We found 6730 price guide item(s) matching your search

Ca. 200-300 AD. A richly carved in grey schist, combining naturalism of the classical Greek style with the Asian serenity of Buddhist art. He displays a serene expression recalling the compassionate disposition of the bodhisattva, who remains in the mortal realm to help sentient being free themselves from its grip of suffering. The head is finely shaped, the nose in aquiline, an elaborate coiffure that radiates from the top of the head and is fashioned in a loosely parted topknot, he has long curly hair and a moustache. The bodhisattva is adorned with braided necklace, the forehead is centred by an incised urna.Size: L:260mm / W:160mm ; 4.3kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.

Ca. 618-907 AD. A beautiful terracotta horse with a long neck artistically turned up, standing on an integral falt base. The animal has a chestnut-coloured body, short mane and docked tail. Warhorses were the pride of the Tang, a dynasty of prosperity, military expansion, and artistic achievement. For more information on the importance of horses in China, see: Cooke, B. (ed.) (2000). Imperial China - The Art of the Horse in Chinese History: Exhibition Catalogue. Kentucky Horse Park, Lexington. For more general information on the Tang Dynasty, see: Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. Cf. Christie's, Live Auction 5614, Asian Art, 15 December 2010, Lot 278. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:690mm / W:655mm ; 17.88kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

Ca. 202BC - 220AD. A huge pottery model of a guard dog in a seated position, facing forwards with head alert and ears pricked up. The dog wears an elaborate harness and a collar. Cf. Christie's, Asian Decorative Arts, Live Auction 9338, 14 March 2002, Lot 443. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot. Item comes with a professional historical report from Ancient Report Specialists. Size: L:495mm / W:170mm ; 6.75kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

Xiajiadian Culture, Ca. 2300-1600 BC. An interestingly formed vessel modelled with a cylindrical body rising from the tripod base and terminating in a broad mouth with an everted rounded rim. The exterior is enhanced with intricate polychrome designs against a dark background. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. For a similar example, see Bonhams, Asian Art, 11 September 2014, London, Lot 337.Size: L:265mm / W:175mm ; 1.43KGProvenance: Property of a London gallery, acquired on the US art market from A. P.; previously in the collection of E. Bourke, MD., Yonkers, NY.

A Group of 18th Century and Later Chinese Porcelain, including: A Blue and White Tea Bowl, other Asian art including A Japanese Lacquer Dish and Two Hardwood Stands

A good collection of forty-one Asian Art auction catalogues, the majority Christie's, Sotheby's and Bonhams, including Christie's 'The Jingguantang Collection', Hong Kong 3rd November 1996, Bonhams 'Important Jade Carvings from the Somerset De Chair Collection', Hong Kong 27th November 2014, Bonhams 'The Cunliffe Collection', London 11th November 2002, Christie's '300 Years of Jade', Hong Kong 30th November 2000, and Sotheby's 'Highly Important Ming and Qing Imperial Porcelain', Hong Kong 29th April 1997.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

A collection of Asian Art reference books, including 'Qing Porcelain: Famille Verte, Famille Rose' by Michael Beurdeley and Guy Raindre, 1987, 'A Journey into China's Antiquity', volumes 1-4, 1997, 'Later Chinese Porcelain' by Soame Jenyns, 1959, 'Chinese Blue and White Porcelain' by Duncan Macintosh, 1977, and 'Chinese Export Porcelain: Chine De Commande' by D. F Lunsingh Scheurleer, 1974.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

A collection of Asian Art reference books, including 'Asiatic Art' by H. F. E Visser, 1948, 'Mystic Art of Ancient Tibet' by George Allen & Unwin, 1973, 'Ancient Indonesian Art' by A. J Bernet Kempers, 1959, 'Light of Asia: Buddha Sakyamuni in Asian Art', 1984, 'The Flame and the Lotus' by Martin Lerner, 1984, 'An Exhibition of Chinese Stone Sculptures' by C. T Loo & Co, 1940, and 'A Concise History of Buddhist Art in Siam' by Reginald Le May, 1962.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

A small collection of Asian Art auction and exhibition catalogues, including six 'Percival David Foundation of Chinese Art' booklets, 1973-1978, ten various Christie's and Sotheby's catalogues, 1932-1981, and four 'Transactions of the Oriental Ceramic Society', volumes 26, 33, 34 and 41.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

Four framed and glazed prints of famous works of art, including Edwin Landseer: Study of a Horse, Rembrandt 'Asian Elephant', Pablo Picasso 'A Mother and Child and Four Studies of her Right Hand', Rodin female study. All signed in plate. H.39 W.39cm.

