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A WHITE MARBLE FIGURE OF GANESHA, HINDU SHAHI, AFGHANISTAN, 822-1026Finely carved, the coiled trunk raised toward the mouth as he has just sampled a sweet from the bowl held in his right hand, the face with almond-shaped eyes below elegantly arched and raised brows centered by an urna, the hair secured by a beaded headband.Provenance: Dr. Rene Schroeder, Luxembourg, 1973. Yvette Starck, Luxembourg, acquired from the above and thence by descent. A Belgian private collection, acquired from the above. A copy of the original invoice from Dr. Rene Schroeder, dated 10 September 1973 and addressed to Yvette Starck, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, minor old repairs and fills, encrustations.Weight: 17.3 kg (incl. stand) Dimensions: Height 39 cm (excl. stand) and 45 cm (incl. stand)Mounted on an associated stand. (2)The Hindu Shahis (822-1026) were a dynasty that held sway over the Kabul Valley, Gandhara, and western Punjab during the early medieval period in the Indian subcontinent. The dynasty was established after the overthrow of the Turk Shahis. Shaivism was practiced by the Hindu Shahis and likely was also the predominant religion. Saura was practiced by some subjects, as were Buddhism and Islam. Scholarship on the Hindu Shahis remains scarce and details regarding past rulers can only be assembled from disparate chronicles, coins, and stone inscriptions.Literature comparison: Compare a related marble figure of Ganesha, 22.6 cm high, attributed to Pakistan or Afghanistan and dated to the Shahi period, 7th-8th century, in the Art Institute of Chicago, reference number 2012.689. Compare the related manner of carving of a Hindu Shahi white marble linga, with similar eyes and brows, dated 9th century, in the Metropolitan Museum of Art, accession number 1980.415. A related white marble figure of Ganesha, 47.5 cm high, attributed to the Hindu Shahi or post-Gupta period, Punjab Hills, dated mid-9th century, was exhibited at Asian Art in London by Joost Van den Bergh in Objects of Veneration: Sculpture & Paintings from Gandhara, Burma, Khmer, Ceylon, India & Tibet, 5-14 November 2015.

A RARE PAIR OF CLOISONNE ENAMEL FIGURES DEPICTING GUANYIN, QING DYNASTYPublished: Michael B. Weisbrod, Inc., Brochure, New York, 1992, p. 50-53, no. 14.China, late 18th - 19th century. Modeled standing on a rockwork base, wearing hooded cloaks over long dresses decorated with cranes amid swirling clouds, open at the chest to reveal beaded pendants. The hands, feet, and chest in gilt, the dresses embellished with pomegranates, Buddha's hand citrons, and peaches. The faces with downcast eyes below gently arched eyebrows and finely enameled hair. (2)Provenance: A private collection in New England, USA. Michael B. Weisbrod, acquired from the above. 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: Very good condition with some old wear and manufacturing flaws as expected. Each figure with a pierced aperture in the left hand of which one was filled. The gilt renewed in some areas.Weight: 1,434 g and 1,460 g Dimensions: Height 35.9 cm and 36.1 cmThe ladies represent the deity of mercy, Guanyin, who is typically depicted wearing long flowing gowns with a hood over her head and a necklace on her chest. She often stands on a rockwork base that is reminiscent of Pu Tao Island, where she lived as Queen of the Southern Seas.Figural representations in cloisonne enamel appear to be extremely rare and only a few related examples have been published. According to Sir Harry Garner in Chinese and Japanese Cloisonne Enamels, page 93, the earliest human figures made of cloisonne date back to the seventeenth century.Literature comparison: A pair of seated female figures, from the A.W. Bahr Collection, in the Metropolitan Museum of Art, accession number 54.154.1a-c and 54.154.2a, b, dated to the Qianlong period or later, are illustrated by B. Quette, Cloisonne: Chinese Enamels from the Yuan, Ming and Qing, Singapore, 2011, p. 297, no. 142.Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2013, lot 1632Price: USD 43,750 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of cloisonne enamel figures of female immortals, late 18th/19th centuryExpert remark: Compare the related subject, facial features, rockwork bases, and sizes (38.6 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.清代一對罕見銅胎掐絲琺瑯觀音立像中國，十八世紀末至十九世紀。觀音站在山水紋底座上，身穿連帽斗篷，長裙上飾有仙鶴圖案，漩渦狀雲紋，胸前敞開，露出瓔珞吊墜。手、足、胸鍍金，衣飾石榴、佛手、桃子等紋飾。髮紋精美，雙眼微閉，眉毛微彎。(2) 出版: Michael B. Weisbrod，Inc.，Brochure，紐約，1992年，頁50-53，編號14。 來源：美國新英格蘭私人收藏；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：狀況非常好，如預期的那樣有一些磨損和製造缺陷。每個人物的左手都有一個穿孔，其中一個經過填充。局部鎏金經過翻新。 重量：分別爲1,434克與1,460 克 尺寸：高 35.9 厘米與36.1 厘米觀世音菩薩身著飄逸長袍，頭戴兜帽，胸前佩戴瓔珞，居住在南海。 景泰藍此類人物形像極為罕見，根據 Harry Garner 爵士在《中國和日本景泰藍琺瑯》中的記載，頁93，最早的景泰藍人物雕像可以追溯到十七世紀。 文獻比較： 一對清乾隆時期或較晚婦人坐像，收藏於A.W. Bahr Collection，大都會博物館，編號54.154.1a-c和54.154.2a,b，見B. Quette，《Cloisonne: Chinese Enamels from the Yuan，Ming and Qing》，新加坡，2011年，頁297，編號142。

A CELADON JADE DOUBLE RING PENDANT, HONGSHAN CULTUREChina, Neolithic period, 3500-2500 BC. Of double she (thumb ring) form, flanked by beak-shaped flanges, and pierced above the two circular apertures with two suspension holes. The smoothly polished, translucent stone of a celadon tone with areas of opaque creamy-white calcifications interspersed with gray speckles.Provenance: La Balaustra Antichita, Bologna, Italy. Paolo Bertuzzi, acquired from the above in 1997. A copy of the original certificate from La Balaustra Antichita, dated 2 July 1997, written and signed by Giuliana Zanetti, describing the piece as a jade pendant and dating it to the Warring States period, accompanies this lot. 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 with minor old wear and minuscule nibbling overall. The stone with natural inclusions and fissures.Weight: 81.3 g Dimensions: Length 10.8 cmLiterature comparison:Compare a closely related jade pendant, dated to the late Neolithic period, see the Complete Collection of Jade Unearthed in China, Volume 2, page 210.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 9 October 2020, lot 35Price: HKD 226,800 or approx. EUR 29,000 converted and adjusted for inflation at the time of writingDescription: A celadon jade three-hole plaque, Neolithic period, Hongshan cultureExpert remark: Compare the related form and color of the jade. Note the size (8.8 cm).紅山文化青玉雙環佩中國，新石器時代，公元前3500-2500 年。雙環形式，兩側有鳥嘴形凸緣，並在兩個圓形孔的上方穿有兩個懸掛孔。光滑拋光的半透明青玉，不透明的乳白色鈣化區域有灰色斑點。 來源：義大利博洛尼亞La Balaustra Antichita；Paolo Bertuzzi 1997年購於上述藝廊。隨附一份1997年7月2日 La Balaustra Antichita 出具的原始發票複印本一份，Giuliana Zanetti書寫並簽名，描述此拍品為玉佩飾，來自戰國時期。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。 Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況極好，整體有輕微的磨損、小刻痕，具有天然絮狀物和裂隙。 重量：81.3 克 尺寸：長10.8 厘米 文獻比較： 比較一件非常相近的新時代晚期玉珮件，見《中國出土玉器全集》，卷二，頁210。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2020年10月9日，lot 35 價格：HKD 226,800（相當於今日EUR 29,000） 描述：新石器時代紅山文化青白玉三聯璧 專家評論：比較相近的外形和玉石顏色。請注意尺寸 (8.8 厘米)。

A FAMILLE ROSE PORCELAIN 'LINGZHI' RUYI SCEPTER, MID-QING DYNASTYChina, 1770-1850. The biscuit handle finely modeled as a gnarled branch with a twisting vine bearing leaves, blossoms, and peaches, the ruyi head in the form of a large lingzhi fungus, the head and lower end of the handle each with a gilt-decorated bat.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. Condition: Good condition with expected old wear and some firing irregularities, few tiny losses, little rubbing to gilt and enamels.Weight: 452 g Dimensions: Length 32 cmWith a fine silk tassel dating from the same period. (2)The ruyi scepter, meaning 'as you wish', expresses the desire that someone's wishes come true. As such, it was considered a most suitable gift for an honored friend or high ranking official, particularly on the occasion of a birthday.Ruyi scepters were made in the widest range of materials, from jade and hardwoods to gilt bronze, semi-precious stones and organic materials such as lacquer, ivory, and bamboo. It is particularly rare, however, to find a ruyi scepter made of porcelain, perhaps due to its natural fragility making it a less suitable material for such a long, slender shape.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1610 Price: USD 18,750 or approx. EUR 23,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose ruyi scepter, 19th centuryExpert remark: Compare the related form, modeling, famille rose enamels, and size (30 cm).清代中期粉彩靈芝福壽如意杖中國，1770-1850年。陶瓷堆塑成多節桃枝，藤蔓纏繞，鮮艷玲瓏的壽桃和桃花，如意頭是一株大靈芝，描金蝙蝠飛舞期間。 來源：英國倫敦紳士收藏，其亞洲收藏至少超過五十年歷史，保存至今。 品相：狀況良好，有磨損和一些燒製不規則，輕微小缺損，描金和琺瑯有輕微摩擦。 重量：452 克 尺寸：長 32 厘米 來自同期的細絲流蘇。 (2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1610 價格：USD 18,750（相當於今日EUR 23,500） 描述：十九世紀粉彩如意杖 專家評論：比較相近的外形、堆塑、粉彩和尺寸(30 厘米)。

A RARE AND LARGE GILT BRONZE FIGURE OF AN ENTHRONED MAITREYA, CENTRAL JAVANESE PERIODExpert's note: The fuller, fleshier depiction of Buddha, with a lack of jeweled adornment, places the style of this statue amongst examples dating from the 9th century. The throne and figure are cast from different metal alloys, the throne having a higher copper content and the figure having a higher iron content, resulting in a different appearance of the two, as the metals have developed differently over the centuries.Indonesia, Java, 8th-9th century. Seated in bhadrasana on a stepped rectangular throne, his feet placed on a circular lotus dais, the hands held in dharmachakra mudra, dressed in a monastic robe, and backed by an ornately scrolled foliate mandorla.Provenance: Christie's Paris, 10 December 2014, lot 349. Michael Phillips, acquired from the above. A copy of the original invoice from Christie's, dated 16 January 2015, addressed to Michael Phillips, confirming the dating above, and stating a purchase price of EUR 6,500 or approx. EUR 7,500 (adjusted for inflation at the time of writing), accompanies this lot. 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. Extensive wear, minor nicks, scratches, pitting, losses to gilt, signs of weathering and erosion, corrosion. Still presenting remarkably well, especially given the high age of this sculpture.Weight: 6,585 gDimensions: Height 28.5 cmThis extraordinary gilt-bronze statue represents Maitreya, the Buddha of the future. It is believed that Maitreya will come to save humanity during the final days. The iconography of this particular statue has many similarities with Western prototypes, demonstrating how Buddhist imagery spread to Java along the Silk Road from places as far away as Tibet and Sri Lanka. Such statues were often part of an important and much larger altar set forming a ritual mandala, flanked by supportive bodhisattvas and surrounded by lesser deities.Literature comparison:Compare a closely related bronze figure in the Museum Volkenkunde, Leiden, inventory number 1403-2845. Compare a closely related bronze figure in the Metropolitan Museum of Art, accession number 1987.142.14.Compare also a stone image of Buddha located in situ at Candi Mendut, illustrated in Peter Sharrock and Emma Bunker, Seeds of Vajrabodhi: Buddhist Ritual Bronzes from Java and Khorat. Esoteric Buddhism in Mediaeval Maritime Asia: Networks of Masters, Texts, Icons, 2016, pp. 237-252.Auction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2000, lot 193Price: USD 171,000 or approx. EUR 237,000 converted and adjusted for inflation at the time of writingDescription: An important bronze figure of Kubera, Indonesia, 9th/10th centuryExpert remark: While representing Kubera, the statue contains numerous points for comparison. Note the larger size of 34.8 cm and the significantly better state of preservation.Auction result comparison:Type: RelatedAuction: Christie's Paris, 9 October 2014, lot 350Price: EUR 20,000 or approx. EUR 23,000 adjusted for inflation at the time of writingDescription: A bronze figure of the cosmic Buddha Amoghasiddi, Indonesia, East Java, 11th centuryExpert remark: This statue is an important example for comparison, not only because of the age and casting similarities, but also because it was the following lot in the Paris 2014 Christie's sale. It is important to note that this figure is about half as large and not gilt.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

'NINE CRABS GOING ASHORE', MING DYNASTYChina, 1368-1644. Ink and watercolors on silk, laid down on paper. Exquisitely painted with nine crabs by the shore with reeds, grasses, and daisies, vividly executed with most crabs on land, one partly submerged in the water, and another emerging amid water reeds, each crab shown in a different position and painted with remarkably realistic detail.Inscriptions: Lower left, signed 'Li Goungyuan'. To the back, inscribed '[…] Crabs'.Provenance: The Oliver Impey Collection of Modern Paintings, previously in the Collection Josenbans. The reverse inscribed, 'Collection Josenbans. Period: Ming Dynasty. Subject: Marine life, Grappes [sic]. Artist: Lee Shen Wan', and with an old Swiss customs stamp. 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: Condition commensurate with age. Wear, staining, soiling, creasing, few tears, minor losses. The silk has thinned substantially over the centuries so that the ink inscription on the reverse has slightly bled through to the front.Dimensions: Image size 98.5 x 40.3 cm, Size incl. mounting 118.5 x 44.3 cmAn old name in Chinese for crab was jia, a reference to the creature's shell, which has the additional meaning of 'first' as in achieving the highest score in the examination to become a government official. The crab was therefore a symbol of success in the imperial examination system. Furthermore, the common Chinese name for crab and the Chinese word for harmony are both pronounced 'xie'.明代《九蟹橫波》中國，1368-1644年，絹本水墨設色，橫軸。岸邊蘆葦叢中九隻螃蟹，栩栩如生，各自戲耍，有的半沉入水中，有一隻出現在蘆葦中，各自不同姿態，生動逼真。 款識：李供垣；鈴印：李供垣印 來源：Oliver Impey現代水墨收藏，來自Josenbans收藏。背面有 'Collection Josenbans. Period: Ming Dynasty. Subject: Marine life，Grappes [sic]. Artist: Lee Shen Wan'字樣，並有瑞士海關印章。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。 他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品于2000年後期香港佳士得拍賣會上售出。品相：磨損、染色、污漬、摺痕、少量撕裂、輕微損失。背面的墨水銘文略微滲透到正面。 尺寸：畫面98.5 x 40.3 厘米，總118.5 x 44.3 厘米

A BRONZE 'DUCK' CENSER AND COVER, MING DYNASTYChina, 1368-1644. Modeled standing on one of its webbed feet, the other raised, the curved neck supporting its upwards turned head, detailed with a long opened beak and plumage, the upper body forming the cover, with three openings at the beak and plumage, mounted to a rectangular wood stand.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. The base with an old label, 'Antique Ming dynasty bronze incense burner 17th c.'. Condition: Very good condition with minor wear, few small nicks, light surface scratches, and casting flaws.Weight: 1,164 g (excl. stand), 1,511 g (incl. stand) Dimensions: 26.4 cm (excl. stand), 31.8 cm (incl. stand)With a modern, fitted wood stand. (2)Auction result comparison:Type: RelatedAuction: Bonhams London, 10 May 2021, lot 303Price: GBP 7,012 or approx. EUR 9,200 converted and adjusted for inflation at the time of writingDescription: A bronze mandarin duck form incense burner and cover, Ming dynasty Expert remark: Compare the related form of the beak, plumage, and feet. Note the smaller size (21 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 29 June 2021, lot 99Price: USD 25,000 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A bronze duck-form censer and cover, late Ming dynasty, 17th century Expert remark: Compare the related form, pose, and plumage. Note the larger size (44.8 cm) and rockwork base.明代鴨型銅爐中國，1368-1644年。鴨子單腳站立，另一隻腳抬起，彎曲的脖子，頭擡起，長喙和羽毛細節刻畫精緻，上半身形成蓋子，在喙和羽毛處有三個開口，安裝在一個矩形木架上。 來源：英國倫敦紳士收藏，收藏亞洲藝術至少五十年，保存至今。底座老標籤上注明“Antique Ming dynasty bronze incense burner 17th c.”。 品相：狀況極好，有輕微磨損、極少的刻痕、表面劃痕和鑄造缺陷。 重量：1,164 克 (不含底座)，1,511 克 (含底座) 尺寸：26.4 厘米 (不含底座)，31.8 厘米 (含底座) 現代木底座 (2) 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月10日，lot 303 價格：GBP 7,012（相當於今日EUR 9,200） 描述：明代鴛鴦銅爐蓋 專家評論：比較相近的長喙外形、羽毛和足部。請注意尺寸較小(21 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2021年6月29日，lot 99 價格：USD 25,000（相當於今日EUR 26,000） 描述：晚明十七世紀銅鴨形蓋爐 專家評論：比較相近的外形、姿勢和羽毛。請注意尺寸較大(44.8 厘米)和岩石形底座。

A LARGE BACTRIAN LIMESTONE JAR, 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, fig. 53, p. 62 (dated to the third millennium BC).Oxus Civilization. The tall and massive vessel of ovoid form, well hollowed, supported on a rounded base and rising to a broad mouth, the interior with neatly incised concentric lines encircling a small protrusion at the center of the base.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium, 2003. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from Alex Vervoordt, dated 4 April 2003, addressed to Paolo Bertuzzi, dating the present lot to the second millennium BC, and listing a purchase price of EUR 8,400 or approx. EUR 12,600 (adjusted for inflation at the time of writing), accompanies this lot. 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 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, signs of weathering and erosion, minor chips, structural cracks, small losses, minuscule nicks, light scratches, expected old fills and repairs, and encrustations.Weight: 3,936 gDimensions: Height 29 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 at 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: Remotely related Auction: Christie's New York, 10 June 2010, lot 4 Price: USD 4,000 or approx. EUR 5,300 converted and adjusted for inflation at the time of writing Description: A Bactrian fossiliferous limestone bowl, circa late 3rd-early 2nd millennium BC Expert remark: Compare the rounded base and hollowing. Note the diameter (27.9 cm).

AN ILLUSTRATED 'RAMAYANA' FOLDING MANUSCRIPT, PARABAIK, BURMA, 19TH CENTURYInk and watercolors on paper. The accordion-style manuscript comprising 94 leaves inscribed with calligraphy, 12 of which are finely painted with scenes from the Ramayana. The front and back covers lacquered black.Provenance: From the collection of Jean Claude Moreau-Gobard, Paris, who was a French collector and dealer specializing in Asian art, born into a family of antiques experts in Paris. He was active from the 1950s until the 1980s. Today, the family business is continued by Juliette Moreau-Gobard.Condition: Good condition with some wear, small losses, minor creases and soiling.Dimensions: Size 14 x 67.5 cm (each page)The earliest known parabaiks date to the mid-18th century and seem to have originated mostly from Mandalay. Originally, they were made for patrons associated with the court, but later, they were also commissioned by wealthier Burmese, to mark special occasions and ritual events.Literature comparison: Compare a related Mandalay style parabaik, dated to the 19th century, in the British Museum, registration number 1946,1214,0.1. Compare a related parabaik, attributed to the court of King Mindon or Thibaw, or associated workshops, dated 1870s-1880s, in the Metropolitan Museum of Art, accession number 2017.209.

