We found 6731 price guide item(s) matching your search

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。

A RARE 'PENSIVE MONKEY' BRONZE VESSEL, DONG SON CULTUREVietnam, 500 BC to 300 AD. The vessel in the form of a seated monkey with slender elongated arms and legs, one elbow resting on his knee, the left hand lowered toward his waist and touching his prominent member. The face of almond shape with bulging eyes and a broad nose, the incised mouth forming a subtle smile, flanked by two tubular ears, the mouth of the vessel at the top of his head. The body incised with vertical lines, the recessed base decorated with a characteristic spiral design.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, casting flaws. Overall, still very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 663.8 g Dimensions: Height 20 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 seated male figure, though of much smaller size (8.9 cm), in the collection of the Metropolitan Museum of Art, accession number 2000.287.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke Vienna, 16 October 2021, lot 579Price: EUR 15,168 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A rare male bronze figure, Dong Son cultureExpert remark: Compare the nude man with prominent member and related incised decoration. Note the size (28 cm).東山文化罕見坐猴銅管越南，公元前500至公元300年。器形為坐猴狀，手腳細長，一肘擱膝，左手垂向腰部。杏仁形臉，雙眼圓睜，闊鼻，咧開的嘴露出笑意，兩側耳朵。器皿的口在頭頂。主體刻有垂直線條，圈足，全身有螺旋狀圖案。 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：663.8 克 尺寸：高20 厘米

A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 15TH CENTURY, PUBLISHED BY SCHROEDERPublished: Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, page 430, no. 113A (illustrated).Central Tibet. Finely cast, seated in dhyanasana on a double lotus base with beaded upper rim, his right hand lowered in bhumisparsha mudra and his left held in dhyana mudra above his lap, dressed in a diaphanous sanghati draped over his left shoulder with the hems neatly incised with a foliate pattern and the folds elegantly piled below the ankles. The face with heavy-lidded eyes below elegantly arched brows centered by a raised urna and flanked by elongated pierced earlobes, the hair in tight curls over the ushnisha and topped with 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: Very good condition with minor old wear and some casting irregularities, small dents, few minuscule nicks, the base unsealed.Weight: 601 g Dimensions: Height 15 cmAuction result comparison: Type: Related Auction: Christie's New York, 19 March 2013, lot 408 Price: USD 81,250 or approx. EUR 94,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha Shakyamuni, Tibet, 15th centuryExpert remark: Compare the closely related pose, sanghati with incised hems, face, ushnisha with jewel finial, and elongated pierced earlobes, as well as the related size (17.7 cm). Note the slightly different lotus base. Auction result comparison: Type: Related Auction: Sotheby's New York, 16 March 2016, lot 709 Price: USD 23,750 or approx. EUR 26,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze seated figure depicting Shakyamuni Buddha, Tibet, 15th centuryExpert remark: Compare the closely related pose, sanghati with incised hems, face, ushnisha with jewel finial, and elongated earlobes, as well as the related size (17.5 cm). Note the slightly different lotus base with vajra at the top.十五世紀銅鎏金釋迦牟尼坐蓮像西藏中部。尊佛以精銅鑄造，鎏金璀璨，熠熠生輝。釋迦牟尼坐於仰覆蓮座上，結全跏趺坐，右手自然下垂，左手平托於腹前，施降魔觸地印。肉髻高隆呈塔形，螺髮排列規整飾靛藍，寶珠頂嚴。寬額豐頤，雙耳垂肩，彎眉細長與鼻脛相連，點丹白毫，雙目微合下視，嘴角微露笑意，神態怡然，法相莊嚴。頸施三道弦紋，胸膛寬闊，腰部收束，軀體比例健美，著袒右肩袈裟，邊緣飾雙連珠紋絛帶，中間陰刻卷草紋。薄衣貼體，衣紋轉折流暢自然，富有層次感。蓮瓣寬大飽滿，瓣尖微微上翹，座上緣各飾一道連珠紋。座下未封底。 出版：Ulrich von Schroeder，《Indo-Tibetan Bronzes》，香港，1981，第430頁，圖 113A。 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：狀況極好，有輕微磨損和一些鑄造不規則、小凹痕、一些微小的刻痕，底座未密封。 重量：601 克 尺寸：高15 厘米

A RARE BLACK STONE STELE OF PARVATI, PALA EMPIRENortheastern India, 10th-12th century. Well carved, standing on a lotus dais raised on a plinth, her four hands holding a sword, lotus, disc, and small child. Her serene face with almond-shaped eyes below gently arched brows and full lips forming a calm smile, backed by a halo. The figure flanked by two chauri-bearing attendants standing in tribhanga.Provenance: Christie's Amsterdam, 24 May 2006, lot 661, sold for EUR 4,560 or approx. EUR 6,700 (adjusted for inflation at the time of writing). A noted collector from Belgium, acquired from the above. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, and encrustations.Dimensions: Height 49 cm (excl. stand) and 54 cm (incl. stand)Mounted on a modern metal stand. (2)Parvati is the Hindu goddess of power, energy, nourishment, harmony, love, beauty, devotion, and motherhood. She is one of the central deities of the goddess-oriented sect called Shaktism and the chief goddess in Shaivism. Along with Lakshmi and Saraswati, she forms the Tridevi. Literature comparison: Compare a related stone stele, described as depicting a “deity, perhaps Ambika”, 71.1 cm high, dated approx. 900-1000, in the Asian Art Museum of San Francisco, object number B60S124+.

A BRONZE DEATH MASK, DONG SON CULTUREVietnam, 500 BC to 300 AD. Cast as the face of a man with arched brows above deep eye sockets, pierced almond-shaped eyes, a broad nose, and full lips, the mouth slightly open.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: Fine condition commensurate with age and displaying remarkably well given its high age. Some losses, dents, nicks, scratches and old wear. Expected signs of weathering, erosion and corrosion. Minor structural cracks, old fills and repairs. Magnificent, naturally grown patina overall with extensive malachite and cuprite encrustations.Weight: 315.9 gDimensions: Height 20.8 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 Van Lang and Au Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related Dong Son bronze face mask, lacking most of the patina because of extensive restoration and conservatory work, illustrated by Danny Tan, Assistant Curator of the Asian Civilizations Museums, Singapore.東山文化銅面具越南，公元前500至公元300年。面具成男人面容，眉毛深邃，眼窩深邃，大眼圓睜，鼻樑寬闊，嘴唇豐滿，嘴巴微微張開。 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：品相良好，有一些缺損、凹痕、刻痕、劃痕和磨損，並可見風化、侵蝕和腐蝕的跡象；輕微的結構裂縫、填充物和維修。大面積自然包漿與綠色銅紅色結殼。 重量：315.9 克 尺寸：高20.8 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。 文獻比較： 比較一件相近東山文化面具，由於廣泛地修復，因此沒有包漿，圖見新加坡亞洲文明博物館助理館長Danny Tan。

