Shanghai Museum Bronze Research Group on this design. Compare the similar gui, also dated early Western Zhou, illustrated by J. Rawson in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol. IIB, Arthur M. Sackler Foundation, 1990, p. 385, fig. 43.1. See, also, the similar gui in the collection of the Danish National Museum, illustrated by M. Boyer, Some Chinese Archaic Bronzes in the Danish National Museum, BMFEA, No. 27, Stockholm, 1955, pp. 1-10, pl. 5 (b).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2011, lot 1247 Price: USD 194,500 or approx. EUR 233,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, early Western Zhou dynasty, 11th century BCExpert remark: Compare the closely related form, handles, and decoration with similar animal masks and alternating fire and four-petal leaves (described here as “stars and whorls”), as well as the related size (26.7 cm). Note the five-character inscription.西周初期青銅簋中國，公元前十一世紀。侈口，垂腹，半環耳，圈足外撇，近底處起淺臺。腹兩側為獸首半環耳，下皆垂珥，口沿下飾一紋飾帶，以浮雕小獸面為中心，兩側為交替的火焰紋和四葉草紋。圈足飾一周雲雷紋襯地。青銅器具有極好的、自然生長的、豐富的棕色銅綉，帶有明顯的孔雀石色和赤色結殼。 來源：德國科隆Gottfried 與Helga Hertel收藏；美國紳士收藏，購於上述收藏。Gottfried Hertel (1925-2019年) 曾是德國科隆核反應堆保險協會的執行董事。自1970 年起，他與妻子 Helga（1928-2013年）建立了亞洲藝術、古物和古典大師繪畫收藏。部分埃及藝術和古典古物收藏於2019年7 月3日在倫敦邦瀚斯拍賣行出售。 品相：狀況極佳，有磨損和表面淺劃痕、缺損、小刻痕和凹痕。一側和腳緣的區域得到了修復。足緣內部有輕微剝落。自然生長的整體包漿。 X光射線檢測: 可詢問獲取X射線檢測圖。 重量：1,447克 尺寸：寬 25.5 厘米 (雙耳之間) 文獻比較： 比較一件相近的西周初期青銅簋，見吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2012年，頁3862。本器紋飾為火焰紋和四葉草紋，屬西周時期最早出現的一種獨特類型，見《商周青銅器紋飾》，北京，1984，頁248，圖703-708；上海博物館青銅器研究組對此相近設計的討論研究。比較相似的西周早期青銅簋，見J. Rawson，《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，卷IIB，Arthur M. Sackler基金會，1990年，頁385，圖43.1。一件相似的西周早期青銅簋，收藏於Danish National Museum，見M. Boyer，《Some Chinese Archaic Bronzes in the Danish National Museum》，BMFEA，編號27，斯德哥爾摩，1955年，頁1-10，圖5 (b)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1247 價格：USD 194,500（相當於今日EUR 233,000） 描述：公元前十一世紀西周初期青銅簋 專家評論：比較非常相近的外形、雙耳，以及相似的輔首、火焰紋和四葉草紋，以及相近尺寸 (26.7 厘米)。請注意此簋有五字款識。

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

A BRONZE BELL, YONGZHONG, WESTERN ZHOU DYNASTYChina, 1100-771 BC. The bell is cast to either side with three rows of neatly cast protruding spiral bosses, divided by rope-twist lines.Provenance: From an important old French private collection assembled since the end of the 19th century. The family used to own one of the most expensive pieces of Asian art ever sold in France. According to the previous owner, “the present lot was hidden in a chest” and he discovered it there when he went to the place for the first time, many years ago. Condition: Original condition, commensurate with age. Wear, small dents, minor losses, minuscule nicks, signs of weathering and erosion, encrustations. The base of the handle with ancient soldering marks, probably inherent to manufacture, or from only a little time thereafter. No hidden restoration whatsoever. Spectacular naturally grown patina with various tones of green, including deep malachite.Weight: 1,595 g Dimensions: Height 33.8 cm Expert's note (added 20.2.2023): The three throws of spikes on either side of the present bell have tips of varying shape, indicative of probable filing post manufacture, and neither the result of casting nor subsequent wear or weathering. Instead, there is a theory that suggests that these spikes were used for tuning the bells (see image section, for an enlargement showing this). Examples like the present lot were often found in the tombs of nobility, such as the set discovered in a grave chamber of the Marquis Yi of Zeng (see image section).Bells of this type were made in graduated sizes to form a set or instrumental 'chime'. Each bell was capable of emitting two different tones, dependent on the exact location struck. Robert Bagley explains, “sets of bells were both aurally and visually the most prominent instruments of musical ensembles” in ancient China, but were unknown outside of China, see Jenny So (ed.), Music in the Age of Confucius, Freer Gallery of Art and Arthur M. Sackler Gallery, Washington DC, 2000, pp. 35-63.Literature comparison: Compare a related bell, 54.7 cm high, dated to the Warring States period, ca. 300-250 BC, in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2558.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 September 2013, lot 1477 Price: USD 47,500 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A Small Bronze Bell, Yongzhong, Early/Middle Western Zhou Dynasty, 11th-9th Century BCExpert remark: Note the much smaller size (25 cm)Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 20 March 2019, lot 663 Price: USD 325,000 or approx. EUR 343,000 converted and adjusted for inflation at the time of writing Description: An Extremely Rare Set of Seven Archaic Bronze Ritual Bells (Zhong) Western Zhou DynastyExpert remark: Note this lot contains a complete set of 7 bells西周甬鐘中國，公元前1100-771 年。甬鐘成合瓦形結構，兩面左右各有三行三道枚。 來源：重要法國私人收藏，建立於十九世紀末。該家族曾經擁有法國有史以來售出的最昂貴的亞洲藝術品之一。據前任主人說，“現在的拍品藏在一個箱子裡”，這是他多年前第一次去那裡時發現的。 品相：原始狀態，有磨損、小凹痕、輕微缺損、微小刻痕、風化和侵蝕跡象、結殼。手柄底部帶有舊時焊接痕蹟，可能是製造時固有的。沒有任何隱藏的修復。自然包漿，帶有各種綠色調銅綉。 重量：1,595 克 尺寸：高33.8 厘米 文獻比較： 比較一件相近的戰國時期大約公元300至250年甬鐘，54.7 厘米高，收藏於 Arthur M. Sackler Gallery of the National Museum of Asian Art，史密森學會，館藏編號S2012.9.2558。 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 1477 價格：USD 47,500（相當於今日EUR 55,000） 描述：西周早/中期青銅甬鐘 專家評論：請注意尺寸小很多(25 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20日，lot 663 價格：USD 325,000（相當於今日EUR 343,000） 描述：西周青銅饕餮紋鐘一組七件 專家評論：請注意此為一組七件。

