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SHINJI OGAWA (JAPANESE, B.1959) 'Without You - Girl reading a letter at an open window', 2003 Oil on canvas laid on board, inscribed and dated '03 verso Provenance: Christie's, Hong Kong, Asian Contemporary Art (Day Sale), 01 Dec 2008, Lot 1011 Exhibited: Osaka, Japan, The National Museum of Art, Shinji Ogawa - Interfering Worlds, September 30-December 24, 2006, illustrated p.12 of exhibition catalogue 60 x 46cm; 87 x 73cm including frame Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Asian Art, Ethnographica and Other Collectables, including Indian polychrome boxes, repousse metal chargers, beadwork, pietra dura petal formed dish, large carved eastern wood plaque, print after Charles Rennie Mackintosh and Margaret Macdonald, Satsuma Earthenware including a bowl by Kinkozan etc (one shelf, one tray and qty)

Asian Art, including a Chinese hardwood stand with marble inset top, a Burmese polychrome wooden mask, other carved deities and various items of metalware including a bronze prayer bell and Japanese bowls (qty)

Asian Art Including, Chinese blue and white porcelain, a pair Japanese cloisonne vases, Imari and Kutani porcelain, etc

JEAN-BAPTISTE CARPEAUX (1827-1875)Le Chinois (BU 23 - Esquisse)buste en bronze signé sur l'épaule gauche « JB te Carpeaux » et sur la droite « Fonte spéciale./Susse Frs Edt/Paris/ » avec le cachet circulaire « SUSSE FRERES EDITEURS. PARIS. » et au dos le cachet rectangulaire « SUSSE PARIS/CIRE PERDUE »reposant sur un socle en marbre vert veiné quadrangulaire probablement d'époque postérieurefonte posthume à la cire perdue réalisée vers 1920A bronze bust of Le Chinois Esquisse (the sketched Chinese man), Jean-Baptiste Carpeaux (1827-1875)signed on the left shoulder 'JB te Carpeaux' and on the right 'Fonte spéciale./Susse Frs Edt/Paris/' with the circular stamp 'SUSSE FRERES EDITEURS. PARIS.' and on the back the rectangular stamp 'SUSSE PARIS/CIRE PERDUE'standing on a green veined marble base probably later periodposthumous cire perdue cast circa 192055 x 48.5 x 29 cm (21 5/8 x 19 1/8 x 11 7/16 in); hauteur totale: 67 cm (26 3/8 in)Footnotes让·巴普帝斯蒂·卡尔波(1827-1875)中国人(BU 23 - 草图)青铜，失蜡铸造法，雕塑家死后被铸1920年完成ProvenancePar tradition, ancienne collection Robert Spira.ExpositionParis, Didier Imbert Fine Art, "20 ans de Passion" Alain Delon, Sculptures, Printemps 1990, no 5, p. 20, ill. p. 21.Bibliographies comparativesExposition des œuvres de Carpeaux et de Ricard, Catalogue Salle du Jeu de Paume, 15 mai-15 juin, 1912.S. Lami, Dictionnaire des Sculpteurs de l'Ecole Française au dix-neuvième siècle, Paris, 1914, Vol. I, pp. 265-9.J. G. Lovett, A Romance with Realism : The Art of Jean-Baptiste Carpeaux, Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 1989, p. 30.M. Poletti, A. Richarme, Jean-Baptiste Carpeaux, Sculpteur, Catalogue raisonné de l'œuvre édité, Paris, 2003, BU23, pp. 122-5.J. Draper, L. de Margerie, The Passions of Jean-Baptiste Carpeaux, The Metropolitan Museum of Art, Exhibition Catalogue, New York and Paris, 2014, pp. 156-167.Dans le cadre de la restructuration de Paris par le Baron Georges-Eugène Haussmann, de nombreuses commandes publiques sont faites par la ville ; le quartier du Luxembourg bien que protégé par son jardin voit le prolongement de l'avenue de l'Observatoire et la création du Parc des Explorateurs. Pour ce parc, Haussmann préfet de la Seine en 1867, commande à Jean-Baptiste Carpeaux la fontaine des Quatre parties du monde, pour la pièce centrale. Quatre grandes figures féminines représentant, l'Europe, l'Asie, l'Afrique et l'Amérique soutenant la Sphère Céleste.Carpeaux veut s'assurer de l'exactitude culturelle de ses personnages et s'inspire notamment des bustes ethnographiques que réalise son confrère Charles Cordier (1827-1905). Carpeaux recrute des modèles africains et chinois afin de restituer avec la plus grande exactitude les allégories africaines et asiatiques. Travaillant dans le Paris du XIXe siècle, l'artiste n'a pas pu trouver de femme d'origine chinoise prête à poser pour lui. Il a donc employé un homme chinois, dont il a ensuite greffé la tête sur le corps d'une femme occidentale nue afin de créer sa figure allégorique de l'Asie. La qualité androgyne du Chinois devient ainsi facilement compréhensible lorsqu'elle est considérée dans le contexte d'une création d'après un modèle masculin et pourtant destinée à une forme féminine.Carpeaux a réalisé deux versions du Chinois. Le buste Le Chinois (Esquisse) est une étude préparatoire de 1868 pour la version Le Chinois N°1 exécutée en 1872, et le Chinois N°2 une réduction à demi-grandeur.Le plâtre original Le Chinois (Esquisse) a été exposé à l'Ecole nationale supérieure des Beaux-Arts à Paris en 1894, puis a figuré en 1912 à l'Exposition de la salle du Jeu de Paume; il a été vendu 27.000 francs, à la galerie Manzi, le 30 mai 1913 lors de la vente Carpeaux. Il a été ensuite exposé au Salon à Bruxelles en 1874, et a été édité en plus petit, et souvent présenté en paire avec le Buste Négresse. Il est intéressant de noter que lorsqu'un modèle du buste Le Chinois de 1868 est apparu aux enchères à Amsterdam le 19 octobre 1874, il était déjà considéré comme une "esquisse".Cette œuvre, bien qu'à l'état d'esquisse, est considérée par l'artiste comme achevée, dès 1870, elle est éditée en terre cuite a seulement quelques exemplaires et Carpeaux l'imposait dans ses ventes. Les tirages en bronze sont posthumes et réalisés par la maison Susse Frères à partir de 1914. La fonderie Susse a produit un catalogue pour les œuvres de Carpeaux et a édité les deux versions du buste Le Chinois. Identifiés comme les modèles N° 1 et N° 2, les bustes sont répertoriés dans le catalogue sous les numéros 7 et 8 respectivement. L'esquisse en bronze figure dans le catalogue Susse de 1914 au prix de 800 francs.La version esquissée du buste Le Chinois compte parmi les plus beaux exemples de l'art du portrait de Carpeaux. Il présente une multiplicité de facettes, notamment dans le costume, ce qui lui confère une surface vibrante et spontané. Véritable démonstration de virtuosité artistique, Carpeaux a saisi les traits dans les moindres détails. Par son modelé sensuel, notre buste traduit admirablement le travail de la main du sculpteur, suggérant ainsi un précurseur de la sculpture moderniste d'Auguste Rodin qui suivra peu de temps après.As part of the renovation of Paris by Baron Georges-Eugène Haussmann, many public commissions were implemented by the city; the Luxembourg district, although protected by its garden, saw the extension of the Avenue de l'Observatoire and the creation of the Parc des Explorateurs. For this park, Haussmann, Prefect of the Seine in 1867, commissioned Jean-Baptiste Carpeaux to create the fountain of the Quatre parties du monde, for the central piece: four large female figures representing Europe, Asia, Africa and America supporting the Celestial Sphere.Carpeaux wanted to ensure the cultural accuracy of his characters and was inspired by the ethnographic busts made by his colleague Charles Cordier. Carpeaux recruited African and Chinese models in order to render the African and Asian allegories with the greatest veracity. Working in 19th century Paris, the artist could not find a woman of Chinese origin willing to pose for him. So he employed a Chinese man, whose head he then grafted onto the body of a naked Western woman to create his allegorical Asian figure. The androgynous quality of the Chinaman thus becomes easily understood when considered in the context of creating a female form from a male model.Carpeaux created two versions of the Chinaman. The bust of Le Chinois (Esquisse) is a preparatory study from 1868 for the version Le Chinois N°1 executed in 1872, and Le Chinois N°2 is a half-size reduction.The original plaster cast of Le Chinois (sketch) was exhibited at the Ecole Nationale Supérieure des Beaux-Arts in Paris in 1894, then in 1912 at the Exposition de la Salle du Jeu de Paume; it was sold for 27,000 francs at the Galerie Manzi on May 30, 1913 at the Carpeaux auction. It was then exhibited at the Salon in Brussels in 1874, and was produced in smaller editions, and often presented in pairs with the Buste Négresse. It is interesting to note that when a model of the 1868 bust Le Chinois appeared at auction in Amsterdam on October 19, 1874, it was already considered a to be a "sketch."For further information on this lot please visit Bonhams.com

Asian Art: A long silk work panel with character marks to top right corner, the scene depicting a Tiger on the hunt surrounded by forest and foliage detail, approx. 43cm wide x 95cm long. Framed and glazed. Along with a hand painted and paper panel, character marks to top right corner, the scene depicting figures with cattle and tree overhanging them, framed and glazed, approx. 37cm wide x 72cm long. (2)Further Details: Some wear, staining, slight creases to both in parts.