A RARE MARBLE LINGA WITH FOUR FACES, PANCHAMUKHALINGA, HINDU SHAHINorthwestern India, c. 8th century. Finely carved with four faces of Shiva around a central domed shaft, all supported on a square base, each head with a slightly different hairstyle, headdress, and jewelry.Provenance: From the collection of Anthony d'Offay. Christie's New York, 19 September 2002, lot 127. A private collection in the United States, acquired from the above. Copies of two handwritten labels, confirming provenance and dating, accompany this lot. Georges Anthony d'Offay (b. 1940) is a retired British art dealer, collector, and curator. In 1965, at the age of 25, he opened his first gallery in London. His personal art collection, valued in excess of £100 million, was donated jointly to the National Galleries of Scotland and the Tate in 2008 with the assistance of the Scottish and British Governments. The various exhibitions of his pieces have been seen by a total of over 29 million visitors. Anthony d'Offay has received The Prince of Wales Medal for Arts Philanthropy (2011).Condition: Good condition, commensurate with age. Extensive wear and weathering as expected, some losses, nicks and scratches. Signs of erosion, minor fissures and encrustations. Nicely grown natural patina with a beautiful ivory tone overall.Weight: 3,684 g Dimensions: Height 16.5 cmLingas such as the present lot are extremely rare and were produced under the Shahi dynasties (6th-11th centuries), which ruled in the lands formerly known as the ancient region of Gandhara under the Kushan empire. The most recent analysis of this subject is found in Michael Henss, The Mystery of the 'Hund Statues': An Unknown Chapter of Central Asian Statuary, Arts of Asia, January 2016, pp. 28-43. As exemplified in this sculpture, the hair and regalia still echo the visual apparatus of Gandhara, while the rounder facial features are informed by the Gupta style.The linga is the sign of Shiva, a column connecting heaven and earth representing creative power. This form is thought to indicate a five-faced linga (panchamukhalinga), but the fifth face is invisible as it cannot be comprehended by mortals, so lingas of this type always show just four faces. The linga is the main object of worship in Hindu temples.Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2018, lot 3069 Price: USD 75,000 or approx. EUR 83,500 converted and adjusted for inflation at the time of writing Description: A marble mukhalinga, Hindu Shahi, circa 9th centuryExpert remark: Note the larger size (25.9 cm)

A PAINTED TERRACOTTA FIGURE OF A ZEBU, MATURE HARAPPAN PERIODIndus Valley Civilization, ca. 2600-1900 BC. The humped bull standing foursquare, its head with large eyes, a short muzzle, and long curved horns, the animal further modeled with a tail. The eyes, horns, neck, and back encircled by brown-painted stripes.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. Extensive wear, minuscule nicks, minor smoothened losses, expected old fills and repairs, signs of weathering and erosion, and encrustations.Weight: 651.4 gDimensions: Length 16 cmThe Indus Valley Civilization was a Bronze Age culture in the northwestern regions of South Asia, lasting from 3300 BCE to 1300 BCE, and in its mature form from 2600 BCE to 1900 BCE. Together with ancient Egypt and Mesopotamia, it was one of three early civilizations of the Near East and South Asia, and of the three, the most widespread. Its sites spanned an area from northeast Afghanistan and much of Pakistan to western and northwestern India. The civilization flourished both in the alluvial plain of the Indus River, which flows through the length of Pakistan and along a system of perennial monsoon-fed rivers that once coursed in the vicinity of the Ghaggar-Hakra, a seasonal river in northwest India and eastern Pakistan. The cities of the ancient Indus were noted for their urban planning, baked brick houses, elaborate drainage systems, water supply systems, clusters of large non-residential buildings, and techniques of handicraft and metallurgy. Both Mohenjo-Daro and Harappa likely grew to a size of 30,000 and 60,000 individuals, and the civilization may have contained between one and five million total population during its florescence. It is also known as the Harappan civilization, after its type site Harappa, the first to be excavated early in the 20th century in what was then the Punjab province of British India and is now Punjab, Pakistan. The discovery of Harappa and soon afterwards Mohenjo-Daro was the culmination of work that had begun after the founding of the Archaeological Survey of India in the British Raj in 1861. There were earlier and later cultures called Early Harappan and Late Harappan in the same area. The early Harappan cultures were populated by Neolithic civilizations, the earliest and best-known of which is Mehrgarh in Balochistan, Pakistan. Harappan civilization is sometimes called Mature Harappan to distinguish it from the earlier cultures.Terracotta figures such as the present lot have been unearthed at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during the mature Harappan period (ca. 2600-1900 BC). In one excavated example from Chanu-daro a hole was poked in the belly, indicating that it would have been attached to a stick for use as a puppet or a small standard of the kind carried in the processions depicted on some seals. In others, the hole was indeed placed on the back of the animal, thus suggesting an alternative function, perhaps as part of a larger ensemble.Zebu cattle are thought to be derived from the Indian bos primigenius namadicus, a subspecies of the aurochs. Wild Asian aurochs disappeared during the time of the Indus Valley Civilization from their range in the Indus River basin and other parts of the South Asian region possibly due to interbreeding with domestic zebu and the resultant fragmentation of wild populations due to loss of habitat. Believed to have first been bred in northwestern South Asia, between 7000 and 6000 BC, they are understood to have been dispersed by 4000 BC and spread across much of South Asia by 2000 BC.Literature comparison: Compare a related painted terracotta figure of a unicorn, also dated ca. 2600-1900 BC, illustrated by Jonathan Mark Kenoyer, Cities of the Indus Valley, in Joan Aruz (ed.), Art of the First Cities: The Third Millennium B.C. from the Mediterranean to the Indus, 2003, no. 276, p. 390. Compare a related serpentine figure of a bull, 14.7 cm long, also dated ca. 2600-1900 BC, in the Metropolitan Museum of Art, accession number 1986.280. Compare two related terracotta models of a humped ox, 9 cm long, dated ca. 2500 BC, used to draw a toy chariot, in the Brooklyn Museum, accession numbers 37.96 and 37.97.

A SUPERB BRONZE FIGURE OF A DRAGON, EASTERN ZHOU DYNASTY, CHINA, 770-256 BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Finely cast as a dragon standing foursquare with the head turned back. The elegantly curved tail with a curled tip, the body with raised and finely incised S-scroll, clouds, and spiral designs. The bronze with a solid and naturally grown, rich patina with malachite and cuprite encrustation.Provenance: Sotheby's London, 1995. Friedrich Georg Zeileis, acquired from the above, according to his publication, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Remarkably well preserved, commensurate with age. Extensive wear, minor losses, some nicks, scratches, signs of weathering and erosion, soil encrustations. Fine naturally grown patina overall, with small areas of faint cuprite and various shades of malachite green.Weight: 288.2 g Dimensions: Length 16 cmLiterature comparison: Compare a near identical bronze in the form of a dragon, 16.2 cm long, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2118.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 28 July 2022, lot 3031 Price: HKD 352,800 or approx. EUR 41,500 converted at the time of writing Description: A rare bronze figure of a winged tiger, Eastern Zhou dynastyExpert remark: Note the much smaller size (11 cm)Auction result comparison: Type: Closely related Auction: Christies New York, 22 March 2013, lot 1233 Price: USD 62,500 or approx. EUR 72,500 converted at the time of writing Description: A Very Rare Bronze Tiger-Form Applique, Late Eastern Zhou Dynasty, 5th-4th Century BCExpert remark: Note the much smaller size (11.1 cm)西元前770-256年青銅龍鑄造精良，龍頭後轉，龍尾捲曲，造型美觀，龍身飾雲紋和螺旋紋。表面銅鏽堅固且自然，並有綠色紅色結殼。 出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three和a Half Millenia of Chinese Bronze)》，1999年，第318頁，圖118。 來源：倫敦蘇富比，1995年；Friedrich Georg Zeileis，根據他出版的書上記載，購於上述拍賣。Dr. Friedrich Georg Zeileis博士（生於 1939 年）是一位退休醫生，收藏了大量中國古代玉器和青銅器。他還是一位鋼琴家和作曲家，出版了數本書籍與大量藝術收藏品目錄，其中包括精美的中國玉器和青銅器。 品相：保存完好，年代久遠。嚴重磨損、輕微缺損、一些刻痕、劃痕、風化和侵蝕跡象、土壤結殼。整體有自然美麗的銅綠，帶有小面積的微弱紅色和各種深淺不一的綠色結殼。 重量：288.2 克 尺寸：長16 厘米 文獻比較： 比較一件幾乎相同的青銅龍，長16.2 厘米，收藏於Arthur M. Sackler Gallery in the National Museum of Asian Art，史密森學會，館藏編號S2012.9.2118。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年7月28日，lot 3031 價格：HKD 352,800（相當於今日EUR 41,500） 描述：東周銅翼虎 專家評論：請注意尺寸小很多(11 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月22日，lot 1233 價格：USD 62,500（相當於今日EUR 72,500） 描述：公元前五至四世紀東周青銅虎 專家評論：請注意尺寸較小很多(11.1 厘米)。