A BACTRIAN NECKLACE, 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. Oxus Civilization. Composed of eleven larger conical beads interspersed with smaller beads. The agate, jasper, and carnelian beads of a creamy-white tone with bands and fingerprints of gray, brown, and bluish-white, some with red accents.Provenance: 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: Good condition with some wear, few small chips to the edges, light surface scratches.Weight: 86.3 g Dimensions: Length 66 cm, Largest bead 7.6 cm, Smallest bead 0.5 cmScattered around Western collections, beads such as those on the present necklace are frequently said to come from Bactria. Although their exact source is unknown, they are comparable with examples found in controlled excavations at Gonur in Margiana.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: Closely relatedAuction: Christie's New York, 5 December 2012, lot 301Price: USD 3,250 or approx. EUR 4,100 converted and adjusted for inflation at the time of writingDescription: A Bactrian agate and carnelian bead necklace, circa late 3rd-early 2nd millennium BCExpert remark: Compare the closely related form of the beads, and the colors of the stones. Note the size (71.1 cm).

A DARK SPINACH-GREEN JADE CONG, LATE SHANG DYNASTYChina, c. 1200-1100 BC. The slightly convex thick-sided square-section facetted exterior is left undecorated, terminating in a short circular foot and mouth, the interior aperture of characteristic circular section. The highly polished, mostly opaque stone of gray and bluish-white color with areas of translucent dark green interspersed with black specks and white veins.Provenance: 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 with old wear, natural fissures, minuscule nicks, and minor chips, some of which have smoothened over time.Weight: 513.1 g Dimensions: Height 14.9 cmThe shape of the present cong is common in jade production dating from the Neolithic period to the Shang dynasty, which was characterized by a square outer section around a circular inner part. The tapered triangular segments at the corners below the mouth and foot are quite rare and a characteristic of later Shang congs. Heaven is symbolized as a circle and earth is a square. Although the precise meaning and function of the cong are, to this day, unknown, one interpretation is that it protected the body against evil spirits and malign influences.Literature comparison: Compare a related undecorated spinach-green jade cong included in the exhibition, Chinese Jade, An Important Private Collection, Spink and Sons, November 1991, in the catalog, no. 23. Compare a related cong of similar form in the British Museum illustrated by Jessica Rawson, Chinese Jade, London, 1995, p. 151, fig. 2. Auction result comparison:Type: Closely related Auction: Christie's Hong Kong, 4 April 2017, lot 167 Price: HKD 187,500 or approx. EUR 25,000 converted and adjusted for inflation at the time of writing Description: A dark spinach-green jade cong, Shang dynasty Expert remark: Compare the closely related form and especially the tapered triangular segments at the corners below the mouth and foot, as well as the smooth sides, fine polish, and dark spinach-green color. Note the smaller size (8.9 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 14 September 2019, lot 1325 Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A mottled beige and gray jade cong, Shang dynasty or later Expert remark: Compare the closely related form, with similar tapered triangular segments at the corners below the mouth and foot, and undecorated sides. Note the mottled beige and gray color as well as the smaller size (9.5 cm).商末深綠玉琮中國，公元前1200-1100 年。略微凸起的厚邊四方形，素面未加修飾，器兩端呈圓口形。高度拋光，不透明的灰色和藍白色玉料，半透明的深綠色區域點綴著黑色斑點和白色紋理。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況極好，有磨損、自然裂縫、微小的刻痕和小缺口，其中一些已經隨著時間的推移變得平滑。 重量：513.1 克 尺寸：高14.9 厘米

'A RIVER LANDSCAPE', BY PAN GONGSHOU (1741-1794)China. Ink on paper, mounted as a hanging scroll. Finely painted with a mountainous river landscape with a few houses and pavilions nestled between boldly executed trees, above a single figure paddling in a boat.Inscriptions: To the painting, upper left, inscribed 'Lianchao jushi Pan Gongshou', dated 'on a summer day in the Year of Wuwu in the Jiaqing era' (corresponding to 1798), and inscribed 'in the style of Gao Fangshan' (Gao Kegong, 1248-1310); two seals of the artist, 'gong' and 'shou'. Lower right, two seals. To the mounting, to the left beside the painting, inscribed by Wu Yun (1811-1883), 'The exquisite brushwork by Lianchao Jushi [Pan Gongshou] is attributed to the yipin class. This painting is in the style of Gao Fangshan, it is especially excellent. In the Spring of the Year of Yihai [corresponding to 1875], Yuting Wu Yun'; one seal, 'Pingzhai shending'. To the mounting, to the right beside the painting, inscribed by Tang Yusheng (1778-1853), 'Pan Gongshou, artist name Shenfu, sobriquet Lianchao, came originally from Dantu. Wen Hengshan [Wen Zhengming, 1470-1559] titled. It was said that the painting by Wang Menglou [Wang Wenzhi, 1730-1802] was in the style of Gao Kegong and signed by himself. It is really an exceptional painting. Written on a summer day in Jilong shanlu'; two seals. The scroll with an old label, inscribed 'Pan Gongshou, Landscape, Authentic'.Provenance: Collection of W. W. Winkworth, 1966. The Oliver Impey Collection of Modern Paintings, acquired from the above. William 'Billy' Wilberforce Winkworth (1897-1991) was a legendary collector of Asian art. The Oriental Ceramic Society was founded at his father's home in 1921. After military service in World War I, he joined the British Museum in 1922 under R. L. Hobson in the Department of Ceramics, leaving in 1926 to become a full-time collector and 'marchand amateur'. Between around 1948 and 1970 he was a part-time cataloger at Sotheby's, working on Japanese netsuke, lacquer, and sword fittings. He was famous for his eye and range of connoisseurship, especially in ceramics, and exercised a great influence on his generation of British collectors. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Very good condition with minor wear and soiling. The mounting with some wear, creases, and minor losses.Dimensions: Image size 61 x 31.5 cm, Size incl. mounting 216 x 45.7 cmPan Gongshou (1741-1794), also known as Lianchao, was born in Dantu, near today's Zhenjiang, Jiangsu province. He was a painter, seal carver and poet, famous for his landscapes, figural motifs, and still lifes. Many of his paintings depict poetic inscriptions, and Pan is also known to have collaborated with other calligraphers such as Wang Wenzhi. His works can be found in the collection of the National Art Museum of China, among many other museums.Expert's note: The present painting is notable for its appreciative post-mortem inscription by Pan Gongshou's frequent collaborator Wang Wenzhi (1730-1802), which has a posthumous dating of 1798. The superior quality of the painting, as further attested to by the numerous laudatory collectors' inscriptions to the mounting, as well as the old and illustrious Winkworth and Impey provenances, leave absolutely no doubt as to the authenticity of the painting.Auction result comparison:Type: RelatedAuction: Duo Yun Xuan, Shanghai, 30 November 2020, lot 1027Hammer price: EUR 25,437 (converted by Artprice at the time of writing)Description: Pan Gongshou (1741-1794), Landscape (1784), watercolor and ink on silkExpert remark: Note the size (88 x 48 cm), the similar style and the numerous inscriptions潘恭壽(1741-1794)《摹高房山筆》中國，紙本設色，掛軸。峻岩怪石突兀而立，雜樹挺立濃郁，水閣依山臨水，近景一漁夫讀作江舟。境界幽美，深厚蒼渾。 款識：摹高房山筆嘉慶戊午夏日，蓮巢居士潘恭壽 ；鈴印：恭，壽蓮巢居士蓮巢居士筆法精妙，？為逸品。此幅仿高房山，尤屬出神之？也。乙亥小春愉庭吳雲？；鈴印：平齋審定潘恭壽字慎夫，號蓮巢，丹徒籍，？？文畫宗文衡山（文徵明1470-1559）署題，都傳王夢樓（王文治 1730-1802）此幀模高尚書而自署。？誠真妙昌也。丁酉夏日貽汾題於雞籠山麓；鈴印：雨生 來源：W. W. Winkworth收藏，1966年；Oliver Impey現代水墨收藏，購於上述收藏。 品相：狀況極好，有輕微磨損和污漬。裝幀有一些磨損、摺痕和輕微損失。 尺寸：畫面61 x 31.5 厘米，總45.7 厘米

A FAMILLE VERTE 'LADIES' DISH, KANGXI PERIODChina, 1661-1722. The shallow dish with scalloped rim, boldly painted in gilt and bright enamels of emerald-green, apple-green, yellow, red, and aubergine, as well as iron-red. The central roundel depicting two court ladies in a garden beside a prunus tree, a table with antique treasures to their right, encircled by a band of floral sprays interspersed with four cartouches enclosing Buddhist lions and auspicious objects. The rim painted with gilt and iron-red lappets. Provenance: From the private collection of Richard and Maxine Markell. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Their earliest works date from the beginning of the Qing dynasty, and generally reflect the Western taste for the famille verte and famille rose wares of the Kangxi, Yongzheng, and Qianlong reigns. Condition: Very good condition with only minor old wear and manufacturing flaws including pitting and dark spots, and minor fritting.Weight: 495.5 g Dimensions: Diameter 23.7 cmAuction result comparison:Type: Closely relatedAuction: Christie's New York, 26 January 2015, lot 65Price: USD 9,375 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A famille verte dish, Kangxi periodExpert remark: Compare the closely related form, motif, rim, and glaze. Note the larger size (38 cm).康熙硬彩開光人物圖盤中國，1661-1722年。折沿，淺圓腹，描金，明亮的五彩琺瑯，盤中央開光描繪了花園中的兩位婦人，右邊是一張擺放著古董珍寶的桌子；盤壁飾纏枝花卉紋以及佛獅和八寶紋。盤沿描金。 來源：Richard 與 Maxine Markell私人收藏。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：品相極好，只有輕微的磨損和製造缺陷，包括點蝕和黑點。 重量：495.5 克 尺寸：直徑 23.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年1月26日，lot 65 價格：USD 9,375（相當於今日EUR 11,500） 描述：康熙時期硬彩開光人物圖盤 專家評論：比較非常相近的外形、主題、盤沿和釉面。請注意尺寸較大 (38 厘米)。

A GRAY SCHIST FIGURE OF A WINGED ATLAS, ANCIENT REGION OF GANDHARA, 3RD - 4TH CENTURYThe atlant squats with his right leg raised, his toes outstretched, his right hand resting on his knee and his left still holding part of the superstructure which was originally located above him. His face superbly carved with almond-shaped eyes below bushy furrowed brows and full bow-shaped lips, framed by thick tufts of hair, flanked by his large wings.Provenance: An old private collection in France. Acher Eskenasy, Paris, France, acquired from the above in 2001. LP Collection Paris, France, acquired from the above. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, structural cracks, signs of weathering and erosion, encrustations. With an old sand-colored pigment coating.Weight: 8,241 g (incl. stand) Dimensions: Height 30.5 cm (excl. stand) and 35.5 cm (incl. stand)With a fitted wood stand. (2)Only a few sculptures communicate so clearly the classical legacy in Gandharan art. His mature, bushy face recalls the portraits of Greek and Roman gods and leaders, while his Herculean musculature evokes the athletic ideal. Furthermore, the atlant type stems from a tradition in classical architecture of depicting male and female figures supporting architectural superstructures best known from The Ten Books on Architecture by Vitruvius, dedicated to Emperor Augustus (see Rowland, Vitruvius: Ten Books on Architecture, Cambridge, 1999, pages 83 and 135).In the Gandharan context, similar examples in stucco surviving in situ line the veneer of stupa bases at Taxila and Hadda, recording the placement of such figures at Buddhist sites. Whilst maintaining a similar function and a clearly Western look, the Gandharan version differs from the classical prototype in the common inclusion of wings and the primarily ornamental rather than architectural function of the figure. Moreover, while we have evidence from which to understand his context at Buddhist sites, his precise identity remains a mystery. He has been called a disguised yaksha, a lesser Greek god, and a Garuda, yet there is no archaeological or textual foundation to underpin any of these claims (see Foucher, L'art Greco-Bouddhique du Gandhara, 1905, page 208, and Errington, The Western Discovery of the Art of Gandhara and the Finds of Jamalgarhi, London, 1987, page 67). Perhaps, the term “Atlas” ties him too closely to the classical prototypes, at the risk of obscuring added layers of meaning in the unique Gandharan context.Literature comparison: For a further discussion of winged Atlas figures from Gandhara, see P. Pal, Asian Art at the Norton Simon Museum, vol. 1, fig. 35, p. 68. For similar examples of winged “Atlas” figures, see W. Zwalf, A Catalogue of the Gandhara Sculpture at the British Museum, 1996, pp. 206-211, fig. 355-368. Two other examples survive in the Claude de Marteau collection in Brussels and the Peshawar Museum (see Kurita, Gandharan Art, vol. II, Tokyo, 1990, figs. 448 & 453, pp. 155 & 157).Auction result comparison: Type: Closely related Auction: Bonhams New York, 17 March 2014, lot 66 Price: USD 245,000 or approx. EUR 280,000 converted and adjusted for inflation at the time of writing Description: A schist figure of a winged atlas, Ancient region of Gandhara, 3rd/4th centuryExpert remark: Note the larger size (40 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2007, lot 238Price: USD 12,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A Gray Schist Figure of Atlas, Gandhara, 2nd/3rd Century Expert remark: Compare the subject, style of carving and material. Note the slightly smaller size (28.5 cm).西元三至四世紀犍陀羅灰色片岩阿特拉斯像阿特拉斯像雕刻逼真、雄偉有力，呈坐姿，右腿半力，右手撐在膝蓋上，左腿彎曲，肩膀後面張開翅膀；臉龐刻畫細緻，雙眉濃密，大眼圓睜，嘴唇豐滿，長髮披肩。 來源：法國私人舊藏；巴黎Acher Eskenasy收藏，2001年購於上述收藏；法國巴黎LP Collection 收藏，購於上述收藏。Acher Eskenasy是一位著名的法國學者和亞洲及部落藝術收藏家。他以前擁有的主要藏品現在被重要的收藏和博物館收藏，例如紐約的大都會藝術博物館和巴黎凱布朗利博物館。 品相：條件良好，大面積磨損、缺損、刻痕、劃痕、結構裂縫、風化和結殼，帶有沙色顏料塗層。 重量：8,241 克 (含底座) 尺寸：高 30.5 厘米 (不含底座) 與35.5 厘米 (含底座) 木底座。(2)

A LARGE GILT-BRONZE FIGURE OF AVALOKITESHVARA, SUI DYNASTY, CHINA, 581-618Published: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, pages 372-373, no. 153. Standing in tribhanga atop an elaborate lotus base, composed of two petaled sections framing an open worked foliate design, all above a tiered pedestal with faceted sides that rises from a separately cast rectangular four-legged stand with open sides.His lowered right hand holds a water vessel while his left hand is raised. He is wearing a long flowing robe with billowing scarves and is adorned with fine jewelry. A flaming mandorla with pierced circular floral nimbus is affixed to the back of the head.The bronze with a superb, solid, naturally grown, rich patina with malachite and cuprite encrustation overall.Provenance: A noted private collection in New York, USA. E & J Frankel Ltd., New York, early 1990s. Friedrich Georg Zeileis, acquired from the above, according to his publication. E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Good condition, commensurate with age. Extensive wear, minor losses, nicks, scratches, signs of weathering and erosion, encrustations, corrosion. Minor old repairs. Remarkably well preserved, especially the gilt.Weight: 251.4 g Dimensions: Height 21.2 cmThe unifying but brief Sui dynasty (581-618) set the stage for an artistic and cultural renaissance that reached its zenith in the succeeding Tang dynasty (618-907). Characteristics of Sui period bronze figures of bodhisattvas include subtly swaying, elongated columnar bodies that are adorned in elaborate robes and jewelry. The artisan of the present figure employed a subtle contrapposto positioning, elegant body proportions, a separate mandorla, and a lotus base, elements that developed further during the early and high Tang dynasty.Literature comparison:Compare a related gilt bronze figure of Avalokiteshvara, 43.8 cm high, dated to the Sui dynasty, late 6th century, in the Metropolitan Museum of Art, accession number 12.161a-c, illustrated in Christian Deydier, Chinese Bronzes, New York, 1980, p. 160, no. 126.Auction result comparison: Type: RelatedAuction: Christie's New York, 14 September 2017, lot 818 Price: USD 23,750 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A small gilt-bronze figure of a bodhisattva, Sui dynastyExpert remark: Compare the closely related manner of casting and gilding, pose, robes and scarves, lotus base with tiered pedestal. Note the much smaller size (8.9 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2018, lot 558 Price: USD 68,750 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Avalokiteshvara, Sui dynastyExpert remark: Compare the closely related manner of casting and gilding, pose, and robes and scarves. Compare the related lotus base, four-legged stand, and flaming mandorla. Note the similar size (22.9 cm). Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2017, lot 829 Price: USD 106,250 or approx. EUR 117,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze seated figure of Buddha, Sui-Tang dynasty, 6th-7th century Expert remark: Compare the closely related manner of casting and gilding, lotus base with similar foliate design, and four-legged stand with open sides. Note that this figure depicts a seated Buddha as opposed to the standing bodhisattva in the present lot. Also note the slightly larger size (26 cm).581-618年隋朝大型銅鎏金觀音立蓮像觀音以三曲式立於蓮座上，蓮座分層。觀音左手舉起，右手持一個淨瓶；身著飄逸長袍，佩戴著精美的珠寶。身後有鏤空火焰形光背。銅像包漿堅實自然，整體帶有綠色紅色結殼。 出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three和a Half Millenia of Chinese Bronze)》，1999年，頁372-373，圖153。 來源：美國紐約知名私人收藏；紐約E & J Frankel Ltd.藝廊，1990年代初；Friedrich Georg Zeileis，購於上述藝廊，根據他的出版記錄。 品相：狀況良好，嚴重磨損、小缺損、刻痕、劃痕、風化和侵蝕跡象、結殼、腐蝕。有小修補。保存完好，特別是鎏金部分。 重量：251.4 克 尺寸：高 21.2 厘米

