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A Quantity of reference books on British and Asian Art. 20th century.

A Quantity of reference books on Asian Art. Modern (a lot)

A Quantity of reference books on Asian Art. Modern (a lot)

A Quantity of reference books on Asian Art. 20th century. (a lot)

Three Asian Works of Art: Chinese ink and watercolour painting of the Great Wall of China, signed and red sealed lower right, 33 x 44 cm, together with two c.20th century Indian paintings, one bearing inscriptions (3)

* BLAIR THOMSON, THE SEA'S EDGE oil triptych on canvas, signed, titled versounframed, as intendedimage size 41cm x 31cm each, overall size 41cm x 93cm togetherNote: Blair Thomson is a full-time artist inspired by Scotland and Japan. Exhibiting since age 18 and graduating from GSA in 2002, his practice has widened from landscape/figurative to abstraction, photography and installation encompassing a poetic approach and interests from Scotland beyond. Regular visits to Japan began in 2002, when he began studying Sho with calligrapher Shujo Wakabayashi, then in his eighties.Thomson exhibited with him and other Asian artists in 09 and the next year represented the UK at the ART/X/TOYAMA International Exhibition. He had been on the committee of the Royal Glasgow Institute arts organisation and is a meditator, trustee and sometimes Tenzo at Glasgow Zen Group. Thomson is a multiple award winner and his work has been widely exhibited in London, Japan and Scotland. He has consistently attracted critical praise resulting in extensive media coverage, especially in Scotland. His paintings are in prestigious collections in the UK, Japan, USA, France and Holland. Known corporate collectors include McKinsey & Co. and Scottish Widows.

A Japanese Imari porcelain bowl, Edo period, painted with blossoming branches, diameter 24.7cm (repaired), together with a collection of other Asian porcelain and works of art, including a Chinese blue and white baluster jar and cover, painted with prunus, height 32cm, a Japanese Kutani two-handled tray, length 51cm, and a pair of Chinese cloisonné vases (some faults).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 large collection of Asian art auction catalogues, predominantly Japanese art and design but some Chinese, the majority 1990s and 2000s, including Sotheby's, Christie's and Toovey's, featuring Sotheby's 'The Carlo Monzino Collection of Netsuke, Inro and Lacquer', London 21st June 1995, Bonhams 'The Misumi Collection', 8th November 2017, and Sotheby's Raymond and Frances Bushell Collection catalogues of inro and lacquer and netsuke (approx 180 in total).This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

Bol Fars en laiton incrusté d'argent, Perse XIVe siècle A Fars silver-inlaid brass bowl, Persia, 14th Centurywith rounded base, the walls tapering towards a short neck, profusely engraved and decorated in silver inlay with a series of cartouches filled with inscriptions in thuluth interspersed by roundels containing figures on horseback, all on a ground of foliate interlace, below a band of pendant palmettes radiating towards the foot, the rim with vegetal motifs, the interior with a central roundel surrounded by fish, three ownership inscriptions to base 23 cm. diam.Footnotes:ProvenanceProperty from a Royal Collection.Inscriptions: li-mawlana [a]l-sultan [a]l-a'zam malik riqab [a]l-umam al-sultan al-salatin al-'arab, 'For our lord, the great sultan, dominant over the nations, the Sultan of sultans of the Arabs.' The additional owners' notes including, 'O Muhammad! O 'Ali', 'Its owner Abu'l-Hasan', 'Its owner Hji Ibrahim bin Ghawan.'For a bowl with a similar inscription and decorative scheme in the Victoria and Albert Museum, see A.S. Melikian-Chirvani, Islamic metalwork from the Iranian World: 8-18th Centuries, London, 1982, pp. 209-210, no. 95. For a similar bowl without silver-inlay sold at Bonhams, London, see Islamic & Indian Art Including Modern and Contemporary South Asian Art, 22 October 2019, Lot 29.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.Avis important aux acheteursCertains pays, notamment les Etats-Unis, interdisent ou restreignent l'achat par ses ressortissants (peu important leur localisation) et/ou l'importation de certains types d'objets d'origine iranienne. Afin de renseigner ses acheteurs, Bonhams indique par le symbole R tous les lots iraniens ou perses. Il incombe à chaque acheteur de s'assurer qu'il n'enchérit pas ou n'importe pas un lot en violation des sanctions ou des embargos commerciaux qui lui sont applicables.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

Trois dagues Ottomanes en acier damasquiné or serties de corail et turquoise (jambiyyas), Turquie XIXe siècle Three Ottoman coral and turquoise-set gold damascened steel daggers (jambiyyas), Turkey, 19th Centuryeach with curving double-edged steel blade, one with central fuller, one of watered-steel, variously decorated in gold overlay with inscriptions and foliate motifs, the hilts and scabbards inlaid with coral (corallium rubrum) and turquoise, the reverses decorated in repoussé the largest 38 cm. long(3)Footnotes:ProvenanceProperty from a Royal Collection.Inscriptions: to one of the daggers, the names of three of the Seven Sleepers of Ephesus, 'Marnush, Dabarnush and Shadhanush.For a comparable example sold at Bonhams, London, see Islamic and Indian Art Including Modern and Contemporary South Asian Art, 24 April 2018, Lot 199.For further information on this lot please visit Bonhams.com

Grand bol à aumônes en cuivre doré repoussé (thaibek), Birmanie XIX-XXe siècle A monumental repoussé gilt-copper alms bowl (thaibek), Burma, 19th/20th Centuryof deep rounded form, decorated in high relief with cartouches containing Jataka scenes, interspersed by foliate scrollwork, above further bands of foliate scrollwork 61 cm. diam.Footnotes:For an example of a Burmese bowl with Jataka scenes, see W. R. T. Wilkinson, Indian Silver 1858-1947, London, 1999, p. 43, cat. 53. For a silver thaibek sold at Bonhams, London, see Islamic and Indian Art Including Modern and Contemporary South Asian Art, 24 April 2018, lot 310.For further information on this lot please visit Bonhams.com

South Asian School, children at an outdoor art class, oil on canvas.

Christie's Asian Arts auction catalogues, Paris, 1980, 2003-2014 and Okura, Japan 1980, twenty-two catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, London, 1990s, eight catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Bonhams Asian Arts catalogues, London, 2009-2014, fifteen catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, New York, 1990s, fifteen catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, Hong Kong, 2000s, thirty-one catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, London, 1964, 1970s, 1980s, thirty-two catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, New York and Hong Kong, 1980s, twelve catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, Hong Kong, 1990s, four catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, including important private collections, Hong Kong, 2010s, twenty-one catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Bonhams Asian Arts catalogues, London, 2007-2010, sixteen catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, London, 2000-2009, twenty-six catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, New York, 2010s, forty-one catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, London, 2010s, twenty-three catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Bonhams Asian Arts catalogues, London, Hong Kong, New York and Edinburgh, 2002-2013, fifteen catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Christie's Asian Arts auction catalogues, New York, 2000's, eighteen catalogues/Provenance: From the Library of Bluett & Sons Ltd., London, established in 1884 and, by appointment, Antiquaries of Chinese works of Art to his late majesty King Gustaf VI Adolf of Sweden. With annotations by Roger Bluett and Brian Morgan, both past presidents of the B.A.D.A.来自于伦敦著名的亚洲古董及艺术品经销商 Blutte & Sons Ltd（1884 - 1992）的图书馆。该公司自创建以来，在其108年的历史中一直是非常重要而活跃于全球的亚洲艺术古董行，其客户包括著名的戴维德爵士，蓝理捷和瑞典国王古斯塔夫六世等等。其图书馆之书籍主要是关于亚洲艺术品的著名拍行的拍卖图录，杂志和书籍，最早的一本出版于1931年，乃珍罕之物。此次拍卖的是其中一小部分，其余的将在我行以后的亚洲艺术专拍中释出。 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Asian Art - a bronzed metal shrine or altar piece triptych, enclosing three figures, 14cm high

Assorted Decorative Asian Art, including an amber netsuke formed as a horse, a similar snuff bottle formed as a carp, various other turquois and ivory effect snuff bottles, porcelain vases, watercolour scroll and a Hoi An hoard pot and cover (two trays) Ceramic items free from any notable chips and cracks. Glass scent bottle, some flaking to the black ground borders.Amber netsuke with slight ear chips. Two bottles lacking stoppers.No obvious major damages.