A BRONZE HALBERD BLADE, GE, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. Finely worked with the elongated blade (yuan) cast in relief with the profile of a mythical beast with ruyi-shaped ears, its long sharp tongue protruding from its mouth and extending toward the tip of the blade, all bordered by crisply finished edges. The end of the yuan pierced with a rectangular chuan (aperture), the tang (nei) with a circular chuan.Provenance: La Balaustra Antichita, Bologna. Paolo Bertuzzi, acquired from the above. A copy of a certificate of authenticity by La Balaustra Antichita, Bologna, written and signed by Giuliana Zanetti, dated 20 January 1992, and describing the piece as a ceremonial axe likely dating from the Shang dynasty, accompanies this lot. 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. Extensive wear, signs of weathering and erosion, nicks and cracks, shallow surface scratches. Possibly with minor old repairs. Fine, naturally grown patina with malachite and cuprite encrustation overall.Weight: 255.6 g Dimensions: Length 22.8 cmLiterature comparison:Compare a closely related bronze halberd, Western Zhou dynasty, 10th to 9th century, in the collection of the Metropolitan Museum of Art, accession number 1994.605.7.Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2009, lot 230 Price: USD 9,375 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: An unusual bronze socketed ge-halberd blade, Western Zhou dynasty, circa 1100-771 BC西周銅戈中國，公元前約 1100-771 年。細長的刀刃（援）做工精細，浮雕神獸紋，有如意形耳，長而尖的舌頭從嘴裡伸出並延伸到刀尖。援端鑿一長方形孔，援末和胡上有穿繩纏柲的小孔（穿）。 來源：義大利博洛尼亞La Balaustra Antichita；Paolo Bertuzzi 1992年購於上述藝廊。隨附一份1992年1月20日 La Balaustra Antichita 出具的原始發票複印本一份，Giuliana Zanetti書寫並簽名，描述此拍品為商代禮器。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：品相良好，大面積磨損、風化和侵蝕，有刻痕和裂縫、表面淺劃痕。可能有小修。精美、自然包漿，整體帶有綠色紅色結殼。 重量：255.6 克 尺寸：長22.8 厘米 文獻比較： 比較一件非常相近的公元前十至九世紀西周銅戈，大都會藝術博物館，館藏編號1994.605.7。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2009年3月18日，lot 230 價格：USD 9,375（相當於今日EUR 12,500） 描述：公元前1100-771年西周銅戈

A SHALLOW CAFE-AU-LAIT GLAZED BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. The gently rounded sides rising from a shallow foot to a lightly flared rim, the body embellished with a raised double bow-string band, the interior and exterior covered with a lustrous cafe-au-lait glaze of a reddish-brown tone, the white base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: Sotheby's Hong Kong, May 2000, lot 724 (according to label to base). A distinguished Asian collection, acquired from the above. Sotheby's Hong Kong, 3 October 2018, lot 3644. A noted private collection, acquired from the above. Condition: Very good condition with some wear and minor firing irregularities, shallow surface scratches, and few small glaze bumps.Weight: 274 g Dimensions: Diameter 17 cmWith a silk storage box. (2)Literature comparison: It is rare to find a bowl of this type with a Qianlong mark, but one is in the collection of the Asian Art Museum, San Francisco, illustrated by He Li, Chinese Ceramics, A New Comprehensive Survey, New York, 1996, p. 284, no. 565. For a Kangxi precursor of this Qianlong example see the bowl in the Percival David Foundation, illustrated in Oriental Ceramics, The World's Great Collections, vol. 6, Tokyo, 1982, no. 233. Yongzheng-marked examples are represented by one illustrated in Old Oriental Ceramics Donated by Mr. Yokogawa, Tokyo National Museum, 1953, pl. 389, and another included in the exhibition, Chinese Antiquities from the Brian S. McElney Collection, Hong Kong Museum of Art, 1987, no. 100.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 8 April 2011, lot 3012 Price: HKD 325,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A shallow cafe-au-lait glazed bowl, seal mark and period of QianlongExpert remark: Compare the closely related form, decoration, Qianlong reign mark, and size (17.1 cm). Auction result comparison: Type: Near identical Auction: Christie's New York, 19 September 2006, lot 380 Price: USD 36,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writing Description: A cafe-au-lait-glazed shallow bowl, Qianlong seal mark in underglaze blue and of the periodExpert remark: Compare the closely related form, decoration, Qianlong reign mark, and size (17.1 cm).乾隆款及年代紫金釉弦紋碗中國，1736-1795年。口外撇，淺弧腹，腹中部有雙圈弦紋，圈足。內外壁通體施紫金釉，釉面柔和，足內施透明釉，底書青花“大清乾隆年製”篆書款。 來源：香港蘇富比，2000年5月，lot 724 (根據碗底標籤)；一個知名亞洲收藏，購於上述拍賣；香港蘇富比，2018年10月3日，lot 3644；一個知名私人收藏，購於上述收藏。 品相：品相極好，有一些磨損和輕微的燒製不規則，輕微表面劃痕與釉面凸起。 重量：274 克 尺寸：直徑 17 厘米 配置內襯方盒。 (2) 文獻比較： 此類型的碗有乾隆款較罕見，但有一件收藏於舊金山亞洲藝術博物館，見He Li，《Chinese Ceramics，A New Comprehensive Survey》，紐約，1996年，頁284，編號565。一見康熙時期例子，收藏於Percival David Foundation，見東方陶瓷學會，《The World's Great Collections》，卷6，東京，1982年，編號233。雍正款例子，見Mr. Yokogawa捐給 Old Oriental Ceramics，東京國家博物館，1953年，圖389；另一件展覽於《Chinese Antiquities from the Brian S. McElney Collection》，香港藝術館，1987年，編號100。 拍賣結果比較： 形制：幾乎相同 拍賣：香港蘇富比，2011年4月8日，lot 3012 價格：HKD 325,000（相當於今日EUR 52,500） 描述：乾隆款及年代紫金釉弦紋碗 專家評論：比較非常相近的外形、裝飾、乾隆款和尺寸(17.1 厘米)。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2006年9月19日，lot 380 價格：USD 36,000（相當於今日EUR 48,000） 描述：乾隆款及年代紫金釉弦紋碗 專家評論：比較非常相近的外形、裝飾、乾隆款和尺寸(17.1 厘米)。