A POLYCHROME STUCCO HEAD OF A NOBLE DAOIST BEAUTY, SONG DYNASTYChina, 12th century. Finely modeled with small pursed lips, straight nose and elegantly-shaped eyes, with painted eyelid folds and eyebrows, the forehead with a recessed urna, the delicate features framed by the well-proportioned ears with fine floral earrings and upswept hair secured by a tiara decorated with applied florets and clouds.Provenance: J.A.N. Fine Art, London, 2003. A European private collection, acquired from the above. A copy of the original invoice, dated 9 June 2003, dating the present lot to the Song dynasty, 12th century, and stating a purchase price of GBP 4,250 or approx. EUR 8,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. J.A.N. Fine Art is a noted art gallery specializing in Chinese, Japanese, Korean, Himalayan, and Southeast Asian ceramics, porcelain paintings, and works of art. The company was first established in 1977 in Tokyo, Japan by Kikue Shimizu and has been located on Kensington Church Street in London, United Kingdom for over thirty years. Many of their pieces originate from Japanese collections and have museum-established provenance. Condition: Good condition, commensurate with age. Expected old wear and weathering, obvious losses, nicks, minor structural fissures, small touch-ups. Good, naturally grown patina overall. Displaying exceptionally well.Weight: 7,580 g (excl. stand) Dimensions: Height 37.5 cm (excl. stand) and 48 cm (incl. stand)Mounted on an associated stand. (2)Expert's note: The style of the tiara and smaller ears point to the head belonging to a Daoist figure rather than a Buddhist bodhisattva, as bodhisattvas are usually depicted with long pendulous earlobes.Literature comparison: For examples of Song and Yuan dynasty female figures, see Chai Zejun and Chai Yumei, Shanxi gudai caisu (Ancient Stucco Sculptures of Shanxi), Beijing, 2008, pp. 236-242, 244-247, and 264-267.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2015, lot 426 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A polychrome stucco head of a female attendant, China, Jin / Yuan dynastyExpert remark: Compare the closely related expression with similar features, hairstyle, urna, and tiara. Note the similar size (40.5 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 23 March 2022, lot 291 Price: USD 31,500 or approx. EUR 30,000 converted at the time of writing Description: A polychrome-painted lacquered stucco head of a bodhisattva, Song - Yuan dynastyExpert remark: Compare the related expression and features, hairstyle, urna, and tiara. Note the larger size (52.5 cm).宋代彩繪灰泥道教人物頭像中國，十二世紀。人物面容細節精美，噘著嘴，挺鼻，秀眼，雙眉之間有一個凹形的白毫，頭部和耳朵佩戴精美首飾。 來源：倫敦J.A.N. Fine Art藝廊，2003年；歐洲私人收藏，購於上述藝廊。隨附一份2003年6月9日出具的原始發票的複印件，斷代為宋代，十二世紀，售價為GBP 4,250 ，相當於EUR 8,000 (根據現在的通貨膨脹)。J.A.N. Fine Art 藝廊是一家以中國、日本、韓國、喜馬拉雅、東南亞陶瓷、瓷畫、工藝品為主的知名藝廊。該藝廊於 1977 年由 Kikue Shimizu在日本東京成立，之後來到英國倫敦，三十多年來一直位於英國倫敦的肯辛頓教堂街。他們的許多藏品都來自日本的收藏品，並有博物館確定的出處。 品相：品相良好，舊磨損和風化，明顯的缺損、刻痕、輕劃痕和一些修補。良好、自然生長的包漿，整體狀況良好。 重量：7,580 克 (不含底座) 尺寸：高 37.5 厘米 (不含底座) ，48 厘米 (含底座) 配置支架底座。 (2) 專家注釋：頭飾的樣式和較小的耳朵表明人物為道教人物而非佛教菩薩的頭部，因為菩薩的耳垂通常長長的。 文獻比較： 一件宋至元婦女像，見柴澤俊，《山西古代彩塑》，北京，2008年，頁236-242，244-247和 264-267。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年9月16日，lot 426 價格：USD 11,250（相當於今日EUR 13,500） 描述：金 / 元彩塑侍女首像 專家評論：比較非常相近的表情、髮型、白毫和頭冠。請注意尺寸(40.5 厘米)較小。

A BANDED CALCITE BACTRIAN CHALICE, 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. 59, no. 51, described as banded calcite or travertine.Oxus Civilization. The compressed globular bowl supported on a tall splayed foot. The stone of a cream color with faint veins of white and ochre.Provenance: Bruno Cooper, Norwich, United Kingdom, 2009. Paolo Bertuzzi, acquired from the above in 2009. A copy of the original invoice from Bruno Cooper, Norwich, dated 18 October 2009, describing the piece as a high stemmed cup, attributed to Bactria and dated 3rd millennium BC, stating a purchase price of EUR 2,800 or approx. EUR 3,700 converted and adjusted for inflation at the time of writing, accompanies this lot. 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: Good condition with old wear, small chips and nicks to the edges, signs of weathering and erosion, and encrustations.Weight: 1,168.4 g Dimensions: Height 17.1 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (short 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 (c. 1950-1450 BC) sites in northern Bactria, currently known as 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 current 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 from the late 1970s onward 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, 6 December 2007, lot 61Price: USD 16,250 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A Bactrian alabaster chalice, circa late 3rd-early 2nd millennium BCExpert remark: Compare the related form and material. Note the size (34.9 cm).

A SMALL BRONZE RAIN DRUM, DONG SON CULTURE, VIETNAM, CA. 500 BC TO 300 ADThe round drum with a spreading base, the body composed of straight sides below a bulbous section, finely cast with geometric designs and set with two pairs of loop handles on either side, surmounted by the slightly concave top. The bronze with a fine, naturally grown, solid patina with malachite encrustations.Provenance: An old private collection in France. Acher Eskenasy, Paris, France, acquired from the above in 2001. LP Collection Paris, France, acquired from the above. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris. Condition: Good condition, commensurate with age. Extensive wear, minor losses, dents, nicks, scratches, signs of weathering and erosion, and encrustations.Weight: 2,487 g Dimensions: Height 15.8 cm, Diameter 19.9 cm Dong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam 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 Văn Lang and Âu 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. Bronze rain drums were invented by the Dong Son culture and produced from about 600 BC or earlier until the third century AD. Ranging in height from a few inches to over six feet, up to four feet in diameter, and often of considerable weight, the drums are one of the culture's most astounding examples of metalworking. Examples produced in Vietnam, in addition to works made locally, have been found in south China and throughout mainland and island Southeast Asia. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections - spanning at least a thousand years - between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those of the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Literature comparison: Compare a related bronze miniature drum with four frogs, also dated ca. 500 BC to 300 AD, in the Metropolitan Museum of Art, accession number 2000.284.57.

A GREEN JADE 'HORSE-HOOF' ORNAMENT, HONGSHAN CULTUREChina, c. 3500-2500 BC. The tubular form flaring towards the sloping top in the form of a horse hoof (mati), cut across at an oblique angle forming an arched profile to the rim, the narrower end pierced with two holes. The translucent stone of a variegated green and light brown color with darker speckles and russet veining.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Excellent condition with minor wear, few minuscule nibbles to the edges, the upper and lower rim uneven, the stone with few natural fissures, some of which may have developed into small hairline cracks over time.Weight: 264.6 g Dimensions: Height 12.9 cmLarge jade ornaments of this specific form were a product of the Hongshan culture, and examples have been recovered at the Niuheliang burial site in Liaoning province. While generally referred to as headpieces, Jenny F. So has recently suggested that they may have been worn on the forearm to protect the arm and wrist (Jenny F. So, Early Chinese Jades in the Harvard Art Museums, Cambridge, 2019, page 74). She cites an example worn on the forearm of the occupant of Site III at Niuheliang, and another recovered from the Bronze Age burial site at Dadianzi, in present-day inner Mongolia. Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 21 June 2022, lot 30Price: USD 7,650 or approx. EUR 7,400 converted at the time of writingDescription: A yellowish-celadon jade hoof-shaped ornament, Neolithic period, Hongshan cultureExpert remark: Compare the related plain form. Note the smaller size (8.6 cm) and yellowish-celadon color.紅山文化青玉馬蹄形配飾中國，公元前約 3500-2500 年。管狀物件向上傾斜，頂部張開，如馬蹄狀，斜角切割，邊緣的拱形，較窄的一端穿有兩個孔。半透明石料，綠色和淺棕色紋理，帶有較深的斑點和黃褐色斑。 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：品相極佳，輕微磨損，邊緣細微磕損，上下邊緣凹凸不平，輕微天然裂隙，部分裂隙隨著時間的推移可能發展成細小的裂紋。 重量：264.6 克 尺寸：高 12.9 厘米 這種特殊形式的大型玉器是紅山文化的產物，在遼寧省牛河梁墓葬遺址曾發現過一些相似物件。 雖然通常被認爲是頭飾，但 Jenny F. So 最近表認爲們可能曾被佩戴在前臂上以保護手臂和手腕（Jenny F. So，Early Chinese Jades in the Harvard Art Museums，Cambridge，2019年，74頁 )。她舉了一個牛河梁遺址 III 的前臂佩飾例子，以及另一個在今內蒙古大甸子青銅時代墓葬遺址中發現的例子。 拍賣結果比較： 形制：相近 拍賣：洛杉磯邦瀚斯，2022年6月21日，lot 30 價格：USD 7,650（相當於今日EUR 7,400） 描述：紅山文化新石器時代青黃玉馬蹄形配飾 專家評論：比較相近的形式。請注意尺寸較小 (8.6厘米)，以及青黃色的玉石顏色。

A LARGE BACTRIAN BANDED AGATE BEAD, 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. 34, no. 30.Oxus Civilization, c. 2500-1900 BC. Of biconical form tapering towards the ends, the mostly opaque stone of a grayish white color with fingerprints, and bands of amber, ochre, and blueish white.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 old wear, few minuscule chips to the edges, natural fissures, and calcifications.Weight: 45.3 g Dimensions: Length 9.3 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.Auction result comparison:Type: RelatedAuction: Christie's New York, 6 December 2007, lot 370Price: USD 7,500 or approx. EUR 10,200 converted and adjusted for inflation at the time of writingDescription: A Bactrian Gold and Banded Agate Bead Pendant Expert remark: Note the near-identical size (9.1 cm) and the gold embellishment

A MUGHAL STYLE PALE CELADON JADE CENSER AND COVERChina, 19th century. The censer of globular form with thin walls, the deep bowl raised on a stepped foot with a reticulated mid-section suspending four rings, flanked by a pair of dragon head handles framed by scrolling vines and suspending loose rings. The domed cover also reticulated with meandering vines below a chrysanthemum finial from which project four foliate loops suspending loose rings. The translucent stone of a pale celadon tone with few small russet areas and cloudy white inclusions.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. The base with an old label, 'Antique jade incense burner on stand. 18th/19th century. Qing dynasty.' Condition: Excellent condition with minor wear, minuscule nibbling, and a small nick to the base which has been smoothened. The stone with few small fissures, some of which have developed into thin hairline cracks. The wood stand with minor wear and expected age cracks.Weight: 405.1 g (excl. base) and 738.4 g (incl. base) Dimensions: Height 16.1 cm (excl. base) and 23.1 cm (incl. base)With an old, lacquered wood stand. (2) Auction result comparison:Type: Closely relatedAuction: Christie's New York, 6 April 2011, lot 420Price: USD 8,125 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A Chinese whitish jade censer and pierced coverExpert remark: Compare the closely related form, reticulated cover, and loose rings. Note the size (15.2 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 21 March 2013, lot 880Price: USD 20,000 or approx. EUR 24,500 converted and adjusted for inflation at the time of writingDescription: A pale greenish-white jade tripod censer and coverExpert remark: Compare the related form, reticulated cover, and loose rings, as well as the closely related color of the jade. Note the size (18.8 cm) and foliate feet.蒙兀兒風格青白玉雕香薰爐中國，十九世紀。薄壁圓球形香爐，高圈足台，爐蓋鏤空雕刻纏枝紋，兩側龍首耳一對，懸掛活環。蓋頂成菊花瓣紋，懸掛四活環。淺青色半透明玉料，輕微赤褐色斑紋，白色絮狀物。 來源：英國倫敦紳士收藏，其亞洲收藏至少超過五十年歷史，保存至今。圈足内標籤可見 'Antique jade incense burner on stand. 18th/19th century. Qing dynasty.' （玉香爐，十八至十九世紀，清代） 品相：品相極佳，輕微磨損，小磕損，底座上有一個小缺口，已打磨光滑。玉料有輕微小裂隙，有的已發展成細細的裂隙。木架有輕微磨損和預期的老化裂縫。 重量：405.1 克 (不含底座) ，738.4克 (含底座) 尺寸：高 16.1 厘米 (不含底座) ，23.1 厘米 (含底座) 漆木底座。(2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年4月6日，lot 420 價格：USD 8,125（相當於今日EUR 10,000） 描述：青白玉雕香薰爐 專家評論：比較非常相近的外形、網形蓋和懸掛活環。請注意尺寸(15.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年3月21日，lot 880 價格：USD 20,000（相當於今日EUR 24,500） 描述：青白玉透雕花卉卷草紋花耳活環三足蓋爐 專家評論：比較相近的外形、網形蓋和懸掛活環，以及非常相近的玉石顏色。請注意尺寸(18.8 厘米) 和花邊腳。

A RARE PAINTED WOOD FIGURE OF A 'BEAUTY', EASTERN ZHOU DYNASTYChina, 4th century BC. Elegantly yet plainly carved, the large oval head strikingly scooped out and painted with almond-shaped eyes below arched brows, centered by a slender nose, flanked by elongated ears, the frowning mouth simply incised. The arms are folded in front of the chest with joined hands. The separately carved feet are inserted into square mortise holes at the base of the long robe, which is painted with a sash and two long tasseled ends.Provenance: Galleria La Balaustra Antichita, Bologna, Italy, 1999. Paolo Bertuzzi, acquired from the above. A copy of a letter from Galleria La Balaustra Antichita, written by Giuliana Zanetti, dated 11 August 1999, describing the present lot as the figure of a monk, found in an underwater tomb, and dating it to the Han dynasty, accompanies this lot. 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: Good condition, commensurate with age. Extensive wear, natural age cracks and splits, signs of weathering and erosion, chips and nicks, rubbing to pigments, losses. Very minor old repairs.Weight: 827.1 g Dimensions: Height 63.5 cm (incl. feet) and 56 cm (excl. feet)Given the perishable nature of wood, such figures are extremely rare, the later pottery statues and vessels being much more common. The practice of burying wood figures began in the Eastern Zhou dynasty and flourished during the Kingdom of Chu (740-330 BC). Several wood statues have been excavated from Chu tombs in Changsha, Hunan.Literature comparison:For a closely related painted wood figure, dated to the Eastern Zhou, circa 3rd Century BC, see J.J. Lally & Co. Oriental Art, Two Thousand Years of Chinese Sculpture, New York, 2008, no. 2. Another closely related figure was included in the exhibition, Early Chinese art: 8th century BC - 9th century AD, Eskenazi, London, 6 June - 8 July 1995, no. 45.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2000, lot 193 Price: USD 68,500 or approx. EUR 115,000 converted and adjusted for inflation at the time of writing Description: A very rare pair of large painted wood figures of attendants, Eastern Zhou dynasty Expert remark: Compare the closely related form of the head and robe as well as the similar manner of painting the sash and tasseled ends. One figure also has the hands joined with the arms folded in front of the chest. Note the related size (57.2 cm) and that the lot comprises two figures.東周彩繪美人木像中國，公元前四世紀。雕琢優雅而樸素，美人像有一個巨大的橢圓形頭，在拱形眉毛下畫著杏仁形的眼，以一個三角形尖端的細長鼻子為中心，耳朵穿孔用來佩戴耳環，小嘴簡單地刻畫。削肩，而細長的手臂帶著為分開裝置的雙手雕刻的方形榫眼。長裙下垂輕微展開。 來源：義大利博洛尼亞Galleria La Balaustra Antichita藝廊，1999年；Paolo Bertuzzi 購於上述藝廊。隨附一份Galleria La Balaustra Antichita藝廊Giuliana Zanetti 1999年8月11日出具的發票，描述此木像為一個和尚，在一個水下墓地發現，為漢代。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：品相良好，嚴重磨損、自然老化裂紋和裂痕、風化和侵蝕跡象、缺口和刻痕、顏料摩損、缺損，以及極小的舊修補。 重量：827.1 克 尺寸：高 63.5 厘米 (含足)，56 厘米 (不含足)

A HORSE-FORM BRONZE RHYTON, CENTRAL ASIA, C. 1000 ADScientific Analysis Report: A copy of an Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 22-10021, dated 11 March 2022, written and signed by Dr. R. Neunteufel, accompanies this lot. The alloy components of the present lot have been analyzed via atomic emission spectrometry of a sample dissolved in mineral acid. Findings include a zinc content of 5.6% (rare for objects from the period), a low arsenic content of 0.02% (could indicate a refinement of raw copper, speaking for a later period of manufacture), and a tin content of 5.7% (lower than usually found in Central Asian bronzes of the period). The report concludes that the findings do not decisively contradict the suggested period of manufacture.The horn-shaped beaker with fluted sides below a neatly incised wave band and the gently everted rim. The separately cast horse and rhyton are connected by a raised cuff. The muscular animal shows bent forelegs just below a small filler neck, further detailed with pricked ears, almond-shaped eyes, a prominent muzzle, and a short mane. The bronze with a superb, naturally grown and professionally stabilized patina with malachite encrustation.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Good condition, commensurate with age. Wear, losses, minor dents and nicks, light scratches, encrustations, signs of weathering and corrosion. The patina was stabilized with a layer of varnish some time ago. A drilled hole from sample-taking.Dimensions: Height 24.5 cm

A TIBETAN AGATE 'CHUNG DZI' BEADTibet, 19th to early 20th century, or earlier. The bead of tubular form with black ends and etched decorations. The translucent stone of a light amber color.Provenance: Gabriele Aronica, Rome, Italy. Paolo Bertuzzi, acquired from the above. A copy of the original signed invoice from Gabriele Aronica, dated 20 October 2005, stating a purchase price of EUR 3,800 or approx. EUR 5,400 (adjusted for inflation at the time of writing), accompanies this lot. 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: Good condition with old wear, some nibbling to the edges, and a small crack with associated minor loss.Weight: 3.7 g Dimensions: Length 3.4 cmDzi beads are a type of stone bead of uncertain origin worn as part of a necklace and sometimes as a bracelet. In several Central Asian cultures, including that of Tibet, the bead is considered to provide positive spiritual benefits. These beads are generally prized as protective amulets and are sometimes ground into a powder to be used in traditional Tibetan medicine. Beads subject to this process have small 'dig marks', where a portion of the bead has been scraped or ground away to be included in the medicine.Literature comparison: Compare a necklace with related etched agate dzi beads, along with imitation glass dzi beads and a gau amulet box, dated to the early 20th century, in the Victoria & Albert Museum, accession number IM.121F-1923. Compare a necklace with related agate beads, along with mantra tally counters, dated mid-19th century to mid-20th century, in the Philadelphia Museum of Art, accession number 2013-66-27.西藏沖係天珠西藏，十九至二十世紀初，或更早。帶有黑色末端和蝕刻裝飾的管狀珠子。淺琥珀色的半透明石頭。 來源：義大利羅馬Gabriele Aronica藝廊；Paolo Bertuzzi購於上述藝廊。隨附一份2005年10月20日 Gabriele Aronica 出具的原始發票複印本，顯示當時售價為EUR 3,800 或相當於EUR 5,400 (根據通貨膨脹率)。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有磨損，邊緣有小刻痕、小裂紋，輕微缺損。 重量：3.7 克 尺寸：長3.4 厘米 天珠的名稱何人所取已不可求證，可作為項鍊的一部分佩戴，有時作為手鍊佩戴。在包括西藏文化在內的中亞文化中，天珠是神創造的超自然之物，通常被視為護身符，有時被磨成粉末入藥。文獻比較： 比較一件二十世紀項鍊有相近的沖系天珠，配有仿玻璃天珠和一個嘎烏盒，收藏於伊莉莎白與亞伯特博物館，館藏編號IM.121F-1923。比較一件十九世紀至二十世紀中期項鍊有相近的瑪瑙天珠，費城藝術博物館，館藏編號2013-66-27。