Jugendstil-Vase mit MaskaronhenkelnNeapelmarke, Anfang 20. Jh. Polychrom bemalt, goldstaffiert. H 37 cm. Balusterkorpus mit zwei gewinkelten Henkeln über Maskaronen, Rundfuß und Quadratplinthe mit angeschnittenen Ecken. Im asiatischen Stil umlaufend die Darstellung einer Teichlandschaft mit Blumen und Vögeln 2 Chips und 2 kleine Bestoßungen am Rand der Plinthe. Art Nouveau vase with mascaron handlesNaples mark, early 20th c. Polychrome painted, gold decorated. H 37 cm. Baluster body with two angled handles over mascarons, round base and square plinth with cut corners. In the Asian style surrounding the depiction of a pond landscape with flowers and birds 2 chips and 2 small bumps on the edge of the plinth. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

VOIGT, Bruno(1912 Gotha - 1988 Ost-Berlin) Porträt eines jungen SavoyardenPastell, Aquarell. Rechts monogrammiert mit Schriftzug "jeune Savoyard" und "Tessel". 1946.59 x 42 cm.Knicke in der rechten oberen Ecke.Deutscher Maler, Grafiker und Museumsdirektor, studierte in Weimar bei Klemm. Im Dritten Reich wurde seine Kunst als "entartet" eingestuft. 1951 war er Museumsdirektor der Staatlichen Museen in Gotha, ab 1954 Direktor der Ostasiatischen Sammlung der Staatlichen Museen zu Berlin.Literatur : Eisold. VOIGT, Bruno(1912 Gotha - 1988 East Berlin) Portrait of a Young SavoyardPastel, watercolor. Monogrammed on the right with writing "jeune Savoyard" and "Tessel". 1946.59 x 42 cm.Kinks in the upper right corner.German painter, graphic artist and museum director, studied in Weimar with Klemm. In the Third Reich his art was classified as "degenerate". In 1951 he was museum director of the State Museums in Gotha, from 1954 director of the East Asian Collection of the State Museums in Berlin.Literature : Eisold.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

VOIGT, Bruno(1912 Gotha - 1988 Ost-Berlin) SS-Mann über MenschenmengePastell. Mittig oben monogrammiert.60 x 42 cm.Kleiner Knick und winzige Risse am Rand.Deutscher Maler, Grafiker und Museumsdirektor, studierte in Weimar bei Klemm. Im Dritten Reich wurde seine Kunst als "entartet" eingestuft. 1951 war er Museumsdirektor der Staatlichen Museen in Gotha, ab 1954 Direktor der Ostasiatischen Sammlung der Staatlichen Museen zu Berlin.Literatur : Eisold. VOIGT, Bruno(1912 Gotha - 1988 East Berlin) SS man over crowdPastel. Monogrammed at the top center.60 x 42 cm.Small crease and tiny tears at margin.German painter, graphic artist and museum director, studied in Weimar with Klemm. In the Third Reich his art was classified as "degenerate". In 1951 he was museum director of the State Museums in Gotha, from 1954 director of the East Asian Collection of the State Museums in Berlin.Literature : Eisold.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Figur des Bodhisattva Avalokiteshvara. Grauer Stein. Kambodscha. Baphuon-Stil, 2. Hälfte 11. Jh.Aufrecht stehend mit vier Armen, gekleidet in einen von einem Gürtel zusammengehaltenen und gefältelten sampot, der hoch in den Rücken reicht und dort von einem Knoten in Schmetterlingsform zusammengerafft ist. Vorne auf dem linken Oberschenkel eine Tasche, deren glatter Stoff mit der feinen Fältelung kontrastiert. Fein geflochtene Haarsträhnen überziehen den Kopf und zylindrischen Chignon, vor dem eine Amitabha-Figur in Meditation sitzt. Montiert auf Sockel.Die außerordentlich fein gearbeitete Skulptur stellt Avalokiteshvara dar, den bodhisattva des Unermesslichen Mitleids. Er ist anhand der kleinen sitzenden Figur vor dem Haarknoten auf dem Scheitel eindeutig identifizierbar. Es handelt sich bei der Sitzfigur um Buddha Amitabha, einer der Fünf Kosmischen Buddha und geistiger Vater des Avalokiteshvara. Der vorliegende bodhisattva hat vier Arme, die ehemals die Attribute Lotos, Vase, Gebetsschnur und Manuskript hielten und Zeichen seiner Fähigkeiten sind, Beschwerden und Missstände aus dem Weg zu räumen. Die Art wie das Hüfttuch am Körper anliegt, es verknotet und in der Hüfte befestigt ist sowie die Eleganz von Kopf und Körperproportionen entsprechen dem Baphuon-Stil, der als Gipfel in der Khmer-Kunst gilt. Dieser hat seinen Ursprung in der Ausschmückung des gleichnamigen hinduistischen Tempelbergs, der in der Mitte des 11. Jahrhunderts errichtet wurde. Er lag im Zentrum der ehemaligen Khmer-Hauptstadt Yasodharapura in der Region Angkor. Da in dieser Zeit der Hinduismus im Khmer-Reich Staatsreligion war, ist eine solche buddhistische Kultfigur, die deshalb außerhalb des Angkor-Region entstanden sein muss, von seltener Besonderheit.Mit der vorliegenden Avalokiteshvara-Figur vergleichbar ist die Statue im Norton Simon Museum, siehe P. Pal Art from Sri Lanka & Southeast Asia, Asian Art at the Norton Simon Museum, Bd. 3, New Heaven and London 2004, Nr. 145; im Musée Guimet befindet sich eine weitere, wenn auch ein paar Jahrzehnte früher datiere Figur des Avalokiteshvara, siehe P. Baptiste und Th. Zephir, L‘Art khmer das les collections du Musée Guimet, Paris 2008, Tafel 48b.H 81,5 cmProvenienzSpink & Son Ltd., LondonBelgische Privatsammlung, erworben am 10.10.1984 von obigem Händler (Rechnung vorhanden)LiteraturAnzeige Spink & Son Ltd., London: Arts of Asia, Juli - August 1984

Statues and Sculptures from Tribal Indonesia in the Collections of the Babier-Mueller Museum. Ed. Jean-Paul Barbier. Milan, Skira, 1999. 208 p. Sc. (2) Nias Tribal Treasures. Cosmic Reflections in Stone, Wood and Gold. Delft, Volkenkundig Museum Nusantara, 1990. 327 p. Hc w. dust-j. (3) The Sculpture of Indonesia. Jan Fontein. New York/Washington, Harry N. Abrams/National Gallery of Art, 1990. 312 p. (4) Goud der Goden uit het oude Java. Ed. Edward de Bock. Rott., Stichting Wereldmuseum, 2014. -and 21 other publications on applied Asian arts. Mild traces of use. (total 26)

doodenritueel. Bandoeng, A.C. Nix & Co, 1949. 341,(6) p. Cl. w. title label on spine. (2) Pauline van der Zee. Bisj-palen. Een woud van magische beelden. Amst., KIT, 2007. 119 p. Sc. (3) Michael A. O'Ferrall. Keepers of the Secrets. Aboriginal Art from Arnhemland. Perth, Art Gallery of Western Australia, 1990. Cl. w. ill. dust-j. -and 14 other titles mostly on Southeast Asian cultures, tribal art and ethnography. (total 17)

TWO WOODEN 'BUTLERS BEER' CRATES, containing a large Wedgwood blue Jasperware planter, a small WW1 trench art shell case, height 9cm, a floral wash bowl and pitcher, a brass Asian style pedestal centrepiece dish, a vintage C.W.S. biscuit tin, a case of forty L.P records, artists include Queen, Gene Pitney, Val Doonican, etc. (2 wooden case + 1 record case)

MASATSUNE: A SUPERB AND LARGE BRONZE OKIMONO OF A HAWK ON ROOTWOOD BASEBy Masatsune, signed Masatsune chuJapan, Meiji period (1868-1912)The majestic bird superbly cast with neatly detailed plumage, its wings folded back and its body leaning forwards, the details picked out in gilt and shakudo, the bird set on a large and naturalistically carved root wood base. Signed within a rectangular reserve underneath MASATSUNE chu [made by Masatsune]. The artist was particularly well known for the quality of his productions of birds.HEIGHT total 82 cm, HEIGHT hawk 28 cm, LENGTH hawk 40 cmWEIGHT hawk 6,956 gCondition: Good condition with minor casting irregularities, few tiny nicks, light surface scratches. The right leg has been restored.Provenance: From an old French private collection.Auction comparison:Compare a closely related bronze okimono of a hawk depicted in a similar position, by Masatsune and set on a lacquered wood perch, at Bonhams, Fine Japanese and Korean Art, including the Crawford Collection of Surimono, 22 September 2021, New York, lot 1055 (sold for 16,562 USD). Also compare another closely related model of an eagle depicted in a similar position, by Masatsune and set on a bronze base, at Christie's, The Meiji Aesthetic: Selected Masterpieces from a Private Asian Collection, 27 November 2018, Hong Kong, lot 3841 (sold for 275,000 HKD).