A HUANGHUALI LOW TABLE, KANGZHUO, 17TH-18TH CENTURYChina. Superbly carved with the top panel set within a rectangular frame with a beaded 'ice-plate' (bingpanyan) edge above a shaped, beaded, and cusped apron, all raised on elegant cabriole legs carved with lion masks at the corners and terminating in claw feet, the wood of an attractive grain and color.Provenance: From the private collection of Jean-Pierre Rousset, acquired in the 1980s, and housed in his famous Parisian home ever since (see in-situ photograph). Jean-Pierre Rousset (1936-2021) was a French art dealer and the nephew of Robert Rousset (1901-1982), one of the most prominent pioneers of the Chinese art market in Paris. With no children of his own, Robert took his nephew Jean-Pierre 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 and traces of use, expected minor age cracks, some with associated old fills, small chips, light scratches, the joints possibly reinforced.Dimensions: Size 96.5 x 59 x 29.5 cmExpert's note: Kang tables were typically used on top of a platform, kang, or a couch-bed or daybed. For a discussion on kang tables, see S. Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp. 169-171. See Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol. I, Hong Kong, 1990, pp. 48-52, for a discussion of different forms of kang tables.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 3239 Price: USD 875,000 or approx. EUR 123,500 converted and adjusted for inflation at the time of writing Description: A Large Huanghuali Kang Table, Qing Dynasty, 18th CenturyExpert remark: Compare the closely related form, material, and size (94.3 x 63.5 x 25 cm)Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2021, lot 742 Price: USD 37,500 or approx. EUR 37,500 converted and adjusted for inflation at the time of writing Description: A Huanghuali Kang Table, 17th Century Expert remark: Compare the related form, material, and size (104.7 x 67.6 x 32 cm). Note the related animal masks at the four corners.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK.十七至十八世紀黃花梨三彎腿炕桌中國。黃花梨三彎腿小炕桌，桌面拼板，矮束腰，桌面四周設有攔水線、冰盤沿，牙板為壺門之形，弧線圓轉自如。壺門中央處浮雕如意雲紋，兩側作卷雲紋。三彎腿，馬蹄外翻。牙板內緣起陽線，順延至腿足，隨之彎曲，至底端收卷為卷珠狀，與外翻馬蹄合為一體。 來源：Jean-Pierre Rousset收藏，購於上世紀八十年代，之後一直放置在他巴黎的家中 (見照片)。Jean-Pierre Rousset (1936-2021年) 曾是一位法國藝術經銷商，他的叔叔Robert Rousset (1901-1982) 是巴黎中國藝術市場最著名的開拓者之一。由於沒有自己的孩子，Robert把他的侄子Jean-Pierre置於其翼下，並培養他藝廊。他喜歡和 Jean-Pierre 一起逛藝廊和儲藏室，講述每件作品的故事，同時培養他的眼光。Jean-Pierre 還被他的叔叔派去師從亞洲藝術專家Michel Beurdeley，他也是Robert 的密友，他的眾多著作至今仍被廣泛引用。Robert去世後，他的私人收藏由Jean-Pierre和他的妹妹Anne-Marie平分，Anne-Marie的部分藏品在她於 2019年去世後成功售賣。 品相：狀況良好，有一些磨損和使用痕跡，年代裂痕、一些相關小修補、小刻痕、輕微劃痕，接縫可能曾加固過。 尺寸：96.5 x 59 x 29.5 厘米 專家注釋：炕桌一般會放置於炕上，詳見 S. Handler，Austere Luminosity of Chinese Classical Furniture，Berkeley，2001，169-171頁；見王世襄 《明式傢俱研究》，第一冊，香港，1990年，頁48-52。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2017年5月31日，lot 3239 價格：USD 875,000（相當於今日EUR 123,500） 描述：清十八世紀黃花梨炕桌 專家評論：比較非常相近的外形，材料和尺寸(94.3 x 63.5 x 25 厘米)。Ɏ: 此物品含有象牙、犀牛角、龜甲，或某些類型的熱帶木材，出口到歐盟之外需要申請CITES證書。此類物品通常無法出口到歐盟以外的國家，包括英國。

A RARE, LARGE AND POWERFUL JADE FIGURE OF A BIXIE, MID-WESTERN HAN DYNASTY - EARLY SIX DYNASTIES PERIODExpert's note: The magnificent polish and remarkably unctuous feel overall are a distinctive testimony of many centuries of passionate handling, indicating that this piece may either be a rare heirloom example, or at the least was only buried for a rather short period, and thence handed down from generation to generation of respectful keepers.China, c. 100 BC to 400 AD. Powerfully carved in a prowling pose with the legs and the right haunch tucked under the body and the left extended backward, rigorously pushing the winged body forward. The face with bulging eyes below thick brows and a pair of curved horns, the pierced mouth baring teeth above the distinct goat beard. The body neatly incised with wings, fur markings, and scroll motifs. The softly polished translucent stone is of a pale green and creamy russet-brown tone with distinct chestnut inclusions and russet veining.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. The underside with an old label, 'C. 1085'. 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 minor wear, few tiny nicks and light scratches. A small section of the tail has been reattached. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Export License: A French certificat d'exportation pour un bien culturel, document Nr. 233778, dated 31 May 2022, has been granted by the French government. A copy of the document accompanies this lot.Weight: 183.4 g Dimensions: Length 10 cmJade bixie carvings in the round are extremely rare and precious. There are two jade bixie excavated in the Weiling tomb in Xianyang, Shaanxi province: one is striding upright, with two horns curling backwards along the head (fig. 1), the other is crouching with its head down, with two horns growing closely alongside and bifurcating at the tip (fig. 2). There is an Eastern Han jade bixie (fig. 3) in the Taipei Palace Museum with a long snout resembling either a dragon or a horse, unlike the more common tiger-like bixie with shorter snouts, and closely resembles the griffin of Western Asia.Amongst the very few excavated and heirloom examples of jade bixie, the two examples from the Weiling tomb are dated the earliest, indicating that the production of these bixie carvings in the round began as early as the mid-Western Han dynasty. Although none of the bixie carvings from the Two Han dynasties appear identical to one another, they share these characteristics: Double or single-horned, with lion or tiger head and body, goat beard and bird wings. They are also extremely fierce, powerful in musculature, gallant in stature, carved in the round and decorated with incised decoration, shallow relief, high relief and pierced decoration in precise and neat wheel cuts.Although jade bixie have heads like a lion or a tiger, it is the tiger that most embodies its essence. In the Three Kingdoms period, Zhuge Liang in his military strategy coined the now well-known term 'like a tiger added with wings' to describe a general that excels at deploying his troops. The origin of this phrase can be found in his anthology Zhuge Zhongwuhou wenji, juan 4, edited by Zhang Shu (1781-1847): “Military command is the mandate to lead the three armies, and the authority of the chief commander. A general who has the command of the army and knows the essence of troop deployment to gain the upper hand, is like a fierce tiger that has been given wings and able to travel the four seas, to apply force when he sees fit.”Zhuge Liang's description of an able general as 'a tiger added with wings' is the Han dynasty jade bixie personified.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 21 September 2021, lot 46 Price: USD 107,100 or approx. EUR 107,000 converted and adjusted for inflation at the time of writing Description: A beige and russet jade bixie, Han - Six DynastiesExpert remark: Compare the closely related subject, pose, manner of carving, and russet veining. Note the beige color and much smaller size (7 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 40 Price: HKD 2,142,000 or approx. EUR 285,000 converted and adjusted for inflation at the time of writing Description: A Rare Celadon Jade Figure of a Bixie, Eastern Han DynastyExpert remark: Compare the closely related subject, the related pose and manner of carving. Note the different color of the jade and much smaller size (4.8 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 27 September 2021, lot 524 Price: USD 746,000 or approx. EUR 741,000 converted and adjusted for inflation at the time of writing Description: A beige and brown jade figure of a bixie, Ming dynasty or laterExpert remark: Compare the closely related subject, the similar pose and manner of carving. Note the different color of the jade and larger size (12 cm). Also note the original estimate of USD 8,000-12,000 and the market's rather unambiguous response to the conservative dating of this lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 2748 Price: HKD 26,850.000 or approx. EUR 3,170.000 converted and adjusted for inflation at the time of writing Description: An Exceedingly Rare and Exceptional Jade Carving of a Mythical Beast, Bixie, Late Western Han Dynasty, c. 1st Century BCExpert remark: Compare the related carving and subject. Note the different color and smaller size (7.2 cm).