A MAGNIFICENT GILT BRONZE FIGURE OF MAITREYA, 17TH CENTURY, PUBLISHED BY SCHROEDERPublished: Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pages 446-447, nos. 121D & E (illustrated).Central Tibet. Finely cast, seated in bhadrasana ('European pose') on a stepped rectangular throne with his feet resting on a lotus blossom, the hands in dharmachakramudra holding the stems of lotuses flowering along his upper shoulder supporting a flask and stupa, clad in a richly pleated robe neatly incised with geometric and floral designs. His serene face with sinuously lidded downcast eyes below gently arched brows centered by a raised urna and bow-shaped lips, flanked by long pierced earlobes. The hair arranged in tight curls, the high ushnisha surmounted by a jewel.Provenance: From the collection of Mr. and Mrs. John Marsing, and thence by descent in the family. John Marsing (1918-1998) was a Danish businessman who, at the age of 20, had established a pharmaceutical company, Marsing & Co. The firm expanded during the mid-20th century and had branches all over Europe, Canada, and Korea. Marsing was very interested in Asian culture and a passionate collector of Asian works of art, particularly from the Himalayas, China, and Korea. He built a substantial collection over decades, buying in Asia and from antique dealers in Denmark as well as auction houses all around Europe. Condition: Good condition with some wear and casting irregularities, small dents, minor losses, remnants of pigment. The base sealed.Weight: 987 g Dimensions: Height 17.5 cmMaitreya awaits the day when the teachings of the Gautama Buddha, Shakyamuni, are forgotten by earth's inhabitants, at which point he will descend from the Tushita Heaven to become a Buddha. The present lot exudes reassurance through his benevolent facial expression and graceful gesture. It depicts Maitreya in his Buddha form, which is much rarer than the more commonly encountered bodhisattva form. Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2022, lot 424 Price: USD 44,100 or approx. EUR 40,500 converted at the time of writing Description: A gilt-bronze figure of Maitreya, Tibet, 17th-18th centuryExpert remark: Note the larger size (26.7 cm) and that the bronze depicts Maitreya in his more common bodhisattva form, unlike the present lot. Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2015, lot 28 Price: USD 35,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Maitreya, Tibet, 16th/17th centuryExpert remark: Note the slightly larger size (21.8 cm) and that the bronze depicts Maitreya in his more common bodhisattva form, unlike the present lot.十七世紀重要銅鎏金彌勒佛坐像西藏中部。彌勒通體鎏金，雙手當胸結說法印，並持蓮花莖，雙腿垂足而坐，為“善跏趺坐”，跣足踏於覆蓮台上，承坐於高束腰金剛座上；螺發，肉髻高聳，摩尼寶珠頂嚴；面龐飽滿，額際高廣，白毫凸出，雙眼微合，凝視天下，法相端莊；雙耳垂齊，頸部蠶節紋明顯。上身穿坦右肩袈裟，下穿僧裙，衣領暗刻纏枝紋，衣褶自然流暢，原裝全包式封底，封板中心鏨刻十字金剛杵紋。出版：Ulrich von Schroeder，Indo-Tibetan Bronzes，香港，1981年，第446-447頁，圖 121D & E。 來源：John Marsing私人收藏，在同一家族保存至今。John Marsing (1918-1998) 是一位丹麥商人。二十歲時，他成立了一家製藥公司 Marsing & Co。該公司在二十世紀中葉擴大規模，在歐洲、加拿大和韓國都設有分公司。Marsing 對亞洲文化非常感興趣，並且熱衷於收藏亞洲藝術品，尤其是來自喜馬拉雅山、中國和韓國的藝術品。幾十年來，他的收藏一直在發展，從亞洲、丹麥的古董商以及歐洲各地的拍賣行購買。品相：狀況良好，有一些磨損和鑄造不規則、小凹痕、輕微缺損、顏料殘留。底座密封。 重量：987 克 尺寸：高17.5 厘米 此拍品通過突出彌勒仁慈的面部表情和優雅的手勢散發出慈悲之心。它以佛陀的形象描繪了彌勒，這比更常見的菩薩形像要罕見得多。

'PEKINGESE DOG', MID-QING DYNASTYChina, 18th - early 19th century. Ink and watercolors on paper. Depicting a Pekingese dog with black and white fur standing foursquare with an upturned tail on a grassy ground, the face with an alert expression, round ochre eyes, and bushy ears.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019. Condition: Good condition with some wear, little creasing, minor soiling, small touchups, few repairs, and minor tears. The frame with minor wear.Dimensions: Image size 50.7 x 48.5 cm, Size incl. mounting 64.8 x 62.8 cmFramed behind glass. (2)The Pekingese breed originated in China and could only be owned by members of the Chinese Imperial Palace. A consort of the Daoguang Emperor, Lady Chang of the prominent Manchu Heseri clan, was a lover of dogs and particularly enamored with Pekingese. According to Geoffrey R. Sayer (Tao Ya or Pottery Refinements, London, 1959, page 123, no. 722) “Cheng Miao [the Daoguang Emperor] was fond of pigeons, his exalted concubine was fond of little dogs.”During the Second Opium War, in 1860, the Old Summer Palace in Beijing was occupied by a contingent of British and French troops. The Xianfeng Emperor had fled with all of his court to Chengde. However, the elderly Consort Chang remained. When the British and French troops entered, she committed suicide. She was later found surrounded by her five Pekingese. They were removed by the Allies before the Summer Palace was burnt to the ground.John Hart Dunne, Captain of the 99th Regiment of Foot, who participated in the Second Opium War and ransacked the Summer Palace, gifted one of these Pekingese to Queen Victoria in April 1861, writing to her in a letter: “This little dog was found by me in the Palace of Yuan-Ming-Yuan near Peking on the 6th of October 1860. It is supposed to have belonged to either the Empress, or one of the ladies of the Imperial Family. It is a most affectionate and intelligent little creature - it has always been accustomed to being treated as a pet and it was with the hope that it might be looked upon as such by Her Majesty and the Royal Family that I have brought it from China.” (David Matthews, Jo Lee Magazine, November 2002, page 18). Rather insensitively, the Queen and first owner of a Pekingese in the West named her new pet 'Looty'.清代中期《哈巴狗》中國, 十八至十九世紀，紙本水墨設色。一隻北京哈巴狗，毛色黑白相間，尾巴上翹，立於草地上，面帶警惕之色，圓溜溜的眼睛，毛茸茸的耳朵。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、少量摺痕、輕微汙漬、小修補和輕微撕裂。框架有輕微磨損。 尺寸：畫面50.7 x 48.5 釐米, 總 64.8 x 62.8 釐米 玻璃裝框。 (2)

AN IMPORTANT SCHIST HEAD OF MAITREYA, ANCIENT REGION OF GANDHARA, 2ND-3RD CENTURYFinely carved, the serene face with heavy-lidded almond-shaped eyes, elegantly arched brows, full lips, and a wavy mustache, flanked by leogryph earrings. His coiffure secured by beaded and jeweled bands and immaculately arranged in a butterfly topknot with ringlets falling across his forehead in high relief.Provenance: From the collection of Yvette Starck, Luxembourg, by c. 1970, and thence by descent. A noted Belgian collector, acquired from the above. A copy of a provenance statement, written and signed by the previous owner, dated 25 November 2022 and confirming the provenance stated above, accompanies this lot.Condition: Good condition, commensurate with age. Some wear, minor losses, nicks, scratches, signs of weathering and erosion, encrustations. Structural cracks, partially with minor old repairs and fills.Weight: 9,523 g (excl. stand) and 11,657 g (incl. stand)Dimensions: Height 26 cm (excl. stand) and 40 cm (incl. stand)The luxurious treatment of the voluminous curls across his broad forehead and the tops of his ears presents the lingering influence of Greco-Roman sculpture on early Buddhist art. Each terminates with exquisite tail-like twists. This style of the topknot is generally assigned to Maitreya, as in an example from the Avery Brundage Collection (see Literature comparison).The leogryph earrings seen on the present head are a common feature of Gandharan depictions of Maitreya that exemplifies the wide range of influences on Gandharan art, such as the hybrid lion-eagle creatures popular in Persian art motifs and the centaurs of Greek mythology.With a modern metal base. (2)Literature comparison:Compare a figure of Maitreya from the Avery Brundage Collection in the Asian Art Museum of San Francisco, object number B60S597, illustrated in The Asian Art Museum of San Francisco: Selected Works, 1994, p. 23.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 201 Price: USD 87,500 or approx. EUR 104,000 converted and adjusted for inflation at the time of writing Description: A gray schist head of a bodhisattva, Gandhara, 2nd/3rd centuryExpert remark: Compare the closely related treatment of the face and butterfly topknot with similar ringlets. Note the smaller size (22.8 cm).二至三世紀犍陀羅重要片岩彌勒佛頭彌勒面部表情雕刻細膩，優雅的拱形眉毛，雙眼微閉，小鬍子。他的髮型一塵不染，蝴蝶狀的髮髻，由串珠和鑲有寶石的髮帶固定。 來源：盧森堡 Yvette Starck收藏，約 1970年進入收藏；知名比利時收藏，購於上述收藏。隨附一份上任藏家於2022年11月25日出具的來源證明複印本。 品相：品相良好，一些磨損，輕微缺損、刻痕，劃痕，風化和侵蝕的跡象，有結殼，有結構裂縫，小修補和填充。重量：9,523 g (不含底座) 與 11,657 g (含底座) 尺寸：高26 厘米 (不含底座) 與 40 厘米 (含底座) 寬闊的前額與蓬鬆捲髮都展現希臘羅馬雕塑對早期佛教藝術的揮之不去的影響。這類頭髻樣式通常用於彌勒，例如Avery Brundage 收藏中的一個例子（參見文獻比較）。本尊頭像上的獅鷲耳環是犍陀羅彌勒造像的特徵，例如波斯藝術裏流行的獅鷲混合生物和希臘神話中的半人馬。 現代金屬底座。(2) 文獻比較： 比較一件彌勒佛像，收藏於舊金山亞洲藝術博物館Avery Brundage Collection，收藏編號B60S597，見《The Asian Art Museum of San Francisco: Selected Works》，1994年，頁23。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月18日，lot 201 價格：USD 87,500（相當於今日EUR 104,000） 描述：二至三世紀犍陀羅片岩彌勒佛頭 專家評論：比較非常相近的捲髮、面部和蝴蝶髮髻。請注意尺寸較小(22.8 厘米)。

A LARGE BRONZE FIGURE OF NILAMBARA VAJRAPANI, TIBET, TSANG VALLEY, 13TH-14TH CENTURYPublished and exhibited: John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Los Angeles County Museum of Art and Columbus Museum of Art, 5 October 2003 to 9 May 2004, pp. 203-204, cat. no. 53.Powerfully modeled and boldly cast striding in aldhasana atop a double-headed naga on a lotus base, his right hand holding a vajra and his left held admonishingly in tarjani mudra. He is wearing a tiger pelt around his waist and adorned with jewelry in the form of snakes as well as a beaded necklace. His face with a wrathful expression marked by sharp fangs, wide eyes, raised brows centered by a prominent urna, and a neatly incised beard. His fiery hair is surmounted by a blade-like protuberance with an image of Akshobya Buddha.Provenance: Oriental Gem Co., London, United Kingdom, by 1971. The John C. and Susan L. Huntington Collection, Columbus, Ohio, USA. John (d. 2021) and Susan Huntington are important scholars of Buddhist art, who have done extensive field research and photographic documentation throughout Asia. The couple were not just partners in life but partners in their chosen work of teaching, researching, and publishing about the art of Asia. John's doctoral dissertation, Styles and Stylistic Sources of Tibetan Painting, was a pioneering work written at a time when there was little, if any, scholarly attention being paid to the study of Tibetan art. Following his doctoral work, John spent 1969-1970 traveling in Asia on a National Endowment for the Humanities postdoctoral fellowship pursuing his study of Buddhist art. At the same time, Susan was doing field research in India on a Fulbright grant for her doctoral dissertation. They married in India in 1970. Prior to undertaking graduate studies, John had been a professional photographer and throughout his life, his passion for photography never waned. Susan had developed an abiding interest in photography since taking a course in high school. Together, with Susan making exhaustive field notes as they photographed, the pair developed a teamwork that continued throughout their lifetime of field work, culminating in the John C. and Susan L. Huntington Photographic Archive of Buddhist and Asian Art, which contains nearly 300,000 original slides and photographs documenting art and architecture throughout Asia. Both taught at the Ohio State University, with Susan serving as Dean of the Graduate School and Vice Provost for Graduate Education from 1995 and 2005, and John building a flourishing program in Asian art history, and they have published many articles and books on a wide range of topics related to Asian and Buddhist art, both separately and together. The collecting history of the Huntingtons aligned closely with their academic research and passion for learning. While they collected works in established categories that epitomized major Indian and Himalayan artistic styles or periods, they also pursued pieces that were little understood and that begged for further academic research.Condition: Good condition commensurate with age. Expected old wear, predominantly from centuries of worship within the culture. Minor casting flaws, small dents, minuscule nicks, light scratches, some losses, the unsealed base further with a small tear. The left arm has been reattached with ancient rivets, probably hundreds of years ago. Remnants of pigment. Fine, naturally grown patina overall.Weight: 998.7 gDimensions: Height 25.2 cmVajrapani, originally a peaceful bodhisattva in the Mahayana tradition, has a wrathful manifestation within the Tantric or Vajrayana Buddhist tradition. The present lot depicts Nilambara Vajrapani, or the Blue-Clad One. In this form Vajrapaṇi is dark blue, with one face, three eyes, and two hands. His clothing is blue and his thick matted hair streams upward. His body is adorned with eight serpents in various places, and in his right hand he brandishes a vajra. For the Tibetans, and no doubt for Indian tantric practitioners, this form of Vajrapaṇi was highly popular‍, to the extent that the Kangyur contains no less than seven tantras and two dharani texts centered on this awakened figure.In this manifestation, the wrathful Vajrapani displays his rightful indignation at hindrances that impede the practitioner on the path to enlightenment, directed toward the foolishness of someone who has encountered the Buddha's teaching and who is, even so, too arrogant and prideful to take refuge in the Buddha, Dharma, and the Sangha. For both protection and purification, a wrathful Vajrapani is invoked during the Krodhavesha ritual in the Kalachakra practice, in which the practitioner identifies with Vajrapani.Stylistically the piece belongs to the Tsang Valley school of the 13th or 14th century, but it is entirely Tibetan in conception and execution, without the usual Newar-inspired characteristics associated with this school. Rather, it is freely modeled, ignoring all but the most significant details. The present sculpture's great potency comes from the violently angry grimace and lunging thrust of its position. The modeler has truly captured the feeling of outrage at the unfortunate being who does not have the good sense to seek refuge in the Buddhist teachings.Literature comparison:Compare a related brass figure of Chanda Vajrapani, 16.6 cm high, dated to the 13th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 070. Compare the iconography of a painting of Vajrapani, illustrated in Robert N. Linrothe and Jeff Watt, Demonic Devine: Himalayan Art and Beyond, New York, p. 229.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 304 Price: USD 75,000 or approx. EUR 92,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Achala, Tibet, 13th century Expert remark: Compare the closely related striding pose, wrathful expression with three eyes and sharp fangs, snake ornaments, hairstyle, and color of the bronze. Note the related size (26.2 cm).十三至十四世紀西藏大型金剛手菩薩出版及展覽：John C. Huntington、Dina Bangdel，《The Circle of Bliss: Buddhist Meditational Art》，洛杉磯郡立美術館和哥倫布藝術博物館，2003年10月5日至2004年5月9日，頁203-204，目錄號 53。 來源：英國倫敦Oriental Gem Co.，約1971年；美國俄亥俄州哥倫布The John C. and Susan L. Huntington 收藏。

A LARGE BRONZE FIGURE OF RATNASAMBHAVA, CENTRAL TIBET, 13TH-14TH CENTURYPublished: John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Columbus, 2003, page 108, figure 1.Sensitively modeled and finely cast, seated in dhyanasana atop a double lotus base with beaded upper rim, his right hand held in varada mudra and the left lowered above his lap, wearing a sheer dhoti, billowing scarves and richly adorned with elaborate beaded jewelry, his serene face with sinuously lidded eyes, neatly incised brows centered by a rhombic urna, and full lips forming a calm smile, the hair piled up into a high chignon topped by a jewel behind the five-leaf tiara.Provenance: Oriental Gem Co., London, United Kingdom, by 1971. The John C. and Susan L. Huntington Collection, Columbus, Ohio, USA. John (d. 2021) and Susan Huntington are important scholars of Buddhist art, who have done extensive field research and photographic documentation throughout Asia. The couple were not just partners in life but partners in their chosen work of teaching, researching, and publishing about the art of Asia. John's doctoral dissertation, Styles and Stylistic Sources of Tibetan Painting, was a pioneering work written at a time when there was little, if any, scholarly attention being paid to the study of Tibetan art. Following his doctoral work, John spent 1969-1970 traveling in Asia on a National Endowment for the Humanities postdoctoral fellowship pursuing his study of Buddhist art. At the same time, Susan was doing field research in India on a Fulbright grant for her doctoral dissertation. They married in India in 1970. Prior to undertaking graduate studies, John had been a professional photographer and throughout his life, his passion for photography never waned. Susan had developed an abiding interest in photography since taking a course in high school. Together, with Susan making exhaustive field notes as they photographed, the pair developed a teamwork that continued throughout their lifetime of field work, culminating in the John C. and Susan L. Huntington Photographic Archive of Buddhist and Asian Art, which contains nearly 300,000 original slides and photographs documenting art and architecture throughout Asia. Both taught at the Ohio State University, with Susan serving as Dean of the Graduate School and Vice Provost for Graduate Education from 1995 and 2005, and John building a flourishing program in Asian art history, and they have published many articles and books on a wide range of topics related to Asian and Buddhist art, both separately and together. The collecting history of the Huntingtons aligned closely with their academic research and passion for learning. While they collected works in established categories that epitomized major Indian and Himalayan artistic styles or periods, they also pursued pieces that were little understood and that begged for further academic research.Condition: Good condition commensurate with age. Expected old wear, predominantly from centuries of worship within the culture. Minor casting flaws, small dents, minuscule nicks, light scratches, some losses, the base and seal plate with tears and some warping. The face with remnants of gilt.Weight: 1,602 g Dimensions: Height 31 cmRatnasambhava is one of the Five Dhyani Buddhas (or Five Meditation Buddhas) of Mahayana and Vajrayana or Tantric Buddhism. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality and, in Vajrayana Buddhist thought is associated with the attempt to destroy greed and pride. Ratnasaṃbhava is associated with the skandha of feeling or sensation and its relationship with consciousness. His activity in promoting Buddhism is enriching and increasing knowledge of Dharma. Ratnasambhava is associated with the jewel symbol, which corresponds with his family. His right hand is granting wishes. He presides over the South, his element is earth, his sense is smell, and his color is yellow. It seems that he was the least popular of the group of five cosmic Buddhas, and for this reason large statues of him are exceedingly rare.Expert's note: The present lot belongs to a group long considered to originate from western Tibet. However, more recent scholarship suggests this type of early Tibetan sculpture is more likely to be from the central regions where the primary stylistic influence up to around the 13th century was the art of Kashmir and eastern India during the late Pala period. Tibetan bronzes with Pala influence are mostly un-gilded, like the majority of their Indian antecedents. Tibetan sculpture after the 14th century, however, is increasingly modeled and gilded in the Nepalese manner.Literature comparison: Compare two closely related hollow-cast brass figures of Ratnasambhava, one 42 cm high, the other 27 cm, with silver and copper inlays, both attributed to Western Tibet and dated to the 13th century, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, page 180, figs. 34A and 34B. Compare a related silver and copper-inlaid brass figure of Ratnasambhava, 42.3 cm high, attributed to western Tibet and dated to the 14th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 032.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2011, lot 357 Price: USD 194,500 or approx. EUR 249,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha Vairocana, Tibet, 14th century Expert remark: Compare the closely related pose, dress, jewelry, expression, hairstyle, and crown. Compare also the related subject, depicting another of the Five Dhyani Buddhas, and lotus base. Note the closely related size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 222 Price: USD 56,250 or approx. EUR 74,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Ratnasambhava, Western Tibet, 14th/15th century Expert remark: Compare the closely related subject, pose, hand gestures, dress, jewelry, lotus base with beaded upper rim, expression, hairstyle, and crown. Note the gemstone inlays, silver-inlaid eyes, and slightly larger size (38.1 cm).十三至十四世紀西藏大型寶生如來銅像 出版：John C. Huntington、Dina Bangdel，《The Circle of Bliss: Buddhist Meditational Art》，Columbus，2003年，頁108，圖1。 來源：英國倫敦Oriental Gem Co.，約1971年；美國俄亥俄州哥倫布The John C. and Susan L. Huntington 收藏。品相：品相良好，有磨損和使用痕跡；輕微鑄造缺陷、小凹痕、微小劃痕和缺損，底座和密封板有撕裂和一些翹曲。臉上殘留著鎏金痕跡。 重量：1,602 克 尺寸：高31 厘米