YABU MEIZAN: A VERY FINE SATSUMA VASE WITH BIRDS IN AUTUMNBy Yabu Meizan (1853-1934), signed Yabu MeizanJapan, late 19th to early 20th century, Meiji period (1868-1912)The baluster-shaped body with broad shoulders rising from a recessed foot to an everted flat rim, finely enameled and gilt to the sides and around the neck with a flock of birds flying around and perched on a trailing branch in autumn. The image stands out beautifully against the pure ivory-white crackled ground. Signed to the base YABU MEIZAN within a gilt seal.HEIGHT 16.5 cmCondition: Excellent condition with only minor wear to gilt.Auction comparison:Compare a related vase by Yabu Meizan with bird and autumn design, 23.6 cm high, at Zacke, Asian Art Discoveries - Japanese Art, 1 September 2022, Vienna, lot 55 (sold for 8,216 EUR).

HONDA SYORYU: SPRINGBy Honda Syoryu (Shoryu, born 1951), signed SyoryuJapan, 2004Of abstract from, intricately carved from madake bamboo and rattan, signed on an inlaid bamboo tablet to the underside. With the original box.SIZE 29 x 25.4 x 30.5 cmCondition: Excellent condition.Provenance: Tai Modern, Santa Fe, USA, 2004. Collection Robert and Ruth Vogele, Chicago, USA, acquired from the above. Robert and Ruth Vogele were avid collectors of fine art, folk art, and modern design. More than patrons, the Vogeles believed in establishing personal relationships with artists to better understand the artwork and inform their collecting. Tai Modern regularly features artworks by Honda Syoryu and has published several catalogs on the artist.Honda Syoryu himself remarks about his work: “I create sculptures about space and time, about the magnificence and mystery of the universe. Six years ago, I moved to the city of Matsumoto, where the sky and mountains spread out before my eyes. I am becoming more and more inspired by the beauty of this area. Working with bamboo, it is almost impossible to have total control over the form that you intend to make. When I make my art, I am in constant dialogue with the bamboo. This material's unique pliability allows me to draw beautiful, naturally curving lines in space. The textures I create cannot be achieved with any other medium. I feel great satisfaction when working together with the bamboo leads me to create a sculpture beyond my imagination.”Syoryu has virtually abandoned traditional ideas about the function of basketry acquired during his early training, choosing instead to create dramatic curvilinear sculptures from fine stained bamboo strips woven in nawame (twining) technique. Once a few rows of twining have been completed, he leaves the verticals exposed for several inches at both ends, uses hot water to soften the entire piece, and then kneads it into shape, pulling up some of the rows to form the gaps seen in the finished work. The free ends of the verticals are then plaited and secured with a binding of rattan.Syoryu works are held in various museum collections such as The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Boston, MA, and The Asian Art Museum, San Francisco. He has received many prizes for his bamboo sculptures.Auction comparison:Compare a related bamboo sculpture by the artist, titled Galaxy (Seiun) 2001, at Christie's, The Collection of Victoria, Lady de Rothschild, 9 December 2021, London, lot 161 (sold for 18,750 GBP).

KOSUGE KOGETSU: A FINE WOVEN BAMBOO AND RATTAN HANAKAGO (FLOWER BASKET)By Kosuge Kogetsu (1932-2016), signed Kogetsu sakuJapan, Showa period (1926-1989)Of cylindrical shape, the composition reminiscent of a tsuzumi (hand drum), finely woven in bamboo and rattan, signed underneath KOGETSU saku [made by Kogetsu]. With an otoshi (water holder).The wood storage box with hakogaki at the top reading Hounsai, Kōgetsu-saku with seal Kogetsu.HEIGHT 31.5 cmCondition: Excellent condition.The son and pupil of the famed Kogetsu Chikudo (1895-1966), the versatile Kogetsu here shows the influence of the Iizuka lineage of bamboo weavers working in Tochigi Prefecture and Tokyo, who pioneered this style of basket that relies for its aesthetic impact on the contrast between fine plaiting and plain, lighter-colored structural elements.Kosuge studied tea ceremony and created baskets that expressed his earnest, charismatic personality. Among his prestigious awards are the Minister of Economy, Trade, and Industry Prize at Japan's Flower and Tea Ware Art Exhibition and the Niigata Nippo Prize at the 16th Prefectural Art Exhibition. In 1972, the Niigata Governor commissioned the artist to create a basket as a gift to the Emperor of Japan and six years later he became a full member of the Japan Craft Art Association. Kosuge's work is in the collection of the San Francisco Asian Art Museum.

NAGAKURA KEN'ICHI: STRIPESBy Nagakura Ken'ichi (1952-2018), signed to a washi label applied to the box Kago hanaire, Shima, Nagakura Ken'ichiJapan, Showa period (1926-1989)Of abstract shape, the composition titles 'Stripes', finely worked in woven bamboo and rattan. With an otoshi (water holder).The large cardboard box with an applied label: Kago hanaire, Shima, Nagakura Ken'ichi [A flower basket, entitled Stripes, by Nagakura Ken'ichi] with a seal.LENGTH 60 cmCondition: Excellent condition.The first recipient of the Cotsen Bamboo Prize in 2000, Nagakura Ken'ichi (1952-2018) studied under his grandfather but was mostly self-taught, drawing on a wide range of sources for his creative inspiration, from European sculpture through American pop art to traditional Japanese forms.Nagakura's organic, contemporary pieces are rooted in the functional baskets and flower arranging vessels made for centuries in Japan but also borrow from wide-ranging sources, including the richly material paintings of Anselm Kiefer and the rough-hewn statues made by the itinerant 17th century Buddhist monk Enku. However, throughout the entirety of his career, Nagakura's primary inspiration has been the natural world. “For me, inspiration comes from the workings of nature, both large and small, near and distant,” the artist states. “My desire is to share with other human beings the silent voice of nature.”Nagakura's works are held in various museum collections such as The Metropolitan Museum of Art, New York, and The Asian Art Museum, San Francisco.Auction comparison:Compare a related bamboo hanakago of twisted design by Nagakura Ken'ichi at Bonhams, Fine Japanese Works of Art, 25 March 2010, New York, lot 2222 (sold for 3,050 USD).

SHOZUI: A HAMANO SCHOOL IRON TSUBA WITH DEER, TORII GATE AND PINESchool of Hamano Masayuki (Shozui), signed with gold seal ShozuiJapan, Hamano school, 18th century, Edo period (1615-1868)The large iron tsuba of mokkogata shape, with a kozuka and kogai hitsu-ana and sekigane, finely worked in iro-e takazogan of gold, silver, copper, shakudo and shibuichi, depicting to the front a family of deer below a pine tree and next to a torii gate, the verso with two further deer by a stream below a waterfall. Gold seal to the front SHOZUI.HEIGHT 8.5 cm, LENGTH 7.9 cmWEIGHT 162 gCondition: Excellent condition with minor typical wear.Provenance: Doyle's, Asian Works of Art, 20 March 2007, New York, lot 2279 (sold for 1,920 USD). The provenance listed there as St. John's University.

HIROCHIKA: A FINE SENTOKU TSUBA WITH LUNAR HAREBy Hirochika after a design by Tsuchiya Yasuchika, signed Yasuchika zu and Hirochika choJapan, Nara school, 19th century, Edo period (1615-1868)The sentoku tsuba of mokko-gata shape, the kozuka and kogai hitsu-ana with silver sekigane and some copper sekigane to the nakago hitsu-ana, finely worked in ito-sukashi depicting a lunar hare looking up at the moon, partially obscured by engraved clouds, all amongst zenmai and bamboo grasses worked in iro-e takazogan. Signed to the front Yasuchika zu, HIROCHIKA cho [engraved by Hirochika, after a design by Yasuchika].HEIGHT 7.3 cm, LENGTH 6.7 cmWEIGHT 81 gCondition: Very good condition with minor typical wear, some light scratches and bruising.Auction comparison:Compare a closely related tsuba with a similar design, with gold seal Hirochika, at Lempertz, Asian Art, 11 December 2021, Cologne, lot 259a (sold for 5,000 EUR).