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, LI, LATE WESTERN ZHOU DYNASTYExhibited: According to label 'Univ Museum Exhibition C10 4-33' exhibited at Treasures of the Chinese Scholar, Chinese Culture Center of San Francisco, USA, 1997, and University of Pennsylvania Museum of Archaeology and Anthropology, USA, 1998.China, 9th-7th century BC. The compressed body raised on three legs with flat, partially open backs, each leg positioned below a notched flange centering pairs of stylized confronting dragons, the flat everted rim undecorated. The bronze with a superb, naturally grown, rich patina with distinct malachite and azurite encrustations.Provenance: Sotheby's New York, 28-29 November 1994, lot 202 (dated late Shang to early Western Zhou dynasty). Lacquered with an inventory number, 'L-1042-145', indicating a prior museum deaccession. The Ji Zhen Zhai Collection, Dr. John Fong, acquired from the above. The underside of one foot with two labels, 'Ji Zhen Zhai Collection' and 'Univ Museum Exhibition C10 4-33'. John K. Fong (Fang Jinpei) was a psychiatrist and Professor of Archaeology at The University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia, USA. He studied and collected Chinese art for more than 25 years, developing the Ji Zhen Zhai (Studio of Accumulated Treasures) Collection. He curated the exhibition Treasures of the Chinese Scholar, which first opened at the Chinese Culture Center of San Francisco, USA, in 1997 and then moved to the University of Pennsylvania Museum of Archaeology and Anthropology in 1998. Condition: Superb original condition, commensurate with age, with no fills or restorations. As expected with minor nicks and small losses, signs of weathering and corrosion, soil encrustations.Weight: 1,215 g Dimensions: Diameter 17 cm, Height 12.5 cmExpert's note: Decorated with a shallow yet crisp design of taotie masks or S-shaped dragons, vessels of this type were discovered in Fufeng, Shaanxi Provence.Literature comparison: Compare a closely related bronze li, 13 cm high, dated to the Western Zhou dynasty, ca. 8th-7th century BC, in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institution, accession number S1987.351, illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, Washington DC, 1990, pp. 328-329, no. 29.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2011, lot 1251 Price: USD 62,500 or approx. EUR 75,000 converted and adjusted for inflation at the time of writing Description: A Bronze Ritual Tripod Food Vessel, Liding, Late Western Zhou Dynasty, 8th Century BC Expert remark: Compare the closely related form, flanges, and dragon decoration. Note the near-identical diameter (18 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2011, lot 31 Price: USD 56,250 or approx. EUR 67,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual food vessel (li), late Western Zhou dynasty, 9th / 8th century BCExpert remark: Compare the closely related form, flanges, and dragon decoration. Note the larger size (height 18.4 cm).西周末年青銅禮器鬲中國，公元前九至七世紀。寬唇，短頸，腹部呈淺分襠式，袋狀足粗短，器身飾有三道較窄的扉棱。每隻鬲的腹部飾有六隻龍紋，為不對稱排列，頭居中，作回顧形，體部逶迤舒曲，從下緣環回至尾端，自然生長的包漿良好，帶有孔雀石綠色和藍色結殼。 展覽：標籤“Univ Museum Exhibition C10 4-33' 表明該器曾在美國舊金山中國文化中心 Treasures of the Chinese Scholar，展覽中展出，1997年'美國賓夕法尼亞大學Museum of Archaeology and Anthropology，1998年。 來源：紐約蘇富比，1994年11月 28-29日，lot 202 (斷代為商末至西周初)；庫存編號 'L-1042-145'，表明之前從博物館售出。Dr. John Fong教授的集珍齋購於上述拍賣。一足底部有兩個標籤 'Ji Zhen Zhai Collection' 與 'Univ Museum Exhibition C10 4-33'. John K. Fong (Fang Jinpei)曾是美國費城賓夕法尼亞大學精神病學家和考古學教授。他研究和收藏中國藝術超過 25 年，建立了集珍齋收藏。1997年，他策劃的“Treasures of the Chinese Scholar”展覽首先在美國舊金山中國文化中心開幕，1998年來到賓夕法尼亞大學考古與人類學博物館。 品相：極好的原始狀態，沒有填充或修復，有輕微的劃痕和小缺損、風化和腐蝕的跡象、土壤結殼。 重量：1,215 克 尺寸：直徑17 厘米，高12.5 厘米 專家注釋：陝西扶風曾出土此類器物，飾饕餮紋或S形龍紋。 文獻比較： 比較一件非常相近的西周公元前八至七世紀青銅禮器鬲，高13 厘米，收藏於Arthur M. Sackler Gallery of the National Museum of Asian Art，史密森學會，館藏編號S1987.351，見Jessica Rawson，《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，Arthur M. Sackler基金會，華盛頓DC，1990年，頁328-329，編號29。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1251 價格：USD 62,500（相當於今日EUR 75,000） 描述：公元前八世紀西周末期青銅禮器鬲 專家評論：比較非常相近的外形、分檔式和龍紋。請注意幾乎相同的直徑(18 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2011年3月22日，lot 31 價格：USD 56,250（相當於今日EUR 67,500） 描述：公元前九至八世紀西周末期青銅禮器鬲 專家評論：比較非常相近的外形、分檔式和龍紋。請注意尺寸較大(高18.4 厘米)。

A SUPERB BRONZE FIGURE OF A DRAGON, EASTERN ZHOU DYNASTY, CHINA, 770-256 BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Finely cast as a dragon standing foursquare with the head turned back. The elegantly curved tail with a curled tip, the body with raised and finely incised S-scroll, clouds, and spiral designs. The bronze with a solid and naturally grown, rich patina with malachite and cuprite encrustation.Provenance: Sotheby's London, 1995. Friedrich Georg Zeileis, acquired from the above, according to his publication, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Remarkably well preserved, commensurate with age. Extensive wear, minor losses, some nicks, scratches, signs of weathering and erosion, soil encrustations. Fine naturally grown patina overall, with small areas of faint cuprite and various shades of malachite green.Weight: 288.2 g Dimensions: Length 16 cmLiterature comparison: Compare a near identical bronze in the form of a dragon, 16.2 cm long, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2118.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 28 July 2022, lot 3031 Price: HKD 352,800 or approx. EUR 41,500 converted at the time of writing Description: A rare bronze figure of a winged tiger, Eastern Zhou dynastyExpert remark: Note the much smaller size (11 cm)Auction result comparison: Type: Closely related Auction: Christies New York, 22 March 2013, lot 1233 Price: USD 62,500 or approx. EUR 72,500 converted at the time of writing Description: A Very Rare Bronze Tiger-Form Applique, Late Eastern Zhou Dynasty, 5th-4th Century BCExpert remark: Note the much smaller size (11.1 cm)西元前770-256年青銅龍鑄造精良，龍頭後轉，龍尾捲曲，造型美觀，龍身飾雲紋和螺旋紋。表面銅鏽堅固且自然，並有綠色紅色結殼。 出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three和a Half Millenia of Chinese Bronze)》，1999年，第318頁，圖118。 來源：倫敦蘇富比，1995年；Friedrich Georg Zeileis，根據他出版的書上記載，購於上述拍賣。Dr. Friedrich Georg Zeileis博士（生於 1939 年）是一位退休醫生，收藏了大量中國古代玉器和青銅器。他還是一位鋼琴家和作曲家，出版了數本書籍與大量藝術收藏品目錄，其中包括精美的中國玉器和青銅器。 品相：保存完好，年代久遠。嚴重磨損、輕微缺損、一些刻痕、劃痕、風化和侵蝕跡象、土壤結殼。整體有自然美麗的銅綠，帶有小面積的微弱紅色和各種深淺不一的綠色結殼。 重量：288.2 克 尺寸：長16 厘米 文獻比較： 比較一件幾乎相同的青銅龍，長16.2 厘米，收藏於Arthur M. Sackler Gallery in the National Museum of Asian Art，史密森學會，館藏編號S2012.9.2118。 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 3031 價格：HKD 352,800（相當於今日EUR 41,500） 描述：東周銅翼虎 專家評論：請注意尺寸小很多(11 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月22日，lot 1233 價格：USD 62,500（相當於今日EUR 72,500） 描述：公元前五至四世紀東周青銅虎 專家評論：請注意尺寸較小很多(11.1 厘米)。