PAIR OF CHINESE BRONZE VASES AND OTHER ASIAN WORKS OF ART the vases late 19th/early 20th century, also including a pair of European urns with marble bases and an African terracotta figure of a seated malethe vases 24cm highQty: 9

A selection of silver and silver plated items to include a cased set of six white metal Asian spoons, each terminating in a palm leaf, elephant or figural finial, Art Deco silver plated scent bottle, silver handled knives and other items Location:

TWO QAJAR LACQUERED LEATHER PAPIER MACHE BOOK COVERS PERSIA, 19TH CENTURY with central reserves of lovers on white grounds adorned with peacocks and flowers within script borders, the opposing sides with panels of script on red and gilt grounds; one comprising front cover only, framed; the other comprising front and back cover, unframedDimensions:46cm x 31cm eachProvenance:Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018)Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996.The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain.Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents.Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army.When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax.The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022, and subsequently Fine Asian & Islamic Works of Art on 13 May 2022, lot 150-159

Miscellaneous South East Asian tribal art and other objects, stands, etc

Ca. 3000 BC. A group of four alabaster votive vessels, each of cylindrical form with drilled interior. The vessels are made of a fine, light alabaster, and feature a flat base and rather flared lip. The Bactrian culture, which flourished in the modern day Central Asian countries of Afghanistan, Iran, and Uzbekistan, had a long and storied history of using alabaster for their vessels. Alabaster was a highly prized material, and it was used to create a variety of vessels for different purposes. Cylindrical alabaster vessels were used for storing food, for burying the dead, and for religious ceremonies.Size: L:75-100mm / W:35-45mm ; 810gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

A Collection of Tribal Art, including African hardwood paddle clubs, South East Asian portrait plaques and a Balanese polychrome mask, ect

A BRONZE 'PHOENIX' HALBERD BLADE, GE, EASTERN ZHOU DYNASTYChina, 8th to 3rd century BC. The gently curved blade (yuan) finely cast with a light reserve at the center, extending to the tang (nei) rendered in the form of a phoenix with head and tail, its head raised with curved beak and bulging eyes and incised wings, and a rope-like border to the bottom.Provenance: Giannozzo Pandolfini, Homo Sapiens, Florence, ca. 1992-1996. Paolo Bertuzzi, by repute acquired from the above (invoice lost). Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Condition commensurate with age, presenting very well overall. Extensive wear, signs of weathering and erosion, corrosion, minor nicks and losses, structural cracks and scattered old repairs. Fine, naturally grown patina with malachite and cuprite encrustation.Weight: 228.1 g Dimensions: Length 15.6 cmAuction result comparison:Type: RelatedAuction: Sotheby's New York, 10 September 2019, lot 237Price: USD 47,500 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A rare archaic bronze ceremonial halberd blade, Eastern Zhou dynasty, Spring and Autumn periodExpert remark: Compare the related form, decorations, and size (15.7 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 9 November 2017, lot 9Price: GBP 7,500 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: An archaic bronze openwork 'dragon' halberd blade, Ge, Late Eastern Zhou DynastyExpert remark: Compare the related form and decorations. Note the size (12.5 cm).東周青銅鳳凰紋戈中國，公元前八至三世紀。鑄工精細，援呈向下弧形，阑以飞鸟鳳凰隐身而内化，其頭部抬起，彎曲的喙，大眼，似在展翅。 來源：弗洛倫薩Giannozzo Pandolfini 收藏，約1992-1996年。Paolo Bertuzzi收藏，據説購於上述收藏（賬單遺失）。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：條件與年齡相符，整體呈現極好。 大面積磨損、風化和侵蝕、腐蝕、輕微劃痕和磕損、結構裂縫和局部小修痕跡。自然包漿細膩，有孔雀石綠和紅色結殼。 重量：228.1 克 尺寸：長 15.6 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月10日，lot 237 價格：USD 47,500（相當於今日EUR 54,000 ） 描述：東周春秋青銅鳥獸紋戈 專家評論：比較相近的外型、裝飾和尺寸 (15.7厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2017年11月9日，lot 9 價格：GBP 7,500（相當於今日EUR 10,500） 描述：東周末青銅蟠螭紋戈 專家評論：比較相近的外型和裝飾。請注意尺寸 (12.5厘米)。

A LIMESTONE TORSO OF A BODHISATTVA, TANG DYNASTYChina, early 8th century. The slender, elegant figure well carved standing in a subtle tribhanga pose, wearing a clinging diaphanous skirt falling in graceful folds, with scarves tied diagonally around the torso and draped from the shoulders, richly adorned with elaborate jewelry including beaded and foliate necklaces as well as pendent ornaments of beaded and floral designs. The gray limestone with a magnificent, naturally grown, smooth patina.Provenance: French trade, acquired from a French private collection built between ca. 1980 and 2012. Condition: Good condition, commensurate with age. Extensive wear, losses, small nicks, light scratches, a minor surface crack with associated old fill (only visible under strong blue light), signs of weathering and erosion, encrustations.Weight: 29 kg (incl. stand) Dimensions: Height 60 cm (excl. stand) and 64 cm (incl. stand)Mounted on an associated stand. (2)The 5th-century Gupta influence on Tang Buddhist sculpture is manifest in the sensuously rounded body of the present lot, together with the diaphanous robes and jewelry.Literature comparison: This statue is related to some of the larger figures from Longmen, such as the standing bodhisattva in a similar pose, with U-shaped drapery folds and roll of material at the waist, illustrated in Longmen Liusan Diaoxiang Ji (The Lost Statues of the Longmen Caves), Shanghai, 1993, p. 71, no. 78. Compare with a similar stone figure of a bodhisattva illustrated by O. Siren, Kinas Kunst Under Tre Artusenden, vol. 2, Stockholm, 1943, fig. 73A. Compare also a related sandstone figure from Tianlongshan, Shanxi Province, 101.6 cm high, dated approx. 700-750, in the Asian Art Museum of San Francisco, object number B60S6+. For a related figure in white marble with more elaborate realization of the drapery and with one foot placed slightly forward, see the figure from Longyenshan, Hebei, illustrated by W. Willetts, Foundations of Chinese Art, London, 1965, p. 222, fig. 139.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 162 Price: USD 134,500 or approx. EUR 218,000 converted and adjusted for inflation at the time of writing Description: A rare well-carved gray stone torso of a bodhisattva, Tang dynasty, early 8th centuryExpert remark: Compare the closely related pose, drapery, and folds. Note the similar size (63.5 cm). Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 161 Price: USD 36,800 or approx. EUR 59,500 converted and adjusted for inflation at the time of writing Description: A rare dark gray stone torso of a bodhisattva, Tang dynasty, circa 700, from the Longmen cavesExpert remark: Compare the closely related pose and color of the stone. Note the similar size (54.6 cm).唐代石灰石立姿菩薩殘軀中國，八世紀初。優雅身姿，三曲式，外衣輕薄而貼身，飾有精美的珠寶，如串珠和葉狀項鍊以及花卉紋的吊飾。順著身體結構起伏，雙腿輪廓隱約可見，褶皺線條流暢。灰色石灰石，自然包漿光滑。 來源：法國古玩交易，來自一個建立於1980-2012年之間的法國私人收藏。 品相：品相良好，大面積磨損、缺損、小劃痕、輕微的表面裂紋和相關的填充物（僅在強藍光下可見）、風化和侵蝕、結殼。 重量：29 公斤 (含底座) 尺寸：高 60 厘米 (不含底座) ，64 厘米 (含底座) 配置支架。(2) 五世紀古普塔對唐朝佛教雕塑的影響體現在本拍品圓潤的身體，以及透明的長袍和珠寶上。 文獻比較： This statue is 一件相近的龍門石窟立姿菩薩像，有相似的姿勢，長袍衣服U 形褶皺和腰帶，見《龍門流散雕像集》，上海，1993年，頁71，編號78。比較一件相似的菩薩石像，見《O. Siren，Kinas Kunst Under Tre Artusenden》，卷2，斯德哥爾摩，1943年，圖73A。比較一件相近的約700-750年山西天龍山砂岩石像，101.6 厘米高，收藏於舊金山亞洲藝術博物館，館藏編號B60S6+。一件相近的河北白大理石像 ，見W. Willetts，《Foundations of Chinese Art》，倫敦，1965年，頁222，圖139。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 162 價格：USD 134,500（相當於今日EUR 218,000） 描述：八世紀初期唐代灰岩菩薩殘軀 專家評論：比較非常相近的姿勢、布料和衣摺。請注意相似的尺寸(63.5 厘米)。

A MASSIVE PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL AND SOGDIAN RIDER, TANG DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 3 February 2005, based on sample number C105a47, sets the firing date of three samples taken between 900 and 1500 years ago (one further sample contained restoration material and could not be dated). A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.China, 618-907. The large camel is modeled with its head slightly turned to the left, protruding eyes, flaring nostrils and ears lying against its neck, its mouth held wide open with the tongue in the center. A detachable saddle bag hangs between its humps and is surmounted by a bearded Turk or Sogdian rider, wearing a distinctively pointed hat, with one arm raised to hold the reins.Provenance: From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Some old repairs and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Drilled holes from sample-taking. Overall very good condition.Dimensions: Height 84.3 cmThe Tang dynasty is undoubtedly one of the most artistically exciting periods in China's long history. The arts are characterized by their diversity, the cosmopolitan nature of their design and the high technical skill employed in their manufacture as this pottery example amply demonstrates. In the first half of this dynasty, up to the An Lushan rebellion of 756, the level of luxury enjoyed by the court and the Tang elite ensured the production of a wide range of goods of the highest quality. As China prospered as a result of trade with the west along the famous Silk Road, camels became increasingly important for the transport of wares, since these impressive animals could carry heavy loads over long distances, surviving several days without water. As their large and broad feet did not sink easily into the sand, they became known as 'the ships of the desert'. Many camels were imported from the states of the Tarim basin, Eastern Turkmenistan and Mongolia and are known as Bactrian camels. The Tang civil servants created a special office to supervise their breeding and services. It seems that no pottery examples showing Chinese riders have been excavated. Perhaps only the Central Asian foreigners were able to tame and guide the camels.Literature comparison:A related large painted pottery group of camel and foreign rider, dressed in a fur coat and wearing a large pointed hat, excavated from the tomb of Wang Chen (buried 679), Changzhi, Shaanxi province in 1954 and now in the Museum of Chinese History, Beijing, is illustrated by Li Jian (ed.), The Glory of the Silk Road, Art from Ancient China, The Dayton Art Institute, 2003, p. 170, pl. 85.Auction result comparison: Type: Closely related Auction: Christie's London, 5 November 2019, lot 4 Price: GBP 75,000 or approx. EUR 99,000 converted and adjusted for inflation at the time of writing Description: A massive painted pottery figure of a camel and rider, Tang dynasty Expert remark: Compare the closely related pose, detachable saddle bag (albeit with a slightly different Sogdian rider), and painted details. Note the slightly smaller size (78.1 cm).唐代彩繪胡人騎駱駝陶俑中國，618-907年。駱駝背上的胡人深目、高鼻、絡腮鬍，雙眼緊盯前方，頭戴氈帽，身穿翻領棉毛襖，袒胸露乳，雙袖捲起，雙手持韁繩狀，腳踏棉鞋。駝囊上掛有一隻扁壺，是胡人平常飲水的水壺。駱駝體型高大、粗壯，張嘴作嘶鳴狀，四肢挺拔剛健，闊步向前。 科學檢測報告：隨附牛津檢測所Doreen Stoneham 2005年2月3日出局的熱釋光檢測複印本，樣本號 C105a47，確認陶俑為900至1500 年前所造 (另外一個修復材料樣本無法確認時間)。 來源：美國紐約Joseph Rondina收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：有修復、缺損、裂縫和結殼，取樣鑽孔，總體狀況非常好。 尺寸：高84.3 厘米