A BACTRIAN TRAVERTINE BOWL, 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 a truncated cone-shaped bowl in banded calcite or travertine.Oxus Civilization. The deep conical sides supported on a slightly rounded base and rising to an everted rim above a short waisted section. The stone of a beautiful cream color with faint veins of amber.Provenance: Bruno Cooper, Norwich, United Kingdom, 2009. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from Bruno Cooper, Norwich, dated 18 October 2009, describing the piece as a Bactrian truncated cone-shaped bowl in travertine, dating it to the 3rd millennium BC, and stating a purchase price of EUR 1,800 or approx. EUR 2,400 (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: Very good condition with old wear, few minuscule chips to the rim, signs of weathering and erosion, encrustations, and natural fissures, some of which may have developed into hairline cracks.Weight: 825.2 g Dimensions: Diameter 16.3 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.Literature comparison: Compare a closely related marble bowl, with a similar waisted section below the rim, dated ca. late 3rd to early 2nd millennium BC, in the Metropolitan Museum of Art, accession number 1983.535.4.Auction result comparison:Type: RelatedAuction: Christie's New York, 11 December 2003, lot 99Price: USD 7,170 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A Bactrian banded calcite-alabaster bowl, circa late 3rd-early 2nd millennium BCExpert remark: Compare the related form, material, and size (17.5 cm). Note the vibrant bands and thin walls.

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

A RARE SPINACH-GREEN JADE CUP, ZUN, 17TH-18TH CENTURYChina. Of lobed melon form supported on a tall foot, the sides finely carved with lotus blossoms, plantain leaves, and scrolling vines, the foot further carved with floral designs. The semi-translucent stone of a deep green tone with dark specks as well as lighter and darker striations.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years. A label to the base, 'Antique Jade Spinich [sic!] carved archaic vessel 18/19th century'. An inventory number, '217.14.QT', lacquered to the mouth. An old price label, 'HC 102 BIR 2'' $160'. An inventory number, '22' lacquered to the base. Condition: Very good condition with expected old wear, few small nicks, the stone with natural inclusions and fissures, some of which have developed into hairline cracks. The wood stand with minor wear.Weight: 305.4 g (excl. stand), 331.5 g (incl. stand) Dimensions: Height 7.7 cm (excl. stand), 10.1 cm (incl. stand)With a fitted and reticulated wood stand supported on four short feet, dating from the Qing dynasty. (2)This austere form, sometimes also referred to as chi kou zun, appears to derive from the earthenware originals, popular during the Shang and Zhou eras, as 'A Dictionary of Chinese Ceramics' by Wang Qingzheng, page 45, refers. This genre oscillates between the shape offered here, and the more conventional stem cup forms of gao zu bei and ba bei. Interestingly, both are known in gray jade from examples made during the Ming dynasty, but never before has a version carved from spinach green jade appeared on the market, at least not to the knowledge of this author. For an example of the gao zu bei form in gray hue, see No.2823 of the 1935-36 International Exhibition of Chinese Art at The Royal Academy, lent to the Exhibition by Major General Sir Neil Malcolm.Auction result comparison:Type: Remotely relatedAuction: Bonhams Hong Kong, 3 December 2015, lot 39Price: HKD 312,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A rare spinach-green jade 'heavenly bird' jar, Zun, Qianlong/JiaqingExpert remark: Compare the related color of the jade and the similarly detailed floral carving. Note the additional bird heads and the slightly larger size (10.1 cm).十七至十八世紀罕見纏枝蓮紋棱花口碧玉尊中國，分瓣瓜形，高足，開光雕刻纏枝蓮花與芭蕉葉紋，足部刻有花卉紋。深綠色調的半透明玉料，帶有深色斑點以及條紋。 來源：英國倫敦紳士收藏，其收藏至少超過五十年歷史。底部標籤上可見 'Antique Jade Spinich [sic!] carved archaic vessel 18/19th century'，口部寫著一個收藏編號 '217.14.QT'，舊價格標籤 'HC 102 BIR 2'' $160'，底部寫著一個收藏編號 '22'。 品相：狀況極好，有磨損，輕微小刻痕，玉石内有天然内沁和裂隙，其中一些已經發展成細裂紋。木架有輕微磨損。 重量：305.4 克 (不含底座)，331.5 克 (含底座) 尺寸：高7.7 厘米 (不含底座)，10.1 厘米 (含底座) 清代四足木底座。(2) 拍賣結果比較： 形制：稍微相近 拍賣：香港邦瀚斯，2015年12月3日，lot 39 價格：HKD 312,500（相當於今日EUR 44,000） 描述：清乾隆/嘉慶碧玉天雞尊 專家評論：比較相近玉石顏色，以及相似的纏枝蓮花雕刻。請注意此玉尊有三頭，以及尺寸 (10.1 厘米)較大。

A VERY RARE SILVER BOX AND COVER DEPICTING THE BLACK TORTOISE, XUANWU, TANG DYNASTYChina, 618-907. Both sides of the flat circular box are finely chased, the cover neatly embossed to the center with a tortoise entwined with a snake, their heads confronted, the serpent's scales and tortoise's carapace meticulously incised, encircled by two foliate bands divided by a raised line band. The sides of the box and cover with a similar foliate band, the underside similarly decorated with two confronted phoenixes centered by a flowerhead and encircled by a raised line and a foliate band, all against a ring-punched ground.Provenance: Hong Kong trade.Condition: Very good condition with some old wear, traces of use and manufacturing irregularities, expected minor tarnishing to the silver, and few tiny dents.Weight: 50.3 g Dimensions: Diameter 6 cmThe Black Tortoise (xuanwu) is one of the Four Symbols of the Chinese constellations, which emerged in Chinese cosmology around the third century BC and became firmly established in the following centuries. Despite its English name, it is usually depicted as a tortoise entwined together with a snake. The name used in East Asian languages does not mention either animal. The alternative name 'Black (or Dark or Mysterious) Warrior' is a more faithful translation. It represents the north and the winter season, thus it is sometimes called Xuanwu of the North. The creature's name is identical to that of the important Taoist god Xuanwu, who is sometimes (as in Journey to the West) portrayed in the company of a turtle and a snake.This depiction of a tortoise entwined with a snake is highly symbolic. According to Chinese mythology, tortoises are exclusively female and must be paired with snakes, which have similarly shaped heads, to conceive. Therefore, the adroitly entwined tortoise and snake do not represent a violent struggle, but rather a harmonious balance of Yin and Yang. Interestingly, neither is capable of defeating the other, as the snake is unable to crush the tortoise's shell and reach its vital organs while the tortoise is unable to attack the serpent due to its short limbs and neck. Furthermore, the creature's name is identical to that of the important Daoist god Xuanwu, who is sometimes (as in Journey to the West) portrayed in the company of a turtle and a snake.Literature comparison:Compare the mural of the Black Tortoise, dated early 7th century, Goguryeo Kingdom, painted on the northern wall of the Great Tomb of Kangso in Pyongyang. Compare a bronze mirror with symbols of the four cardinal directions, including the Black Tortoise, dated 7th century, Sui or Tang dynasty, in the Metropolitan Museum of Art, accession number 2022.151.Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2019, lot 544 Price: USD 102,500 or approx. EUR 108,000 converted and adjusted for inflation at the time of writing Description: A finely engraved small silver 'mandarin duck' box and cover, Tang dynastyExpert remark: Compare the related circular (though convex) form and chased decoration, however lacking the embossed details to the center. Note the smaller size (4.4 cm).唐代玄武紋銀盒中國，618-907年。扁圓盒兩面精美雕刻，雙層纏枝卷葉紋，中央開光，浮雕龜蛇纏繞，蛇首相對，蛇鱗和龜甲細節可辨。盒子的側面有相似的卷葉紋。盒底裝飾雙層纏枝花卉紋，中央開光，浮雕面對面的鳳凰。所有紋飾以圓點為地。 來源：香港古玩交易。 品相：狀況極好，有一些磨損、使用痕跡和製造瑕疵，銀質輕微變色，輕微小凹痕。 重量：50.3 克 尺寸：直徑 6 厘米 玄武，中國古代神話中的天之四靈之一，又名龜蛇 ，源於遠古星宿崇拜。玄武是一種由龜和蛇組合成的一種靈物，北方玄武象徵四像中的老陰，四季中的冬季，同時也是天之北陸。 這幅烏龜纏蛇的描繪極具象徵意義。根據中國神話，烏龜是唯一的女性，必須與頭部形狀相似的蛇配對才能構精。因此，纏繞的龜蛇並不代表激烈的鬥爭，而是陰陽的和諧平衡。此外該生物的名字與重要的道教神玄武的名字相同，玄武有時（如在西遊記中）被描繪成一隻烏龜和一條蛇。 文獻比較： 比較七世紀初期高句麗黑玄武壁畫，畫於平壤的江西三墓的北牆。比較一件七世紀隋或唐代四方神獸銅鏡，其中也有黑玄武，收藏於大都會藝術博物館，館藏編號2022.151。