AN OVAL BRONZE FOLDING OIL LAMP, DENG, HAN DYNASTY China, 206 BC to 220 AD. The lamp is made in the shape of an ear cup and raised on a narrow foot ring. One side of the cover is hinged and has a spout at one end and a pricket on the interior. The cover is divided into quadrants cast with dragons and tigers separated by a central panel with inscriptions and set with tiny loops similar to a third at one end of the lamp. The dragon and tiger motifs are repeated on the handles.Inscriptions: To the central panel, '[…] zi ji'.Provenance: Guy Portier, Paris, France, 22 February 1969. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.1.1. Guy Portier (1919-2005) was an important French auctioneer and Asian art expert. His father Andre specialized in the import of silk from the Far East and later served as an expert in the sales of major French collections of Asian art. Guy was in charge of the silk department of the family company until he took over in 1942, gradually focusing on Far Eastern works of art, Japanese prints being one of his passions. In 1967, he included a list of estimates for the objects put up for sale in one of his catalogs for the first time, back in these days a revolutionary change. The family company, Cabinet Portier, still exists to this day. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. Condition: Very good condition, commensurate with age. Extensive wear, minor losses, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown, rich patina with malachite and cuprite encrustations.Weight: 287.6 g Dimensions: Length 10 cmDr. Wou's immense passion and superior knowledge sometimes allowed him to pick up unusual and exquisite Chinese works of art with rare inscriptions, right under the noses of the most experienced dealers and collectors of his days, simply because most of them were unable to read Chinese. The present lot is yet another testimonial to this fact.Literature comparison: A closely related bronze oil lamp, also dated to the Han dynasty, is illustrated in Bronze Articles for Daily Use: The Complete Treasures of the Palace Museum, Hong Kong, 2006, no. 90. It is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover. Note that two of these characters ('zi' and 'ji') are also found on the present lot. A closely related bronze oil lamp, 13 cm long, also dated to the Han dynasty, is in the Art Institute of Chicago, reference number 1930.907, illustrated by C.F. Kelley and Chen Mengjia in Chinese Bronzes from the Buckingham Collection, 1946, p. 199, pl. LXIX.Auction result comparison: Type: Near-identical Auction: Christie's New York, 22 March 2013, lot 1245 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A small bronze oval oil lamp, Han dynastyExpert remark: Compare the near-identical form, decorations, and size (10.2 cm). Note that the oil lamp is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover, with two of these characters ('zi' and 'ji') also found on the present lot.漢代銅燈中國，公元前206 年至公元220 年。燈做成耳杯狀，橢圓形淺圈足上。蓋子的一側是鉸接的，一端可以上翻。燈罩分為龍紋和虎紋，由帶有銘文的中央面板隔開，並在燈的一端設置類似於三分之一的小環。手柄上重複出現龍虎圖案。 款識：[…] 子 吉 來源：法國巴黎Guy Portier，1969年2月22日；吳權博士購於上述藝廊。吳蓮伯美術館，館藏 H.1.1.號。Guy Portier (1919-2005) 是法國重要的拍賣師和亞洲藝術專家。他的父親Andre專門從事從遠東進口絲綢，後來成為法國主要亞洲藝術收藏品的銷售專家。Guy在 1942 年接任之前負責家族企業的絲綢部門，逐漸專注於遠東藝術作品，收藏日本版畫是他的愛好之一。1967 年，他首次在自己的目錄中列出了待售物品的估價清單，這在當時是一個革命性的變化。家族企業 Cabinet Portier 至今仍然存在。吳權博士(1910-1997) 是一位中國外交家和知名中國藝術學者。 品相：品相極好，與年齡相稱。嚴重磨損、風化和侵蝕跡象、小刻痕、輕微劃痕。細膩包漿，帶有紅綠色結殼。 重量：287.6 克 尺寸：長10 厘米 吳博士對收藏有著巨大的熱情和豐富的知識，他能夠在他那個時代最有經驗的經銷商和收藏家的眼皮子底下挑選到不尋常且精美的帶有罕見銘文的中國藝術品，僅僅因為他們中的大多數人都看不懂中文。現在的拍品是這一事實的又一證明。 文獻比較： 一件非常相近的漢代銅油燈漢代銅油燈，見《故宮博物院藏文物珍品大系‧青銅生活器》，香港，2006年，編號90。此銅燈蓋上刻有銘文「宜子孫吉」。請注意其中兩字銘文「子」和「吉」，和我們的銅燈相同。一件非常相近的漢代銅油燈，13 厘米長，收藏於芝加哥藝術學院，收藏編號1930.907，見C.F. Kelley和Chen Mengjia，《Chinese Bronzes from the Buckingham Collection》，1946年，頁199，圖LXIX。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2013年3月22日，lot 1245 價格：USD 30,000（相當於今日EUR 36,000） 描述：漢「宜子孫」銘燈 專家評論：比較幾乎相同的外形、裝飾和尺寸(10.2 厘米)。請注意此銘燈蓋上刻有「宜子孫吉」。

A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYChina, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonné, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece’s impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmReferring to the importance of reverence to the past in Chinese art, Ulrich Hausmann writes:“Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable, so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. Generations of painters and calligraphers [...] spent a lifetime studying these inscriptions. What could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.” (Quote from Ulrich Hausmann, Later Chinese Bronzes: In Search of Later Bronzes in Documentary Chinese Works of Art: In Scholars' Taste, Ed. Paul Moss, Sydney L. Moss, London, 1983, page 233, requoted again by Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and the Fung Ping Shan Museum, University of Hong Kong, 1986, cat. no. 161.)Expert’s note: The present steamer is quite likely to date from the Song dynasty, because the earliest archaistic bronzes generally tend to be the closest in form and design to their archaic prototypes. This is clearly the case here, as shown by the two literature comparisons below, which prove that the present lot is very much in the spirit of its Shang and Western Zhou paragons. The example from the National Palace Museum, Taipei, even has gold and silver inlays just like our vessel, which is unusual for such an early piece. Another important aspect is the superb, naturally grown patina on the present lot with its distinct malachite encrustations. This is beyond doubt not a patina from the late Ming or early Qing dynasty: It not only does closely resemble that of ancient bronzes, but with its unique appearance, reminiscent of savage elementary forces rather than the genteel creations of later periods, essentially makes this bronze an archaic vessel of its own merit.Literature comparison: Compare a closely related prototype for this steamer, also with gold and silver inlays, dated to the Shang dynasty, in the National Palace Museum, Taipei, image number K1A002369N000000000PAB. A related prototype, lacking gold and silver inlays, dated to the Western Zhou dynasty, 11th-10th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b, is illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Vol. IIB, Massachusetts, 1990, pp. 342-344, no. 33.Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby’s New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby’s London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).宋至明代銅錯金銀三足銅甗中國，960-1644年。甗分上下兩部分：一甑一鬲。甑部與鬲部相連，甑部有一對拱形直耳，外壁飾雷紋地鳳鳥紋飾帶與蕉葉紋，同樣是雷紋地上獸面紋。鬲部修飾獸面紋。表面神色包漿堅實，散佈著孔雀石色結殼。 來源：Dr. David McCay收藏，在同一家族保存至今。Dr. David McCay是一名英國醫生，後來在印度孟加拉的印度醫療部擔任外科醫生。他在義和團運動期間被派往中國擔任軍醫。在印度期間，他寫了一本名為《孟加拉監獄飲食調查》的書。退休後，他帶著他收藏的中國青銅器、景泰藍和瓷器回到英國。在他去世後，他的妻子將他最喜歡的一件非常重要的萬曆蒜頭瓶贈予維多利亞和阿爾伯特博物館，編號為 CIRC.23-1950，至今仍保存在博物館。品相：狀況極好，有磨損和使用痕跡、一些鑄造不規則、小刻痕和缺損、輕微劃痕、腳底面有微小的填充物。錯金部分整體狀況非常好。錯銀部分變暗並顯示出光澤。 重量：5,200 克 尺寸：高 31.5 厘米