A LARGE CIZHOU BLACK-GLAZED BOTTLE VASE, YUHUCHUN PING, YUAN DYNASTYChina, 1279-1368. The pear-shaped body supported on a short spreading foot and rising to a waisted neck with a broad everted rim, the exterior and interior covered in a thick lustrous black glaze attractively pooling above the foot, the base carved with a recessed circle.Provenance: From the estate of Anthony Powell, London, United Kingdom, and thence by descent. Anthony Powell (1935-2021) was a British costume designer who brought deep research to his work in both theater and film. His costume designs for John Gielgud's production of The School for Scandal (1963) earned him a Tony Award. Powell collaborated on movies with Steven Spielberg and Roman Polanski and won three Academy Awards for Best Costume Design, including 1978's Death on the Nile. He was an avid collector of fabrics and trimmings as well as Chinese, Indian, and Southeast Asian works of art. Condition: Very good condition with minor wear, traces of use, and some expected firing flaws, few small chips to foot, minor fritting to rim.Weight: 4,478 g Dimensions: Height 38 cmAuction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2012, lot 124 Estimate: USD 8,000 or approx. EUR 9,800 converted and adjusted for inflation at the time of writing Description: A black-glazed vase (yuhuchunping), Yuan dynastyExpert remark: Compare the closely related form and black glaze. Note the smaller size (32.3 cm).元代磁州窯黑釉玉壺春瓶中國，1279-1368年。敞口外撇，束頸，削肩，腹下斂，圈足略外撇。通體覆蓋著一層厚厚的黑釉，自然匯集在足部上方，平底有一個凹陷的圓圈。 來源：英國倫敦Anthony Powell收藏。Anthony Powell (1935-2021年) 是一位英國服裝設計師，他對戲劇和電影作品進行了深入研究。他為 John Gielgud 製作的The School for Scandal(醜聞學校 ,1963) 設計的服裝為他贏得了托尼獎。Powell與史蒂文斯皮爾伯格和羅曼波蘭斯基合作拍攝電影，並獲得三項奧斯卡最佳服裝設計獎，包括 1978 年的《尼羅河之死》。他熱衷於收藏織物和飾物以及中國、印度和東南亞的藝術品。 品相：狀況極好，有輕微磨損、使用痕跡和一些燒製缺陷，足部輕微磕損，邊緣有輕微磨損。 重量：4,478 克 尺寸：高38 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2012年9月11日，lot 124 估價：USD 8,000（相當於今日EUR 9,800） 描述：元黑釉玉壺春瓶 專家評論：比較非常相近的外形和黑色釉面。請注意尺寸較小 (32.3 厘米)。

A GRAYISH-GREEN JADE DISC, BI, WARRING STATES TO HAN DYNASTYChina, c. 3rd century BC. Of circular section centered with an aperture, each side carved with a dense network of raised comma spirals within a diamond grit, the inner and outer edges with line borders. The translucent stone of a pale green tone interspersed with cloudy white inclusions and dark specks.Provenance: Charles M. Blackmon, South Carolina, USA. A notable institution in the Southern United States, gifted from the above in 1963. The inner ring with a museum accession number '63.6.5 a' and an old label. Charles Mason Blackmon was a collector of Asian art. Following his graduation from Harvard University in 1934, Charles' interest in Asian culture grew when he was stationed in Southern China during World War II. His approach to collecting was thorough, as he believed that “determination in finding various objects and a knowledge of them” were important to building a well-rounded collection. Beginning in 1961, Charles became involved with several notable institutions, and over the years loaned some of his most important pieces to museum collections. Condition: Good condition with expected old wear, few minuscule chips and nicks to the inner and outer rim, and minor calcifications.Weight: 92.7 g Dimensions: Diameter 11.2 cmAuction result comparison:Type: Closely related Auction: Christie's New York, 20 September 2013, lot 1730 Price: USD 11,250 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A greyish-green jade bi, Warring States period/Han dynasty, circa 3rd century BC Expert remark: Compare the closely related form and decoration with similar comma spirals within a grid pattern. Note the different size (13.8 cm) and similarity of the stone.戰國至漢代青玉穀紋璧中國，公元前約三世紀。青玉，呈扁圓形，中間有一圓孔。內外廓各飾弦紋一周，中間滿飾谷紋。青白玉，白色絮狀物以及局部有黑斑。 來源：美國南卡羅林娜州Charles M. Blackmon收藏；一個美國南部知名機構1963年受贈。木底座上有收藏編號“69.6.5 a” 及一個小標籤。Charles Mason Blackmon是一位亞洲藝術收藏家。1934年從哈佛大學畢業後，他在二戰期間駐紮在中國南方，對亞洲文化的興趣與日俱增。他認為“收藏各種物品的決心和對它們的了解”對於建立一個全面的收藏很重要。1961 年開始，查爾斯與幾個著名機構接觸密切。多年來，他一直將一些最重要的藏品借給博物館展出。 品相：狀況良好，有預期的舊磨損，內外邊緣有輕微小缺口和刻痕，以及輕微的鈣化。 重量：92.7 克 尺寸：直徑11.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月20日，lot 1730 價格：USD 11,250（相當於今日EUR 14,000） 描述：戰國至漢代青玉穀紋璧 專家評論：比較非常相近的外型和相似的谷紋裝飾。請注意尺寸不同 (13.8厘米) 和玉石相似性。

A WOOD RELIEF OF A DANCING DEITY, KERALA, SOUTH INDIA, 18TH TO EARLY 19TH CENTURYRichly carved and reticulated with a dancing male deity, his right hand raised above the head holding a sword, the left arm wrapped around a hoop, dressed in a dhoti and finely embellished with beaded and floral jewelry, a richly adorned scarf at the shoulders, the face with bulging eyes below arched eyebrows centered by an urna, a bushy mustache, and surmounted by a floral crown, flanked by a dancing male and female attendant, each adorned with fine jewelry, and in the top right with a vyala next to a parasol. Provenance: Jeremy Knowles Ltd., London, United Kingdom, 2006. A British private collection, acquired from the above. A copy of the original invoice from Jeremy Knowles, dated 2 April 2006, describing the piece as a wooden chariot panel, and dating it from the late 18th to the early 19th century, accompanies this lot. Jeremy Knowles has been dealing with Indian and Asian works of art for over 25 years, specializing in fine and decorative sculpture and paintings. After working as a specialist in the Indian and Southeast Asian department of Spink and Son Ltd., he established his own business in 1993. He has previously exhibited at Asian Art in London, the Arts of Pacific Asia show in New York, and the Brussels Oriental Art Fair. Condition: Commensurate with age, with obvious losses, expected age cracks, chips, scratches, splits, warping, wormholes, extensive wear, signs of weathering, and old repairs with remnants of adhesive, but overall displaying extraordinarily well.Weight: 15.5 kg Dimensions: Height 58.4 cm (excl. base), 61 cm (incl. base)Wooden architecture is especially prevalent in Kerala, and ancient wooden prototypes are considered the forerunners of stone temple architecture. However, due to the perishable nature of the material and the tropical climate, only a few early examples have survived.A vyala is a mythical beast with the body of a lion and a horned, chimeric head. These figures are among the most common features of Indian temple architecture and usually act as brackets, set into the recesses of the exterior walls, typically supporting overhanging cornices. The composite figure of a lion and a mythical head is a symbol of both royalty and the force of nature, and their placement within temple architecture often serves as an element of protection.Literature comparison:Compare a related wooden temple cart of Shiva as Bhikshatana, 19th century, in the British Museum, museum number 1997,0127.4. Compare a related wooden panel of Shiva as Virabharda, 19th-20th century, in the British Museum, museum number 1997,0127.5. Compare a related wooden bracket of a mythical beast, 17th-18th century, in the British Museum, museum number 1960,0225.1. Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 19 November 1997, lot 53Price: NLG 9,226 or approx. EUR 7,800 converted and adjusted for inflation at the time of writingDescription: A South Indian Wood Architectural Ornament depicting Mohini trying to tempt the Rishis, 18th/19th CenturyExpert remark: Compare the related carving work and fine details. Note the similar size (58.5 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2016, lot 1317Price: USD 27,500 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A carved wood standing demon, South India, Kerala, ca. 17th centuryExpert remark: Compare the related carving work and fine details. Note the much larger size (87 cm).