A GREEN JADE 'CLOUD-SCROLL' PENDANT, GOUYUN, HONGSHAN CULTUREChina, c. 4000-3000 BC. Carved in openwork in the form of a stylized scrolling cloud subtly detailed with raised ridges and grooves on each side, pierced on top for suspension. The stone of a pale sage-green color with dense dark speckles and opaque white inclusions.Provenance: From the collection of Paolo Bertuzzi. According to collector's notes acquired in the European trade, ca. 1990. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Very good condition with minor old wear and minuscule nibbling here and there. Some encrustations and minuscule surface alterations.Weight: 71.3 g Dimensions: Length 12.4 cm Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 10 June 2021, lot 82Price: EUR 17,640 or approx. EUR 19,500 adjusted for inflation at the time of writingDescription: A pale green jade 'cloud-shaped' pendant, Neolithic period, Hongshan cultureExpert remark: Compare the closely related form and color of the jade. Note the related size (11.3 cm).Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 27 November 2019, lot 2711Price: HKD 175,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A green jade 'cloud-scroll' ornament, Hongshan culture, circa 4000-3000 BCExpert remark: Compare the related form and color. Note the closely related size (12.3 cm).紅山文化勾雲紋青玉佩中國，公元前約 4000-3000 年。鏤空雕刻青玉佩，勾雲紋飾，每側均帶有凸起的脊和凹槽，頂部有孔用以懸掛。 淺灰青色石料，帶有濃密的深色斑點和不透明的白色班。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。 Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況極好，有輕微磨損。 一些結殼和微小的表面變化。 重量：71.3 克 尺寸：長12.4 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2021年6月10，lot 82 價格：EUR 17,640（相當於今日EUR 19,500） 描述：新石器時代紅山文化青玉勾雲形珮 專家評論：比較非常相近的外型和玉石顏色。請注意相近尺寸 (11.3厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2019年11月27日，lot 2711 價格：HKD 175,000（相當於今日EUR 22,500） 描述：紅山文化青玉勾雲形珮 專家評論：比較相近的外型和玉石顏色。請注意非常相近尺寸 (12.3厘米)。

A GILT-BRONZE FIGURE OF BUDDHA, ZANABAZAR SCHOOLMongolia, 17th-18th century. Heavily cast, seated in dhyanasana with the right hand lowered in bhumisparsha mudra and the left on the lap, wearing a long-flowing robe, the hems incised with a geometric border, the serene face with downcast eyes painted with black pupils, the red mouth with a gentle smile, flanked by elongated ears, the hair in tight curls surmounted by an ushnisha with globular jewel, the base with an original seal in the form of a double vajra. Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. Two labels, 'Antique gilt bronze Buddha on lotus base shrine. 17/18 century', 'HC21/04.75'. A lacquered inventory number '222.14.QI' to the base, indicating an earlier museum deaccession. Another inventory number, '222' lacquered to the top of the base. Condition: Very good condition with minor old wear, few nicks, small dents, light scratches, and expected casting flaws.Weight: 1,137 g Dimensions: Height 15.8 cmThis heavily cast bronze belongs to the Zanabazar artistic school of Mongolia, founded in the 17th century by Jetsun Lobzong Tenpai Gyaltsen (1635-1723). He was an important Mongolian religious figure and personal guru to the Kangxi Emperor. Zanabazar was at an early age recognized by both the Panchen Lama and Dalai Lama as the reincarnation of the Tibetan Lama, Taranatha (1575-1634), and proclaimed the First Jetsundamba, an honorific title. He traveled to Tibet to continue his religious instruction before returning to Mongolia in 1651, bringing fifty sculptors and painters with him in an attempt to establish the Geluk order amongst the Mongols.During his time as a religious leader of the Khalkha Mongols, Zanabazar oversaw a proliferation of Buddhist art in the region. He is especially known for his visualization and design of gilt-bronze sculpture, subsequently carried out by Nepalese bronze casters, which are widely recognized as some of the finest Buddhist gilt-bronze sculptures created.Zanabazar bronze sculptures exhibit a cohesive style testament to the vision of the great leader, characterized by richly gilt surfaces overall, finely modeled and smoothly sloping contours with embellishments limited to borders, full figures standing or seated on an elevated double-lotus base, and a minimalist aesthetic that endows the figures with a sense of stability. Auction result comparison:Type: RelatedAuction: Bonhams London, 14 May 2014, lot 209Price: GBP 20,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A fine gilt-bronze figure of Buddha, Zanabazar School, 17th centuryExpert remark: Compare the related pose, facial expression, lotus base, and gilding. Note the smaller size (11.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 2 October 2018, lot 127Price: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of Amitabha, Mongolia, Zanabazar school, 17th centuryExpert remark: Compare the related pose, facial features, lotus base, and fine incision work. Note the slightly smaller size (13.5 cm).札那巴札爾派銅鎏金佛像蒙古，十七至十八世紀。佛陀結跏趺座，右手觸地印，左手擱膝，身著長袍，面容安詳，垂眸塗黑瞳，面帶溫和的微笑，兩側是細長的耳垂，螺髻中央頂寶珠。雙金剛杵印密封底。 來源：英國倫敦紳士收藏，收藏亞洲藝術已超過五十年，保存至今。兩個標籤'Antique gilt bronze Buddha on lotus base shrine. 17/18 century'與 'HC21/04.75'；底部一個收藏編號 '222.14.QI'，表明可能來自博物館；另一個收藏編號 '222' 。 品相：狀況極好，有輕微的磨損、少量劃痕、小凹痕和鑄造缺陷。 重量：1,137 克 尺寸：高 15.8 厘米

A BLACK STONE FIGURE OF DURGA MAHISHASURAMARDINI, PRE-ANGKOR PERIOD, KHMER, 7TH CENTURYOpinion: Looking at Phnom Da style sculptures, one can see a great degree of cross-cultural influence. While one could argue that this sculptural style is distinctly of Khmer origin, with such early sites present in Vietnam, we are more likely seeing the spread of sources of foreign cultural influence, bringing things like Hinduism, coming from outside the region and merging with local cultures. Certain attributes of this sculpture in particular can be seen in early Gupta sculpture, such as the 4th century Harihara in the National Museum of New Delhi. It is also interesting to note that the earliest known written texts in Southeast Asia are from Vietnam, written during the 4th century, predating the first Khmer texts by hundreds of years.Finely carved in relief with four arms holding symbols of power, positioned above the severed head of a buffalo, with a tall crown and pendulous earlobes, backed by a striated nimbus.Provenance: Spink & Son, London, by 2 November 1999 (according to Christie's record). Christie's New York, 20 September 2000, lot 154 (according to Christie's record). Property from a West Coast collection, acquired from the above (according to Christie's record). Christie's New York, 13 September 2016, lot 245, estimate of USD 30,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). Michael Phillips, acquired from the above in an after-sale transaction. A copy of a Christie's record, accessed on 1 October 2018, confirming the provenance above, and stating an after-sale purchase price for the present lot of USD 18,750 or approx. EUR 21,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. 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. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, old fills.Dimensions: Height 89 cm (excl. stand) and 97 cm (incl. stand)Mounted on an associated stand. (2)Mahishasura was a shape-shifting king who was granted the power of immortality by Lord Brahma. After years of tormenting his people, he was vanquished by a manifestation of the demon-fighting form of Parvati known as Durga. Durga fought Mahishasura over a period of fifteen days during which he kept changing his shape into different animals. She finally vanquished him when he took the form of a buffalo, slaying him with her trident. It is just after this victorious moment that we see Durga depicted here, with the severed head of Mahishasura laying at Durga's feet and her four arms holding the conch shell, the wheel, the ball, and the club, symbolizing the powers given to her by Vishnu. It is an ancient story of good versus evil.Literature comparison:Compare with a stone image of a female deity from the Da Nang Museum of Cham Sculpture, exhibited in Arts of Ancient Viet Nam: From River Plain to Open Sea at the Houston Museum of Fine Arts, both statues showing an unusual and rare striated nimbus. Also, compare with a stone image of a reclining figure of Vishnu in the Da Nang Museum of Cham Sculpture, both statues showing very similar facial characteristics.Auction result comparison:Type: Closely RelatedAuction: Christie's New York, 13 September 2016, lot 249Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A gray sandstone figure of Durga Mahishasuramardini, Khmer, pre-Angkor period, Phnom Da style, 6th centuryExpert remark: This is an important comparable of Durga from an early period in Southeast Asian history, not only because it is “rare to find a sculpture of the demon-slaying goddess from the pre-Angkor period” (as noted in the catalog description for the lot), but also because it was in the same Christie's sale. Note the much smaller size (51.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE HEAD OF A MAN, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 241, no. 215.Agus Aris Munandar, Hitawasana: Studies on Indonesian Archeology, page 55, no. 6.Finely cast and modeled in the round with a hollow interior. The face with almond-shaped eyes below prominent lids and gently arched brows, centered by a long nose of trapezoidal section above a raised mouth, flanked by elongated ears.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 25 June 2002, showing an image of the present lot, and stating a purchase price of ITL 15,000,000 or approx. EUR 12,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition, commensurate with age. Some wear, minor losses, small nicks, light scratches, signs of weathering and erosion, encrustations. The head is entirely covered in a superb, naturally grown, malachite-green patina with small areas of azurite encrustation to the interior.Weight: 735.1 g Dimensions: Height 26 cmGoa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first led to the site in 1999 and brought back fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supports the dating of the bronze heads to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads, suggesting that the underground temple was most likely a water control system, while the heads should rather be placed within the tradition of East Java folk practices. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.

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

TWO LARGE WESTERN ASIATIC BANDED AGATE BEADS, 1ST MILLENNIUM BC OR EARLIERComprising a bead of slightly convex cylindrical form and of a dark-brown color with white and gray bands; and a triangular bead of oval section and of a warm gray color with white and ochre 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: Very good condition with minor wear, few small nicks, and light surface scratches.Weight: 37.7 g and 17.5 g Dimensions: Length 8.8 cm and 7.1 cmLiterature comparison: Compare a related banded agate bead, 4 cm long, dated 750-300 BC, in the British Museum, registration number 1894,1101.103. Compare a related group of beads, dated circa 2200-1800 BC, in the Los Angeles County Museum of Art, accession number M.2000.183.2.Auction result comparison: Type: Related Auction: Christie's New York, 6 December 2007, lot 370 Price: USD 7,500 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Bactrian gold and banded agate bead pendant, circa 5th century BCExpert remark: Note the length (9.1 cm) and gold sheet decorationAuction result comparison: Type: Related Auction: Christie's New York, 12 April 2022, lot 31 Price: USD 5,670 or approx. EUR 5,500 converted and adjusted for inflation at the time of writing Description: A Western Asiatic banded agate bead necklace, circa late 3rd-early 2nd millennium BC Expert remark: Note the closely related form and color of some beads in this necklace

A CELADON AND RUSSET YELLOW JADE 'BIRD' AMULET, HONGSHAN CULTUREChina, c. 3500-3000 BC. Of flattened form, carved with protruding round eyes and proud chest, the outstretched wings subtly detailed with grooves and ridges simulating feathers. The reverse pierced with an aperture for suspension. The translucent stone of a striking yellow and pale celadon color with icy white inclusions and russet patches and veins.Provenance: From the collection of Paolo Bertuzzi, by repute acquired in the European trade ca. 1990. 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 with expected old wear, few small nicks, some chips and obvious losses which have smoothened over time. The stone with natural fissures which may have developed into hairlines over time. Fine, unctuous patina.Weight: 36.1 g Dimensions: Height 4.6 cm Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 May 2019, lot 144Price: USD 32,500 or approx. EUR 37,000 converted and adjusted for inflation at the time of writingDescription: A green jade bird-form amulet, Neolithic period, Hongshan cultureExpert remark: Compare the closely related form. Note the size (3 cm).Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 22 May 2020, lot 5123Price: HKD 50,000 or approx. EUR 6,400 converted and adjusted for inflation at the time of writingDescription: A celadon jade 'bird' amulet, Neolithic period, Hongshan cultureExpert remark: Compare the closely related form and size (4.3 cm)紅山文化青玉鳥中國，公元前約 3500-3000 年。青黃色玉質，內部含有赤褐色紋理和冰白色内沁。玉鳥作正面展翅狀，頭部浮雕圓眼和尖喙，身軀朝上隆起，鳥尾末端平直，左右兩翼橫向開展，背部穿孔。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況極好，有磨損，少量小劃痕，有一些缺損隨著時間的推移已經平滑。帶有天然裂縫的石料，隨著時間的推移可能會發展成細紋。包漿細膩。 重量：36.1 克 尺寸：高 4.6 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年5月19日，lot 144 價格：USD 32,500（相當於今日EUR 37,000 ） 描述：新石器時代紅山文化玉鴞形珮 專家評論：比較非常相近的外型。請注意尺寸 (3厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2020年5月22日，lot 5123 價格：HKD 50,000（相當於今日EUR 6,400 ） 描述：新石器時代紅山文化青玉鳥 專家評論：比較非常相近的外型和尺寸 (4.3厘米)。

'CATS AT PLAY', MING DYNASTY, 1368-1644China, c. 15th-16th century. Ink and watercolors on very fine silk. Exquisitely painted with two cats in a landscape with leafy wild chrysanthemums and grasses, one mischievously grinning as it mounts the other from behind and places one of its paws on the other cat's head, who shows a rather disgruntled expression. Their mostly white fur is superbly rendered, their bushy tails in black and reddish-brown, respectively.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with some wear, soiling, few tiny losses. The old mounting with small chips to edges, wear and traces of use. Dimensions: Image size 32.6 x 25 cm, Size incl. mounting 43.7 x 49.5 cmThe ancient Chinese referred to cats as 'li-nu', which means a wild cat that has been tamed and domesticated. Since antiquity, cats have been employed by people in their familiar roles as pets and mouse catchers, but they sometimes have also served as models for artists, leaping into the world of art for all to see.Throughout much of its history, China has been an agricultural-based country, planting and raising grains and animals. Although the cat does not traditionally figure as one of these animals, The Book of Rites, written at the time of Confucius nearly 3,000 years ago, mentions a sacrificial offering to the cat made by the emperor at the end of every year in gratitude to the cats that protect the fields of grain by catching the hordes of rats and mice. Although the ancient Chinese did not venerate the cat as a deity like the ancient Egyptians, the rat-catching cat protecting grains was the annual recipient of a special ceremony of gratitude and thus enjoyed a status that indeed was higher than other household fowl or domesticated animals.It is commonly said that 'dogs bring wealth' and 'cats bring position'. The character for 'cat' in Chinese is also a homonym for “octogenarian”, so it is an auspicious metaphor blessing for long life and therefore an appropriate subject in painting. Several painters of cats have been mentioned in art historical texts, from the Tang to the Qing dynasties and beyond.Among all the Chinese emperors, Emperor Huizong of Song (1082-1135; reigned 1100-1125) is the most famous cat lover. There are multiple cat paintings that are thought to be original works by Huizong, including one which is considered to be an exceptionally detailed piece, handed down by the Mito branch of the Tokugawa clan.Expert's note: This work exemplifies a popular style of Ming painting developed from techniques established in the Song dynasty by imperial court artist Li Di (active 12th century). The plump contours of the cats' bodies are evoked with diffuse color washes, and their soft-textured fur is then meticulously rendered in painstaking brushwork.Literature comparison: Compare two related Ming-dynasty paintings of cats in the National Palace Museum, Taipei, one with similar wild chrysanthemums painted by the Xuande Emperor, image number K2A000421N000000000PAA, and the other by Shang Xi (fl. ca. 1430-1440), image number K2A002125N000000000PAA.Auction result comparison: Type: Related Auction: Christie's London, 6 November 2018, lot 160 Price: GBP 25,000 or approx. EUR 34,000 converted and adjusted for inflation at the time of writing Description: Anonymous, Ming (1368-1644), Cats and Butterflies Expert remark: Compare the closely related subject, style, and technique. Note the larger size (60.4 x 96.5 cm).明代《貓戲圖》中國，約十五至十六世紀，絹本水墨設色。精美繪有兩隻貓在花草叢中戲耍，一隻惡作劇地咧嘴笑著從後面騎上另一隻貓，一隻爪子放在另一隻貓的頭上，另一隻貓的表情頗為不悅。工筆細細描畫，濃密的尾巴分別是黑色和紅棕色。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、汙漬，微小缺損。木框邊緣有磕損、磨損和使用痕跡。 尺寸：畫面32.6 x 25 釐米，總43.7 x 49.5 釐米

A RARE AND IMPORTANT BRONZE RITUAL WINE VESSEL, EASTERN ZHOU DYNASTY, SHANXI OR HEBEI, CHINA, 7TH-5TH CENTURY BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, pages 252-253, no. 86. Superbly cast, the globular body rising to a short waisted neck with an everted rim, densely decorated with rectangular panels full of archaic scrolls divided by rope-twist bands, all neatly incised in fine relief. The bronze with a rich, solid, naturally grown patina with malachite and cuprite encrustation.Provenance: A noted private collection in New York, assembled since the 1920s. E & J Frankel Ltd., New York, early 1990s. Friedrich Georg Zeileis, acquired from the above, according to his publication. E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Very good condition, commensurate with age, displaying spectacularly. Extensive old wear, minor dents, small nicks, light scratches, minute losses, signs of weathering and erosion, soil encrustations. Absolutely original with no fills or repairs whatsoever! A Zhou-dynasty bronze in such a well-preserved state must be considered exceedingly rare.Weight: 2,628 g Dimensions: Height 23.5 cmSeveral names have been given to vessels of this shape. A variety of designations, including lei, ling, fou, and pou, appear in inscriptions cast on the everted rims of some of these bronzes, even vessels closely comparable in shape. This type first appeared in the late Shang/early Western Zhou period, and the first versions typically had a long neck and sharply angled shoulders. By the end of the eighth century, the necks on these vessels had become proportionately shorter, and the shoulders more rounded. With its sharply angled shoulders and short neck, the present vessel would appear to represent a transitional period in the vessel's development.Expert's note: According to the Zeileis publication, the present lot was judged by Dr. W. Thomas Chase, retired Head Conservator of the Department of Conservation and Scientific Research at the Arthur M. Sackler Gallery and the Freer Gallery of Art, as a “doubtless genuine bronze”, while it was with E & J Frankel. According to the same publication, the present lot was examined in 1998 by Dr. Anna Bennett, an archeological scientist and conservator, who found it to be irreproachably authentic as well as unusual in this form, and extremely rare.Literature comparison: Compare a related bronze fu with similar decoration, also without handles, illustrated by Jenny So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, page 217, no. 34. The author notes that vessels with 'twist-rope' panels can be found from the provinces Shanxi to Hebei. Compare a related bronze pou, 20.5 cm high, dated to the Eastern Zhou dynasty, 7th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.277, illustrated by Jenny So, ibid., p. 210-213, no. 32. A lei without handles and with related dragon scroll cast on the shoulder, but undecorated on the lower body, from Henan Xinyang Guangshan Baoxiangsi G1, is illustrated by Jenny So, ibid., p. 134, fig. 13.2, where it is dated to the second quarter of the 6th century BC.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2013, lot 1113 Price: USD 663,750 or approx. EUR 771,000 converted and adjusted for inflation at the time of writing Description: A fine and rare bronze ritual wine vessel, lei, Spring and Autumn period, early 7th century BCExpert remark: Compare the closely related form and related decoration. Note the slightly larger size (29.5 cm).Auction result comparison: Type: Related Auction: Christie's Amsterdam, 6 November 2007, lot 334 Price: EUR 86,650 or approx. EUR 125,000 adjusted for inflation at the time of writing Description: An archaic bronze ceremonial wine vessel, fou, Eastern Zhou dynastyExpert remark: Compare the related form and decoration. Note the animal handles and slightly larger size (29.7 cm).西元前七至五世紀重要青銅酒器，山西或河北敞口外翻，束頸，豐肩，斂足，圈足。器身地飾鳥紋與繩紋帶。豐富、堅固、自然的銅銹，帶有孔雀石色和赤銅色結殼。造型美觀，紋飾謹嚴，鑄造精良。出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze)》，1999年，第252-253頁，圖 86。 來源：知名紐約私人收藏，建立於上世紀二十年代；紐約E & J Frankel Ltd.藝廊，上世紀九十年代初；Friedrich Georg Zeileis購於上述藝廊，並收編於他的出版物。 品相：品相極好，大量磨損、輕微凹痕、小刻痕、輕微劃痕、微小缺損、風化和侵蝕跡象、土壤結殼。無任何填充或維修！如此保存完好的周代青銅器，實屬難得一見。 重量：2,628 克 尺寸：高 23.5 釐米