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH – MID-13TH CENTURYExpert’s note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th – mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie’s New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。該像法相威儀，觀音跣足而立，右手低垂結與願印，左手置於胸前。身著飄逸的長袍，線條流暢，佩戴瓔珞。觀音面部平靜慈祥，雙眼微垂，雙眉之間有白毫。頭髮披肩，葉冠后高髻。專家注釋：大理國銅器的一個獨特之處是合金中的砷含量高，使銅質變得柔軟，並因合金產生微小的孔洞。後來的銅器和其他地區的銅器沒有這個特徵，這在本拍品和同類銅造像器中清晰可見（見拍賣結果比較）。大理銅造像的風格包括細長的臉、精緻的頭飾和纖柔的手，這些特徵仍然顯示出印度和東南亞佛教造像的影響。文獻參考： (1) Denise Patry Leidy，Donna Strahan，《Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art》，紐約，耶魯大學出版社， 2010年，頁206-207。 (2) Albert Lutz，《Der Goldschatz der drei Pagoden》，蘇黎世Rietberg博物館, 1991年。Paul Jett，《Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich》，頁73。 (3) 同上本書，頁71。 (4) Wenli Zhou，《Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911)》，倫敦大學學院2012年，頁26。 (5) 同上本書，頁39。 (6) 同上本書，頁46-47。

A LARGE 'FIVE DRAGON' WOOL CARPET, QIANLONGChina, 1736-1795. Finely woven with a central front-facing five-clawed dragon writhing around a flaming pearl, encircled by two pairs of confronting sinuous dragons, each chasing a pearl, surrounded by swirling clouds, bordered to the long sides with bands of pearls, key-fret, and the Eight Buddhist emblems alternating with floral designs, each end with a terrestrial diagram above lishui stripe.Provenance: From the personal collection of Michael B. Weisbrod, New York, by repute acquired at Sotheby's in the 1990s for approx. USD 30,000. 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: Overall fair condition with extensive wear, minor fading to colors, losses and tears, possibly minor old repairs.Dimensions: Size ca. 480 x 350 cmWhile the dragon itself is the symbol of the emperor, the number five is most auspicious and represents the 'Five Blessings (wufu)' of old age, wealth, health, virtue and peaceful death. The design of 'Five Dragons' also alludes to the 'Five Dragons of Yanshan (Yanshan wulong)', named after the five sons of Dou Yujun, who lived in Yanshan during the Five dynasties period (907-960), each of whom achieved exceptional success with their father epitomizing the ideal parent.The Eight Auspicious Buddhist Symbols (bajixiang) amongst the dragons in the design are also unusual and suggest the possibility of the rug being used at Buddhist ceremonies or on special religious occasions. However, it also demonstrates the level of creative freedom exercised by artists during Qianlong's reign who were encouraged to produce pieces with one-off designs. See a zitan closet, where the bajixiang is carved amongst dense ruyi-form clouds, from the Qing Court collection and still in Beijing, included in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, pl. 206, and a red sandalwood throne also carved with dragons and clouds, where the bajixiang is used as a design element on its own, ibidem, pl. 26.Literature comparison: A related Imperial dragon carpet dating from the 18th century is illustrated by R. Soame Jenyns, Chinese Art, Vol. III, Oxford, 1981, no. 18.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.乾隆大型紅地五龍紋羊毛地毯中國，1736-1795年。地毯正中央盤旋著一條五爪大龍，龍身與龍頭為深藍色，龍爪則是深藍色，龍看上去炯炯有神，面對一顆火珠，氣勢十足。在這條大龍的上下兩側，分佈著四條模樣相似的小龍，這些小龍都面向大龍團團圍住，一派祥和。而在五條龍盤踞的區域外圍，則有規律地分佈著花草、祥雲、五色波紋，圖案豐滿，氣勢恢宏。 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：整體狀況良好，磨損嚴重，輕微褪色、缺損，撕裂，可能有輕微的維修。 尺寸：約480 x 350 厘米 龍象徵帝王，數字五是最吉祥，是代表著長壽、財富、健康、美德和安寧的“五福”。此外，地毯上的八吉祥紋也很不尋常，表明地毯可能用於佛教儀式或特殊的宗教場合。同時，它也展示了乾隆年間藝術家的創作自由程度。文獻比較： 一件相近的十八世紀御製龍紋地毯，R. Soame Jenyns，《Chinese Art》，卷III，牛津，1981年，編號18。

AUTUMN MOUNTAIN LANDSCAPE', BY HUANG JUNBI (1898-1991), CHINA, DATED 1951Boldly painted with a scholar seated amid bamboo stalks near a bridge in a vast misty landscape with towering mountains, pines and other trees, two waterfalls, and small huts.Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper left, signed 'Huang Junbi', titled 'Landscape', and dated 'In the Summer of the Year of Xinmao' (corresponding to 1951). Two seals of the artist, 'Huang Junbi yin' and 'Jun Weng'.Provenance: The Oliver Impey Collection of Modern Paintings. Sotheby's Hong Kong, 3 October 2011, lot 1836, sold for HKD 300,000 or approx. EUR 49,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s.Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 115 x 54 cm, Size incl. mounting 217 x 64 cmHuang Junbi (1898-1991) was an important Chinese master painter, who strongly believed in the inheritance of traditional brushwork while reforming it constantly to express one's personal feelings. He moved to Taiwan together with Pu Ru and Zhang Daqian in 1949, the group thus becoming known as the 'The Three Masters Crossing The Sea'. Huang studied both Chinese and Western painting in Guangzhou and Japan, eventually teaching at the National University in Chongqing (Guoli zhongyang daxue) during the Second Sino-Japanese war. After 1949, he became the head of the Fine Arts Department at the National Taiwan University.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 16 December 2014, lot 8401 Price: USD 75,000 or approx. EUR 88,500 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Waterfall Landscape, dated 1943 Expert remark: Note the size (102.9 x 59.4 cm)Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2012, lot 1339 Price: HKD 800,000 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Mountainous Landscape, dated 1941 Expert remark: Note the size (96 x 40.6 cm)黃君璧《松壑秋閒》，1951年紙本水墨設色，掛軸。山岩矗立，由前至後，草葉繁茂，苔點細密，山林之間文人靜坐觀瀑。用筆愈趨凝重剛強。 款識：松壑秋閒，辛卯夏黃君璧；鈴印：黃君璧印，君翁 來源：Oliver Impey 現代繪畫收藏；香港蘇富比，2011年10月3日，lot 1836，售價 HKD 300,000 或相當於EUR 49,000 (根據通貨膨脹率)；私人收藏，購於上述拍賣。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。 他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品于2000年後期香港佳士得拍賣會上售出。品相：品相非常好，稍微磨損和汙積。 尺寸：畫面115 x 54 厘米，總217 x 64 厘米 黃君璧 (1898-1991) 是一位重要的中國繪畫大師，他繼承傳統筆法的，同時不斷改革以表達個人情感。1949年與溥儒、張大千移居台灣，被譽為“渡海三家”。黃君璧在廣州和日本學習中國和西方繪畫，最終在第二次中日戰爭期間在重慶國立國立中央大學任教。 1949年後任台灣大學美術系主任。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2014年12月16日，lot 8401 價格：USD 75,000（相當於今日EUR 88,500） 描述：黄君璧《山水》設色紙本，立軸一九四三年作 專家評論：請注意尺寸(102.9 x 59.4 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1339 價格：HKD 800,000（相當於今日EUR 124,000） 描述：黃君璧《山水》設色紙本，鏡框一九四一年作 專家評論：請注意尺寸(96 x 40.6 厘米)。