A PAIR OF GOLD 'BIRD' BANGLES, PERSIA, 11TH TO 12TH CENTURYOf circular form, with hinged upper section terminating in two confronting birds centered by a clasp, their plumage inlaid in coral, turquoise, and corundum framed by beaded borders.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, expected old wear and traces of use, small nicks and dents, light surface scratches, few inlays lost. Alloy composition range: 70.21% gold, 28.36% silver, 1.42% copper. The bangles were tested by the Zelnik Istvan Southeast Asian Gold Museum.Weight: 54.65 g and 48.67 g Dimensions: Outer diameter 8.4 cm (each), Inner diameter 6.2 cm (each)Auction result comparison:Type: Closely relatedAuction: Bonhams London, 24 April 2012, lot 47Price: GBP 3,750 or approx. EUR 6,000 converted and adjusted for inflation at the time of writingDescription: A Gold Bracelet with Bird-Shaped Terminals, Persia, 11th-12th CenturyExpert remark: Compare the closely related form, bird finials, and size (8.2 cm). Note the apparent condition issues, missing inlays, lower weight (15 g), and that this listing is for a single bracelet only.

A NECKLACE WITH FOURTEEN AGATE AND CARNELIAN BEADS, PYU, 9TH - 10TH CENTURYPyu city-states. Of tubular, biconical, and globular form, etched with pentagons, lines, and other geometric patterns. Four stones of opaque black color, one of translucent reddish amber, the remaining of a pale gray and brown color with bands of light gray and 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 some wear, minuscule chips, and natural fissures.Weight: 27.6 g Dimensions: Length 30.8 cm (the necklace) and 2.1 cm (the largest bead)Etched carnelian beads were first produced in the Indus Valley around the middle of the third millennium BC. Trade with Mesopotamia during this period probably sparked their local production. They then spread across the world, with archaeological examples found in various places, such as Myanmar, China, Iran, Iraq, Syria, Ukraine, and Russia. Their shapes, sizes and etched patterns are very diverse, and their wide geographical distribution is striking evidence of their ubiquity.Literature comparison: For a discussion of Pyu beads with related examples, see Elizabeth Moore and Terence Tan, Eyes on the Past: Samon and Pyu Beads in Myanmar, Arts of Asia, vol. 38, no. 1, January-February 2008, p. 134-141. See also Terence Tan, The Journey through Beads: from Prehistory to the Pyu States in Myanmar, Arts of Southeast Asia, vol. 2, no. 1, January-February 2021.

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

Charles Henri Molins, an Art Deco gilt and silvered art metal figure group, circa 1925, modelled as a kneeling woman feeding an Asian Pheasant on a Sienna marble base, incised mark H Molins, 41.5cm long

Mixed glassware and ceramics to include an Art Deco black and clear glass suite together with an Asian silver plated bowlLocation:R1.5

A SMALL GROUP OF ASIAN ART including a reverse painted snuff bottle, 9cm high, a carved stone Hu vase, 14cm high, and a yellow ground plate, 14cm wide (4)

A Quantity of Assorted Asian Art, including a Japanese Meiji period Cloisonne vase decorated with bamboo shoots and crysanthemum on a red ground, pair of Arita double gourd vases, a pair of Chinese miniature bottle vases painted with prunus blossom and cracked ice, various other Chinese miniature vases and a pair of Chinese carved hardwood figures (two trays and hardwood figures)

Mixed glassware and ceramics to include an Art Deco black and clear glass suite together with an Asian silver plated bowlLocation:

Fullt title: A Chinese blue and white 'Bleu de Hue' bowl for the Vietnamese court in Hu_, Thieu Tri and Minh Mang mark ____, 19th C.Description: Dia.: 12 cm - H.: 6 cm Ref.: - This object is very unusual, rare and repeatedly discussed in Vietnamese art circles and publications. Never before has any porcelain object in Asian art history named two succeeding emperors combined in one base mark. The four-character mark is read from right to left. Crown prince/king Thi_u Tr_ (1841) ranges before his father's name Minh M_ng. Therefore the earliest dating for this bowl would be the time of Thi_u Tr_ 's regency. Perhaps commissioned to commemorate the transition of the emperors in 1841.- Only two such bowls are recorded within Vietnam: One in the possession of Nguyen Xuan Hoa in Hu_, another in the collection of Ph_m Hy Tng (HCM Saigon). See C_ V_t G_m S_ Vi_t Nam __t Lˆm T_i Trung Hoa Nhˆ xu_t b_n:V_n H—a Sˆi G˜n 2006, p. 318.Provenance: - The collection of Dr. Claus Vollers, German ambassador in Vietnam 1981-84.- The collection of Thomas Ulbrich, Studio Tho, Hanoi-Berlin, acquired from the above. Condition: (UV-checked)- The rim with a bronze mount, which shows minor superficial wear.- A hairline of ca. 4 cm and a star-shaped hairline of ca. 5 cm to the rim.- A hairline of ca. 4 mm and a section with some short tension lines and glaze lines to the base rim. ______________)- ______________- _______4______- __________5_______- _______4_____________________

Northern Wei Dynasty, 386-534 A.D. A gilt-bronze figure (after the Gandharan style, or that of the neighbouring Uddiyana region), of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB006, p.160; accompanied by copies of the relevant exhibition catalogue pages. 95 grams, 70 mm (2 3/4 in.). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this. Accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.10907-168639. Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. A video of this lot is available to view on Timeline Auctions Website.]

A RARE CHINESE NEOLITHIC PAINTED POTTERY 'DOUBLE CUP', MACHANG CULTURE (2500–2000 BC). The two cups are conjoined by a hollow tube section allowing liquid to pass from one cup to the other, with conjoined strap handles with pierced holes surrounding the both rims of the cups. 20.5cm length. Reference: For a very similar example see Bath East Asian Art Museum Vol.I of Inaugural Exhibition of Chinese Ceramics. Provenance: Property of a Lancashire family.No obvious signs of repairs in good visible condition for age.