A FAMILLE VERTE BARREL-SHAPED TEAPOT AND COVER, KANGXI PERIODChina, ca. 1700. The body decorated with bosses to the upper and lower rim. The wide, slightly domed lid with a bud-shaped finial. The teapot painted in emerald- and apple-green, yellow, iron-red, and aubergine enamels to one side with a prunus branch and to the other with blossoming peonies. The cover decorated with flowering branches encircled by a diapered band interspersed with auspicious symbols. The elegantly curved spout decorated with flames in iron-red.Provenance: Philip Suval, Inc., New York, 1993. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Philip Suval, New York, dated 11 June 1993, describing the piece as a famille verte drum shaped teapot and cover, dating it to the Kangxi period, ca. 1700, and stating a purchase price of USD 3,000 or approx. EUR 6,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Philip Suval Inc. was a noted art gallery, operating from at least 1879 in Southampton, New York, with an additional two locations listed in Manhattan by 1930. They are still in business today, specializing in antique ceramics. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Condition: Good condition with minor old wear and expected manufacturing flaws, including dark spots and pitting. The handle with a minuscule hairline.Weight: 547.1 g Dimensions: Length 18.9 cm, Height 11.1 cmLiterature comparison:Compare a related famille verte barrel shaped teapot, with a replaced spout, Kangxi period, in the collection of the Minneapolis Institute of Art, accession number 98.90A,B.Auction result comparison:Type: RelatedAuction: Bonhams London, 6 November 2008, lot 166Price: GBP 3,600 or approx. EUR 6,600 converted and adjusted for inflation at the time of writingDescription: A famille verte powder-blue-ground barrel-shaped 'flowers' teapot and cover, Kangxi periodExpert remark: Compare the closely related barrel-form, decoration, and size (11 cm). Note the powder blue glaze.康熙硬彩開光花卉紋茶壺中國，約1700年。壺體呈直筒式，前有短曲流，流口斜平切，扳彎曲，平壺蓋，鈕做頂珠狀。壺身上下各有一圈寶珠紋，中間開光五彩描繪富貴花卉紋。一側繪有桃樹，另一側繪有盛開的牡丹。壺蓋上描繪花樹。 來源：紐約Philip Suval，Inc.藝廊，1993年；Richard 與 Maxine Markell購於上述藝廊。隨附1993年6月11日原始發票複印本，描述年代為康熙時期，約1700年，價格為USD 3,000 或相當於 EUR 6,000 (根據通貨膨脹率)。Philip Suval Inc.藝廊是一家知名藝廊，至少從 1879 年開始在紐約南安普頓開展業務，到 1930 年在曼哈頓另外兩個地點。他們今天仍在營業，專門從事古董陶瓷。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況良好，有輕微磨損和製造缺陷，包括黑點和點蝕，手柄有細裂紋。 重量：547.1 克 尺寸：長18.9 厘米，高 11.1 厘米 文獻比較： 比較一件相近的康熙粉彩開光花卉紋茶壺，壺口被替換，收藏於明尼阿波利斯美術館，館藏編號98.90A,B。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2008年11月6日，lot 166 價格：GBP 3,600（相當於今日EUR 6,600） 描述：康熙粉彩藍地開光花卉紋茶壺 專家評論：比較非常相近的桶形、裝飾和尺寸(11 厘米)。請注意此壺為藍釉。

A COMPLETE SET OF TWELVE PAINTED POTTERY 'ZODIAC ANIMALS', SONG TO YUAN DYNASTYChina, 960-1368. Comprising the twelve zodiac animals of the Chinese horoscope, each modeled recumbent with raised head, detailed with fur, plumage, and scales, and accentuated with black, white, and red pigments. (12)The Chinese zodiac, or Sheng Xiao, is a repeating 12-year cycle of animal signs and their ascribed attributes based on the lunar calendar. In order, the zodiac animals are the rat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog, and pig.Provenance: J.J. Lally & Co, New York, USA. The personal collection of David Drabkin, acquired from the above. A label from J.J. Lally & Co. to the underside of the snake, inscribed 'Set RE 743 JC,YYY'. Each figure with an old label inscribed with the previous owner's name, 'Drabkin', the name of the respective animal, and an inventory number, 'L.1990.68.1' through 'L.1990.68.12'. David Drabkin (born 1942) is an American lawyer who formed his art collection while residing in many parts of Asia, including Japan, China, and Thailand. His keen interest in Asian art led him to build close relationships with many fellow art collectors, gallery owners, art historians, and art dealers, such as J.J. Lally and Professor Richard Barnhart. Drabkin assembled his collection over decades, spanning major dynasties and across a wide range of media, including primarily Chinese works of art, Chinese paintings, and Japanese art. Condition: Good condition, commensurate with age, with extensive wear, small chips, few nicks here and there, light scratches, and encrustations. Possibly very minor old repairs.Weight: ca. 5.2 kg (total) Dimensions: 16.5 cm (longest), 12.5 cm (tallest)Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 14 September 2019, lot 1678Price: USD 20,000 or approx. EUR 21,000 converted and adjusted for inflation at the time of writingDescription: A set of twelve painted pottery 'zodiac animal' figures, Song/Yuan dynastyExpert remark: Compare the closely related subject, pottery, cold painting, poses, furs, and sizes (18.5 cm the longest)宋至元十二生肖彩繪陶俑中國，960-1368年。中國十二生肖動物以仰臥的姿勢展現，飾有毛皮、羽毛和鱗片，並以黑色、白色和紅色顏料强調細節(12) 來源：美國紐約J.J. Lally & Co藝廊；David Drabkin私人收藏，購於上述藝廊。蛇俑的底部有J.J. Lally & Co. 的標籤，可見 'Set RE 743 JC,YYY'字樣。每個動物都有一個寫著'Drabkin'標籤、動物的名稱和收藏編號 ，從'L.1990.68.1'至'L.1990.68.12'。David Drabkin (born 1942) 是一位美國律師，他在亞洲許多地方（包括日本、中國和泰國）居住時積累了自己的藝術收藏。他對亞洲藝術的濃厚興趣使他與許多藝術收藏家、畫廊老闆、藝術史學家和藝術經銷商建立了密切的關係，例如 J.J. Lally 和 Richard Barnhart 教授。Drabkin 數十年來的收藏，涵蓋主要朝代和材料，主要包括中國藝術品、中國繪畫和日本藝術。 品相：狀況良好，有大量磨損、小缺口、刻痕、輕微劃痕和結殼。可能是非常小的修復。 重量：約5.2 公斤 (總) 尺寸：16.5 厘米 (最長處)，12.5 厘米 (最高處) 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比， 2019年9月14日，lot 1678 價格：USD 20,000（相當於今日EUR 21,000） 描述：宋 / 元陶加彩生肖俑一套十二件 專家評論：比較非常相近的主題、冷色系彩繪、姿勢、毛髮和尺寸 (最長的為18.5 厘米)。

A TALL AMBER-GLAZED VASE, LIAO DYNASTYScientific Analysis Report: A thermoluminescence report issued by Daybreak Nuclear and Medical Systems, Inc., Guilford, Connecticut, USA, dated 12 September 1990, based on sample number 363A227, sets the firing date of one sample taken between 760 and 1020 years ago. A copy of the report accompanies this lot.China, 907-1125. The elongated ovoid body rising to a tall flared rim, decorated with incised lines around the shoulder as well as the base and mid-section of the waisted neck, covered with a lustrous amber glaze pooling in the recesses and falling to an irregular line above the unglazed base and foot.Provenance: The base with an old label, 'Liao Dynasty 907-1125 AD'. From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Very good condition with minor wear and firing irregularities, including three spur marks to the rim, the base with minor chips, the interior of the foot drilled with a hole from sample-taking. The vase is slightly leaning.Weight: 1,126 g Dimensions: Height 36.4 cmLiterature comparison: The attenuated tall form is a classic Liao shape. This type is generally monochromatic with either an amber or a green glaze. Similar examples are known from Liao burial sites in Liaoning province and Inner Mongolia illustrated in Liaoci Xuanji, A Collection of Liao Tomb Relics of the Liao Dynasty, Beijing, 1961, pl. 345, and another is illustrated in Li Zhi Yan, The Art of Glazed Pottery of China, Hong Kong, 1989, no 239. Green-glazed examples of this form are found in two museum collections, The Asian Art Museum of San Francisco, object number B60P1103, illustrated in He Li, Chinese Ceramics, London, 1996, p. 146, no. 208 and in The Boston Museum of Fine Arts accession number 50.891, illustrated in The Charles B. Hoyt Collection in the Museum of Fine Arts, Boston, vol. II, Boston, 1972, no. 4.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2015, lot 13 Estimate: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: An amber-glazed pottery vase, Liao dynasty Expert remark: Compare the closely related form, incised lines, and amber glaze. Note the related size (35 cm).遼代褐色釉弦紋瓶中國，907-1125年。瓶口外撇，細長頸，肩部、頸部和腹部飾有弦紋，覆蓋著褐色釉，底座和足部未上釉。 科學檢測報告：美國康涅狄格州Nuclear and Medical Systems，Inc 1990年9月12日出具的熱釋光測試報告，樣本號 363A227，確認此瓶為760-1020年前製作。隨附報告複印本。 來源：底部老標籤 'Liao Dynasty 907-1125 AD'。Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極好，有輕微磨損、製造瑕疵，邊緣有三個刺痕，底部有輕微缺口，足內部有取樣孔。瓶微微傾斜。 重量：1,126 克 尺寸：高 36.4 厘米 文獻比較： 高長頸的外形是經典的遼代瓶。此種瓶形大多施褐色釉或綠釉。相似的例子出土於遼寧省和內蒙古的遼代墓葬群，見Liaoci Xuanji，《A Collection of Liao Tomb Relics of the Liao Dynasty》，北京，1961年，圖345，and another 見Li Zhi Yan，《The Art of Glazed Pottery of China》，香港，1989年，編號239。兩件相似外形的綠釉瓶，收一件收藏於舊金山亞洲藝術博物館，館藏編號B60P1103，見He Li，《Chinese Ceramics》，倫敦，1996年，頁146，編號208 ；另一件收藏於波士頓美術館，館藏編號50.891，見《The Charles B. Hoyt Collection in the Museum of Fine Arts》，波士頓，卷II，1972，編號4。