A BACTRIAN CHLORITE COLUMNBactria-Margiana, Oxus civilization, c. 2500-2400 BC. The column-like object with a cylindrical body tapering in the middle and flaring at the top and bottom, with grooves extending from the flat ends to part of the sides, the wear is more developed on one side.Published: Treasures from the OXUS, The art and civilization of central Asia, by Massimo Vidale, page 49.Condition: Good condition commensurate with age, with usual traces of wear and age as well as few notches. Provenance: Gallery Axel Vervoordt & Antiques, Kanaal, Belgium, a copy of the invoice, dated 30 November 2002, where the price for this lot then is stated with Euro 2,800 accompanies this lot. Estate of Paolo Bertuzzi, acquired from the above. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two books on Asian art, Goa Made. An Archaeological Discovery, about large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 10 kgDimensions: Height 26 cm

A GRAY SCHIST FIGURE OF A WINGED ATLAS, ANCIENT REGION OF GANDHARA, 3RD - 4TH CENTURYThe atlant squats with his right leg raised, his toes outstretched, his right hand resting on his knee and his left still holding part of the superstructure which was originally located above him. His face superbly carved with almond-shaped eyes below bushy furrowed brows and full bow-shaped lips, framed by thick tufts of hair, flanked by his large wings.Provenance: An old private collection in France. Acher Eskenasy, Paris, France, acquired from the above in 2001. LP Collection Paris, France, acquired from the above. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, structural cracks, signs of weathering and erosion, encrustations. With an old sand-colored pigment coating.Weight: 8,241 g (incl. stand) Dimensions: Height 30.5 cm (excl. stand) and 35.5 cm (incl. stand)With a fitted wood stand. (2)Only a few sculptures communicate so clearly the classical legacy in Gandharan art. His mature, bushy face recalls the portraits of Greek and Roman gods and leaders, while his Herculean musculature evokes the athletic ideal. Furthermore, the atlant type stems from a tradition in classical architecture of depicting male and female figures supporting architectural superstructures best known from The Ten Books on Architecture by Vitruvius, dedicated to Emperor Augustus (see Rowland, Vitruvius: Ten Books on Architecture, Cambridge, 1999, pages 83 and 135).In the Gandharan context, similar examples in stucco surviving in situ line the veneer of stupa bases at Taxila and Hadda, recording the placement of such figures at Buddhist sites. Whilst maintaining a similar function and a clearly Western look, the Gandharan version differs from the classical prototype in the common inclusion of wings and the primarily ornamental rather than architectural function of the figure. Moreover, while we have evidence from which to understand his context at Buddhist sites, his precise identity remains a mystery. He has been called a disguised yaksha, a lesser Greek god, and a Garuda, yet there is no archaeological or textual foundation to underpin any of these claims (see Foucher, L'art Greco-Bouddhique du Gandhara, 1905, page 208, and Errington, The Western Discovery of the Art of Gandhara and the Finds of Jamalgarhi, London, 1987, page 67). Perhaps, the term “Atlas” ties him too closely to the classical prototypes, at the risk of obscuring added layers of meaning in the unique Gandharan context.Literature comparison: For a further discussion of winged Atlas figures from Gandhara, see P. Pal, Asian Art at the Norton Simon Museum, vol. 1, fig. 35, p. 68. For similar examples of winged “Atlas” figures, see W. Zwalf, A Catalogue of the Gandhara Sculpture at the British Museum, 1996, pp. 206-211, fig. 355-368. Two other examples survive in the Claude de Marteau collection in Brussels and the Peshawar Museum (see Kurita, Gandharan Art, vol. II, Tokyo, 1990, figs. 448 & 453, pp. 155 & 157).Auction result comparison: Type: Closely related Auction: Bonhams New York, 17 March 2014, lot 66 Price: USD 245,000 or approx. EUR 280,000 converted and adjusted for inflation at the time of writing Description: A schist figure of a winged atlas, Ancient region of Gandhara, 3rd/4th centuryExpert remark: Note the larger size (40 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2007, lot 238Price: USD 12,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A Gray Schist Figure of Atlas, Gandhara, 2nd/3rd Century Expert remark: Compare the subject, style of carving and material. Note the slightly smaller size (28.5 cm).西元三至四世紀犍陀羅灰色片岩阿特拉斯像阿特拉斯像雕刻逼真、雄偉有力，呈坐姿，右腿半力，右手撐在膝蓋上，左腿彎曲，肩膀後面張開翅膀；臉龐刻畫細緻，雙眉濃密，大眼圓睜，嘴唇豐滿，長髮披肩。 來源：法國私人舊藏；巴黎Acher Eskenasy收藏，2001年購於上述收藏；法國巴黎LP Collection 收藏，購於上述收藏。Acher Eskenasy是一位著名的法國學者和亞洲及部落藝術收藏家。他以前擁有的主要藏品現在被重要的收藏和博物館收藏，例如紐約的大都會藝術博物館和巴黎凱布朗利博物館。 品相：條件良好，大面積磨損、缺損、刻痕、劃痕、結構裂縫、風化和結殼，帶有沙色顏料塗層。 重量：8,241 克 (含底座) 尺寸：高 30.5 厘米 (不含底座) 與35.5 厘米 (含底座) 木底座。(2) 很少有雕塑能如此清晰地傳達出犍陀羅藝術中的古典意義。他成熟的臉讓人想起希臘和羅馬的神靈和領袖的肖像，而他強壯的肌肉則喚起了運動員的理想。此外，阿特拉斯類型雕塑源於古典建築中支持建築上層建築。最著名的是維特魯威獻給奧古斯都皇帝的十本建築書籍 (見Rowland，Vitruvius: Ten Books on Architecture，康橋，1999年，第83和135頁)。 在犍陀羅時期，在塔西拉和哈達的佛塔基地的飾面上，在原地倖存的灰泥中有類似的例子，記錄了這些人物在佛教遺址中的位置。雖然保持了相似的功能和明顯的西方外觀，但犍陀羅版本與經典原型的不同之處在於翅膀以及人物的主要裝飾功能而非建築功能。 此外，雖然我們有證據可以瞭解他在佛教遺址的背景，但他的確切身份仍然是個謎。 他被稱為夜叉、小希臘神和迦樓羅，但沒有考古學或文字基礎支持任何這些說法（參見 Foucher，L'art Greco-Bouddhique du Gandhara，1905年，第208頁；見Errington，The Western Discovery of the Art of Gandhara和the Finds of Jamalgarhi，倫敦，1987 年，第 67 頁）。 或許，“阿特拉斯”一詞將他與經典原型聯繫得太緊密，有可能在獨特的犍陀羅語境中會掩蓋附加意義。 文獻比較： 關於犍陀羅阿特拉斯像進階討論，見P. Pal, ，《Asian Art at the Norton Simon Museum》，卷1，圖35，頁68。一件相似的阿特拉斯像，見W. Zwalf，《A Catalogue of the Gandhara Sculpture at the British Museum》，1996年，頁206-211，圖355-368。兩件例子現存於布魯塞爾的Claude de Marteau collection和白沙瓦博物館(見Kurita，Gandharan Art，卷II，東京，1990年，圖448和453，頁155和157)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2014年3月17日，lot 66 價格：USD 245,000（相當於今日EUR 280,000） 描述：西元三至四世紀犍陀羅灰色片岩阿特拉斯像 專家評論：請注意尺寸較大(40 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2007年3月21日，lot 238 價格：USD 12,000（相當於今日EUR 15,500） 描述：西元二至三世紀犍陀羅灰色片岩阿特拉斯像 專家評論：比較主題、雕刻風格和材料。請注意尺寸稍小(28.5 厘米)。