HAGIYA KATSUHIRA: A FINE IRON TSUBA WITH FUJIN AND GEISHABy Hagiya Katsuhira (1804-1886), signed Seiryoken Suimin with kakihanJapan, Mito school, c. 1860Of rounded square shape, with some sekigane, decorated in superb iro-e takazogan of sentoku, gold, silver and shibuichi depicting an amusing scene of the Wind God Fujin releasing gusts of wind from his bag in order to lift the kimono of a Geisha who bends over protecting herself struggling to keep her modesty. Fujin's expression is carved with intricate detail, lustfully awaiting results, the eyes of gold with shakudo pupils. The verso shows a man seeking cover from the wind, worked in copper hirazogan with katakiri details. Signed to the back in fluent calligraphy SEIRYOKEN SUIMIN and with the artist's kakihan (cursive monogram). Seiryoken is the art name of Hagira Katsuhira and Suimin 醉眠 literally means 'drunken sleepy man'.HEIGHT 8.3 cm, LENGTH 7.3 cmWEIGHT 181 gCondition: Very good condition with minor wear, some light surface scratches and discoloration.Provenance: Austrian private collection, Vienna, purchased at Dorotheum, Asian Art, 26 April 1994.Hagiya Katsuhira, art name Seiryoken, is recorded in the Haynes Index of Japanese Sword Fittings and Associated Artists on p. 566 (H 02759.0). In 1844, the Matsudaira Daimyo of Mito Domain appointed him an official metal artist to the Tokugawa government.Auction comparison:Compare a related iron tsuba by the same artist, signed Seiryoken Katsuhira, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 44 (sold for 4,200 GBP).

SORIN: AN IVORY MANJU NETSUKE WITH DAIKOKU AND RATBy Sorin, signed Sorin 宗琳 and kakihanJapan, mid-19th century, Edo period (1615-1868)The two-part manju finely worked in shishiaibori (sunken relief) with a charming image of the lucky god of wealth Daikoku leaning against his treasure bag and his extending his wish-granting mallet (uchide no kozuchi), while a rat clambers onto the hammer and presents a tama (magical jewel) to the lucky deity. The details are stained with ink and red pigments. The reverse is engraved with lucky treasures and signed SORIN and kakihan. Central, florally rimmed himotoshi to the back, the cord attachment within.DIAMETER 4.8 cmCondition: Very good condition, minor wear.Provenance: Christie's, Asian Art, 19 July 2007, London, lot 13 (part lot, sold for 1,020 GBP). Belgian private collection, acquired from the above.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0130). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

KAJIKAWA: A FINE LACQUER SUZURIBAKO (WRITING BOX) DEPICTING BOYS AT PLAYBy a member of the Kajikawa family, signed Kajikawa saku and with pot seal EiJapan, Edo (Tokyo), 19th century, Edo period (1615-1868)Of rectangular form with a flush-fitting (inrobuta) cover and silver rims. The exterior with a gyobu nashiji ground, the cover with a shaped panel bearing a mirror-black ground, finely decorated in colored takamaki-e and hiramaki-e with three karako, two of which are mischievously drawing with brushes on their sleeping companion, an inkstone and lesson book on the ground beside them.The interior of the cover with a rich gold hirame ground similarly decorated with five boys wearing elaborate patterned robes, one riding a hobby horse, three playing musical instruments, and one standing behind a tsuitate (standing screen) depicting a misty mountain landscape superbly rendered in sumi-e togidashi-e and bearing the signature and seal of the Kano painter Isen'in (Naganobu, 1775-1828).The interior bearing a nashiji ground and fitted with a nine-section board (ita) with two raised sections above and below the inkstone (suzuri), the upper section cut with a recess for the lozenge-shaped gilt-copper and silver waterdropper (suiteki), signed underneath the inkstone KAJIKAWA saku [made by Kajikawa] with a red 'tsubo' seal Ei.SIZE 4.6 x 21 x 23 cmCondition: Very good condition with minor wear and few small losses to lacquer.Provenance: Christie's, 18 September 2013, New York, lot 680. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.With a wood storage box (tomobako).The Kajikawa family were Japanese lacquerware artists whose school in Edo flourished for more than 200 years. Kyujiro is generally acknowledged as the founder of the family and the inaugurator of its traditions. He excelled in designing particularly delicate lacquer inro. Kajikawa artists also designed lacquer netsuke. Suzuribako by this school are considerably rarer than inro and netsuke.Museum comparison: Compare a lacquer suzuribako, also signed Kajikawa saku and with a red seal, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1955.24a-e.Auction comparison: Compare a lacquer suzuribako, also signed Kajikawa saku and with a red pot seal, at Christie's, 1 October 2020, New York, lot 21 (sold for 18,750 USD).

TOMOKAZU: A FINE WOOD NETSUKE OF A RATBy Tomokazu, signed Tomokazu 友一Japan, Gifu, early 19th century, Edo period (1615-1868)Finely carved as a rat (nezumi) tightly gripping its tail which curls around underneath its body, forming a compact composition, the fur finely incised and the wood bearing a fine patina. The eyes are inlaid in dark lustrous horn and the two visible incisors underneath are inlaid in bone. The underside with the signature within the typical oval reserve TOMOKAZU. Natural himotoshi through the tail.LENGTH 4.3 cmCondition: Few tiny chips, a section of the tail repaired. Otherwise, good condition with minor wear.Provenance: From a noted private collection in California, USA. Purchased at Bonhams, Fine Japanese Works of Art including selections from the collection of Ruth and Carl Barron, 16 September 2014, New York, lot 2067.Auction comparison:Compare to a closely related wood netsuke signed Tomokazu, at Lempertz, Asian Art, 11 December 2021, Cologne, lot 362 (sold for 4,250 EUR).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

YUZAN: AN UNUSUAL WOOD NETSUKE OF A SNAIL EMERGING FROM ITS SHELLBy Yuzan, signed Yuzan 友山Japan, 19th centuryWell carved to depict a snail in a rather unusual position with its body extended outward from its shell and head turned to one side, the eyes inlaid with horn, the spiraling shell neatly incised. The underside with two himotoshi, one to the snail's body and the other to the shell, the snail's body incised with the signature YUZAN.LENGTH 5 cmCondition: Good condition with minor wear, few small nicks, tiny loss to the tip of one tentacle.Provenance: Ex-collection Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.”

AN OSAKA SCHOOL IVORY NETSUKE OF GAMA SENNIN ON A HUGE TOADUnsignedJapan, Osaka, c. 1800, Edo period (1615-1868)The hermit Gama seated on a large, bloated toad, its warty skin beautifully rendered with clever stippling, the toad's eyes inlaid in ebony. Gama's expression is amusingly grim, as the toad usually sits on his shoulder, now their positions are reversed. Good, deep himotoshi to the underside. The ivory bearing a fine yellowish patina. Unsigned, however likely by either Masakazu or Masatomo.HEIGHT 4.3 cmCondition: Very good condition, some typical wear to the sumi-stained details, few natural age cracks.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam.Museum comparison:Compare to a closely related ivory netsuke, by Masakazu, in the collection of The British Museum, accession no. F.890.Auction comparison:Compare to a closely related ivory netsuke, by Masatomo, sold at Van Ham, Asian Art, 8 December 2016, Cologne, lot 2303 (sold for 3,612 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0043). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

MASANAO: A FINE WOOD MINIATURE OKIMONO OF A TOADBy a member of the Masanao family, signed Masanao 正直Japan, Yamada, Ise province, late 19th centuryThe netsuke-sized okimono finely carved as a fat warty toad, the skin minutely detailed with raised bumps above the neatly stippled surface, the eyes inlaid in ebony wood. The underside shows the webbed feet and signature MASANAO.LENGTH 5 cmCondition: Good condition with minor wear. Tiny chip to one toe.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, purchased from Kunsthandel Klefisch, Asian Art, 12 October 2013, Cologne, lot 868.