A PAINTED WOOD FIGURE OF A COURT LADY, WARRING STATES PERIOD TO WESTERN HAN DYNASTYChina, 475 BC to 8 AD. Exquisitely carved, the slender standing figure wearing a high-collared robe over an inner garment, gently falling over sloping shoulders into heavily gathered sleeves above clasped hands to the front and flaring over narrow legs exposing small shoes, the garments painted overall in black and red pigments with stylized scrolls and geometric patterns. The finely carved and delicately knife-cut face with almond-shaped eyes, the parted hair neatly incised, the details realistically rendered.Provenance: Bruno Cooper, Norwich, United Kingdom, 2010. Paolo Bertuzzi, acquired from the above. A copy of the original invoice by Bruno Cooper, from 11 November 2010, dating the present lot to the Han dynasty, and stating a purchase price for a “couple of painted wooden statues in water”, one of them being the present lot, for EUR 12,000 or approx. EUR 18,500 (adjusted for inflation at the time of writing), accompanies this lot. According to Paolo Bertuzzi's son, the twin to the present lot is in the collection of Paolo Bertuzzi's closest friend. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Excellent condition, commensurate with age. Wear, losses, nicks, age cracks, signs of weathering and erosion. Permanently kept in a Perspex tank with distilled water. Note that the tip of the nose is present, but separated from the figure. The studio images show the figure with the tip of the nose in place, the natural light images show it with the nose tip removed.Dimensions: Height 56 cm (excl. the Perspex tank)The figure preserved inside a Perspex tank filled with distilled water. (2)The earliest recorded secular wood figures have been excavated in the Changsha area in 1936 at a site linked to the state of Chu. Wood figures appear to be replacements for earlier customs of sacrificing servants to serve the deceased in the afterlife, as noted by Hearn and Fong in The Secularization of Art: The State of Ch'u, The Metropolitan Museum of Art Bulletin, No. 2, 1973/1974, fig. 37.Literature comparison: Compare a related lacquer-painted wood tomb figure, 59.7 cm high, dated c. 3rd century BC, illustrated by J.J. Lally & Co., Two Thousand Years of Chinese Sculpture, 17-29 March 2008, no. 2. Compare a related lacquer-painted wood tomb figure, 56.5 cm, dated 3rd century BC, in the Princeton University Art Museum, object number y1948-75. Compare a related lacquer-painted wood figure of an attendant, 59.1 cm high, dated 3rd-2nd century BC, in the Metropolitan Museum of Art, accession number 48.182.1.Auction result comparison: Type: Closely related Auction: Bonhams New York, 20 September 2021,m lot 146 Price: USD 14,025 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A rare pair of Chinese painted wood figures, Warring States/Western Han period Expert remark: Compare the closely related pose and garment with similar clasped hands, high-collared robe, and heavily gathered sleeves. Note the slightly smaller sizes (42.6 cm and 44.4 cm) and that the lot comprises a pair.戰國至西漢彩繪仕女木像中國，公元前475年至公元 8 年。仕女身型修長，外罩一件高領長袍，雙手收攏藏於袖中，寬袖下垂，裙擺外撇，露出小鞋。衣服成黑色和紅色，褶皺自然，彩繪卷葉幾何圖案。仕女面部細節精美，杏眼，整齊的髮髻。來源：英國諾維奇Bruno Cooper藝廊，2010；Paolo Bertuzzi，購於上述藝廊。隨附一份Bruno Cooper2010年11月11日出具的原始發票複印本，上面描述此拍品為漢代，原爲 “幾個在水中的彩繪木雕像”，此拍品為其中一個，價格為 EUR 12,000 。根據Paolo Bertuzzi的兒子敘述，Paolo Bertuzzi 最親密的朋友收藏了與這件拍品成對的木像。 品相：狀態極佳，磨損、缺損、刻痕、老化裂縫、風化和侵蝕的跡象。永久保存在裝有蒸餾水的有機玻璃罐中。 請注意，此木像的鼻尖是與本體分開。 網站上的高清圖顯示的是鼻尖接上的樣子，自然光圖則有拍出鼻尖被移除的狀態。 尺寸：高56 厘米 (不含有機玻璃罐)

A THANGKA DEPICTING THE MANDALA OF VAJRAVARAHITibet, c. late 18th to mid-19th century. Distemper and gold on cloth. The central deity dancing atop a prostrate figure, holding a kapala and kartrika in her primary hands, the two secondary hands holding a sword and khatvanga. She is wearing a diaphanous robe, garland of severed heads, and billowing scarves, and richly adorned with jewelry. Note the remarkably fine detail work.Provenance: From an old private collection in Zagreb, Croatia. Condition: Good condition with minor wear, creasing, soiling, and tiny losses.Dimensions: Size 72 x 57.5 cmThe central deity within a roundel encircled by foliate mandorlas, those at the cardinal points enclosing wrathful female deities, within an inverted triangle surrounded by foliate scroll interspersed by swastikas, enclosed by a band of lotus petals and scrolling vines. The mandala is set within a verdant landscape densely filled with numerous images of deities, the upper register with teachers, Buddhas, and bodhisattvas, centered by a blue Chakrasamvara with his consort Vajravarahi, the lower register with various wrathful and protector deities.Vajravarahi, or the 'Diamond Sow', is a wrathful form of Vajrayogini associated particularly with the Chakrasamvara Tantra, where she is paired in yab-yum with the Heruka Chakrasamvara.Literature comparison:Compare a related thangka, dated 1869, attributed to Nepal but clearly painted in the Tibetan tradition, from the Avery Brundage Collection and now in the Asian Art Museum of San Francisco, object number B60D11+.金剛瑜伽佛母壇城唐卡西藏，約十八世紀末至十九世紀中期，布面金彩膠畫。壇城中央可見紅身金剛亥母舞蹈姿盛蓮立像，手持卡帕拉碗與執持金剛鉞刀，另外兩手分別持劍與骷髏杖，左腳伸立、右腳彎提如舞蹈姿，舞於蓮花日輪屍墊上，周圍環繞其四色身化相。佛母穿著一件透明的長袍，頭戴花環，圍著飄逸的圍巾，並佩戴著華麗的珠寶。唐卡細節繁複，繪畫精美。 來源：克羅地亞薩格勒布私人老收藏。 品相：狀況良好，有輕微磨損、摺痕、污漬和微小缺損。 尺寸： 72 x 57.5 厘米壇城周圍山水環繞，展現很多本尊形象，上層是上師、佛陀和菩薩，中央是藍色的勝樂金剛和他的明妃，下層是各種忿怒相本尊和護法本尊。 文獻比較： 比較一件相近的1869年尼泊爾但西藏傳統唐卡，曾收藏於 Avery Brundage Collection，現藏於舊金山亞洲藝術館，收藏編號B60D11+。