A RARE GILT COPPER ALLOY FIGURE OF A STANDING MAITREYA, NEPAL, 14TH CENTURYFinely cast standing on a circular lotus base with tiered beaded rims, his left hand raised in front of the chest and holding a lotus stem coming to full bloom at the shoulder topped by a kundika, his right pendent and similarly holding a lotus stem. Clad in a sheer dhoti incised with foliate designs and flaring at the sides, richly adorned with beaded and floral jewelry with inlays of turquoise, lapis lazuli, and coral.Provenance: Jacques How Asian Art, Brussels, Belgium. A noted German private collection, acquired from the above. The base with an old label from Jacques How Asian Art. Jacques How-Choong has been collecting and dealing in Chinese and Southeast Asian art for many years, specializing in particular in Himalayan art and ritual objects, rare early Buddhist art, focusing on Dali Kingdom sculpture, as well as archaic works of art. Several museums, institutions, dealers, and private collectors are among his clientele. He is a distinguished member of Asian Art in Brussels and also exhibits annually at Parcours des Mondes in Paris.Condition: Good condition with some wear, particularly to gilt, minuscule nicks, minor dents, light scratches. The inlays possibly replaced at different times over many centuries. The figure leaning. The base sealed. The back with a small inlaid bronze plaque of rectangular shape for ritual purpose.Weight: 244.3 gDimensions: Height 11.2 cmWith an old fitted wood stand, possibly zitan, cleverly serving to compensate the leaning posture of the figure. (2)His serene face with heavy-lidded almond-shaped eyes below raised arched brows centered by a rectangular urna, further with a broad nose and full lips forming a subtle smile, the hair piled in a tall chignon topped with a jewel behind the foliate tiara.The presence of the kundika vase crowning the resplendent lotus flower by his left shoulder identifies this idealized young prince as the future Buddha Maitreya. Although equally vital to popular Buddhist practice, standing Maitreya images are relatively rare by comparison to more common bronzes of Avalokiteshvara Padmapani. This most elegant form of a standing bodhisattva maintained its popularity in Nepal until at least the 16th century, being applied to various deities including Manjushri.Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2016, lot 201 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a standing tara, Nepal, 14th century Expert remark: Compare the related pose, circular lotus base, and inlaid gemstones. Note the size (13.3 cm).十四世紀尼泊爾罕見彌勒佛鎏金銅像彌勒佛立於圓形蓮座上，邊緣有連珠紋，左手舉於胸前，手持一枝盛開於肩部的蓮花，上有一個淨瓶，右手垂下，同樣手持一朵蓮花。身穿飾有葉狀圖案並在兩側張開的法衣，鑲嵌有綠松石、青金石和珊瑚。面容平靜安詳，雙眼微垂，眉毛之間有白毫，闊鼻，嘴唇豐滿，頭髮盤成一個高高的髮髻，在葉狀頭飾後面鑲嵌著一顆寶石。來源：比利時布魯塞爾Jacques How Asian Art藝廊；知名德國私人收藏。購於上述藝廊。底部有 Jacques How Asian Art藝廊標籤。Jacques How-Choong多年來一直從事中國和東南亞藝術品的收藏和交易，尤其擅長喜馬拉雅藝術品和法器、稀有的早期佛教藝術品，專注於大理王國雕塑，以及古代藝術品。一些博物館、機構、經銷商和私人收藏。家都是他的客戶。他是布魯塞爾亞洲藝術協會的傑出成員，並且每年都會在巴黎的 Parcours des Mondes 舉辦展覽。 品相：狀況良好，有一些磨損，特別是鍍金方面，有微小的劃痕和輕微的凹痕。鑲嵌物可能在過去更換過。造像傾斜。 底座密封。背面鑲嵌一小塊長方形青銅牌，供祭祀之用。 重量：244.3 克 尺寸：高 11.2 厘米 相配木底座，或爲紫檀，巧妙地彌補了人物的傾斜姿勢。(2) 造像左肩上的蓮花淨瓶，表明他就是未來的彌勒佛。儘管對流行的佛教修行同樣重要，但與更常見的觀世音蓮花生青銅造像相比，站立的彌勒佛像相對較少。此類優雅立像造型至少在十六世紀之前在尼泊爾一直很受歡迎，被應用於包括文殊菩薩在內的各種菩薩。

AN AGATE PEBBLE WEIGHT, SONG TO MING DYNASTYChina, 13th-15th century. The translucent stone of cream and amber color with brown shadings, alternating fingerprints, bands of ochre, brown and gray, and an area of crystalline striations. The stone is sensitively carved, masterfully incorporating both polished and rough areas and exposing the crystalline structure underneath. Provenance: From the private 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 expected old wear and traces of extensive usage, some erosion, minuscule nicks here and there, few natural fissures, and inherent pitting.Weight: 292.7 g Dimensions: Length 7.5 cmExpert's note: The lapidary, after finding the exact right stone for their task, carved and polished as little as possible, letting nature do most of the work, to achieve the greatest possible effect and highlight the stone's spectacular features.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke, Vienna, 15 October 2021, lot 30Price: EUR 4,298 or approx. EUR 4,700 converted and adjusted for inflation at the time of writingDescription: A rare agate 'recumbent hare' pebble, Song to early Ming dynastyExpert remark: Compare the closely related form and color. Note the different size (9 cm).宋至明瑪瑙山子鎮紙中國，十三至十五世紀。半透明的琥珀色瑪瑙，帶有棕色陰影、交替赭石、棕色和灰色紋理帶，以及結晶條紋區域。瑪瑙石經過巧妙地結合了拋光和啞光區域，並露出下面的晶體結構。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有預期的磨損和廣泛使用痕跡、一些侵蝕，大面積微小的刻痕，輕微自然裂縫和固有的點蝕。 重量：292.7 克 尺寸：長7.5 厘米 專家注釋: 寶石工匠在找到合適的石料後，盡可能少地進行雕刻和拋光，讓大自然完成大部分工作，以達到最大可能的效果並突出石料的自然特徵。 拍賣結果比較： 形制：非常相近 拍賣：維也納Galerie Zacke，2021年10月15日，lot 30 價格：EUR 4,298（相當於今日EUR 4,700） 描述：宋至明初罕見瑪瑙臥兔山子 專家評論：比較非常相近的外型和顏色。請注意尺寸不同(9厘米)。

A LARGE LINGBI SCHOLAR'S ROCK, GONGSHI, QING DYNASTY OR EARLIERChina, 1644-1912 or earlier. The organic form well-balanced, with furrows and hollows as well as two large central perforations. The stone of a deep gray color overall and with distinct calcified veining.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: Overall good condition. The stone with minor dents, losses and cracks, as well as natural fissures and inclusions. Extensive wear, naturally grown patina overall. The wood base with expected minor age cracks, small chips, and light surface scratches.Dimensions: Height circa 75 cm (excl. stand), circa 84 cm (incl. stand)With an old fitted wood stand supported on four short feet and carved with a naturalistic surface on top imitating rockwork. (2) Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2011, lot 1301Price: USD 35,000 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: An unusual large black lingbi rock in the form of a standing phoenixExpert remark: Compare the related form and color of the stone. Note the size (97 cm).清代或更早大型靈璧供石中國，1644-1912年或更早。供石美感平衡，有溝槽和凹陷以及兩個大的穿孔。整體呈深灰色，具有明顯的鈣化脈絡。 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：總體狀況良好，有輕微凹陷、缺損和裂紋，以及天然裂隙，大面積磨損，整體自然包漿。木質底座有輕微老化裂縫、小缺損和輕微的表面劃痕。 尺寸：高約75 厘米 (不含底座)，約 84 厘米 (含底座) 一個木底座，四短足，並模仿岩石的頂部，表面雕刻自然。(2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年9月15日，lot 1301 價格：USD 35,000（相當於今日EUR 44,500） 描述：靈碧石 專家評論：比較相近的外形和石色。請注意尺寸 (97 厘米)。

A THREE-COLOR LACQUER 'CHUN' SPRING BOX AND COVER, QIANLONG PERIODChina, 1736-1795. The top of the cover with a circular panel that is deeply carved through several layers of cinnabar, orange and black lacquer on the diapered ground with a bowl of precious objects radiating rays illuminating the large character Chun (Spring) centered with a roundel enclosing Shoulao flanked by two boy attendants, all enclosed by a key-fret border. The rounded sides of the box and cover are carved with further key-fret designs as well as large floral blossoms alternating with shaped panels enclosing flowers and rockwork, the foot with a key-fret band. The interior and base are lacquered black. Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years. The base with an old Christie's label, '2554', a lacquered inventory number '214.14.QT', and an old label, 'Antique cinnabar cared [sic] lacquer treasure box. 18th century. Qing dynasty'. Condition: Good condition with expected old wear from centuries of handling, natural age cracks, small nicks and light scratches, few losses, minor soiling.Weight: 1,372 g Dimensions: Diameter 25.5 cmThe form and design of the chun-character lacquer boxes follows a Jiajing period prototype. Boxes from this group were so admired by the Qianlong Emperor that he ordered a number of copies during his reign, and they were frequently used to hold food presented as a ceremonial gift at the lunar new year or for birthdays.The motifs decorating this box and others like it are all very auspicious. The character Chun (Spring) on the cover is also a metaphor for youth. Combined with the overlaying roundel of Shoulao, the God of Longevity, the box would have represented wishes for eternal youth.Literature comparison: Qianlong period examples, such as the present lot, are extant in the Imperial collections in Beijing and Taipei: see the example now in the National Palace Museum, Taipei, image number K1H000047N000000000PAF, illustrated in Special Exhibition of Palace Lacquer Objects, Taipei, 1981, catalogue no. 67, and in the Palace Museum, Beijing, illustrated in Lacquer, The Complete Collection of the Treasures of the Palace Museum, vol. 8, 1999, pl. 172. Compare another Qianlong period example, 52.7 cm diameter, from the Avery Brundage Collection, in the Asian Art Museum of San Francisco, object number B60M317.a-.b, illustrated by Sir Harry Garner in Chinese Lacquer, London, 1979, pl. 90.Auction result comparison: Type: Closely related Auction: Christie's London, 10 November 2015, lot 175 Price: GBP 68,500 or approx. EUR 99,500 converted and adjusted for inflation at the time of writing Description: A carved polychrome lacquer 'spring' circular box and cover, Qianlong period Expert remark: Compare the closely related form, motif, and three-color lacquer decoration. Note the slightly larger size (30.8 cm).Auction result comparison: Type: Closely related Auction: Bonhams London, 8 November 2012, lot 27 Price: GBP 97,250 or approx. EUR 148,000 converted and adjusted for inflation at the time of writing Description: An imperial carved three-color lacquer 'chun' box and cover, Qianlong Expert remark: Compare the closely related form, motif, and three-color lacquer decoration. Note the slightly larger size (31.1 cm).乾隆時期剔彩春壽蓋盒中國，1736-1795年。寶盒呈圓形，子母口，矮壁淺圈足，底部及盒內髹黑漆。外壁通體剔彩髹朱、黃、黑三色漆，以黃、黑漆作錦地，朱漆“春”為主題紋飾。蓋面圓形開光，開光內雕聚寶盆，盆內滿盛珍寶，映射出萬道霞光。上托“春”字，春字中心圓形開光，居中壽星端坐於青松下。 “春”字兩側各雕蕉葉紋，四周襯托彩雲。盒壁上下各有四組開光，內雕纏枝花卉、蝙蝠與壽字，有“福壽”之意。開光外纏枝蓮紋。 來源：英國倫敦紳士收藏，收藏亞洲藝術至少五十年，保存至今。底座有佳士得拍賣標籤上，注明 '2554'，一個收藏編號 '214.14.QT'，一個老標籤 'Antique cinnabar cared [sic] lacquer treasure box. 18th century. Qing dynasty'。 品相：品相良好，使用痕跡，自然老化裂紋、小刻痕、淺劃痕和輕微缺損、輕微污漬。 重量：1,372 克 尺寸：直徑 25.5 厘米

A FAMILLE ROSE 'DOCTOR'S VISIT' DISH, BY CORNELIUS PRONK, EARLY QIANLONG PERIODChina, circa 1738-1740. The shallow dish painted in gilt and bright enamels after a design by Cornelius Pronk entitled 'The Doctor's Visit to the Emperor', the central roundel with a scene of four Chinese noblemen conversing in a fenced garden below a blossoming tree, a large Ming dish on the table before them and a peacock at their side, enclosed by a gilt border with geometrical design, the rim with fish encircled by scalloped green bands, interspersed with birds standing in grasses and diaper pattern, the rim lined in gilt.Provenance: S. Marchant & Son, London, 1999. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant & Son, London, dated 10 June 1999, describing the piece as a famille rose plate painted after a design by Cornelius Pronk with the scene of the 'doctor's visit', dating it to the Yonzheng period, 1723-1735, and stating a purchase price of GBP 6,500 or approx. EUR 15,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Label 'Marchant London Yongzheng 1723-1735' to base. S. Marchant & Son was founded in 1925 by Samuel Sydney Marchant (1897-1975). It held a large stock of Asian art, but also dealt in arms and armor, paintings, and continental porcelain. In 1953, Richard Marchant joined his father and from that time onwards the partnership specialized in Asian art. Nowadays the company's focus is on Imperial Chinese Ming and Qing porcelains, jades, cloisonne, pottery, and works of art. Condition: Very good condition, the enamels still fresh and crisp, minor wear to the gilt and enamels mostly along the rim, and manufacturing flaws including pitting, dark spots, glaze recesses, and light warping.Weight: 522 g Dimensions: Diameter 25.8 cmThe scene, entitled 'The Doctors' or 'The Doctors Visiting the Emperor', was designed by Pronk in 1735 and sent to China in 1736, arriving only at the end of 1737. The finished products were sent back to the Netherlands at the end of 1738 and in 1739. A second, simpler version of the design with only three figures was sent to China in 1739. This scene was originally designed after a motif in traditional Chinese iconography, illustrating the legend of the woodcutter Wang Shi who encountered three Daoist gods playing chess in a cave.Only one of Cornelis Pronk's four official commissions for the Dutch East India Co., an original watercolor design, can still be seen in the Rijksmuseum, Amsterdam. While the experiment in commissioned designs was quickly discontinued, dinner sets, tea pieces and large jars with covers were made with the 'The Doctors' motif. See C.J.A. Joerg, Porcelain and the Dutch China Trade, pp. 99-101, and Howard & Ayers, op. cit., pp. 193-194.Literature comparison:Compare a near identical Pronk 'Doctor's visit' dish, ca. 1738, in the collection of the Victoria and Albert Museum, accession number C.43-1912.Auction result comparison:Type: Near identicalAuction: Christie's New York, 17 January 2019, lot 541Price: USD 6,875 or approx. EUR 7,700 converted and adjusted for inflation at the time of writingDescription: A famille rose 'Pronk doctors' large dish, Qianlong period, circa 1738-1740Expert remark: Compare the near identical design, crisp enamels, and gilt embellishments. Note the size (32.1 cm).乾隆早期粉彩眾博士圖中國，約1738-1740年。折沿，淺盤，圈足。盤面正中開光粉彩描繪由荷蘭的畫家考納利·普朗克（Cornelis Pronk）設計的《眾博士圖》。四位博士，其中三位圍坐在放有青花瓷盤的桌子周圍，另外一位博士站在他們身後高談闊論。畫面左邊圍欄上站立著一隻孔雀，右側的樹木枝頭上棲息著一隻鳥。折沿繪有水禽一組，其間飾以菱形開光，內各飾一條顏色各異的魚。盤邊裝飾六片黃色花口形菱花錦地紋。 來源：倫敦S. Marchant & Son藝廊，1999年；Richard 與 Maxine Markell，購於上述藝廊。隨附一份S. Marchant & Son 1999年6月10日出具的原始發票複印件，上面描繪此盤粉彩描繪仿考納利·普朗克（Cornelis Pronk）設計的《眾博士圖》，為雍正時期，1723-1735年，售價GBP 6,500 ，相當於EUR 15,500 (根據現今通貨膨脹率)。底部可見標籤 'Marchant London Yongzheng 1723-1735' 。S. Marchant & Son藝廊由 Samuel Sydney Marchant(1897-1975) 與1925年成立。該藝廊擁有大量亞洲藝術品，同時也經營武器和盔甲、繪畫和瓷器。1953 年，Richard Marchant加入了他父親藝廊行列，從那時起，藝廊專門從事亞洲藝術。 如今，該藝廊的重點是中國明清宮廷瓷器、玉器、景泰藍、陶器和工藝品。品相：狀況極好，琺瑯仍然鮮艷，邊緣的描金和琺瑯有輕微磨損，製造缺陷包括點蝕、黑點、釉面凹陷和輕微翹曲。 重量：522 克 尺寸：直徑 25.8 厘米