TENMIN: A KAGAMIBUTA NETSUKE DEPICTING A NIO PULLING A GRIMACEBy Asama Tenmin, signed Tenmin 天民Japan, Tokyo, late 19th centuryThe solid shibuichi plate fitted into a lustrously polished ivory bowl, the disc worked in takazogan with highlights of gold, silver and suaka, depicting a muscular nio temple guardian pulling an amusing grimace. Central himotoshi to the back, the cord attachment to the back of the plate.DIAMETER 4.5 cmCondition: Some fine age cracks to the bowl, otherwise in excellent condition with minor expected wear.Provenance: Belgian collection, purchased from Lempertz, Cologne.Auction comparison:Compare to a related kagamibuta netsuke by Tenmin, depicting a pensive rakan, at Zacke, Asian Art Discoveries - Japanese Art, 1 September 2022, Vienna, lot 184 (sold for 1,896 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0124). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

AN EXCEPTIONAL PAIR OF MONUMENTAL WOOD FIGURES OF NIO GUARDIANSJapan, Edo period (1615-1868)Each finely carved and decorated with gesso and pigment to depict a Nio guardian, Agyo with the mouth open, holding a tama (sacred jewel) in his lowered right hand, his left hand extended with the palm facing forward, in a protective gesture akin to the abhaya mudra, Ungyo with the mouth closed, his right hand extended with the thumb and index finger joined similar to vitarka mudra. Both are wearing flowing skirts with deeply carved folds, gathered at the waist revealing their strong muscular bodies, and adorned with necklaces. Their faces showing fierce expressions and well detailed with thick brows, strong cheeks, and large black glass eyes, flanked by thick pendulous earlobes. Each with the hair drawn up into a high chignon.HEIGHT 205 cm (each excl. base) and 214 cm (incl. base)Condition: Good condition, commensurate with age. Extensive wear, flaking and losses to gesso and pigment, expected age cracks, minor chips, small losses.Provenance: A private collection of Japanese and Southeast Asian Buddhist art. A private collection in the United Kingdom, gifted from the above during the 1980s.Each figure is supported on an associated metal base of rectangular form.Nio or Kongorikishi are two wrathful and muscular guardians of the Buddha standing today at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapani, the oldest and most powerful deity of the Mahayana Buddhist pantheon. According to Japanese tradition, they traveled with Gautama Buddha to protect him. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. Nio are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitabha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism. They are usually a pair of figures that stand under a separate temple entrance gate, usually called Niomon in Japan.Guhyapada (Japanese: Misshaku Kongo) is a symbol of overt violence: he wields a vajra mallet and bares his teeth. His mouth is depicted as being in the shape necessary to form the 'ha' or 'ah' sound, wherefore he is also known as Agyo in Japan. Narayana (Naraen Kongo) is depicted either bare-handed or wielding a sword. He symbolizes latent strength, holding his mouth tightly shut. His mouth is rendered to form the sound 'huṃ', 'heng', or 'un'. He is also referred to as Ungyo in Japanese due to his closed mouth.Museum comparison: Compare a pair of wood Nio guardians, dated mid-14th century, each 193 cm high, in the Minneapolis Institute of Arts, accession numbers 83.76.1 and 83.76.2.

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

AN IMPRESSIVE PAIR OF SIX-PANEL BYOBU SCREENS DEPICTING A DOG-CHASING EVENT (INOUMONO)Japan, 18th century, Edo period (1615-1868)Finely decorated with ink, watercolors, and gold foil on paper to depict a large dog-chasing event (inoumono) watched by numerous spectators standing outside the fenced area, along with street vendors and entertainers as well as other contestants, amid gnarled pine and maple trees, as horse-mounted archers chase dogs of all stripes and colors, pointing their large padded arrows at the fleeing canines, with some dogs held by leashes by attendants on foot, including two attendants and three dogs resting under a tree as the chaotic scene unfolds, framed by thick clouds.SIZE 171.8 x 63.5 cm (each panel) and SIZE (when opened) 171.8 x 367 cmCondition: Very good condition with minor wear and little soiling, some expected tears and creases, the wood screen with minor nicks and scratches and some old repairs.Provenance: From the collection of L. Harrison Bernbaum, Chicago, Illinois, USA. L. Harrison Bernbaum is a Chicago businessman who co-founded the outdoor company High Sierra with his father Harry Bernbaum (1917-2015), who had been one of the first American businessmen to travel to Japan in 1956, helping to pioneer manufacturing relationships between America and Japan for the American sporting goods industry.With a silk brocade frame and mounted to a brown-lacquered screen with parcel-gilt fittings decorated with blossoming flowers and foliate scroll.Shooting dogs from horseback was a form of samurai training that began in the Muromachi period (1392-1573). During the peaceful 1600s this activity was revived as a samurai sporting event that attracted many spectators. As a sport, dog chasing involved two teams of seventeen participants each. The riders used softly padded arrows in order not to seriously hurt the dog, which was released within a circle of rope to begin the game. A strike on the dog's torso scored points; strikes on the head or legs did not count. The winning team usually received prizes of lengths of white silk cloth. The present screen shows the game in progress, with the judges sitting in the building at the left of the field. As many as eighteen pairs of screens on this subject are known in Japan and the West. Later examples, such as this pair, show greater numbers of spectators, probably reflecting the growing popularity of the sport.Literature comparison: Compare a closely related six-panel folding screen, also depicting a dog-chasing event, dated approx. 1640, in the collection of the Asian Art Museum of San Francisco, object number B60D1.Auction comparison: Compare a closely related single six-panel folding screen, also depicting a dog-chasing event, dated 17th-18th century, 171.5 x 370.8 cm, at Bonhams, Fine Japanese Works of Art, 19 March 2014, New York, lot 3098 (bought-in at an estimate of USD 20,000-30,000).

KAWASE HASUI (1883-1957), MT. FUJI FROM YUIMACHI AT SURUGABy Kawase Hasui (1883-1957), signed Hasui and sealed Sui Japan, dated 1934Color woodblock print on paper. Vertical Oban. Signed Hasui with seal “sui” (bottom-right) in the image along with Watanabe publisher seal from the years 1931-1941 along the bottom-right margin. Entitled Mt. Fuji from Yuimachi at Suruga from the series Tokaido Fukei Senshu (Selection of Views of the Tokaido). Vertical inscription along the left margin.Mount Fuji seen from the town of Yui in Suruga province.SIZE of the sheet 37.6 x 25.8 cmCondition: Detailed impression and colors commensurate with age. Trimmed margins with slight material loss and creasing. Remains of paper mounting on the verso.Provenance: The Chaplain Collection, USA. Sylvia and Philip Chaplain were involved in the business of art and antique collecting for over six decades. Their interest in Asian arts and antiques began with the purchase of Japanese woodblock prints. After selling one for $90 and then discovering it was worth more than $500, they realized the value of their acquisitions and dedicated themselves to learning more. They traveled throughout Asia, acquiring items for their growing collection, and participating in American antique shows including the Arts of Pacific Asia shows in New York City and San Francisco. Kawase Hasui (1883-1957) was a prominent Japanese artist and printmaker of the shin-hanga ("new prints") movement. He is best known for his landscape prints depicting scenes of Japan, which were highly detailed and often captured the beauty and tranquility of the country's natural landscapes. Hasui's works were characterized by their delicate colors and sophisticated composition, and his legacy as a master of shin-hanga continues to influence Japanese art and culture today.

KAWASE HASUI (1883-1957), ROAD TO NIKKOBy Kawase Hasui (1883-1957), signed Hasui and sealed SuiJapan, dated 1930Color woodblock print on paper. Vertical Oban. Signed Hasui with seal “sui” (bottom-right) in the image along with a black Watanabe publisher seal below it. Entitled Nikko gaido (The Road to Nikko). Vertical inscription along the left margin. A road through the deep forest of large cryptomeria trees in Nikko. The sun rays cast dappled patterns on the sides of the ancient trees and on the shaded forest road. A villager is walking toward the opening, where the blue sky with white clouds and the brightly lit trees are seen.SIZE of the sheet 39.3 x 26.8 cmCondition: Great impression, vivid colors and registration with two very small binding holes on the left margin.Provenance: The Chaplain Collection, USA. Sylvia and Philip Chaplain were involved in the business of art and antique collecting for over six decades. Their interest in Asian arts and antiques began with the purchase of Japanese woodblock prints. After selling one for $90 and then discovering it was worth more than $500, they realized the value of their acquisitions and dedicated themselves to learning more. They traveled throughout Asia, acquiring items for their growing collection, and participating in American antique shows including the Arts of Pacific Asia shows in New York City and San Francisco. Kawase Hasui (1883-1957) was a prominent Japanese artist and printmaker of the shin-hanga ("new prints") movement. He is best known for his landscape prints depicting scenes of Japan, which were highly detailed and often captured the beauty and tranquility of the country's natural landscapes. Hasui's works were characterized by their delicate colors and sophisticated composition, and his legacy as a master of shin-hanga continues to influence Japanese art and culture today.Museum comparison:An identical print is in the collection of the Museum of Fine Arts, Boston accession number 50.2852.Auction comparison:Compare a closely related print by Kawase Hasui at Christie's, From Artist to Woodblock: Japanese Prints from 18th-20th Century, 28 June 2016, London, lot 102 (sold for 2,000 GBP).