SIX REFERENCE BOOKS ON ORIENTAL CERAMICS, MOSTLY CHINESE TO INCLUDE: 'Oriental Ceramics: Discovered in the Philippines', by Leandro and Cecilia Locsin, published by the Charles E. Tuttle Company, Inc. 1967; 'Sung Porcelain & Stoneware', by Basil Gray, published by Faber and Faber Limited, London, 1984; 'Song Ceramics', by Southeast Asian Ceramic Society, 1983; 'Sung Ceramic Designs', by Jan Wirgin, published by Han-Shan Tang Ltd, London, 1979; 'Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown-and Black-Glazed Ceramics, 400-1400', by Robert D. Mowry, published by Harvard University Art Museums, 1996; and 'Jingdezhen Wares: The Yuan Evolution' Catalogue of an exhibition presented by The Oriental Ceramic Society of Hong Kong and the Fung Shan Museum, University of Hong Kong, 23 March to 31 May 1984 (6)

SEVEN REFERENCE BOOKS ON CHINESE CERAMICS TO INCLUDE: 'Inaugural Exhibition, Volume I: Chinese Ceramics', by The Museum of East Asian Art, Bath, 1993; 'Precious Vessels: 2000 Years of Chinese Pottery', by Merseyside County Museums, 1980; 'Yuan Porcelain & Stoneware', by Margaret Medley, published by Faber and Faber, London, 1974; 'The Chinese Potter: A Practical History of Chinese Ceramics', by Margaret Medley, published by Phaidon Press Limited, Oxford, 1976; 'The Wares of The Ming Dynasty', by R. L. Hobson, published by Charles E. Tuttle Company, Tokyo, 1962; 'Chinese Ceramics from Datable Tombs', by J. M. Addis, published by Sotheby's Parke Bernet Publications, London, 1978; and 'Chinese Blue & White Porcelain', by Duncan Macintosh, published by David & Charles, Newton Abbot, 1977 (7)

COLLECTION OF TWENTY-SIX BOOKS AND AUCTION CATALOGUES ON ASIAN ART. Comprising: Christies - 'An Inquiring Mind: American Collecting of Japanese and Korean Art', Wednesday 22 April 2015; Sotheby's - 'Fine Chinese Export Porcelain', Tuesday 18th November 1986; Bonhams - 'Fine Japanese Art, including two Japanese masterpieces by Kitaoji Rosanjin (1883-1959)', Thursday 7 November 2013; 'Oriental Art', Autumn 1987, VOL. XXXIII No. 3; Five books on Chinese painting and watercolours in English and Chinese, including: 'The Ten Bamboo Studio - A Chinese Masterpiece' by Crescent Books, Crown publishers, New York, 1979, and others; Six books on Japanese Art including: Japanese Art & Handcraft', by Henri L. Joly & Kumasaku Tomita, Sawers-Valansot Publication, 1976; 'The Ukiyoe Exhibition', 1993; 'Osaka Prints' by Dean J. Schwaab, published by John Murray Ltd, London, 1989; 'Japonisme - Japanese Influence on French Art 1854-1910', published by The Cleveland Museum of Fine Art and others with assistance of Robert G. Sawers, London, 1988; Books on Chinese Art, including: 'Chinese Art' by Lubor Hajek, published by Spring Books, London; 'Chats on Oriental China - A Practical Guide for the Collector' by J.F. Blacker, published by T. Fisher Unwin, London; 'The Genius of China', published by William Watson; 'Antique Jade', by Oscar Luzzatto-Bilitz, published by Paul Hamlyn, London, 1969; and others (26)

Attributed to Ramón Torres (active in Mexico, 1770 - 1790)."3. De Castisa y Español sale Española" (3. From "Castiza" and Spanish comes Spanish" and "7. De Español y Albina sale Tornatrás" (7. From Spanish and Albino comes "Tornatrás")Pair of oil paintings on canvas. 32 x 44 cm each.Due to the obvious similarities between these two oil paintings (nº 3 and 7 of the series of which they were part) and precisely the nº 3 and 7 of another series of "casta" paintings on copper (dated c. 1770 - 1780) by Ramón Torres, we consider that these paintings could belong to another series by the same artist, this time made on canvas, for the same family. Among the multitude of similarities, we can point out the pictorial style, the arrangement of the figures and the interior, the typography of the cartouches and the measurements of the paintings. In Ilona Katzew's study "La pintura de castas" (2004) we can see the entire aforementioned series by Torres (fig. 146-161).The casta painting theme was developed in New Spain in the 18th century and was intended to publicise and classify the diversity that originated from the mixture of races. It was a complex task, as reported by the Museo Nacional del Prado in the catalogue published for the exhibition "Tornaviaje. Ibero-American Art in Spain", since "natives from the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigration ... gave rise to a stratified society, but with lines of communication", a diverse society that nurtured caste painting.Even so, the value of this pictorial genre does not correspond exclusively to "the classifying tendency typical of the 18th century" or even to "European concepts of the exotic", but studies such as that of Ilona Katzew make us aware of the value of the genre for "the construction of their own, differentiated image" of New Spanish society. In fact, Katzew continues, casta painting "is a unique pictorial genre that has no equivalent in European art", indeed, "it is fundamentally limited to the viceroyalty of New Spain", although miscegenation occurred in all the Spanish colonies.In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that "casta painting is not a monolithic genre, but one that contains multiple simultaneous meanings" and that, furthermore, "it offers a clear example of how New Spain could be a generative centre and not just a place that remained on the periphery of artistic events", as has traditionally been considered. Reference bibliography: - Álvarez Argüelles, Deva. (2019). "El mobiliario del siglo XVIII a través de la pintura de castas". Res Mobilis, Vol. 7, nº 9, pp. 16-34.- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181).

Moss (Hugh & others). The Art of the Chinese Snuff Bottle. The J & J Collection, 2 volumes, 1st edition, New York: Weatherhill, 1993, coloured illustrations from photographs throughout, original cloth in slipcase (rubbed and partly faded), folio, together with Stevens (Bob C.), The Collector’s Book of Snuff Bottles, 2nd edition, New York: Weatherhill, 1980, colour plates, original cloth in slipcase, 4to, plus Cai Zi’e, History of The Aesthetics of Chinese Dress, 1st edition, Shijiazhuang, 2001, Chinese text, colour and black and white illustrations, original cloth in dust jacket, a little rubbed, 4to, plus other Asian art interest, mostly large format modern publications including auction catalogues, journals, etc.QTY: (approx. 150)

Cultural Relics, publisher. Selected Collection of Porcelain in Shanghai Museum, 1st edition, 1979, 100 tipped-in colour plates, some minor spotting, original gilt decorated white cloth in dust jacket, covers rubbed & marked, folio, together with:Tsultem (N.), Mongolian Arts and Crafts, 1st edition, Ulan-Bator: State Publishing House, 1987, numerous colour illustrations, original cloth in dust jacket, covers slightly rubbed, large 8vo, plusGuidoni (Enrico), Primitive Architecture, 1st U.S. edition, New York: Harry N. Abrams, 1978, numerous monochrome illustrations, original cloth in dust jacket, large 4to, and other Asian & tribal art reference & related, including Tribal, the magazine of tribal art, approximately 70 issues, circa 2002-19, all in original wrappers, large 8vo, some original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (6 shelves)

Miscellaneous Chinese and other South East Asian wood, bronze, soapstone and other works of art, including two stands, etc As a lot in good condition

An Indian carved and painted wood model of a richly caparisoned elephant and miscellaneous South East Asian metalware and works of art, 20th c, elephant 18.5cm h and a Victorian style brass student's lamp Good condition

Tribal Art. Miscellaneous South East Asian caved wood figures and other items, bronze bell, anklet and an Indian brass mounted polychrome dowry box Good overall condition

A Quantity of Asian Art, to including two Chinese crackle glazed baluster vases and covers, painted in famille vert enamels; a wucai jar and cover; a pair of celadon jade coloured hardstone birds; a similar model of a bird of prey; a Japanese bronze censor; and a large Satsuma moon flask etc. (two trays)