A White Metal and Ivorine Mounted Walking Cane, probably American, 20th century, the handle in Art Nouveau style82cm longA White Metal Mounted Malacca Cane, the pommel worked with scrolling foliage88cm longA South East Asian White Metal Mounted Walking Cane90cm longA Gilt Metal and Mother-of-Pearl Mounted Walking Cane86cm long (4)

A collection of metal ware to include: A Royal Welsh car mascot, c.1920s depicting a leek and wording of 'Cymru Am Byth' ; A Post-War (1920s) lighter - depicting French flag and gun on one side and British tank to the other, made of various war related metals/parts; A white metal compact with engraved Niello work decoration showing a figure on Camel back and palm trees & river to reverse, probably Eastern European/Asian/North African; A small copper jug with hand beaten decoration and stylised spout and handle; A pair of candlesticks marked 'Patent 19584' possibly Trench Art; A pair of Eastern engraved decorated vases with smaller lidded urn/jar with same decoration depicting figures and animals; with 3 razor kits, two are metal cased razors with blades and unscrew able handles inside, the other fabric cased and by Gillette; A pair of brass tongs/stretchers and a small floral decorated metal pot with a blue glass liner. (14 items)Various sizes and conditions including tarnishing, denting, some bits misshapen.

A collection of South East Asian and African works of art and objects of virtue, to include models of the terracotta warriors, a bronze model of a Chilong, an Rajasthani bronzed figure on horse back, a studio pottery bowl by Ray Harris, a Balinese carving of a Barong, 10cm high, two figural Ugandan clay figures etc. (Qty) (at fault)

Five Boxes of Books and London Sale Catalogues, Asian ceramics and works of art

Two Boxes of Antiques Reference Books, mainly ceramics and Asian art, inlcuding Worcester Blue and White Porcelain, Branyan, French and Sandon

5 x Asian Art 20th Century Ceramics. Chinese Famille Rose small lidded Jar with hand painted Mountainous Lakeside Scene and inscription. Enamel Buddhist Lotus style borders. Lid with characters, border and top painted flower and rubber red stamp to base(Heavy for size at 0.438 Kg.). Pintado a Mano - Spanish plate in Blue and White, with Chinese style Dragon, hand painted underglaze and signed on reverse. Small Buddhist Famille Rose Pot and Lid, decorated on green ground with Bats, Clouds, Ruyi Scepre Heads, Lotus and various Auspicious, good luck, cash symbols and Flowers, Red rubber stamp to base and 2 x transfer printed items - Large decorative wall hanging plate with Love Verse and a porcelain Vase decorated with a Lady playing a Flute surrounded by Bamboo, Butterflies, a script to reverse and red seal to base. All are in excellent condition with no damage noted. Tallest vase is 23cm high.5 x 亚洲艺术 20 世纪陶瓷。 中国粉彩小盖罐，手绘湖边山景和铭文。 珐琅佛教莲花风格边框。 带字符的盖子、边框和顶部彩绘花朵和底部的橡胶红色印章（重量为 0.438 千克）。 Pintado a Mano - 蓝白相间的西班牙盘子，带有中国风格的龙，手绘釉下彩，背面有签名。 小型佛教粉彩花盆和盖子，绿色地面装饰有蝙蝠、云彩、如意仙人头像、莲花和各种吉祥、好运、现金符号和鲜花，底部有红色橡皮图章和 2 x 转印物品 - 大型装饰性壁挂 盘子上有爱情诗句和花瓶，描绘了一位女士在竹子的包围下吹笛子，一个反转的脚本和红色印章在底部。 所有都处于良好状态，没有发现损坏。 最高的花瓶高 23 厘米。

Small Collection of Asian Art Items. Wood Panel Wall Hanging with Mother of Pearl Inlayed Figure with Polished Bone Face. Chinese Wooden Vase Stand. 2 X Trinket or Paste Dishes, both with Character Marks to Base. Wood Panel 29cm tall with Metal Hanger Extended. 亚洲艺术项目的小型收藏。木板壁挂，珍珠母镶嵌人物，抛光骨面。中国木制花瓶架。 2 X Trinket 或 Paste Dishes，底部均带有字符标记。木板高 29 厘米，金属衣架加长。

Asian Art Collection. Unusual Drawing of a Character with Dragon Shield and Bonsai Tree Head Wear(with unknown Pencil Signature), A Japanese Lakeside Picture with Gilt Highlights, Thailand Tissue Paper Tracing of a Buddha and Masked Attendant, Another Thailand Framed Print and a Tokyo Bape Map. Tracing is measuring 50cm x 46cm. 亚洲艺术收藏。带有龙盾和盆景树头饰的不寻常人物素描（铅笔签名不详），带有金边亮点的日本湖边图片，泰国薄纸描绘的佛像和蒙面侍者，另一幅泰国裱框印刷品和一张东京 Bape 地图。 Tracing 尺寸为 50cm x 46cm。