A Greek Gnathia ware black glazed prochous, 4th-3rd century BC, the highly arched handle and channel spout above an ovoid body decorated with bands of ovolo, running scrolls and foliate, height 20cm. Provenance: Sotheby's Antiquities, Islamic, Indian and South-east Asian Art Sale, New Bond Street, London, 28 Oct 1993, part of Lot 101. Later purchased from Ancient Relics (see certificate). Note: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Greek Gnathia ware epichysis, 4th century BC, the highly arched handle and channel spout above a domed reel body decorated with vine tendrils, height 14.5cm. Provenance: Sotheby's Antiquities, Islamic, Indian and South-east Asian Art Sale, New Bond Street, 28 Oct 1993, part of Lot 101. Later sold by Ancient Relics (see label and certificate). Note: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An Islamic bronze tripod ewer,in the 10th/11th century Fatimid style, with a broad cylindrical body and angular shoulders on three slightly waisted feet, with stamped stippling decoration to the rim and below the handle,18cm wide32cm deep42cm highProvenance: From the collection of Dr Jonathan Broido.Dr Jonathan Broido (1941-2008) was a professor of mathematics and philosophy. He received his PhD from the University of Pittsburgh and lectured in the US, Israel and the UK, in philosophy, mathematics, AI and interdisciplinarity. He was also an avid collector and lecturer on antiques and rugs - known in particular for his expertise and love of Asian ceramics and rare and archaic Turkoman weavings. He travelled throughout Asia acquiring pieces, as well as making finds in London's antique markets and the US.For a similarly decorated example, see Christie’s, 'Art of the Islamic and Indian Worlds', 17 April 2007, lot 80.Condition ReportThere are a few small dents and misshapen areas. One foot very slightly misshapen. Some imperfections to the surface and a fine crack to the shoulder. There's a reddish patina across the body. Some corrosion and verdigris to the inside of the spout. Overall in good condition and structurally sound.

GRAND PARAVENT EN LAQUE DE COROMANDEL À DOUZE FEUILLESÉpoque Kangxi (1662-1722), daté de l'année ren ying de Kangxi (1722)A TWELVE-PANEL COROMANDEL LACQUER SCREENdated to the ren ying year of the sixty-first year of the Kangxi reign (1722) and of the periodFinely carved on one side with the birthday celebrations for Guo Ziyi, a Tang dynasty hero, and depicting the arrival of guests crossing a footbridge to approach the central pavilion where the hero is entertained by dancers and musicians, with groups of military and civilian officials waiting in a courtyard to pay their respects, surrounded by noble families, and ladies tending to young children in secluded pavilions, all within a floral border and panels each featuring mythical animals, all in rich colors on a brown ground, the reverse with a long inscription across all twelve panels, dedicated to the an official on his birthday and dated to the cyclical year ren ying of the Kangxi reign (corresponding to 1722) Each panel 279 x 48cm (109 7/8 x 18 7/8in) (12).Footnotes:THE PROPERTY OF A DISTINGUISHED FRENCH FAMILY 法國顯赫家族藏品清康熙六十一年（1722年） 款彩郭子儀祝壽圖十二扇屏風Provenance:Acquired in Paris by the grandfather of the present owners before 1935, and thence by descent來源:現任藏家祖父於1935年前於巴黎獲得，並由後人保存迄今Coromandel lacquer, known in Chinese as kuancai, first appeared in China in the 16th century. Coromandel lacquer technique involved applying a layer of chalk mixed with clay to wooden panels which were then covered with a thin layer of black lacquer, the design was then carved into the chalk through the layer of lacquer. Then the carved areas of the light base layer, framed by narrow bands or larger areas of the black lacquer surface, were filled with coloured lacquer and partially gilded. A novel technique, coromandel lacquer pieces were first made for the domestic market but in the 17th and 18th century were made mainly for export to the West. The scene depicted in one side of this impressive twelve leaf screen depicts Guo Ziyi (697-781), a celebrated general who served under four emperors and is credited with saving the Tang dynasty by repressing the An Shi rebellion. The subject was a popular one the visual arts of the Ming and Qing dynasties and often depicted in paintings and other media.The lengthy inscription on the reverse of the screen states that the screen was made during the 61st year of the Kangxi reign (1722), a birthday present to a high official. A screen made in the 9th year of the Kangxi reign (1670), depicting a similar scene, is in the Asian Art Museum, San Francisco (accession no. B69M52). Compare also with another coromandel lacquer screen decorated with the same subject, sold Christie's New York, 24-25 March 2011, lot 1367.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

IMPORTANT ET RARE VASE COUVERT EN JADE BLANCXIXe siècleA SUPERB AND RARE WHITE JADE VASE AND COVER WITH AN ARABIC INSCRIPTION 19th centuryOf baluster form raised on a short splayed foot and tapering to a cylindrical neck set with a pair of stylised archaistic dragon handles, finely carved around the exterior with a large taotie mask on each side, above a band of lotus lappets around the base and below a band of stylised archaistic dragons around the shoulder, the sides set with a pair of animal mask handles suspending loose rings, the straight neck carved with a wide band featuring an Arabic inscription reading سلام which may be translated as 'for peace', flanked by a pair of stylised archaistic dragon handles, the domed cover with a finial in the form of lion, the translucent stone of even white tone, silver-inlaid wood stand. 12.5cm (4 7/8in) high. (3).Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品十九世紀 白玉刻阿拉伯文雕饕餮紋象耳活環獅鈕蓋瓶Provenance:Acquired by the parents of the present owners, and thence by descent來源:現任藏家父母獲得，並由後人保存迄今The body of this superb vase is carved from a single piece of white jade, the cover made of a stone of the same fine quality. The brilliant white colour, flawless stone and exceptional translucency all represent qualities that were highly sought after at the Qing court.The vase is highly unusual in its shape and also in its decoration. The bulbous body has sloping shoulders with rounded edges and is surmounted by a cylindrical neck wider at the top than at the bottom. The neck is carved with an Islamic inscription which alludes to the Islamic influence of this vase, as demonstrated by a 15th century jade ewer with an arabic inscription around the neck, from the collection of the Fundaçao Calouste Gulbenkian, Oeiras, Portugal, published in J.P.Palmer, Jade, London, 1967, pl.38. The very particular form immediately brings to mind the shape of Islamic glass and metal vessels. Compare, for instance, a 12th century Syrian yellowish green glass bottle, published in Stefano Carboni and David Whitehouse, Glass of the Sultans, New York, 2001, p.97,cat.no.23, or a 9th century Egyptian transparent glass and green overlay bottle, op.cit. p. 183, cat.no.89.Glass, metal ware and jades arrived in China from Western Asia and beyond as early as the Sui and Tang periods. It was under the Qianlong emperor that the Islamic and Mughal jades became highly collectible. The magnificent Shah Jehan jade cup in the collection of the Victoria and Albert Museum, London, (accession number IS.12-1962) is an example of a Western Asian jade object that was directly copied by the artists working in the imperial jade workshops under the Qianlong emperor, as an example in the National Palace Museum collection in Taipei illustrates, see Teng Shu-p'ing, Exquisite Beauty: Islamic Jades, Taipei, 2007, cat.no.266. This particular vessel demonstrates how the artists working in the Palace Museum workshops were skilled at adopting foreign shapes and design and adapting and interpreting them to suit contemporary taste. While there seems to be no direct Chinese prototype for the shape of this vase, the carved design around the main body is purely Chinese, and inspired by the classical decoration found on archaic bronzes. The Qianlong emperor was fascinated by antiquity and archaic bronzes. An avid collector, he published his extensive collection of 1500 ancient bronze vessels and utensils in an illustrated catalogue under the titel Catalogue of Xiqing Antiquities (Xiqing gujian. Many jade vessels made for the Qianlong emperor in the workshops within the Zaobanshu, the Imperial Palace Workshop, drew inspiration from the archaic bronzes, their shapes and designs, illustrated in the Xiqing gujian, including the present white jade vase. The quality of the execution of the taotie masks on this vase is sublime and reflects the high technical standards of these workshops which produced jade wares for imperial court, compare a white jade altar set, similarly decorated with taotie masks in the collection of the National Palace Museum, Taipei, published in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), Hong Kong, 1995, pp. 136 and 137, cat.no.113. Hence this wonderful small vase and cover shows the impressive skills and imagination of the Qing craftsmen who used a flawless white jade and merged a rare shape with an archaistic design to create a visually compelling and possibly unique work of art with jewel-like qualities.For further information on this lot please visit Bonhams.com