SMALL COLLECTION OF LOOSE ASIAN WORKS OF ART,including papyrus paintings

A Chinese Scroll Painting By Ma Yuan78x47cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Blue and WHite Eight Auspicious Symbols Steam BowlH: 10.5cm; D: 16cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Cizhou-ware Long Neck VaseH: 16cm; W: 8cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Scroll Calligraphy By Zhao Mengfu93x47cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Falangcai Plum Bamboo BowlH:5cm;W:11.2cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Scroll Painting By Tang Yin84x52cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Blue and White Medallions BowlH:11cm;W:23cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Scroll Painting By Tang Yin86x52cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Scroll Painting By Wu Daozi81x53cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Famille Verte Food Vessel DouH: 20cm; W: 17cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Scroll Calligraphy By Huang Tingjian108x48cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Blue and White Dragon PlateH:3.5cm;W:12cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Scroll Painting By Zhao Chang131x73cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Blue and White Flower and Bird CupH:4.8cm;W:8.5cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Underglaze Blue and Iron Red Jar with CoverH:25cm;W:19cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

A Chinese Blue and White Lobed DishH: 4cm; W: 18.5cmColonel Sir Claude Maxwell MacDonaldSir Claude Maxwell MacDonald (1852-1915) was a British diplomat and British Minister to China in 1896.Sir Claude MacDonald was a Knight Grand Cross of the Most Excellent Order of St. Michael and St. George (GCMG), and was a First Class knight-errant. Knight Grand Cross of the Royal Victorian Order (GCVO). Knight Commander's Cross of the Order of the Bath (KCB) in the civilian version. Knight Commander's Cross of the Order of the Bath (KCB), military version - awarded on November 29, 1900, "for service in recent operations in China," among other honors.On April 24, 1896, he became British Minister to the Qing Dynasty, leased Weihaiwei from the Qing Government, obtained the right to build five railroads including the Guangzhou-Kowloon Railway for British merchant groups, and signed the Treaty of Extension of the Hong Kong Boundary with the Qing Government, leasing the New Territories to the Qing Court.During his stay in China, he often discussed Chinese art collection and art research, and once took a photo in front of a Chinese palace.Sir Claude MacDonald's collection of Chinese works of art was so large during his time in China that he traveled between China and Japan from 1900 to 1912, and returned to England with a large collection of Asian works of art, some of which were dedicated to George V. When Sir Claude MacDonald died in London on September 10, 1915, a large number of his works of art were sold to an American collector. The lots in this sale are offered anonymously by the American collector, whose father purchased them from the estate of Sir Donaldson.

LORENZO QUINN (Rome, 1966)."The Hand of God".Bronze sculpture on marble base. Exemplary 027/999.Signed, numbered and with the artist's fingerprint.Certificate of authenticity enclosed.Measures: 22 x 34 x 19 cm.Son of the actor Anthony Quinn, this sculptor grew up between the United States and Italy, being in this last country where he learned to appreciate art. At the age of twenty-one, he earned the respect of New York art society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Shortly afterwards he received a major commission from the Vatican, which commissioned him to create a sculpture of the saint for the 8th centenary of the death of Saint Anthony. Quinn has held exhibitions on five continents, and his work is represented at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were unveiled at the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar).

A superb and excessively rare Bombay gold Quarter-Mohur, 1765 East India Company, Bombay Presidency, Early coinages: English design, gold Quarter-Mohur, 1765, Company arms, english east india company around, rev. bombay 1765, small lettering, floral ornaments above and below, 2.74g/6h (Prid. 6 [not in Sale]; Stevens 2.95; KM. 184, this coin illustrated; F 1552, this coin illustrated). Practically as struck with considerable mint bloom, excessively rare [certified and graded NGC MS 66 Star] £60,000-£80,000 --- Provenance: W.W. Leycester Collection, Sotheby Auction (London), 15-23 June 1888, lot 178 (part) H. Montagu Collection, Sotheby Auction (London), 3-4 May 1892, lot 62 J.G. Murdoch Collection, Sotheby Auction (London), 21-30 July 1903, lot 43 H. Leslie Ellis Collection V.M. Brand Collection, Sotheby Auction (London), 14 June 1985, lot 160 [from Spink August 1919] ‘Skanda’ (L.B. Brilliant) Collection, Spink/Taisei Auction 9 (Singapore), 20 February 1991, lot 617. Owner’s ticket and envelope. Literature: Illustrated in George Cuhaj et al, South Asian Coins and Paper Money, Indian Edition, p.436 Illustrated in Art Friedberg et al, Gold Coins of the World from Ancient Times to the Present, p.524. It is believed that three other specimens are known: 1). P.J.E. Stevens Collection (illustrated on website), ex Sir John Wheeler (lot 69), Sotheby 5-6 October 1989 (lot 560), Wolfson Trust (lot 313: unsold), R.J. Ford, J.G. Murdoch (lot 44), H. Montagu (lot 61), Major-General Henry Hyde, R.E. (1824-87, Master of the Calcutta Mint 1861-76, and by private treaty to Montagu), the Pridmore plate coin (large lettering: different rev. die); 2). British Museum 1851-3-14-25 (large lettering: same rev. die as 1)); 3). SCMB July 1955 (G 1030), ex H.A. Parsons, Part II (lot 885), from the same dies as the present piece

Asian Art - The Baur Collection, Geneva 9 volumes Ayers, J. Chinese Ceramics. Geneva, 1968-1969-1972-1974, 4 volumes, number 22 (volume 1) and number 44 (volumes 2-4) of 50 copies bound in leather, dustwrappers, slipcases;Ayers, J. Japanese Ceramics. Geneva, 1984, number 44 of 50 copies bound in leather, dustwrapper, slipcase; Schneeberger, Pierre F. Chinese Jades. Geneva, 1946, number 45 of 50 copies bound in leather, dustwrapper, slipcase; Schneeberger, Pierre F. Japanese Lacquer (Selected Pieces). Geneva, 1984, number 44 of 50 copies bound in leather, dustwrapper, slipcase;Robinson, B.W. Japanese Sword-Fittings. Geneva, 1980, number 44 of 50 copies bound in leather, dustwrapper;Coullery, Marie-Thérèse and Martin S. Newstead. Netsuke (Selected Pieces). Geneva, 1977, number 44 of 50 copies bound in leather, dustwrapper, slipcase; all with plates;with the original publishing prospectus for the Chinese Ceramics and Netsuke volumesNote: Note: A fine set of very important reference works on Asian art, the volumes written by leading experts in their respective areas.1,000 copies were published of the limited edition of Chinese Ceramics, volume 2 of Chinese Ceramics being priced at £12 10s. In addition, according to the prospectus included in the lot, "Further limited edition of 50 copies printed on special paper and bound in leather, £20". The prospectus for the Netsuke volume states "Volume 6 of the series is the first to deal with Japanese art. It illustrates and describes 1,200 selected netsuke of the Baur Collection covering all manufacturing centers. The collection is particularly rich in netsuke created by artists who lived in the second part of the 19th and the beginning of the 20th century in Osaka and Tokyo. In addition to the illustrations and descriptions of these 1,200 pieces, the catalogue contains also 8 colour plates showing the work of 8 selected artists, an alphabetical list of 897 signatures illustrated on separated plates. A glossary and an index complete the book".Sets of the edition limited to 1,000 copies rarely appear on the market; sets of the special edition bound in leather are exceptionally rare.

Collection of ancient art, sculpture, history and reference books for World, Asian, Mayan, Egyptian, Roman etc. including 'Thracian Art Treasures', 'Gifts of the Nile', 'Great Bronze Art of China', 'Roman Portraits', 'The Mayans', 'Art of the Mamluks' 'Islamic Pottery', 'Korai Archaic Greek Maidens', 'Cairo Museum', 'Art of India through the Ages' etc. in two boxes

South-Est Asian Art A Buddha bronze headThailand, Ayutthaya, 17th century. . Cm 13,50 x 24,50 x 14,50.

South-Est Asian Art A pair of round shaped devotional paintings Thailand, Rattanakosin, 18th century. . Cm 42,30 x 42,30. a pair of tempera on silk paintings within frame. One depicting a Buddha temple; the other with hunting scene with elephants.