STATUETTE D'HAYAGRIVA EN ALLIAGE DE CUIVRE REPOUSSÉ ET DORÉ POLYCHROMEMONGOLIE, XIXE SIÈCLE Himalayan Art Resources item no. 205038 47.9 cm (18 7/8 in.) highFootnotes:A POLYCHROMED GILT COPPER ALLOY REPOUSSÉ FIGURE OF HAYAGRIVA MONGOLIA, 19TH CENTURY 蒙古 十九世紀 銅鎏金錘揲加彩馬頭明王像This figure is known as the Secret Accomplishment form of Hayagriva, who is recognized by the three horse heads protruding from his flaming hair. After receiving direct instruction from Padmasambhava in a dream, Shangpa Kagyu Lama Kyergangpa (1154-1217) disseminated this form of Hayagriva throughout Tibet, where his iconography was later practiced in all of the schools of Tibetan Buddhism.Compare a six-armed Hayagriva in the Jacques Marchais Museum published in Lipton & Ragnubs, Treasure of Tibetan Art, New York, Oxford, 1996, p. 111, no. 47, and a Mahakala attributed to the Dolonnor workshop from The Maitri Collection of Indian, Himalayan & Southeast Asian Art, sold at Bonhams, New York, 20 March 2018, lot 3215.Provenance:Sebastian Barbagallo, London, 1980sFor further information on this lot please visit Bonhams.com

VERSEUSE RITUELLE EN ACIER DAMASQUINÉ LAITON ET ORTIBET ORIENTAL, DERGÉ, VERS XVIIE SIÈCLE Himalayan Art Resources item no. 205068 39 cm (15 3/8 in.) highFootnotes:A BRASS AND GOLD DAMASCENED STEEL RITUAL EWER EASTERN TIBET, DERGE, CIRCA 17TH CENTURY 藏東 更慶鎮 約十七世紀 鋼鋄金銅執壺 The circular body of this ritual ewer is decorated with auspicious symbols around the central recessed panel containing a visvavajra. The handle and spout are cast here as a makara and a dragon, respectively. Bearing the technical hallmarks of damascened objects from Derge, this elaborate vessel blends together Tibetan decorative motifs to a Central Asian shape. See a closely related beer jug with dragon decorations in the Victoria and Albert Museum (IM.22-1928), as well as a silver ewer sold at Bonhams, San Francisco, 26 June 2018, lot 24.Published:Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p.108, no.33.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com

ENSEMBLE DE CINQ TSAKLI BÖNTIBET, XIVE SIÈCLE Himalayan Art Resources item no. 205077 26 x 7 cm (9 1/8 x 2 3/4 in.) each approx. Footnotes:FIVE BON TSAKLI TIBET, 14TH CENTURY 西藏 十四世紀 苯教佛卡 一組五幀Each panel contains two attendant figures with white, blue, yellow, and red skin colors framed by arching scarves and flowing lower garments. The figures face inward to present various attributes: a bell; a conch; a spear; a whisk; a peacock a feather; a white feather; a drum; and an arrow, while two figures are presented without attributes. Inscriptions and numbering on the reverse of each tsakli indicate that these were used during initiations and instructions related to the meaning of these attributes and their affiliations. See three tsakli with similar red domed aureoles and flowers within a dark background in Kvaeverne, The Bon Religion of Tibet, 1995, pp. 130-1, pls. 45.1-2 & 48. Also see a set of 21 Bon cards in the Tamashige Collection (HAR 31206).Provenance:Wei Asian Art, Brussels, 1990sFor further information on this lot please visit Bonhams.com

ENSEMBLE DE NEUF CARTES REPRÉSENTANT DES LIGNÉES DES LAMAS BÖNTIBET, XIVE/XVE SIÈCLE Himalayan Art Resources item no. 205078 10 x 17 cm (4 x 6 3/4 in.) each approx.Footnotes:A SET OF NINE LINEAGE CARDS OF BON LAMAS TIBET, 14TH/15TH CENTURY 西藏 十四/十五世紀 苯教世襲喇嘛卡一組九幀 This set likely represents the lineages of nine Bon teachers. Eight of the lamas are dressed in heavy meditation cloaks, long-sleeved jackets with various hand gestures and attributes, and tall red hats common to the Bon tradition. The remaining ninth tsakli depicts a lama in a yellow pandita hat holding a small phurba in his raised right hand, a gesture copied by two other monks. The inscriptions on the reverse identify the Bonpo masters as: Gyalton Jonbum; Tashi Drupo; Gyayton Chokyi Senge; Luyi Gyaltsen; Palgi Lodro; Gyalton Sangay; Nyanma Kumara; Nub Dorje; Kharchen Palgi.Provenance:Wei Asian Art, Brussels, 1990sFor further information on this lot please visit Bonhams.com