AN IMPORTANT ARCHAIC BRONZE RITUAL FOOD VESSEL, YA CHOU FU XIN GUILate Shang dynasty/early Western Zhou dynasty, ca. 11th century BCheavily cast with a deep rounded body raised on a high splayed foot, rising to a flared rim, the sides set with a pair of handles issuing from streamlined flat-eared bovine heads, and issuing short hooked tabs, the body cast on east side with a large taotie mask flanked by a pair of taloned and quilled dragons, below a narrow neck band containing two beaked single-bodied dragons centering on a raised animal head in axial position on each side, the foot similarly decorated with two beaked confronting dragons on either side of a ridge with a taotie shield, the inside cast with a four-character inscription reading 'ya chou fu xin', the bronze a smooth, dark brownish-red colour.30cm (11 3/4in) wide; 15.8cm (6 1/4in) high.Footnotes THE PROPERTY OF A LADY 女士藏品商晚期/西周早期，約公元前十一世紀 亞醜父辛簋Provenance:Collection of Huang Jun (1880-1951), Zungu Zhai, Beijing, by 1936Collection of Hans-Jürgen von Lochow (1902-1989), Beijing, by 1943Dr. Ernst Hauswedell & Co., Hamburg, 5 May 1958, lot 3A German private Collection since 1958, and thence by descentPublished, Illustrated and Exhibited:Huang Jun, Zungu zhai suojian jijin tu , Beijing, 1936, chapter 1, fol.47Luo Zhenyu, Sandai jijin wencun, Beijing, 1936, chapter 6, fol.17Gustav Ecke, Sammlung Lochow: Chinesische Bronzen, Beijing 1943, pl.XI a-dYin Chih-yi, 'Shandong Yidu Subutun mudi de Ya Chou tongqi', in Kaogu xuebao, 1977 (2), pp.23-33, p.24, fig.5, and p.25Vadime Elisseeff, Bronzes Archaïques Chinois au Musée Cernuschi. Archaic Chinese Bronzes , Vol. I - Tome 1, Paris, 1977, p.141Yan Yiping, Jinwen zongji (Corpus of Bronze Inscriptions), Taipei, 1983, vol.3, no.1049Minao Hayashi, In Shū Jidai seidōki no kenkyū: In Shū seidōki souran (Research on Bronze ware of the Shang and Zhou Dynasties), Tokyo, 1984, p.94, no.113Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, vol.1, p.362, fig.38.1Zhongguo shehui kexueyuan kaogu yanjiusuo, Yin Zhou jinwen jicheng shiwen, Hong Kong, 2001, vol.3, p.58, fig.3332Shandong Museum, Shandong jinwen jicheng, Jinan, 2007, p.262來源：黃濬 (1880-1951）舊藏，尊古齋，北京，1936年入藏馮洛侯（1902-1989）舊藏，鐃齋，北京，1943年入藏Dr. Ernst Hauswedell & Co.，漢堡，1958年5月5日，編號3德國私人收藏，1958年入藏，並由後人保存迄今出版：黃濬，《尊古齋所見吉金圖卷》，北京，1936，卷1，圖版47羅振玉，《三代吉金文存》，北京，1936, 卷6，圖版17艾鍔風，《鐃齋吉金錄》，北京，1943年，圖版XI a-d殷之彝（张长寿）：《山東蘇埠屯墓地和"亞醜"銅器》，《考古学报》1977年第2期，頁23-33，頁24-25，圖25， 頁25Vadime Elisseeff，《塞努奇博物館藏中國古代青銅器》，巴黎，1977年，卷1，頁141嚴一萍，《金文總集》，臺北，1983，卷3，編號1049林巳奈夫，《殷周時代青銅器的研究》，東京，1984年，頁94，編號113杰西卡·罗森，《赛克勒所藏西周青銅禮器》, 華盛頓，1990年，卷1，頁362, 圖38.1中國社會科學院考古研究所編, 《殷周金文集成釋文》， 香港，2001年，卷3， 頁58，圖三三三二山東省博物館，《山東金文集成》，濟南，2007年，頁262Cast in Brilliance: The von Lochow 'Ya Chou Fu Xin Gui'This archaic bonze gui, which may be referred to as the Ya Chou Fu Xin gui, was acquired by the father of the present owner in 1958 when he bought it at auction from Dr. Ernst Hauswedell & Co., a long-established auction house in Hamburg, Germany (Dr. Ernst Hauswedell, Hamburg, 5th May 1958, lot 3). In the 1950s, the market for Chinese art in Germany was insignificant yet between 1955 and 1959 Hauswedell in Hamburg sold several important Chinese archaic bronzes. Like the present gui , quite a few of these vessels had illustrious late 19th and early 20th century provenances, at least one bronze vessel had been in the Imperial collection, see Dr. Ernst Hauswedell & Co, Hamburg, 9th December 1957, lot 4. Similarly, the provenance of this bronze gui can also be traced back to the first half of the 20th century.The 1958 Hauswedell catalogue entry notes that the Ya Chou Fu Xin gui had first been published by Huang Jun (1880-1951), a prominent Beijing dealer in Chinese antiquities and owner of Zungu Zhai, a well-known Beijing antique shop founded by his uncle. Huang Jun, also known by his literary name Huang Bochuan, had been trained in foreign languages, and was fluent in German, English and French. He was well acquainted with Western collectors and dealers living in Beijing at the time. Huang Jun handled, studied, collected, and eventually sold many important archaic bronzes. His interest was academic as well as commercial, and he published several catalogues on archaic bronzes including the Zungu zhai suojian jijin tujuan (1936) and Ye zhong pianyu erji/sanji (1937 and 1942).These catalogues were printed in small numbers and were made using the most advanced techniques. Objects were illustrated in collotype technique, a laborious photomechanical flat printing process that allowed to reproduce the fine lines and varying tones and shades of the works more accurately than traditional rubbings used to duplicate archaic bronzes in older catalogues. A collotype print of the Ya Chou Fu Xin gui appears in the Zungu zhai suojian jijin tujuan next to a rubbing of the inscription cast on the interior, see Zungu zhai suojian jijin tujuan, Beijing, 1936, vol. I, 47. Subsequently, the collotype technique was used by other collectors and researchers documenting archaic bronzes including Duan Fang and Rong Geng. Gustav Ecke, another German living and collecting in Beijing at the time also adopted the collotype technique in his publications of two important German collections of archaic bronzes, and it is in one of these that the Ya Chou Fu Xin gui reappears in 1943. It was included in Gustav Ecke's seminal catalogue of twenty-two archaic bronzes from the important collection of Hans-Juergen von Lochow (1910-1989) and is illustrated in collotype and with several detail rubbings as well as the inscription , compare Gustav Ecke, Sammlung Lochow: Chinesische Bronzen, Beijing, 1943, pl. XI a-d. Hans-Juergen von Lochow was a German railroad engineer who lived and worked in Beijing between 1921 and 1955. He formed an important collection of Chinese art which comprised modern and classical Chinese paintings, furniture, and archaic bronzes, many of which are now in the Asian Art Museum in Cologne. Von Lochow acquired many pieces in his collection in Beijing from fellow German Otto Burchard (1893-1951), a renowned Berlin Chinese art dealer who had emigrated to China in the 1932. Other pieces were bought from Huang Jun (1880-1951). Of the twenty-two archaic bronzes illustrated in his catalogue, many later found their way into Western museum collections, very few remained in private hands, the present Ya Chou Fu Xin gui being one of them.The Ya Chou Fu Xin gui that was documented in the von Lochow collection in 1943 disappeared after it was last published, and only briefly reappeared in the 1958 Hauswedell sale catalogue. When he returned to Germany in 1955, Hans-Juergen von Lochow was officially allowed bring what was left of his collection of Chinese art including the remaining archaic bronzes. There is no information whether the Ya Chou Fu Xin gui remained in the von Lochow collection or if it changed hands. The provenance information on several archaic bronzes in the Hauswedell catalogues formerly in the von Lochow collection is surprisingly detailed and matches the information noted in Gustav Ecke's catalogue, suggesting that these bronzes may have been consigned by von Lochow at the time. For further information on this lot please visit Bonhams.com