A WHITE MARBLE HEAD OF A BODHISATTVA, NORTHERN QI DYNASTYOpinion: Northern Qi sculptures of this size are exceedingly rare, as the art from this period was fashioned during a short twenty-five-year span and relatively confined to the northern provinces of Shandong, Hebei, Henan, Shanxi, and Anhui.China, 550-577. Exquisitely carved, the face with a serene expression, an entrancing gaze from deep-set eyes above an aquiline nose and pursed lips, with hair combed into a chignon held together by a crown having both sides tied with ribbons trailing from floral medallions.Provenance: Christie's Amsterdam, 30 October 2000, lot 83, sold for NLG 17,553 or approx. EUR 13,500 (converted and adjusted for inflation at the time of writing). Roger Hollander, acquired from the above. Roger Hollander (1934-2018) was a graduate of Yale and a true American businessman, having turned a small family operation into a globally recognized industry. He was known for his expertise in Indian and Chinese textiles, and for his sprawling country estate on the edge of Yellowstone National Park that housed a vast wine cellar, research library, and many thousands of ethnographic artifacts. The estate, known as Irma Lake Lodge, once belonged to 'Buffalo' Bill Cody and was eventually sold by Hollander to Bill Gates for USD 9,000,000.Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, structural cracks, minor old repairs and fills, signs of weathering and erosion, and encrustations.Weight: 11.8 kg (incl. stand)Dimensions: Height 28 cm (excl. stand) and 38 cm (incl. stand)The Northern Qi dynasty was one of the most vibrant periods in the history of Chinese art, both religious and secular, as its openness towards foreigners, their ideas, beliefs, and goods immensely enriched the local cultural climate. It was within this cosmopolitan climate that Buddhist sculpture experienced perhaps its most glorious moment. The present head aligns with a simplified style of white marble carvings from this period found in Quyang of Hebei province. The complete figure would have been an exceptionally large standing polychromed bodhisattva, a type depicted with the left arm bent at the side while holding an attribute, wearing simplified jewelry and robes, and standing above a double-lotus petal base on a plinth.Expert's note: According to Osvald Siren, marble figures modeled in gently rounded forms, such as the present example, were typically produced during the second half of the 6th century. See Osvald Siren, Chinese Marble Sculptures of the Transition Period, Bulletin of the Museum of Far Eastern Antiquities, no. 12, Stockholm, 1940, pp. 473-496. Also compare a closely related, very rare and important painted white marble Buddhist votive stele, Northern Qi dynasty, at Christie's New York, 17 March 2009, lot 357. Christie's notes the “massive size” of this important stele at 170 cm, but one must consider that the scale of our head suggests it is from a figure over twice as large. This comparison gives an invaluable picture of a complete bodhisattva from the Northern Qi period, and no doubt with numerous similarities, but leaves one wondering about the importance of the complete work that our head must have once been a part of.Literature comparison: Compare a closely related marble figure of Buddha, with near identical facial features, in the Royal Ontario Museum, object number 921.31.21, illustrated in Angela F. Howard, Buddhist Cave Sculpture of the Northern Qi Dynasty: Shaping a New Style, Formulating New Iconographies, Archives of Asian Art, vol. 49, 1996, pp. 6-25, fig. 19.  Compare a closely related head in Imprints of Buddhas, Buddhist Art in the National Palace Museum Collection, page 119, number 47.Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 September 2022, lot 265 Price: USD 94,875 or approx. EUR 85,000 converted and adjusted for inflation at the time of writing Description: A Rare White Marble Head of a Bearded Sage, Laozi, Northern Qi-Sui Dynasty, 6th Century Expert remark: Compare the material, manner of carving and style. Note the similar size (32 cm).北齊漢白玉菩薩頭像中國，550-577年。雕刻精美，表情安詳，彎眉連著鼻頸，眼睛微閉，嘴唇微噘，頭髮梳成髮髻，由一頂王冠固定在一起，兩邊都繫著從花卉絲帶。如此規模的北齊雕塑極為罕見，因為這一時期的藝術特徵在短短的二十五年內形成，並且相對局限於山東、河北、河南、山西和安徽等北方省份。 來源：阿姆斯特丹佳士得，2000年10月30日，lot 83，售價 NLG 17,553 或相當於 EUR 13,500 (根據通貨膨脹率)；Roger Hollander購於上述拍賣。Roger Hollander (1934-2018年) 畢業於耶魯大學，是一位真正的美國商人，將一家小型家族企業發展成為全球知名的行業。他以在印度和中國紡織品方面的專業知識，以及在黃石國家公園邊緣的廣闊鄉村莊園而聞名，莊園內有一個巨大的酒窖、研究圖書館和數以千計的民族志文物。這座被稱為伊爾瑪湖旅館的莊園曾經屬於“布法羅”比爾科迪，最終被Hollander以 900 萬美元的價格賣給了比爾蓋茨。品相：狀態極好，大量磨損、缺損、刻痕、劃痕、結構裂縫、小修補和填充、風化和結殼。 重量：11.8 公斤 (含底座) 尺寸：高28 厘米 (不含底座) 與38 厘米 (含底座)

A BACTRIAN STONE WEIGHT, CIRCA LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 46, no. 43.Oxus Civilization. Of high domed form supported on a slightly rounded base, perforated for suspension at the top, the holes converging in a V-shape. The weight carved from chloritic breccia with calcitic inclusions.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, by repute acquired from the above for EUR 13,000 (invoice lost). Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, minor nicks, light scratches, natural fissures, signs of weathering and erosion, and few structural cracks.Weight: 9.3 kg Dimensions: Height 21.2 cmAuction result comparison: Type: Closely related Auction: Sotheby's New York, 6 December 2006, lot 175 Price: USD 13,200 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: Two Bactrian stone weights, circa late 3rd/early 2nd millennium BC Expert remark: Compare the closely related high domed form and suspension holes. Note this lot comprises two stone weights, heights 22.9 and 30 cm.Auction result comparison: Type: Closely related Auction: Christie's New York, 9 December 2015, lot 98 Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: Two Bactrian stone weights, circa late 3rd-early 2nd millennium BC Expert remark: Compare the closely related high domed form, suspension holes, and size (21.6 cm). Note this lot comprises two stone weights.

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

A BRONZE FIGURE OF A SEATED MAN, DONG SON CULTUREVietnam, 500 BC to 300 AD. Modeled as a nude man seated on a folding stool, his face neatly detailed with protruding eyes, arched eyebrows, and open mouth, his hands resting on his bent knees.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Condition commensurate with age. Extensive wear, losses, fissures, signs of weathering and erosion, corrosion, casting flaws, nicks, and scratches. Fine malachite-green patina with brown encrustations overall.Weight: 395 g Dimensions: Height 16.1 cmDong Son (named for Dong Son, a village in Thanh Hoa) was a Bronze Age culture centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Van Lang and Au Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related seated male figure, though of much smaller size, in the collection of the Metropolitan Museum of Art, accession number 2000.287.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 16 October 2021, lot 579Price: EUR 15,168 or approx. EUR 16,500 adjusted for inflation at the time of writingDescription: A rare male bronze figure, Dong Son cultureExpert remark: Compare the related motif. Note the different pose and size (28 cm).越南東山文化人物銅像越南，公元前500 至公元300 年。一個坐在凳上的裸體男人銅像，面部描繪精細，眼睛突出，眉毛彎曲，嘴巴張開，雙手放在彎曲的膝蓋上。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。 Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：條件與年齡相稱，大面積磨損、缺損、裂縫、風化和侵蝕、腐蝕、鑄造缺陷、刻痕、劃痕，精美的孔雀石綠色包漿，整體呈棕色結殼。 重量：395 克 尺寸：高 16.1 厘米 東山文化是位於越南北部紅河河谷的一個鐵器時代史前文化。它約繁盛於公元前1000年到公元前後，它影響的區域包括東南亞其他地區乃至以及印度-馬來亞群島。越南歷史學家將其歸因於範朗州和悠樂州。公元前1000年，它的影響了東南亞的其他地區，包括海上東南亞。長期以來，這種文化對西方考古學家來說一直是個謎，人們只能通過青銅器了解它，其中許多通過考古墓地挖掘。東山青銅器在其原始位置被確定之前就在歐洲展出了一個世紀，關於文化年代測定方法的幾種理論和推測一直持續到今天。

A RARE BRONZE LION BELL TERMINAL, EASTERN JAVANESE PERIOD, 12TH CENTURYA finely cast bronze figure of a lion, almost certainly the upper portion of an important ritual temple bell, and part of a rather small corpus of surviving Javanese bronzes depicting the powerful feline. The gazing eyes outlined below folds of skins, ears of spade-form, mane with three stylized rows of curls, the figure standing erect above a primitive lotus-form base, with claws unsheathed and ready to strike.Provenance: The Marcel Marnat Collection, Paris, France. A collector in Chicago, USA, acquired from the above. Marcel Marnat (b. 1933) is a French musicologist, journalist, and radio producer. He has written books about Maurice Ravel, Joseph Haydn, Igor Stravinsky, Antonio Vivaldi, and Giacomo Puccini, and published articles on Modest Mussorgsky, Michelangelo, D. H. Lawrence, Paul Klee, and Ludwig van Beethoven. His book on Giacomo Puccini was honored by the Academie des Beaux-Arts and received the prix Pelleas as well as a prize for a musical biography of the SACEM at the Deauville book festival. He was an assiduous visitor to Hôtel Drouot for a long time and has built an eclectic collection including Southeast Asian and Indian works of art.Condition: Very good condition, commensurate with age. Extensive wear, minor losses and nicks, shallow surface scratches, expected casting flaws, signs of weathering and erosion, and encrustations. Superb, naturally grown patina.Weight: 1,127 gDimensions: Height 16.5 cm (excl. stand) and 21.7 cm (incl. stand)Mounted on a modern stand. (2)Javanese bronze images of lions are rare, but thankfully several large stone guardians remain scattered across ancient temple sites, such as the pair at the eastern staircase in Borobudur. These ancient stone guardians give us important clues for stylistic dating comparisons. The rarity of bronze lions probably stems from the fact that images of lions in Java were likely imported from Sri Lanka when Gunadharma, the great 9th-century architect, designed Borobudur for King Samaratungga of the Sailendra Dynasty. The depiction of these lions follows a clear evolution from the early examples at the palace of King Ashurnasirpal II in Assyria to the pair carved two millennia later at Yapahuwa Castle in Sri Lanka.Expert's note: The bronze has an attractive, deep patina that is characteristic of early Javanese metal works exposed to the tropical climate of Indonesia for many centuries.Literature comparison: Compare a closely related demon-form top of a bell, 12.5 cm high, also dated to the Eastern Javanese period, ca. second half of the 12th to early 13th century, in the Metropolitan Museum of Art, accession numbers 1987.142.17. Compare a closely related demon-form top of a bell, 11.8 cm high, also dated to the Eastern Javanese period, 14th century, in the Metropolitan Museum of Art, accession number 1982.460.2. For an in-depth discussion and comparison of the iconography of guardian lions across Asia through the ages, see Masatoshi Iguchi, Java Essay: The History and Culture of a Southern Country, Leicester, 2015.Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 2 December 2002, lot 173Price: EUR 7,768 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A Javanese bronze temple bell, 13th/14th centuryExpert remark: This comparable confirms that the size of the present lot is within the appropriate range for a bell-handle element. Compare also the similarities in both the patina and the archaic pointed lotus petal-form base surrounding the figures.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 25 October 2007, lot 198Price: GBP 11,875 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A bronze lion terminal, probably India, 14th centuryExpert remark: A similar type of rampant lion-form bronze handle. By comparison, the Javanese example can be viewed as a stand-alone object, and not primarily as a fragment, and is much more desirable in that regard. Seeing similar objects from other regions also further solidifies the iconographic power that the lion held across ancient cultures as discussed by Masatoshi Iguchi.