A RARE LACQUERED AND PAINTED WOOD TOMB GUARDIAN FIGURE, ZHENMUSHOU, WARRING STATESChina, Chu Kingdom, 475-221 BC. The monstrous head with round bulging eyes, shaped brows, a long protruding tongue, and a curved neck inserted into a central mortise to the separately carved square base with raised geometric segments, the head with two further mortises to the sides to hold the separately carved antlers, all with black-painted scrolling designs.Provenance: Homo Sapiens di Giannozzo Pandolfini, Firenze, Italy, 2012. Paolo Bertuzzi, acquired from the above. A copy of the original signed invoice from Homo Sapiens di Giannozzo Pandolfini, dated 21 January 2012, dating the present lot to the Warring States period, c. 4th century BC, stating it was duly imported and collected at Venice Airport on 7 December 2010, registered with number 2109 on 27 January 2011, and stating a purchase price of EUR 4,000 or approx. EUR 5,000 (adjusted for inflation at the time of writing), accompanies this lot. 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: Good condition, commensurate with age. Extensive wear, losses, chips, age cracks, nicks, scratches, wear to lacquer and pigments, signs of weathering and erosion, old repairs and fills, all as expected from a wood figure of more than 2,000 years of age.Weight: 5,090 g (incl. stand)Dimensions: Height 69.5 cm (incl. stand)With a modern metal stand. (2)This large menacing creature with antlers and a protruding tongue is a guardian (zhenmushou), often found in tombs of the Chu culture in the southern Chinese provinces of Hunan, Henan, and Hubei during the Warring States through Western Han periods. They are found placed in the chamber of the tomb, closest to the head of the tomb occupant and facing inward toward the occupant, in order to protect the deceased. Chu culture is renowned for its elaborately carved and painted lacquer objects; designs similar to the ones on this mythical guardian are also found on Chu textiles and inlaid bronzes of the same period.The southern state of Chu, which dominated the area of the great lakes north of the Yangzi river, is renowned for its complex views of the spirit world recorded in the later Han period text Shanhaijing ('Classic of the mountains and seas'). It seems likely that this southern area, which had employed figures of animals for its bronze vessels, retained a deep-seated interest in representing form in three dimensions. In this heavily forested area, the abundance of wood made wooden sculpture possible.Literature comparison:Compare a closely related lacquered and painted wood tomb figure, 105.7 cm high, also dated to the Warring States period, in the Brooklyn Museum, accession number 1999.20a-d. Compare a related wood guardian figure, 76.2 cm high, dated to the Eastern Zhou dynasty, c. 4th century BC, in the British Museum, registration number 1950,1115.1.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 20 November 2002, lot 414 Price: EUR 5,975 or approx. EUR 9,200 adjusted for inflation at the time of writing Description: A wood tomb spirit, Warring States Expert remark: Compare the closely related form, square base, and antlers. Note that this piece represents a slightly different type with two guardians in mirror image. Note the larger size (95 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 4 June 1992, lot 143 Price: USD 35,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A rare painted wood dragon-form totem and base, Warring States Expert remark: Compare the closely related concept, design, form, material and painting. Note the smaller size (55.9 cm).戰國時期楚式彩繪木雕鎮墓獸中國，公元前475-221 年，楚國。巨大的頭部雙目圓睜，眉毛上揚，長長的突出的舌頭和彎曲的脖子插入中央榫眼，單獨雕刻的帶有凸起幾何部分的方形底座，頭部兩側有兩個榫眼以固定單獨雕刻的黑色鹿角。 來源：義大利弗洛倫薩Homo Sapiens di Giannozzo Pandolfini藝廊，2012年；Paolo Bertuzzi購於上述藝廊。隨附2012年1月21日Homo Sapiens di Giannozzo Pandolfini藝廊出具的發票複印本，上面斷代為戰國時期，公元前約四世紀，並證明2010年12月7日在威尼斯機場正式進口，并於2011年1月27日登記號 2109，售價EUR 4,000 或相當於 EUR 5,000 (根據通貨膨脹率)。 品相：品相良好，大面積磨損、缺口、磕損、老化裂縫、刻痕、劃痕、漆面和顏料磨損、風化和侵蝕的跡象、小修補和填充。 重量：5,090 克 (含底座) 尺寸：高 69.5 厘米 (含底座) 現代金屬支架。 (2)

A 'CHILONG' JADE WEIGHT, EMBELLISHED WITH A GILT-BRONZE 'DRAGON' PLAQUE, HAN DYNASTYChina, 2nd century BC - 2nd century AD. The jade carved around the sides with two writhing chilong and a bear clutching their tails. The top fitted with an openwork bronze roundel in form of a sinuously coiled dragon. The translucent stone of a pale creamy-white color with veins and shadings of lavender-gray, white, and brown.Provenance: La Balaustra Antichita, Bologna, Italy. Paolo Bertuzzi, acquired from the above in 1999. A copy of the original certificate from La Balaustra Antichita, dated 5 April 1999, written and signed by Giuliana Zanetti, describing the piece as a jade group of mythical beasts with a gilt bronze fitting in form of a dragon, dating from the Han dynasty, 2nd century AD, accompanies this lot. 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: Good condition with minor wear, the bronze fitting with small cracks, losses, remnants of gilt, and a fine naturally grown patina with malachite encrustations overall. The jade with wear, few small nicks, minuscule losses, iron sediments, remnants of old adhesive, and natural fissures, some of which may have developed into thin hairline cracks. The jade and the bronze possibly associated.Weight: 209.4 g Dimensions: Length 7.7 cm漢代玉螭龍鎮紙，裝飾鎏金銅龍紋牌中國，公元前二世紀至公元二世紀。玉石四周雕刻著兩條螭龍和一隻抱住尾巴的熊。鎮紙頂部鑲嵌著鏤空龍紋銅牌。白色的半透明玉石，帶有淡紫色灰色、白色和棕色的紋理和陰影。 來源：義大利博洛尼亞La Balaustra Antichita；Paolo Bertuzzi 1999年購於上述藝廊。隨附一份1999年4月5日 La Balaustra Antichita 出具的原始發票複印本一份，Giuliana Zanetti書寫並簽名，描述此件拍品為玉獸龍紋銅牌組，漢代。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：品相良好，輕微磨損，銅配件有小裂紋、脫落、鍍金殘留物，自然包漿帶有綠色結殼。玉質磨損，小缺口，輕微缺損，有鐵質沉澱物，有舊膠殘留，天然裂隙，有的已發展成細絲狀裂紋。 重量：209.4 克 尺寸：長7.7 厘米

A RARE BRONZE FIGURE OF A RAT, DONG SON CULTUREVietnam, 500 BC to 300 AD. Well cast standing foursquare with the head slightly raised and ears pricked, the tail pointing upwards, the face with bulging eyes and open mouth.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Some repair and touchups as generally expected from ancient Dong Son excavations. Losses, fissures, erosion, and corrosion. Minor casting flaws. Overall, still good condition, especially for such a rare piece. Fine malachite-green patina with brown encrustations overall.Weight: 164.8 g Dimensions: Length 12 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.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 10 March 2022, lot 285Price: EUR 3,539Description: A rare bronze fish and mythical beast, Dong Son culture東山文化罕見銅鼠擺件越南，公元前500 至公元300 年。銅鼠呈站姿，四足着地，頭略微抬起，耳朵豎起，尾巴朝上，眼睛張開。 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：一些修復，正如古代東山文化挖掘所普遍預期的那樣。缺損、裂縫、侵蝕和腐蝕，輕微鑄造缺陷。總體而言，品相良好。精美的孔雀石綠銅鏽，整體呈棕色結殼。 重量：164.8 克 尺寸：長 12 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。 拍賣結果比較： 形制：相近 拍賣：維也納Galerie Zacke，2022年3月10日，lot 285 價格：EUR 3,539 描述：東山文化魚與神獸青銅擺件

A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)

A CLOISONNE ENAMEL MINIATURE TRIPOD CENSER, DING, QIANLONG TO JIAQING PERIODChina, 1736-1820. Of circular form, rising from three elongated, tapering legs, the galleried rim set with two upright loop handles decorated with C-scrolls, the body decorated with kuilong scrolls, lotus blossoms, and scrolling vines issuing flowerheads, the legs depicting scrolls and flowers, all above a turquoise ground. The body with a gilt band above the legs and a gilt rim.Provenance: Collection of Anton Exner, Vienna, thence by descent. Galerie Zacke, Vienna, acquired from the above. An Austrian private collection, acquired from the above before 1999. A collection number 'SI [XX]' lacquered to the rim. A copy of an excerpt of the Galerie Zacke description from before 1999, confirming the dating and provenance above, accompanies this lot. Anton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art - particularly Chinese and Japanese - from all epochs. During a long sojourn in Canada and the USA from 1908 to 1910, he made contact with Chinese dealers and later acquired handicrafts and Japanese silk blouses at various Asian ports, which formed the basis for his future business activities in Vienna. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for around a quarter of a century. From the early 1920s, he lent objects for all major exhibitions of Asian art in Vienna. Condition: Very good condition with minor wear, few nicks and scratches, little bruising, small chips, minor losses to the enamels, and manufacturing flaws including pitting.Weight: 397.2 g Dimensions: Height 15.6 cmAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 1 June 2015, lot 663Price: HKD 112,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A small gilt-bronze and cloisonne enamel archaistic tripod censer, Qing dynasty, 18th/19th centuryExpert remark: Compare the related form. Note the smaller size (10 cm) and cover.乾隆至嘉慶掐絲琺瑯三足鼎式爐中國，1736-1820年。鼎式爐，雙沖耳，三圓柱形足向下變尖。爐身藍地纏枝蓮花，飾有夔龍紋。 來源：維也納Anton Exner，保存至今；維也納Galerie Zacke藝廊，購於上述藝廊；奧地利私人收藏，購於上述藝廊，購於1999年前。邊沿處有收藏編號 'SI [XX]' 。隨附一份1999年前Galerie Zacke目錄摘要複印本，確認時間和來源。Anton Exner (1882-1952) 是兩次世界大戰期間維也納最重要的東亞藝術經銷商、收藏家和評估員。他的收藏包括亞洲藝術的所有分支——尤其是中國和日本——來自各個時代。1908 年至 1910 年在加拿大和美國逗留期間，他接觸了中國商人，後來在亞洲各個港口收購了手工藝品和日本絲綢女衫，為他日後在維也納的商業活動奠定了基礎。從那以後，他幾乎每年都去遠東旅行。奧地利拍賣行 Dorotheum 任命他為亞洲藝術的宣誓評估員，他擔任這一職位大約25年。從二十年代初開始，他為維也納所有主要的亞洲藝術展覽出借物品。 品相：狀況極好，有輕微磨損、少許刻痕和劃痕、小缺口、少量琺瑯缺損以及包括點蝕在內的製造缺陷。 重量：397.2 克 尺寸：高15.6 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年6月1日，lot 663 價格：HKD 112,500（相當於今日EUR 15,500） 描述：清十八 / 十九世紀銅胎掐絲琺瑯仿古紋雙耳三足蓋爐 專家評論：比較相近的外形。請注意尺寸較小 (10 厘米) 和爐蓋。

AN EXCEEDINGLY RARE PAIR OF INCISED YELLOW-GLAZED 'FLORAL MEDALLION' BOWLS, KANGXI MARKS AND PERIODChina, 1662-1722. Each bowl is incised on the exterior with four floral roundels divided by cloud scrolls above petal lappets around the foot, the interior with another floral medallion in the center enclosed within a double circle, covered inside and out with an egg-yolk yellow glaze, save for white base. Each bowl with an underglaze-blue six-character mark within a double circle da Qing Kangxi nianzhi and of the period. (2)Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. Each bowl with an old collection label, 'VWS'. One bowl with an old label, '62'. French trade, acquired from the above. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Superb condition with only minor wear and firing irregularities: The first bowl with a faint glaze line to the rim, the second bowl with three faint glaze lines to the rim, all of which are inherent to the manufacture. None of these glaze lines are visible to the naked eye, or even under the strongest blue light. Also, they are not noticeable to the touch.Weight: 162.1 g and 147.6 g Dimensions: Diameter 12 cm (each)Literature comparison: Compare a closely related yellow-glazed incised bowl, 12 cm high, also with a Kangxi mark and of the period, sold at Christie's London, 13 December 1976, lot 55, and illustrated by Regina Krahl, Chinese Ceramics from the Gulexuan Collection, p. 128, no. 97. A bowl of this design from the Elphinstone collection in the Percival David Foundation, London, is listed in the Foundation's Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. A599. Another bowl of this design from the Kostolany collection was included in the exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, Oriental Ceramic Society, London, 1948, cat. no. 188.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 26 November 2014, lot 3291 Price: HKD 325,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An incised yellow-enameled 'floral medallion' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the closely related form, decoration, Kangxi mark, and size (11.8 cm). Note that the lot comprises only one bowl.康熙款及年代一對黃釉暗刻團花碗中國，1662-1722年。碗直口，深腹，圈足略高，器型規整。內外滿施黃釉為地。口沿外及足牆均飾兩道弦紋，外壁以暗刻技法飾四朵團花，間以如意雲紋，近底足刻變體蓮花瓣紋，紋飾簡潔生動。圈足內白地青花雙圈“大清康熙年製”款。 (2) 來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。 品相：品相極佳，只有輕微磨損和燒製不規則：一個碗的邊緣有一條微弱的釉裂，第二個碗的邊緣有三條輕微的釉裂，這些釉紋沒有一條是肉眼可見的，甚至在最強烈的藍光下也是如此。此外，它們觸摸起來並不明顯。 重量：分別爲162.1克與147.6克 尺寸：直徑12 厘米 (每個)

'SCHOLAR UNDER A WUTONG TREE', BY ZHANG DAQIAN (1899-1983)Exquisitely painted with a bearded scholar seated on a bamboo chair, wearing loose-fitting robes and a tall cap, under two blossoming wutong trees, their leaves painted in shades of blue with virtuosic skill, all above a squatting attendant fanning a small oven to prepare some tea.China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper right, signed 'Zhang Daqian Yuan', and titled 'Scholar under a Wutong Tree', two seals of the artist, 'Zhang Yuan siyin' and 'Daqian Jushi'. Lower left, one seal.Provenance: The Oliver Impey Collection of Modern Paintings. 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: Good condition with some wear, creasing, soiling, small losses, minor touchups, the roller caps lost. Dimensions: Image size 98 x 51 cm, Size incl. mounting 208 x 62.4 cmZhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally active as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Zhang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon and affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 November 2021, lot 1127Price: HKD 275,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Scholar Looking for Inspiration Expert remark: Compare the closely related subject with a similarly painted tree. Note the size (107 x 41.2 cm).張大千(1899-1983)《梧桐樹下翁》中國，紙本水墨設色，掛軸。梧桐樹下，老翁坐在竹椅上，身穿寬鬆長袍，頭戴高帽，一旁蹲著的小童正扇著小爐燒水，準備茶水。筆墨灑脫，工寫結合。 款識：高梧三雙玉，綠蔭如秋水，下有兀坐翁，妙在澄懷裏。爰。鈴印：張爰之印，大千居士。 來源：Oliver Impey 現代繪畫收藏。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況良好，有一些磨損、摺痕、污漬、小缺損、小修補、掛軸蓋丟失。 尺寸：畫面98 x 51 厘米，總208 x 62.4 厘米

AN ARCHAISTIC SPINACH-GREEN JADE 'TAOTIE' BANGLE, LATE MING DYNASTYChina, 16th - early 17th century. Well carved in low relief around the exterior sides with a continuous design of five taotie masks framed by horizontal and vertical key-fret borders. The opaque stone of a dark green tone with gray veins and icy inclusions.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. The interior sides with an old label, '327'. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art.Condition: Excellent condition with some old wear, natural inclusions, and microscopic nicks here and there. Good, unctuous feel overall.Weight: 120.6 g Dimensions: Diameter 8.3 cmAuction result comparison: Type: Related Auction: Christie's New York, 21 March 2013, lot 813 Price: USD 8,750 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A greenish-yellow and brown jade bangle, Ming dynasty Expert remark: Compare the closely related form, manner of carving with similar key-frets, and size (8.3 cm).明末碧玉饕餮紋手鐲中國，十六至十七世紀初。外壁淺浮雕五個饕餮紋，深綠色不透明石料，帶有灰色紋理和內沁。 來源：Robert Rousset私人收藏, 購於1935年前，保存至Jean-Pierre Rousset。內有舊標籤'327'。Robert Rousset曾是商船的無線電通信官。 他是法國巴黎的中國藝術市場最傑出的先驅之一。他的父親是一名保險代理人，會帶他去 Hôtel Drouot拍賣行，孩提時代他就開始購買藝術品。他對亞洲藝術的真正熱情始於 1920 年代，當時清朝沒落，他與瑞典著名亞洲藝術史學家和鑑賞家 Osvald Siren 一起被派往北京。隨後，他成為二十世紀初由 Blazy 兄弟在巴黎創立的 Compagnie de la Chine et des Indes 旗下中國古董的主要合作者之一。1929 年股市崩盤後，他有機會收購了這家公司。在他負責瓷器的妹妹 Suzanne的帶領下，他們發展了這項業務，並成為法國最重要的經銷商之一，向最大的博物館，包括吉美博物館和大都會藝術博物館，出售古董。品相：狀況極佳，有一些磨損、天然內含物和微小刻痕。整體感覺細膩。 重量：120.6 克 尺寸：直徑8.3 釐米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年3月21日，lot 813 價格：USD 8,750（相當於今日EUR 10,000） 描述：明青玉銅錢紋鐲 專家評論：比較非常相近的外形，相似的雷紋雕刻和尺寸(8.3毫米)。

A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, page 50, no. 46.Oxus 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 yellow and 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: 5,181 gDimensions: Height 23.5 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: Closely relatedAuction: Sotheby's New York, 22 October 2003, lot 464Price: USD 6,600 or approx. EUR 9,600 converted and adjusted for inflation at the time of writingDescription: A Bactrian marble ritual object, 3rd millennium BCExpert remark: Compare the closely related form and color of the marble. Note the size (38.1 cm).