TANGKA REPRÉSENTANT LE PORTRAIT DE DAMARUPATIBET CENTRAL, MONASTÈRE DE NGOR, VERS 1600 Distemper on cloth; with original blue cloth mounts inscribed on the reverse along the top in Tibetan, identifying the painting's subject, and also with original red lacquered, gold painted dowel rod; verso inscribed in black ink with 'om, ah, hum' incantations behind each figure and many lines arranged into the form of a stupa, comprising Sanskritized and Tibetan prayers and mantras consistent with a formula repeated throughout the Ngor lamdre lineage set of paintings; the painted recto with Tibetan inscriptions in gold identifying the majority of figures, and two separate lines of inscription along the bottom red painted border, the second identifying the secondary 'Chandali Perfection Stage Lineage' sequence of figures within the painting, the first an homage to the central subject, translated:'Seeing the excellent meaning of reality,By releasing from worldly practiceAnd remaining in the conduct of accomplishment;To Damarupa, I bow.'Himalayan Art Resources item no. 88707 Image: 78.5 x 67 cm (30 7/8 x26 3/8 in.); With silks: 126 x 68 cm (49 5/8 x 26 3/4 in.)Footnotes:A PORTRAIT THANGKA OF DAMARUPACENTRAL TIBET, NGOR MONASTERY, CIRCA 1600藏中 俄爾寺 約1600年 達瑪如巴肖像唐卡 Published:Pratapaditya Pal, Tibetan Painting, Basel, 1984, pl. 40.Wisdom Calendar of Tibetan Art, Schneelowe Verlagsberatung und Verlag, Haldenwang, 1987 (October).Pratapaditya Pal, Himalayas: An Aesthetic Adventure, 2003, p. 262, no. 174.Rob Linrothe, Holy Madness: Portraits of Tantric Siddhas, New York, 2006, pp. 300-1, no. 51.David Jackson, The Nepalese Legacy in Tibetan Painting, New York, 2010, pp. 22 & 41, fig. 2.23. Exhibited:Himalayas: An Aesthetic Adventure, Art Institute of Chicago, 5 April – 17 August 2003; National Museum of Asian Art, Smithsonian Institution, Washington D.C., 18 October 2003 – 11 January 2004. Holy Madness: Portraits of Tantric Siddhas, Rubin Museum of Art, New York, 11 February – 3 September 2006.The Nepalese Legacy in Tibetan Painting, Rubin Museum of Art, New York, 3 September 2010 – 23 May 2011. Provenance:Schoettle Ostasiatica, Stuttgart, 1982Michael Henss Collection, ZurichOne of the best-preserved paintings from the famous Ngor lamdre lineage set, this near-pristine composition depicts Mahasiddha Damarupa, 'The Drummer'. According to traditional accounts, Damarupa trained under Kanha at every potent charnel ground and site of tantric power in India, prompting his zestful depiction. In addition to being the third mortal master of the lamdre tradition, Damarupa is a renowned adept of the important Chakrasamvara Tantra, which the composition alludes to through the pair of Chakrasamvara deities from differing teaching traditions in the corners at either side of his ornate throne-back. His eponymous damaru, a double-sided hand drum, embodies one of three principal ritual instruments of a tantric practitioner, alongside the vajra and ghanta (bell). Formed by attaching two craniums of enlightened masters, the drum, in the context of Chakrasamvara Tantra, is the Prajna (wisdom) to which the male applies his skillful means (i.e. compassion) activating the union of these two highest Buddhist principles (Huntington & Bangdel, The Circle of Bliss, 2003, no. 106). With modulations from soft to loud and slow to rapid beats, Damarupa, as the drum's archetypal practitioner, is able to produce a single tone that summons all Buddhas, inspiring them with supreme joy (Beer, The Encyclopedia of Tibetan Symbols and Motifs, 1999, p. 258).At the center of the painting, Damarupa whips the pair of golden clappers against the drum with a flick of his wrist. The drum's long tassel of jade beads, gems, gold fastenings, and tri-colored silk streamers trail in countermovement. The painter repeats its flurried arc with the extension of Damarupa's left leg, which, coupled with a half-cocked elbow gingerly cradling a skull cup full of nectar, deftly conveys the peripatetic drummer in a half-seated-half-dancing liminal posture. Airy crimson sashes twirl around his arms and knees, and spiral before his feet. Damarupa's piercing, bloodshot brown eyes and excited grin invite the viewer to hear the 'sound of great bliss' he has produced for all those that can perceive it. He wears a crown of five emblazoned gems borne alternately from Indian lotuses and Chinese peonies. The colored order of each gemstone correlates to the surrounding structure of green, red, and blue aureoles of perfect Newari scrollwork. Meanwhile, his black hair wrapped in an intricate bone lattice is pulled up into a trilobed bun that echoes the edge of the throne-back above him, further harmonizing with the mahasiddha's visage.Twenty-six vividly executed portraits comprising the 'Chandali Perfection Stage Lineage' surround Damarupa in formal rows along the top and side registers. This secondary lineage within the painting is one of over thirty traditional Sakya tantric lineages for which Ngor claimed to excel. Delightful details abound throughout the depicted succession of masters, including Vajra Ghantapa's mid-air tantric sexual congress with his consort (3), and the founder of the Sakya tradition, Sachen Kunga Nyingpo's, aqua cloak and strigine tufts of hair (12).

STATUETTE D'AVALOKITESHVARA EN ALLIAGE DE CUIVREVALLÉE DE SWAT, VIIE/VIIIE SIÈCLE Himalayan Art Resources item no. 1446 10.5 cm (4 1/8 in.) high Footnotes:A COPPER ALLOY FIGURE OF AVALOKITESHVARA SWAT VALLEY, 7TH/8TH CENTURY斯瓦特 七/八世紀 觀音銅像 Located in the foothills of the Hindu Kush mountains in modern-day Pakistan, the Swat Valley became a haven for monastic communities fleeing from invading Huns and their persecution of Buddhism in ancient Gandhara during the 5th century. Buddhist bronzes from Swat therefore constitute an important artistic and religious link between the former Gandharan civilization, the Gupta period of Northern India, and the rising states of Kashmir, Gilgit, and Western Tibet. Although much of the Greco-Roman realism that informed Gandharan art is lost here, the confident posture, downcast expression, and pleated lower garment recall some of Gandharan art's key idioms, as well as those from the Gupta period of North India (4th-6th centuries). Several stylistic features of the present sculpture are consistent with other early Swat Valley images attributed to the 7th century. Two other Swat figures of similar quality depicting the same deity can be found in the Cleveland Museum of Art (1971.20), and in the Ashmolean Museum, Oxford (EA1997.250). Furthermore, Avalokiteshvara's tripartite crown and dark, lustrous patina with green and reddish hues are comparable in appearance to a bronze Maitreya from the Pan-Asian Collection, sold at Christie's, New York, 21 September 2007, lot 229.Published:John Siudmak, Indian and Himalayan Sculpture and Thangkas from the Late Simon Digby Collection, 2011, no. 24. Provenance:Sotheby's, London, 24 April 1990, lot 45 Simon Digby Collection John Siudmak, London, 2011 Private European CollectionFor further information on this lot please visit Bonhams.com

STATUETTE D'AMITAYUS EN ALLIAGE DE CUIVRE DORÉATTRIBUÉ À SONAM GYALTSEN (A. XVE SIÈCLE), SHIGATSE, TIBET CENTRAL, VERS 1430-40Himalayan Art Resources item no. 16792 43 cm (17 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF AMITAYUSATTRIBUTED TO SONAM GYALTSEN (A. 15TH CENTURY),SHIGATSE, CENTRAL TIBET, CIRCA 1430-40 日喀則 藏中 約1430-1440年 銅鎏金無量壽佛像 應為索南堅贊之作 Provenance:Sotheby's Parke-Bernet, New York, 23 May 1979, lot 85 Navin Kumar, New York A French Private Collection, Paris, acquired from the above on 31 August 1984 Christie's, Paris, 19 December 2012, lot 209 An Important Asian Private Collection Published: Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 446, no. 121A.This magnificent gilt-bronze figure of Amitayus bears all the hallmarks of the exceptional master-craftsmanship of one of the greatest known artists in Tibet, active during the first half of the 15th century, namely, the master craftsman Sonam Gyaltsen.  The attribution to Sonam Gyaltsen is demonstrated in the evident similarities to the gilt-copper alloy figure of Avalokiteshvara Sahasrabhuja Ekadasamukha, circa 1430, identified by inscription to have been made by Sonam Gyaltsen, which was sold at Bonhams, New York, 19 March 2018, lot 3033. These close similarities are manifest in the comparable facial features, the turquoise-inset jewelry, the incised decoration, and lotus lappets: Gyaltsen completes his bronze's lotus petals in the round with symmetrically curling plump inner corolla on top of swelled outer petals with pointed tips. Gyaltsen lightly engraves Amitayus' silks with auspicious symbols. He models Amitayus with slender physiognomy. The hair is distinctively arranged into a fringe of rounded curls before the crown. Gyaltsen apportions the jewelry with restraint, such that small turquoise settings brilliantly lead the eye over the body without distracting from its alluring suppleness. Lastly, in the handsome face, Gyaltsen elegantly captures the benevolent and restful essence of Amitayus. As noted in the inscription of the Sonam Gyaltsen Avalokiteshvara, the master craftsman had the patronage of the Rinpung dynasty and more specifically the third monarch, Norbu Zangpo (1403-66) who ruled between 1435 and 1466. The dynasty's seat of power was in Shigatse, Tsang Province in Central Tibet, and its rulers mostly patronized the Sakya order. This figure was created at the culmination of the foundation or enlargement of Jamchen Chode monastery near Shigatse, circa 1430. It is therefore possible that the present figure of Amitayus was also created as part of the project for the Jamchen monastery. While the Bonhams Avalokiteshvara remains the only known inscribed figure identified by inscription to be by Sonam Gyaltsen, it allows us to attribute other important sculptures in public and private collections to the great master. Compare with images of Guhyamanjuvajra and Vajrabhairava in the Rietberg Museum, Zurich (Uhlig, On the Path to Enlightenment, 1995, pp. 170-1, nos. 113 & 114), which closely match the present sculpture's lotus petals, rich gilding, and densely encrusted jewelry. Also see an image of White Tara wearing a similar peaceful expression and cloud-collar over her shoulders (HAR 21448). Attributed to Sonam Gyaltsen: A Magnificent Figure of Amitayus by Jeff Watt, Director and Chief Curator of Himalayan Art Resources (HAR)

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)