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

A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCOxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of dark brown marble with white veins, and stress lines filled with calcite.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition commensurate with age showing expected old wear and traces of use, some obvious losses, chips, natural fissures, and old fills. Smooth polish.Weight: 3,782 g Dimensions: Height 21.2 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Literature comparison: Compare a related marble column idol, described as an “incense stand (?)”, 24.8 cm high, dated ca. late 3rd to early 2nd millennium BC, in the Metropolitan Museum of Art, accession number 1992.232.8.Auction result comparison:Type: RelatedAuction: Christie's London, 12 May 2004, lot 185Price: EUR 8,365 or approx. EUR 12,500 adjusted for inflation at the time of writingDescription: A Bactrian alabaster column idol, 2nd millennium BCExpert remark: Compare the related form and size (25 cm).

A FAMILLE VERTE BOTTLE VASE, YUHUCHUNPING, KANGXI PERIODChina, 1661-1722. Well potted, the pear-shaped body rising from a splayed foot to a waisted neck with everted rim, finely painted to the exterior with evenly spaced flowering prunus branches, framed to the shoulder and foot with bands of lotus blossoms and scrolling vines, the neck with a geometric border. The base with an iron-red monogram.Provenance: Robert H. Ellsworth, New York, USA. Michael B. Weisbrod, New York, USA, acquired from the above, ca. 1990. Two old inventory numbers '2' and '929' to the mouth and base. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years, the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Some old wear, glaze flakes, expected firing flaws including dark spots and pitting, the base drilled, the foot with some chips, a small glaze crack, and minuscule losses.Weight: 1,294 g Dimensions: Height 25 cmExpert's note: According to Michael B. Weisbrod, the vase was acquired from Robert H. Ellsworth, who confirmed it as a Kangxi period vessel. Robert Hatfield Ellsworth (1929-2014) was a noted Manhattan-based collector and dealer of Asian paintings, works of art and furniture from the Ming and Qing dynasties. He was a supporter of architectural restoration in Huangshan and an honorary Chinese citizen.Auction result comparison:Type: RelatedAuction: Christie's London, 7 November 2008, lot 360Price: GBP 3,000 or approx. EUR 5,400 converted and adjusted for inflation at the time of writingDescription: A famille verte bottle vase, KangxiExpert remark: Compare the closely related form and enamels. Note the smaller size (17.4 cm) and different subject.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙硬彩玉壺春瓶中國，1661-1722年。玉壺春瓶撇口，束頸，頸以下漸向外闊，其腹部渾圓大氣，至近底處內斂，圈足微外撇。腹部團花紋，近足部纏枝花卉紋。圈足内鐵紅單字款。 來源：紐約Robert H. Ellsworth收藏；紐約Michael B. Weisbrod約於1990年購於上述收藏。口部和底部分別有收藏標籤 '2' 與 '929'。Michael B. Weisbrod購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在五十多年的時間內發表了大量有關中國藝術的文章。1972 年，Michael 加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術畫廊。這對父子團隊於 1977 年在紐約麥迪遜大道開設了他們的藝廊，在接下來的四十五年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終在上海和香港也開設了分店。 品相：局部磨損，釉層剝落，預期的燒製缺陷，包括黑點和麻點，底座鑽孔，足部有一些缺口，小釉裂和微小的損失。 重量：1,294 克 尺寸：高 25 厘米 專家評論：據Michael B. Weisbrod所述，這個玉壺春瓶購於Robert H. Ellsworth處，Ellsworth確認為康熙時期。Robert Hatfield Ellsworth (1929-2014年) 曾是曼哈頓著名的明清繪畫、藝術品和傢俱收藏家和經銷商。他是黃山建築修復的支持者和榮譽中國公民。拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2008年11月7日，lot 360 價格：GBP 3,000（相當於今日EUR 5,400） 描述：康熙時期硬彩玉壺春瓶 專家評論：比較非常相近外型和琺瑯。請注意尺寸較小 (17.4 厘米) 和不同的主題。

TWO BACTRIAN BANDED AGATE BEADS, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 34, no. 30 (the smaller bead).Oxus Civilization. Comprising two agate beads of flattened lozenge form, carved to highlight the natural formations in the stone. The larger bead of a translucent quality and honey-yellow tone with fingerprints and bands of white, ochre, and amber, and areas of crystalline striations. The smaller bead also translucent and of a pale gray tone with dark brown and white bands. (2) Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with some wear, small chips here and there, signs of weathering and erosion with associated losses, the stones with natural fissures, some of which have developed into hairline cracks over time.Weight: 112.1 g (the larger bead) and 10.3 g (the smaller bead) Dimensions: 9.3 cm (the larger bead) and 4.3 cm (the smaller bead)The Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison: Type: RelatedAuction: Christie's New York, 9 December 2008, lot 203Price: USD 8,125 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A Bactrian banded agate bead necklace, circa late 3rd-early 2nd millennium BCExpert remark: Compare the closely related lozenge form of four beads on this necklace

A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 8th-10th century. Sensitively carved with heavy-lidded downcast eyes with incised pupils, thick ridged brows, a broad nose, elongated earlobes, and full lips forming a calm smile, the hair in snail shell curls over a high ushnisha.Provenance: Collection Monsieur M., an important French private collection. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Old wear, losses, nicks, scratches, very minor old fills, signs of weathering and erosion, encrustations, structural cracks. Fine, naturally grown patina. Scientific Analysis Report: A technical examination was conducted by Podany Conservation Services. The examination report concludes: “A comparison of observed features does favor the opinion that the head fragment is not of modern origin or a forgery.” The signed examination report, dated 24 May 2021, accompanies this lot. Note that the purported date stated in the examination report is circa 9th-11th century.Weight: 3,340 g (incl. stand)Dimensions: Height 17.5 cm (excl. stand) and 25.5 cm (incl. stand)Mounted on an associated stand. (2)While there is great variation within the Mon-Dvaravati tradition, the sensitivity paid to the modeling of these facial features is in keeping with the period's focus on the purity and fluidity of form. As expressed by Jean Boisselier in The Heritage of Thai Sculpture, 1975, p. 73, “The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia.”Literature comparison: Compare a closely related sandstone head of Buddha in the National Museum Bangkok, dated 8th-10th century, with nearly identical facial features.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 12 June 2018, lot 239Price: EUR 15,000 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A stone head of Buddha Shakyamuni, Thailand, Dvaravati period, 8th-9th centuryExpert remark: Despite being a larger example (32 cm), this comparable shares very similar facial characteristics with the current lot, including a flattened down-turned nose, a joined brow, pointed helices of the ears, and a lower lip equal or greater in size to that of the upper.Auction result comparison:Type: RelatedAuction: Bonhams New York, 19 March 2019, lot 874Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th centuryExpert remark: Note the size (23.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

'GRAPES', BY QI LIANGCHI (1921-2003)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Boldly painted with vivid brushstrokes, depicting hanging branches with large leaves and bunches of grapes.Inscriptions: Upper left, signed 'Qi Liangchi', dated 'in the Year of Ren[…]', and inscribed 'for brother Rongtang'.Provenance: The Oliver Impey Collection of Modern Paintings. Acquired at PS & N in October 1966. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Very good condition with minor wear, little soiling, minuscule tears to edges, minor creasing.Dimensions: 68,5 x 33 image size, and 203 x 49,5 total sizeQi Liangchi (1921-2003), born in Xiangtan, Hunan, became a well-known painter in the style of Zichang. He was the fourth child of the famous Qi Baishi. At the age of ten, he studied traditional Chinese painting techniques under the guidance of his father. At twenty-four, he graduated from the Fine Arts Department of Beijing Furen University, and then engaged in art education. Later, following Zhou Enlai's entrustment, he resigned from teaching to serve the elderly Baishi and study the Qi School of painting. After Baishi's death, he taught at the National Peiping Art College. Auction result comparison:Type: RelatedAuction: Beijing Hanhai Art Auction Co. Beijing, 7 December 2012, lot 337Price: CNY 103,500 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: Qi Liangchi (1921-2003), Grape and butterflyExpert remark: Compare the related motif and technique with similar brushstrokes. Note the size (130 x 66 cm).齊良遲(1921-2003)《葡萄》中國，紙本水墨設色，掛軸。流暢的構圖和清麗的設色，不加任何渲染，葡萄憑空而來，藤纏蔓繞，果實累累，葡萄的闊葉以兩三筆簡練寫出，明暗墨色變化多端。 款識：榮唐師兄法正壬年三月齊良遲；鈴印：齊良遲 來源： Oliver Impey 現代繪畫收藏，於1966年10月購於PS & N。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入瞭解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況極好，有輕微磨損、少量汙漬、邊緣有輕微撕裂和摺痕。 尺寸：畫面68,5 x 33 釐米, 總 203 x 49,5 釐米