A STONE FIGURE OF VISHNU, PRE-ANGKOR PERIOD, PHNOM DA STYLEAncient region of Funan, Mekong Delta, 7th century. Well carved standing, holding a conch and disk in his uppermost hands, each connected by carved brackets to the cylindrical headdress, wearing a pleated sampot, the serene face with almond-shaped eyes and full lips forming a calm smile, flanked by long pierced pendulous earlobes.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Dimensions: Height 50 cm (excl. base) and 75 cm (incl. base)Mounted on an associated base. (2)The present figure encapsulates the subtle elegance of the late Funan style; the confident, noble presentation represents an established local aesthetic, although some aspects of its appearance recall the Indian Gupta tradition. Nevertheless, the embellishment one would find in north Indian sculpture of the period is absent, enhancing the svelte physique and cerebral strength, without reducing the sense of majesty. The slender body form replicates the ethnic Southeast Asian appearance, being both fine boned but physically powerful. Vishnu stands in a slightly relaxed pose, with his right knee bent; his chest and shoulder muscles are enlarged to accommodate the four arms and the effect is elegant both at the front and the back, illustrating an understanding of human anatomy, which is not always evident in sculptures of the period. The short, thick neck is widened further by the long ears and strengthens the otherwise vulnerable area around the head. The face has strong features, arched eyebrows and a generous, sensitive mouth encapsulating the beauty of the finest Funan images.Vishnu wears a knee-length garment, a practical local fashion, unlike the long robes of earlier sculptures that maintain the Gupta, Indian tradition. This garment, the sampot can kpin, is created from a long length of cloth wound once around the body and then pleated to form a scarf that passes between the legs from back to front, fastening at the waist. The central pleat provides additional reinforcement to the sculpture. Stone images from the late Funan period reflect an extraordinary degree of confidence and technical expertise; this suggests that sculptors followed prototypes evolved during earlier centuries that have not survived. Unlike their Indian contemporaries, who preferred to work in the relatively easily carved sandstones, Funan's sculptors seem to have deliberately chosen hard, difficult-to-work stones. There was a shortage of workable stone in the region; the earliest stone sculptures were possibly fashioned from boulders retrieved from the River Mekong and carried downstream during the annual floods. Later on, stone was carefully sourced and brought to the delta region.Almost all found stone sculptures in the Phnom Da style seem to belong to the realm of Vishnu and his incarnations, like this example. The Phnom Da style also seems rather homogenous compared to other stylistic phases.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Vishnu images in the Mekong Delta, and showing many further comparisons to examples in both public and private collections, is available upon request. To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison:Compare a related sandstone figure of Vishnu, attributed to Southern Vietnam and dated late 6th to early 7th century, 56 cm high, in the collection of the Fine Arts Museum, Ho Chi Minh City, reference number BTMT 187, exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 67. Compare a closely related stone figure of Vishnu, dated to the second half of the 7th century, 96.5 cm high, also originally with structural supports between the crown and attributes which are lost, in the Metropolitan Museum of Art, accession number 1992.53. Compare a related stone figure of Harihara, dated to the first half of the 8th century, 94 cm high, in the Metropolitan Museum of Art, accession number 1993.387.5.Auction result comparison: Type: Closely related Auction: Christie's Paris, 20 November 2003, lot 407 Price: EUR 43,475 or approx. EUR 63,500 adjusted for inflation at the time of writing Description: A sandstone figure of Vishnu, pre-Angkor, Phom Da style, 7th century Expert remark: Note that the figure is carved from soft sandstone (unlike the present lot) and is of slightly smaller size (43 cm). 13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.

A KHMER BRONZE FIGURE OF GARUDA, ANGKOR PERIODKhmer Empire, 12th century. Garuda is shown standing on a rectangular base with both hands raised before his spread wings, an anchor-shaped symbol to his chest, the face with a fierce expression and bulging eyes, the beak pointing upwards, his head surmounted by a conical headdress. The plumage finely incised.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition overall, commensurate with age and as expected for a bronze from this period. Extensive wear, signs of weathering and corrosion, encrustations, and minor losses. Fine, naturally grown malachite and cuprite patina.Weight: 335.2 g Dimensions: Height 14.5 cmLiterature comparison:Compare a related Khmer bronze figure of Garuda, 25.1 cm high, dated ca. 1150, in the Detroit Institute of Arts, accession number 43.419. Compare a related bronze figure of Garuda with Vishnu, dated to the Angkor period, 12th century, in the collection of the Art Institute Chicago, reference number 1980.270. Compare also a related bronze figure of Garuda with Vishnu, dated to the late 11th century, in the collection of the Walters Art Museum, accession number 54.2722.Auction result comparison:Type: RelatedAuction: Bonhams Paris, 25 October 2022, lot 82Price: EUR 7,650Description: A copper alloy group depicting Vishnu on Garuda, Cambodia, Angkor Wat style, 12th centuryExpert remark: Compare the related pose of Garuda, incision work, and dress. Note the size (20 cm)

A MAJAPAHIT VOLCANIC STONE FIGURE OF NANDI, JAVA, 13TH - 15TH CENTURYThe divine bull in a recumbent pose atop a double lotus base with three feet tucked under the body and the right front leg raised with the knee bent. The head turned and the tail swept to one side, adorned with a necklace suspending a large bell, the face with almond-shaped eyes, a floral ornament to his nose ridge, and flanked by long ears.Provenance: The collection of Anacleto Spazzapan. Paolo Bertuzzi, acquired from the above. Anacleto Spazzapan (born 1943) is a noted Italian archaeologist who, after retiring, became a successful furniture designer in Italy. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition, commensurate with age. Expected losses, few chips and nicks, signs of weathering and erosion, structural cracks, and encrustations.Dimensions: Length 54 cm, Height 43.5 cmNandi is Shiva's mount and the gatekeeper of Shiva in Hindu mythology. He is seen as full of joy (nandi) in the presence of his master. An image of controlled virility and devotion, he would typically be placed in front of a Shiva temple facing a shrine.Literature comparison:Compare a related andesite statue of Parvati standing on Nandi, East Javanese period, 14th century, in the collection of the Metropolitan Museum of Art, accession number 2001.407.

A GRANITE FIGURE OF GANESHA, ORISSA, 13TH CENTURYStanding in sambhanga on a lotus pedestal with a female worshipper kneeling at his side above a crouching rat. Wearing a short dhoti, sacred thread, and beaded jewelry. In his four hands he is holding a staff, rosary, broken tusk, and a bowl of sweets, from which he samples with his curved trunk. The face with almond-shaped eyes centered by a circular design, flanked by prominent veined ears, the head surmounted by an elaborate headdress.Provenance: From the collection of Jean-Marc Andral, acquired between 1996 and 2005 at Galerie Carre des Antiquaires in Versailles, France. A copy of a provenance statement, written and signed by Jean-Marc Andral, dated 31 July 2022, accompanies this lot. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks and scratches, signs of weathering and erosion, encrustations, few structural cracks. Solid, naturally grown patina.Weight: 46.1 kg Dimensions: Height 64 cmLiterature comparison: Compare a related schist figure of Ganesha, 119 cm high, attributed to Orissa and dated to the 13th century, with a similar lotus pedestal and veined ears, and holding the same attributes, in the British Museum, registration number 1872,0701.59. Compare also a related and slightly earlier granite figure of Ganesha, 86.4 cm high, dated to the late Chola dynasty, 10th-12th century, from the Avery Brundage collection and now in the Asian Art Museum of San Francisco, object number B63S45+.