A VERY FINE FAMILLE ROSE 'BOYS AT PLAY' VASE, MEIPING, REPUBLIC PERIODChina, 1912-1949. Of ovoid form tapering towards the foot, surmounted by a short waisted neck, finely painted in gilt, iron-red, and bright enamels, with boys playing music and performing with masks in a garden scene, further depicting rockwork with lingzhi, a prunus tree, and violet chrysanthemums, the foot with a gilt rim.Provenance: From a private collection in San Francisco, United States, acquired in the 1990s. Dr. Neill Kendall, acquired from the above. Christie's South Kensington, 14 May 2010, lot 415, sold for GBP 8,750 or approx. EUR 15,000 (converted and adjusted for inflation at the time of writing). A private collection, United Kingdom, acquired from the above. Dr. Neil Kendall's interest in Chinese porcelain was sparked while studying in Hong Kong as a medical student. He started his collection in the 1990s with the help of Peter Wain, a noted Asian art dealer. Kendall's collection specialized in the finest Republic period pieces from master potters and porcelain painters, but also included Yixing ware. Condition: Only minor wear to the enamels. A long hairline to body and shoulder, stabilized.Weight: 427.5 g Dimensions: Height 20.3 cmThe recessed base with an apocryphal blue-enameled four-character mark Yongzheng nianzhi. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 1 June 2011, lot 4027Price: HKD 112,500 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A fine famille rose 'boys' vase, Hongxian iron-red mark within double-squares, Republic periodExpert remark: Compare the related form, fine painting, motif, and enamels. Note the size (24.8 cm).民國粉彩《嬰戲圖》瓶中國，1912-1949年。瓶口微撇，短頸，圓肩，肩以下漸收，圈足。粉彩描金，描繪園中童戲，一群兒童在敲鑼打鼓，另一個童子頭戴面具，正蹲在樹下，手中拿著一根長棍，上面挂著紅蝙蝠。場景生動活潑，稚趣可愛。 來源：美國舊金山私人收藏，購於上世紀九十年代；Dr. Neill Kendall購於上述收藏；南肯辛頓佳士得，2010年5月14日，售價 GBP 8,750或 EUR 15,000 (根據通貨膨脹率)；英國私人收藏，購於上述拍賣。Dr. Neil Kendall對中國陶瓷的興趣是在香港讀醫科的時候產生的。他於 1990 年代在著名亞洲藝術品經銷商Peter Wain 的幫助下開始收藏。Kendall的藏品專注於民國時期陶瓷，但也包括宜興瓷器。品相：琺瑯只有輕微磨損，瓶身和肩部有細長裂紋。 重量：427.5 克 尺寸：高 20.3 厘米 圈足内青花“雍正年製”四字款。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2011年6月1日，lot 4027 價格：HKD 112,500（相當於今日EUR 18,500） 描述：民國粉彩庭院嬰戲圖瓶，礬紅雙方框四字楷書款 專家評論：比較相近的外形、精美的繪畫、主題和琺瑯。請注意尺寸(24.8 厘米)。

A MONUMENTAL SANDSTONE HEAD OF BUDDHA, NORTHERN WEI DYNASTY, CHINA, 386-534Opinion: The head is carved from buff sandstone that has the appearance of granite from a distance. The style and material are typical of examples from the Yungang caves and surrounding area.Published: Stephen Little, Images of the Buddha from the Michael Phillips Collection, Arts of Asia, Jan-Feb 2013, page 112, no. 29.The rounded face deeply carved with small, pursed lips, broad flattened nose and thin, sharply cut eyes, flanked by long pendulous ears, all beneath the simply rendered hair and tall ushnisha. The stone of reddish-brown tone with some crystalline flecks.Provenance: An American private collection. Christie's New York, 15-16 September 2011, lot 1360, estimate of USD 60,000 or approx. EUR 72,000 (converted and adjusted for inflation at the time of writing). The private collection of Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion.Scientific Analysis Report: A scientific and technical examination was conducted by John Twilley, art conservation scientist. A copy of the examination report, dated 20 September 2007, accompanies this lot. The report concludes that “the evidence strongly supports a history of natural weathering of the stone, on a scale of centuries rather than decades, subsequent to its carving”. Note that this report is also mentioned in the catalog entry by Christies from 15-16 September 2011.Dimensions: Height 43 cm (excl. stand) and 65 cm (incl. stand)Mounted on an associated stand. (2)The first of the formative phases of Buddhist sculpture in China, to which the current sculpture dates, lasted until roughly 495 AD and is represented by the cave temples in the north at Yungang. Over 50,000 statues lay within the Yungang Grottoes and surrounding area. Constructed during the Northern Wei dynasty by the imperial order of Emperor Wencheng, carving in the area began in 460 AD as an act of reparation for the Buddhist persecution of 445-452, and lasted until 494 AD when the capital was moved to Luoyang. The Yungang cliff is formed of horizontal layers of buff-colored sandstone, which lends itself well to sculpture, as well as to the excavation of large caves with horizontal ceilings. The sandstone of this head of Buddha is typical of that found in the Yungang region.Literature comparison:Compare a polychromed figure of Buddha still in place in Cave 9 of the Yungang Grottoes. Compare a related sandstone head of Buddha with similar features and carved of the same type of stone in The Nelson-Atkins Museum of Art, illustrated in the Handbook of the Collection, Kansas City, 1993, p. 303. Also compare with a 'yungang' sandstone head of a bodhisattva, Northern Wei dynasty, at Sotheby's London, 13 May 2015, lot 18. The use of this comparable, which is rather smaller in size (7 cm), serves as solid proof in tying our example to the Yungang area. The sandstone is of an identical color and texture, and the face has very similar features. It therefore almost certainly places our example amongst the most important Buddhist carvings from the Northern Wei period. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2018, lot 3029Price: HKD 3,120,000 or approx. EUR 396,000 converted and adjusted for inflation at the time of writingDescription: A rare and large sandstone head of a Buddha, Northern Wei dynastyExpert remark: This comparable shows numerous similarities with our example, from the domed ushnisha above the simple outlined hair to the long pendulous ears. Note the related size (40 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 April 2016, lot 2814Price: HKD 625,000 or approx. EUR 82,500 converted and adjusted for inflation at the time of writingDescription: A large 'yungang' sandstone head of Buddha, Northern Wei dynastyExpert remark: Note the closely related size (43 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.386-534年北魏砂岩佛陀頭像 出版：Stephen Little，〈Images of the Buddha from the Michael Phillips Collection〉，《Arts of Asia》，2013年1-2月，第112頁，圖 29。 來源：美國私人收藏；紐約佳士得，2011年9月15-16日，lot 1360，估價USD 60,000；Michael Phillips (出生於1943)私人收藏 品相：條件良好，大面積磨損、缺損、刻痕、劃痕、風化和侵蝕。 科學檢測報告：藝術保護科學家John Twilley對此頭像進行了科學檢測。本拍品附有一份日期為 2007年 9 月 20 日的檢驗報告複印本。該報告得出結論，“證據有力地支持了石頭在雕刻之後的自然風化歷史，其規模為數百年而不是數十年”。請注意，佳士得 2011年 9 月 15 日至 16 日的圖錄中也提到了這份報告。 尺寸：高 43 釐米 (不含底座) 與65 釐米 (含底座) 配置底座。 (2)

A TRANSLUCENT AQUAMARINE GLASS 'COSMIC EGG', HAN DYNASTYChina, 202 BC to 220 AD. The ritual object of ovoid form, the deep-blue glass of high translucency.Provenance: 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. Extensive wear, small losses, nicks, scratches, cracks, extensive signs of weathering and erosion. Displaying remarkably well overall.Weight: 852.2 gDimensions: Height 9.5 cmIn Chinese history, glass played a peripheral role in arts and crafts when compared to ceramics and metal work. The limited archaeological distribution and use of glass objects are evidence of the rarity of the material. Literary sources date the first manufacture of glass to the 5th century AD. However, the earliest archaeological evidence for glass manufacture in China comes from the Warring States period. The Chinese learned to manufacture glass comparatively later than the Mesopotamians, Egyptians and Indians. Imported glass objects first reached China during the late Spring and Autumn and early Warring States periods, c. early 5th century BC, in the form of polychrome 'eye beads'. These imports created the impetus for the production of indigenous glass beads. During the Han dynasty, the use of glass diversified. The introduction of glass casting in this period encouraged the production of molded objects, such as bi disks and other ritual objects.The cosmic egg is a mythological motif found in the cosmogonies of the Proto-Indo-European culture and several other major civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg, sometimes lain on the primordial waters of the Earth. Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from which life or existence, in its most fundamental philosophical sense, emerges.In the myth of Pangu, developed by Taoist monks hundreds of years after Lao Zi, the universe began as an egg that symbolizes the primordial state of Taiji. A primeval hermaphroditic giant named Pangu, born inside the egg, broke it into two halves: the upper half became the sky, while the lower half became the earth. As the god grew taller, the sky and the earth grew thicker and were separated further. Finally Pangu died and his body parts became the sun, moon, different parts of the earth and living things. The first writer to record the myth of Pangu was Xu Zheng during the Three Kingdoms period. Recently his name was found in a tomb dated AD 156, during the later Han period.Literature comparison: Compare a related “glob” of glass, 3.5 cm high, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.698. Compare a related glass bi disk, 17.8 cm diameter, dated to the Western Han dynasty, in the Metropolitan Museum of Art, accession number 2006.404. Compare a glass bowl, 8.3 cm diameter, dated to the Western Han dynasty, excavated from Tomb 70 at Wenchangta, Hepu county, Guangxi, 1987, lent by the Guangxi Zhuang Autonomous Region Museum, exhibited in The Metropolitan Museum of Art, Age of Empires: Chinese Art of the Qin and Han Dynasties, 3 April to 16 July, 2017.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 48Price: EUR 7,584 or approx. EUR 8,600 adjusted for inflation at the time of writing Description: An aquamarine green glass bi disk, Han dynasty Expert remark: Note the size (14.3 cm)Auction result comparison: Type: Remotely related Auction: Christie's Hong Kong, 1 December 2010, lot 2902 Price: HKD 620,000 or approx. EUR 108,000 converted and adjusted for inflation at the time of writing Description: A very rare early translucent aqua glass cup, Han dynasty Expert remark: Note the diameter (7.7 cm)漢代海藍寶石色玻璃蛋中國，公元前202 年至公元 220 年。半透明海藍寶石色玻璃，橢圓形禮器。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，磨損、輕微的缺損、刻痕、劃痕、裂縫、風化和侵蝕跡象。 重量：852.2 克 尺寸：高9.5 厘米

A LARGE PARCEL-GILT COPPER REPOUSSE PLAQUE OF A SNOW LION, 17TH-18TH CENTURYTibet. The striding beast with a fierce expression, bulging eyes below flaming brows, the mouth revealing a set of sharp fangs below a ruyi shaped snout. The finely detailed flaming mane, tail, mouth, and bell nicely picked out. The head and body cast separately and joined with rivets. Provenance: From the private collection of Jan Finch. Jan Ellen Finch (1952-2021) was a celebrated art and antiques dealer who started out in Portobello Market during the 1980s. Her company Finch & Co became one of the best-known and most charismatic dealerships of the modern era. The firm's rigorously researched and hugely informative catalogs became the mainstay of many dealers' and collectors' libraries. Her private collection included numerous curiosities and rare examples of Asian and ethnographic art, European sculptures, and modern British art. Condition: Good condition, commensurate with age and the generally fragile nature of repousse works, with some old wear, minor tears and small losses, dents and nicks, minute cracks, some added pinholes for suspension, few malachite encrustations. Remnants of ancient pigment.Weight: 2,590 g (excl. base), 5,600 g (incl. base) Dimensions: Length 42.6 cmMounted to a modern metal base. (2) Auction result comparison:Type: Closely relatedAuction: Christie's New York, 31 March 2005, lot 193Price: USD 9,000 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A Gilt Copper Repousse Lion, Tibet, circa 17th centuryExpert remark: Compare the closely related pose and picked-out details. Note the related size (47 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 14 May 2009, lot 159Price: GBP 13,200 or approx. EUR 24,500 converted and adjusted for inflation at the time of writingDescription: A pair of gilt-copper repousse 'lion' panels, Tibet, 19th centuryExpert remark: Compare the related motif. Note that the lot comprises two pieces of larger size (62.7 cm).十七至十八世紀大型銅鎏金浮雕雪獅西藏。神情凶狠的雪獅，火紅的眉毛下雙眼圓睜，鋒利的獠牙，如意形鼻子，脊梁挺直，黑色的火焰狀鬃毛，細節刻畫精緻。頭部和身體分開鑄造，並用鉚釘連接。 來源：Jan Finch私人收藏。Jan Ellen Finch (1952-2021年) 曾是一位著名的藝術品及古董商，她於 1980 年代在波多貝羅市場起家。她的公司 Finch & Co 成為當代最著名且最具魅力的經銷商之一。該公司經過嚴格研究並提供大量信息的目錄成為許多經銷商和收藏家圖書館中的不可缺少的書籍。她的私人收藏包含亞洲和民族志藝術、歐洲雕塑和現代英國藝術，其中不乏奇珍異寶和稀有例子。 品相：狀況良好，錘鍱作品普遍脆弱，有一些磨損、輕微撕裂和小缺損，可見凹痕和刻痕、微小裂縫、一些用於懸掛的額外針孔，少量孔雀石綠結殼，古代顏料的殘餘。 重量：2,590 克 (不含底座)，5,600 克 (含底座) 尺寸：長 42.6 厘米 現代金屬支架 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2005年3月31日，lot 193 價格：USD 9,000（相當於今日EUR 13,000） 描述：十七世紀銅鎏金錘鍱獅牌 專家評論：比較非常相近的姿勢和細節。請注意相近尺寸 (47 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2009年5月14日，lot 159 價格：GBP 13,200（相當於今日EUR 24,500） 描述： 十九世紀一對銅鎏金錘鍱獅牌 專家評論：比較相近的主題。請注意此牌為一對和尺寸 (62.7 厘米)較大。

A RUSSET AND BROWN JADE NOTCHED DISC, XUANJI, LATE NEOLITHIC TO SHANG DYNASTYPublished: Friedrich Georg Zeileis, Ausgewaehlte Chinesische Jade aus Sieben Jahrtausenden (selected Chinese jades from seven millennia), 1994, pages 80-81, no. 64.China, c. 3000-1000 BC. The exterior rim carved as three arcs, each rising to a point and carved with raised teeth, the interior with a plain circle. The stone of a beautiful russet and honey-brown tone with dark veins.Provenance: A private collection in San Francisco, USA, 1980s. Friedrich Georg Zeileis, acquired from the above. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Condition commensurate with age. Old wear and tiny nibbles. The stone with natural fissures, some of which have developed into small cracks over time, with associated old fills.Weight: 58.8 g Dimensions: Diameter 9.7 cm (at the widest points)Literature comparison: Compare a related jade xuanji, 11.3 cm wide, dated Neolithic or Shang, 15th-10th century BC, in the British Museum, registration number 2022,3034.82, illustrated by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, 1995, cat. no. 8.1. Compare a related jade xuanji, 13.9 cm diameter, dated to the Shandong or Henan Longshan culture, c. 2300-1700 BC, in the Museum of East Asian Art, Bath, record number 589. Compare a related jade notched disc, 15.6 cm diameter, in the Metropolitan Museum of Art, accession number 27.15.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 March 2014, lot 123 Price: USD 75,000 or approx. EUR 85,500 converted and adjusted for inflation at the time of writing Description: A jade ritual notched disc (xuanji), Neolithic periodExpert remark: Note the significantly larger size (18.5 cm) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2022, lot 822 Price: USD 18,900 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A rare pale green and beigish-brown jade notched disc, Northwest China, late Neolithic period-early Bronze Age, 3rd-2nd millennium BCExpert remark: Note the similar size (11.5 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 November 2018, lot 2709 Price: HKD 1,000.000 or approx. EUR 137,500 converted and adjusted for inflation at the time of writing Description: A Celadon Jade Notched Disc, YabiExpert remark: Note the slightly larger size (13 cm)新石器時代末至商代玉璇璣中國，公元前約3000-1000年。璇璣為扁薄體，近似圓形，光素無紋。中部一大圓孔，內緣規整，外緣為三個同方向旋轉的凸脊，間距相等，每脊間各有兩組分別三個齒狀鉏牙，鉏牙皆排列規整，保存完好。美麗的赤褐色和蜜棕色調玉石，帶有深色紋理。 出版：Friedrich Georg Zeileis，《Ausgewaehlte Chinesische Jade aus Sieben Jahrtausenden (selected Chinese jades from seven millennia)》，1994年，第80-81頁，圖 64。 來源：美國舊金山私人收藏，1980年代；Friedrich Georg Zeileis，購於上述收藏。Friedrich Georg Zeileis 博士（生於 1939 年）是一位退休醫生，收藏了一批重要的中國古代玉器和青銅器。他還是一位鋼琴家和作曲家，出版了數本書籍，並出版了大量藝術收藏品的目錄，其中包括精美的中國玉器和青銅器。品相：品相良好，有磨損和小刻痕，帶有天然裂縫的玉料，隨著時間的推移，其中一些已經發展成小裂縫，並有填充物。 重量：58.8 克 尺寸：直徑 9.7 厘米 (最寬處)

A RARE BRONZE FIGURE OF A RECUMBENT BUFFALO, DONG SON CULTUREVietnam, 500 BC to 300 AD. Well cast in a recumbent position with the legs tucked underneath the body, the head raised and flanked by horns, the head and body incised with numerous characteristic spiral designs.Provenance: From the private collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Minor old repairs and fills as generally expected from ancient Dong Son excavations. Some losses, fissures, signs of weathering and erosion, and casting flaws. Overall, still in very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 394.5 g Dimensions: Length 11.8 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam 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 Văn Lang and Âu 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 elephant-shaped vessel with similar spiral designs, 16 cm long, dated 2nd century BC to 2nd century AD, in the Asian Civilizations Museum, Singapore, accession number 2007-56439.Auction result comparison:Type: RelatedAuction: Christie's London, 30 January 2019, lot 149Price: GBP 5,250 or approx. EUR 7,200 converted and adjusted for inflation at the time of writingDescription: Four Cambodian Dong Son buffalo bells, Battambang province, probably 300 BC-300 ADExpert remark: Compare the related spiral decorations and curled horns東山文化罕見銅牛擺件越南，公元前500至公元300年。臥牛雙腿夾在身體下方，頭部抬起，兩側有角，頭部和身體表面有許多典型的螺旋圖案。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。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：小修和填充，一些缺損，裂縫，風化和侵蝕的跡象，鑄造缺陷。綠色銅鏽包漿細膩，有棕色結殼。 重量：394.5 克 尺寸：長 11.8 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 BRONZE FIGURE OF PADMAPANI, JAVA, 13TH CENTURYFinely cast seated in dhyanasana on a double lotus base, the left hand resting on his knee and holding a lotus stem coming to full bloom at the shoulder, dressed in a long dhoti decorated with stripes and floral motifs, richly adorned with beaded jewelry, the face with downcast eyes below gently arched eyebrows centered by an urna and full lips forming a calm smile, the head surmounted by a tapering floral crown, backed by lotus leaves and buds issuing from the base. Provenance: From the estate of Anthony Powell, London, United Kingdom. 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: Commensurate with age, showing small dents and cracks, light scratches, some losses including one arm, and expected casting flaws. The figure was at some point professionally cleaned and subsequently re-patinated. Displaying beautifully overall.Weight: 912.5 g Dimensions: Height 15.3 cmLiterature comparison: Compare a related bronze figure of a bodhisattva, 13 cm high, dated to the 13th century, in the British Museum, registration number 1859,1228.42. Compare a related bronze figure of Vajrasattva, 9.5 cm high, dated to the 13th century, in the British Museum, registration number 1859,1228.16.

A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYChina, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonne, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece's impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmReferring to the importance of reverence to the past in Chinese art, Ulrich Hausmann writes:“Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable, so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. Generations of painters and calligraphers [...] spent a lifetime studying these inscriptions. What could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.” (Quote from Ulrich Hausmann, Later Chinese Bronzes: In Search of Later Bronzes in Documentary Chinese Works of Art: In Scholars' Taste, Ed. Paul Moss, Sydney L. Moss, London, 1983, page 233, requoted again by Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and the Fung Ping Shan Museum, University of Hong Kong, 1986, cat. no. 161.)Expert's note: The present steamer is quite likely to date from the Song dynasty, because the earliest archaistic bronzes generally tend to be the closest in form and design to their archaic prototypes. This is clearly the case here, as shown by the two literature comparisons below, which prove that the present lot is very much in the spirit of its Shang and Western Zhou paragons. The example from the National Palace Museum, Taipei, even has gold and silver inlays just like our vessel, which is unusual for such an early piece. Another important aspect is the superb, naturally grown patina on the present lot with its distinct malachite encrustations. This is beyond doubt not a patina from the late Ming or early Qing dynasty: It not only does closely resemble that of ancient bronzes, but with its unique appearance, reminiscent of savage elementary forces rather than the genteel creations of later periods, essentially makes this bronze an archaic vessel of its own merit.Literature comparison: Compare a closely related prototype for this steamer, also with gold and silver inlays, dated to the Shang dynasty, in the National Palace Museum, Taipei, image number K1A002369N000000000PAB. A related prototype, lacking gold and silver inlays, dated to the Western Zhou dynasty, 11th-10th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b, is illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Vol. IIB, Massachusetts, 1990, pp. 342-344, no. 33.Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).宋至明代銅錯金銀三足銅甗中國，960-1644年。 來源：Dr. David McCay收藏，在同一家族保存至今。品相：狀況極好，有磨損和使用痕跡、一些鑄造不規則、小刻痕和缺損、輕微劃痕、腳底面有微小的填充物。錯金部分整體狀況非常好。錯銀部分變暗並顯示出光澤。