AN OVAL BRONZE FOLDING OIL LAMP, DENG, HAN DYNASTYChina, 206 BC to 220 AD. The lamp is made in the shape of an ear cup and raised on a narrow foot ring. One side of the cover is hinged and has a spout at one end and a pricket on the interior. The cover is divided into quadrants cast with dragons and tigers separated by a central panel with inscriptions and set with tiny loops similar to a third at one end of the lamp. The dragon and tiger motifs are repeated on the handles.Inscriptions: To the central panel, '[…] zi ji'.Provenance: Guy Portier, Paris, France, 22 February 1969. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.1.1. Guy Portier (1919-2005) was an important French auctioneer and Asian art expert. His father Andre specialized in the import of silk from the Far East and later served as an expert in the sales of major French collections of Asian art. Guy was in charge of the silk department of the family company until he took over in 1942, gradually focusing on Far Eastern works of art, Japanese prints being one of his passions. In 1967, he included a list of estimates for the objects put up for sale in one of his catalogs for the first time, back in these days a revolutionary change. The family company, Cabinet Portier, still exists to this day. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. Condition: Very good condition, commensurate with age. Extensive wear, minor losses, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown, rich patina with malachite and cuprite encrustations.Weight: 287.6 g Dimensions: Length 10 cmDr. Wou's immense passion and superior knowledge sometimes allowed him to pick up unusual and exquisite Chinese works of art with rare inscriptions, right under the noses of the most experienced dealers and collectors of his days, simply because most of them were unable to read Chinese. The present lot is yet another testimonial to this fact.Literature comparison: A closely related bronze oil lamp, also dated to the Han dynasty, is illustrated in Bronze Articles for Daily Use: The Complete Treasures of the Palace Museum, Hong Kong, 2006, no. 90. It is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover. Note that two of these characters ('zi' and 'ji') are also found on the present lot. A closely related bronze oil lamp, 13 cm long, also dated to the Han dynasty, is in the Art Institute of Chicago, reference number 1930.907, illustrated by C.F. Kelley and Chen Mengjia in Chinese Bronzes from the Buckingham Collection, 1946, p. 199, pl. LXIX.Auction result comparison: Type: Near-identical Auction: Christie's New York, 22 March 2013, lot 1245 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A small bronze oval oil lamp, Han dynastyExpert remark: Compare the near-identical form, decorations, and size (10.2 cm). Note that the oil lamp is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover, with two of these characters ('zi' and 'ji') also found on the present lot.漢代銅燈中國，公元前206 年至公元220 年。燈做成耳杯狀，橢圓形淺圈足上。蓋子的一側是鉸接的，一端可以上翻。燈罩分為龍紋和虎紋，由帶有銘文的中央面板隔開，並在燈的一端設置類似於三分之一的小環。手柄上重複出現龍虎圖案。 款識：[…] 子 吉 來源：法國巴黎Guy Portier，1969年2月22日；吳權博士購於上述藝廊。吳蓮伯美術館，館藏 H.1.1.號。Guy Portier (1919-2005) 是法國重要的拍賣師和亞洲藝術專家。他的父親Andre專門從事從遠東進口絲綢，後來成為法國主要亞洲藝術收藏品的銷售專家。Guy在 1942 年接任之前負責家族企業的絲綢部門，逐漸專注於遠東藝術作品，收藏日本版畫是他的愛好之一。1967 年，他首次在自己的目錄中列出了待售物品的估價清單，這在當時是一個革命性的變化。家族企業 Cabinet Portier 至今仍然存在。吳權博士(1910-1997) 是一位中國外交家和知名中國藝術學者。 品相：品相極好，與年齡相稱。嚴重磨損、風化和侵蝕跡象、小刻痕、輕微劃痕。細膩包漿，帶有紅綠色結殼。 重量：287.6 克 尺寸：長10 厘米

A THREE-PIECE 'MAGPIES' SILVER TEA SERVICE, MARK OF LUEN WO, SHANGHAI, CIRCA 1880-1925China. Comprising a teapot, cream jug, and sugar bowl, each of globular form set with bamboo-form handles, decorated with magpies on blossoming prunus branches, the teapot further with a bamboo-form spout, the hinged cover with bamboo leaves and a finial in the form of a bamboo stalk, the handle with organic material insulators. (3)Inscriptions: The bases each marked Shanghai, Yebo, and Luen Wo.Provenance: From the private collection of Ludvig Stenersen Muenter, Denmark, thence by descent within the family. Ludvig Stenersen Muenter (1877-1957) worked for the Great Nordic Telegraph Company in Newcastle, United Kingdom. He later became the assistant at the Administration Office in London (1897) and senior assistant in Shanghai in 1907. From 1911 to 1929 he was the station master in Beijing until he retired from active service. During his stay, he started his collection of Asian Art. Condition: Very good condition with minor wear, few small nicks, light scratches, and minuscule dents.Weight: 584 g (the teapot), 222 g (the cream jug), 244 g (the sugar bowl) Dimensions: Length 25 cm (the teapot), 14.7 cm (the cream jug), 14.7 cm (the sugar bowl)Luen Wo was an important retail silversmith based in Shanghai who traded in jewelry, diamonds, and embroideries. The manufacturer relied on a large number of designers and artisans, such as Ning Zhao Ji. His items generally bear the mark with his full name or the initials LW and the mark of the artisan who realized the piece. The firm mainly produced items in the traditional Chinese style, featuring classical motifs such as bamboo leaves, prunus blossoms, chrysanthemums, dragons, and magpies.Auction result comparison:Type: RelatedAuction: Christie's New York, 28 October 2014, lot 27Price: USD 8,125 or approx. EUR 9,300 converted and adjusted for inflation at the time of writingDescription: A Chinese export four-piece silver tea service, mark of Luen Wo, Shanghai, circa 1880-1925Expert remark: Compare the related form and decorations. Note the lot also comprises a kettle with stand.約1880-1925年上海聯和LUEN WO《喜上眉梢》銀茶壺中國。由茶壺、奶杯和糖罐組成，各自有竹節狀執柄，外壁飾喜上眉梢圖。茶壺的流也成竹節形，壺蓋上有竹葉紋及頂飾竹節鈕。執柄採用有機材料絕緣體。 款識：Shanghai，葉伯Yebo，Luen Wo. 這裏的tian到底是哪個字呢？我看起來像“伯” 來源：丹麥Ludvig Stenersen Muenter私人收藏，保存在同一家族至今。Ludvig Stenersen Muenter (1877-1957) 在英國紐卡斯爾的大北電報公司工作，1897 年任倫敦行政辦公室助理，1907 年任上海高級助理。1911 年至 1929 年任北京站長，直至退休。在中國時，他開始收藏亞洲藝術。 品相：狀況極好，有輕微磨損、小刻痕、少量劃痕和微小凹痕。 重量：茶壺584克，奶杯222克，糖罐244 克 尺寸：茶壺長25 厘米 ，奶杯14.7 厘米 ，糖罐14.7 厘米 聯和曾是上海最早和經營最大的粵幫銀樓之一，從事珠寶、鑽石和刺繡貿易，有自己的一大批設計師和工匠。他的商品通常帶有全名或首字母 LW 的標記以及工匠的標記。該公司主要生產中國傳統風格的產品，以竹葉、梅花、菊花、龍和喜鵲等經典圖案為特色。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得， 2014年10月28日，lot 27 價格：USD 8,125 （相當於今日EUR 9,300） 描述：中國出口純銀製茶具組四件，附上海LUEN WO標記，約1880-1925年製 專家評論：比較相近的外形和裝飾。請注意此有附托架的水壺。

A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, KANDYAN PERIODExpert's note: Sri Lankan figures of Buddha are noted for remarkable stylistic conservativism, having followed a consistent canon of proportions from their earliest origins. The later Kandyan period, however, saw considerable variation in the rendering of the robe, marked by highly precise linear patterns worked into the folds. There are elements to this specific bronze, from the softer casting style of the shoulders and arms to the pronounced surface wear, that make it feel a bit older than most of the Kandyan Period examples on the market.Sri Lanka, 17th-18th century. Solidly cast seated in vajraparyankasana with his hands folded in dhyanamudra, the Buddha's broad-shouldered form is fitted in a finely pleated sanghati draped over his left shoulder. His face bares a calm, meditative expression and was likely once framed by pendulous earlobes and surmounted by a flaming siraspata.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Some wear and casting irregularities, minor losses, soldering marks, small nicks, light scratches. The head has been reattached at some point in time. Fine, naturally grown, rich patina.Weight: 3,340 gDimensions: Height 15.5 cmAfter three hundred years of internecine civil conflict and successive waves of European imperialists, the Kingdom of Kandy emerged as the pre-eminent Sinhalese political authority. Under its stability and the avid patronage of its kings, Sri Lanka witnessed a Buddhist revival with an unprecedented amount of building and restoring of monastic institutions. Bronze Buddha images proliferated, most of them either gilded or non-gilded depicting the sage in a standing pose. Fewer portrayed the Buddha seated, like the present example.Two predominant forces inform the distinctive style of Kandyan Buddhist art. One is the continuance of Sinhalese tradition in depicting Buddha with a broad body type wrapped in a pleated robe, set by colossal statues of the Anuradhapura and Polunnaruwa periods. The other is a South Indian tradition of expressing dynastic identity through artistic patronage of religious objects, pursued with enthusiasm by the Nayak princes, who were invited to assume Kandy's throne after its last Sinhalese king died without an heir in 1739. Such fusion is exemplified by the present sculpture, whose massive shoulders and air of empyrean authority evoke tradition, while the mesmerizing crinkles of the garment, abstracted physiognomy, and enlarged flame finial summon Kandyan panache.Literature comparison:Compare a closely related bronze figure of Buddha dated to the 18th century, in the Art Institute of Chicago, gifted by Lawrence and Shirley Phillips, the previous owners of the present lot, reference number 1984.1304. Compare fifteenth and sixteenth-century Buddhas from the Divided Kingdoms period (c. 1232-1597), see U. von Schroeder, Buddhist Sculptures of Sri Lanka, p. 467, pls. 144 D-G.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 30 November 2022, lot 1047Price: HKD 355,800 or approx. EUR 42,000 converted and adjusted for inflation at the time of writingDescription: A Silvered Copper Alloy Figure Of Seated Buddha, Sri Lanka, Kandyan Period, 18th CenturyExpert remark: Note the closely related style of the garment folds. Also note that the figure is silvered and significantly larger (26.5 cm) than the present lot.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.