A GRAY AND BLACK NEPHRITE JADE FIGURE OF A HORSE, MING DYNASTYChina, 17th century. Well carved as a recumbent horse with the legs tucked in. The head is turned backwards with the mane falling on either side of the arched neck, and the tail is flicked onto the left rear haunch. The semi-translucent stone is of a pale gray tone with cloudy inclusions, dark veins, and black patches and shadings.Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco, 23 August 2004. A private collection in Bethesda, Maryland, USA, acquired from the above. A copy of a description document from S. Bernstein & Co., signed and sealed by Sam Bernstein and confirming the dating above, as well as a copy of the original invoice, dated 23 August 2004 and stating a purchase price of USD 14,000 or approx. EUR 20,500 (converted and adjusted for inflation at the time of writing), accompany this lot. 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 Europe and 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: Very good condition with minor old wear, few light surface scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 197.2 g (excl. base) and 245.7 g (incl. base)Dimensions: Length 8.5 cm (the jade) and 9.1 cm (the base)With a fitted wood base and a padded box. (3)The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: Related Auction: Christie's New York, 20 September 2013, lot 1683 Price: USD 56,250 or approx. EUR 67,000 converted and adjusted for inflation at the time of writing Description: A well-carved grey-green jade figure of a recumbent horse, 17th/18th century Expert remark: Compare the closely related pose and incision work. Note the different color and larger size (15.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 3056 Price: HKD 500,000 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A jade recumbent horse, Ming dynasty Expert remark: Compare the closely related eyes, mane, tail, and ears, as well as the similar size (9.4 cm). Note the slightly different pose and mostly russet color.明代灰黑玉臥馬中國，十七世紀。臥馬表滿佈絲霧狀黑褐色沁，玉質溫潤，觸手細膩，包漿潤潤。玉馬倒地嬉戲，臥馬兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。 來源：2004年8月23日舊金山S. Bernstein & Co.玉器與東亞藝術藝廊；美國馬里蘭州貝塞斯達私人收藏，購於上述藝廊。隨附一份藝廊Sam Bernstein親筆簽署並蓋章的描述文件，以及一份原始發票複印件，時間爲2004年8月23日，價格爲USD 14,000，相當於現在的EUR 20,500。Sam Bernstein是國際公認的中國古物專業經銷商。他撰寫了十三卷有關中國藝術的著作，包括《The Emperor's Jade Suit》和《Chinese Jade: The Immortal Stone》。在過去的二十五年裡，Bernstein先生積累了豐富的亞洲藝術收藏的經驗。他的父母都是亞洲藝術的熱情收藏家，並在歐洲和遠東多次旅行。1991 年，Bernstein先生在舊金山歷史悠久的Fairmont酒店創立了 S. Bernstein & Co., 玉器與東亞藝術藝廊，專門研究博物館品質的中國玉器及相關藝術品。 品相：狀況非常好，有輕微的磨損，輕微的表面劃痕和刻痕，有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 重量：197.2 克 (不含底座) 與245.7 克(含底座) 尺寸：長 8.5 厘米 (玉) 與9.1 厘米 (底座) 配有合身的木質底座和帶襯墊的盒子。(3) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年9月20日，lot 1683 價格：USD 56,250（相當於今日EUR 67,000） 描述：十七或十八世紀灰青玉臥馬 專家評論：比較非常相近的姿勢和雕刻。請注意玉石不同顏色和尺寸較大 (15.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月29日，lot 3056 價格：HKD 500,000（相當於今日EUR 66,000） 描述：明代玉臥馬 專家評論：比較非常相近的眼睛、鬃毛、尾巴和耳朵，以及相似的尺寸（9.4厘米）。請注意此玉馬的姿勢略有不同，顏色大多為赤褐色。

A CHICKEN BONE JADE 'CHILONG' BELT HOOK AND BUCKLE, MING DYNASTY China, 16th-17th century. Each of rectangular form and carved in openwork with coiled chilong, the hook terminating in a dragon head which fits perfectly into the semicircular loop on the buckle. The semi-translucent stone is of a distinct cream tone with dark veins and cloudy inclusions.Provenance: David Baker, London, United Kingdom. Established in 1978, David Baker Oriental Art is known for early ceramics, jades and works of art from China, Japan, and Korea. Baker was also instrumental in the founding of Asian Art in London in 1998.Condition: Very good condition with minor old wear and some nibbling to edges. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Good, naturally grown patina with a smooth feeling overall.Weight: 31.0 g (the buckle) and 36.6 g (the hook)Dimensions: Length 4.7 cm (the buckle), 5 cm (the hook), and 8.5 cm (when attached together)Auction result comparison: Compare a related white and russet jade belt hook and buckle, of similar form and also carved with a chilong and dragon-head hook, dated to the 17th century, at Sotheby's Hong Kong in The Muwen Tang Collection Of Chinese Jades on 30 November 2016, lot 45, sold for HKD 56,250 (part-lot, together with a smaller jade ornament). 明代雞骨玉螭龍紋帶扣一對中國，十六至十七世紀。方形帶扣用整塊玉套雕而成，分子扣和母扣，正面鏤雕兩隻盤螭，方形玉扣上浮雕一龍首，將兩扣相連，開合自如。半透明的玉料具有獨特的奶油色調，帶有深色的紋理和絮狀物。 來源：倫敦David Baker收藏，創建於 1978。David Baker 東方藝術收藏中以中國、日本和韓國的早期陶瓷、玉器和藝術品而聞名。 Baker還在1998 年創立的倫敦亞洲藝術中心發揮了重要作用。品相：狀況極好，有輕微的磨損，邊緣有一些輕微的磨損。 具有天然裂紋的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。包漿細膩，整體感覺光滑。 重量：帶扣31.0 克，帶鈎36.6 克 尺寸：帶扣長4.7 厘米，帶鈎5 厘米，合在一起為 8.5 厘米 拍賣結果比較：比較一件相近的十七世紀白玉螭龍紋帶扣，見香港蘇富比The Muwen Tang Collection Of Chinese Jades 2016年11月30日 lot 45, 售價HKD 56,250。

A PALE CELADON FIGURE OF A BOY WITH A HOBBY HORSE, 18TH CENTURYChina. Carved as a striding boy holding the reins of the hobby horse with one hand, the other holding a leafy lotus stem. The translucent stone of a pale celadon color with faint russet patches and veins, and cloudy white inclusions.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear, minuscule nibbling to the base, the lotus flower with a small chip. The stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time.Weight: 74.0 g Dimensions: Height 65 cmExquisitely modeled in the round to depict a boy astride a hobby horse, the reins of which he lovingly clutches whilst slinging stems of lotus over his shoulder, this carving captures the playful ease and charm of the subject. Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasized by the lotus he carries which is a homophone of 'continuous' and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' means 'immediately'.Literature comparison:Compare a related carved jade figure of a boy, but holding a rattle instead of a lotus stem, in the collection of the Museum of East Asian Art, Bath, collection number BATEA 1218. Compare also a related jade figure of a boy holding a lantern on a pole, in the collection of the Metropolitan Museum of Art, accession number 2015.500.5.14.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 30 November 2016, lot 158Price: HKD 525,500 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A superb pale celadon jade 'boy and hobby horse' carving, Qing dynasty, 18th century十八世紀青白玉騎馬上任童子珮中國。圓雕一童子騎於玩具馬上，圓頭圓腦，頭頂髮髻，雙眼細瞇喜笑顏開。上衣及長褲衣紋褶皺自然，右手拿著一朵蓮花。馬顯得溫順可愛。青白玉細膩瑩潤。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損，底部有輕微的磕損，蓮花帶有小磕損。玉料具有天然缺陷和裂縫，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：74.0 克 尺寸：高65 厘米 通體琢刻細膩，匠心獨運，人物栩栩如生。男孩玩木馬是宋代流行的“嬰戲圖”和“百子圖”中的一部分。男童玩馬也取意即將出官入仕，平步青雲，玩趣十足。 文獻比較： 比較一件相近的騎馬上任童子玉珮，男童手上拿著蓮花，收藏於巴斯東亞藝術博物館，收藏編號BATEA 1218。比較一件相近的騎馬上任童子玉珮，男童手上拿著燈籠，收藏於大都會藝術博物館，編號2015.500.5.14。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年11月30日，lot 158 價格：HKD 525,500（相當於今日EUR 72,500） 描述：清十八世紀青白玉雕連生貴子把件

A LAVENDER AND APPLE GREEN JADEITE 'CHAIN' VASE AND COVER, EARLY 20TH CENTURYChina. The translucent stone is of a fine apple green and pale lavender tone with few brown inclusions and dark green veining. The neck bears two lion head handles suspending loose rings. The cover is carved in relief with prominent taotie masks, surmounted by a Buddhist lion, its tail forming a loop attachment for the chain which is connected to the body, all carved from a single piece of jade. The vessel is neatly incised with further taotie masks above a lappet border, and the neck is additionally decorated with a band of plantain leaves.Provenance: From a private collection in Texas, USA, built over the past 50 years by a passionate collector of Asian art. Thence by descent within the same family. Condition: Very good condition, minor old wear, few minuscule nicks here and there.Weight: 824.8 g Dimensions: Height 21 cmAuction result comparison: Type: Closely relatedAuction: Bonham's Hong Kong, 24 November 2012, lot 229Price: HKD 250,000 or approx. EUR 36,800 converted and adjusted for inflation at the time of writingDescription: A Mughal-Style Jadeite Vase and CoverExpert remark: Compare the closely related color of the jadeite and the similar size of the vessel (21.5 cm), as well as the chain that connects the cover with the bodyAuction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2021, lot 700Price: EUR 30,000 or approx. EUR 32,500 adjusted for inflation at the time of writingDescription: A jadeite archaistic vase and cover, early 20th centuryExpert remark: Compare the color of the jadeite and the size of the vessel (19 cm) as well as the related taotie mask carving and the chain that connects the cover with the body. Note the different form. 二十世紀初飄紫翡翠獅鈕活環蓋瓶中國。半透明翡翠呈細膩的蘋果綠色和淡紫色調，局部輕微褐色内沁和深綠色脈理。頸部獅耳活環。瓶蓋上浮雕饕餮紋，獅鈕，其尾巴連接著圓環鏈條，另一頭連載瓶子底部。瓶身浮雕饕餮紋，頸部飾有芭蕉葉紋。翡翠蓋瓶由一整塊翡翠雕刻而成。 來源：美國德克薩斯私人收藏，五十多年前由一位熱愛亞洲藝術的收藏家建立。自此保存在同一家族至今。 品相：品相極，輕微磨損，有很多微小刻痕。 重量：824.8 克 尺寸：高21 厘米拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2012年11月24日, lot 229 價格：HKD 250,000 （相當於今日EUR 36,800） 描述：翡翠痕都斯坦式玉瓶 專家評論：比較相似的翡翠色調，圓環鏈條也連接瓶蓋和瓶身，但尺寸較小 (21.5 厘米) 。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得, 2021年12月10日, lot 700 價格：EUR 30,000 （相當於今日EUR 32,500） 描述：20世紀仿古翡翠蓋瓶 專家評論：比較相似的翡翠色調和尺寸 (19 厘米) ，以及相近的饕餮紋，圓環鏈條也連接瓶蓋和瓶身。請注意形狀不同。

AN EXCEEDINGLY RARE PAIR OF INCISED YELLOW-GLAZED 'FLORAL MEDALLION' BOWLS, KANGXI MARKS AND PERIOD China, 1662-1722. Each bowl is incised on the exterior with four floral roundels divided by cloud scrolls above petal lappets around the foot, the interior with another floral medallion in the center enclosed within a double circle, covered inside and out with an egg-yolk yellow glaze, save for white base. Each bowl with an underglaze-blue six-character mark within a double circle da Qing Kangxi nianzhi and of the period. (2)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. Each bowl with an old collection label, 'VWS'. One bowl with an old label, '62'. French trade, acquired from the above. 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: Superb condition with only minor wear and firing irregularities: The first bowl with a faint glaze line to the rim, the second bowl with three faint glaze lines to the rim, all of which are inherent to the manufacture. None of these glaze lines are visible to the naked eye, or even under the strongest blue light. Also, they are not noticeable to the touch.Weight: 162.1 g and 147.6 g Dimensions: Diameter 12 cm (each)Literature comparison: Compare a closely related yellow-glazed incised bowl, 12 cm high, also with a Kangxi mark and of the period, sold at Christie's London, 13 December 1976, lot 55, and illustrated by Regina Krahl, Chinese Ceramics from the Gulexuan Collection, p. 128, no. 97. A bowl of this design from the Elphinstone collection in the Percival David Foundation, London, is listed in the Foundation's Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. A599. Another bowl of this design from the Kostolany collection was included in the exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, Oriental Ceramic Society, London, 1948, cat. no. 188.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 26 November 2014, lot 3291 Price: HKD 325,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An incised yellow-enameled 'floral medallion' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the closely related form, decoration, Kangxi mark, and size (11.8 cm). Note that the lot comprises only one bowl.Auction result comparison:Type: Near identicalAuction: Christie's New York, 23 March 2023, lot 901Price: USD 21,420 or approx. EUR 19,885 converted and adjusted for inflation at the time of writingDescription: A yellow-glazed 'Medallions' bowlExpert Remark: Please note that unlike the present lot this item has suffered significant damage and was subsequently restored康熙款及年代一對黃釉暗刻團花碗中國，1662-1722年。碗直口，深腹，圈足略高，器型規整。內外滿施黃釉為地。口沿外及足牆均飾兩道弦紋，外壁以暗刻技法飾四朵團花，間以如意雲紋，近底足刻變體蓮花瓣紋，紋飾簡潔生動。圈足內白地青花雙圈“大清康熙年製”款。 (2) 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：品相極佳，只有輕微磨損和燒製不規則：一個碗的邊緣有一條微弱的釉裂，第二個碗的邊緣有三條輕微的釉裂，這些釉紋沒有一條是肉眼可見的，甚至在最強烈的藍光下也是如此。此外，它們觸摸起來並不明顯。 重量：分別爲162.1克與147.6克 尺寸：直徑12 厘米 (每個) 文獻比較： 比較一件非常相近的康熙款及年代黃釉暗刻碗，售於倫敦佳士得，1976年12月13日，lot 55，也見Regina Krahl，《Chinese Ceramics from the Gulexuan Collection》，頁128，編號97。一件相同設計的碗，來自 Elphinstone collection in the Percival David Foundation，倫敦，被列在基金會的圖錄《Catalogue of Ming and Qing Monochrome Wares》，倫敦，1989年，編號A599。另一件相同設計的碗，來自Kostolany collection，展覽於《Porcelain of the Ming and Manchu Dynasties》，東方陶瓷學會，倫敦，1948年，圖錄編號188。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年11月26日，lot 3291 價格：HKD 325,000（相當於今日EUR 46,000） 描述：康熙款及年代一對黃釉暗刻團花碗 專家評論：比較非常相近的外形、裝飾、康熙款和尺寸(11.8 厘米)。請注意此僅有一個碗。 #byimperialcommand