’THE LORD CUNLIFFE CONG'康裏弗勛爵藏玉琮A RARE CHINESE NEOLITHIC JADE FOUR-TIERED CONG, LIANGZHU CULTURE, CIRCA 3300 - 23OO BC良渚文化 四層獸面紋玉琮 公元前3300-2300Of cylindrical slightly tapering form with square rounded corners, carved with four registers with simplified human masks, the stone of mottled green and brown tone with some crystalline inclusions, the patina soft, tactile and ancientHeight: 11cmProvenance: Sir Ernest Debenham Collection, acquired prior to 1928The Rt. Hon. Rolf, 2nd Baron Cunliffe of Headley (1899 - 1963), collection no. JA6, acquired from Bluetts in 1946Private collection, Chicago, acquired in the early 1990’sErnest Debenham 爵士收藏， 購於 1928年 Cunliffe 勛爵 收藏 (1899-1963)  收藏編號 JA6 1946 年購於 英國古董商 Bluetts 芝加哥私人收藏，購藏于1990年早期 A similar four-tiered jade cong was sold at Christie’s Hong Kong, 27th November 2019, lot 2720, The Chang Wei-Hwa Collection of Archaic Jades, Part I, Neolithic Period, acquired in Hong Kong in 1992. Sold for HKD 2,375,000. Another four tiered cong from Masterpieces of Ancient Chinese Jades: The Zan Ji Xuan Collection, was sold at China Guardian, Hong Kong, 10th Anniversary Autumn Auctions 2022, lot 1521, for HKD 624,000.Jade Neolithic congs and bi discs are probably some of the most intriguing objects from ancient Chinese culture. They were carved by the Liangzhu people who lived around the current Lake Tai in Jiangsu province. Scholars are not sure of their actual purpose, although they have been found included in the Liangzhu tombs of noblemen as burial goods for the after-life. There are several examples known in western and Asian museums, in particular the British museum has fine examples. Jessica Rawson has suggested that these pieces may all have come from one or two tombs discovered in the late 19th or early 20th century, see Rawson, J. Chinese jade from the Neolithic to the Qing, British Museum, London, 1995, pg.122 & 128.According to Davids & Jellinek, Provenance, 2011, pg.132, Wing Commander Lord Cunliffe, 'was one of the best-known of the mid 20th century collectors of Chinese works of art and a prominent member of the Oriental Ceramic Society from 1946. He first strode into the pages of Bluett’s Day Books on Thursday 30th November 1944, purchasing a small Han dynasty pottery jar with a notable iridescent glaze for £15. Over a period of almost twenty years he bought more than 400 pieces from Bluett’s.'相似一件四層獸面紋玉琮售于香港佳士得2019年11月27日張偉華高古玉收藏專場（一）拍品號2720.此拍品于1992年購於香港，落槌價為兩百三十七萬五千港幣。 另一件相似的四層獸面玉琮于2022年售于香港嘉德玄禮四方-暫集軒珍藏中國古代玉器，拍品號1521，落槌價為六十二萬四千港幣。新石器時代的玉琮和玉璧可能是中國古代文化中最引人入勝的物品之一。由居住在今江蘇太湖一帶的良渚人雕刻而成。儘管在良渚貴族墓葬中發現它們主要作為下一來世的陪葬品，但學者們並不確定它們的實際用途。在西方和亞洲的博物館中有幾個例子，特別是大英博物館中的玉琮收藏質量精美。傑西卡·羅森 (Jessica Rawson) 認為，這些玉琮可能都來自於 19 世紀末或 20 世紀初發現的一兩個貴族墓葬中。見傑西卡·羅森 (Jessica Rawson) 大英博物館藏中國玉器，從石器時代到清。 于1995年出版于倫敦，頁122，128.据David&Jellinek，Provenance一書中描述，Cunliffe 二世勛爵，是二十世紀中葉最爲著名的中國藝術收藏家之一，同時于1946年成爲東方陶瓷協會的永久成員。1944年11月30日當他第一次走進當時倫敦著名古董商Bluett’s的古董店中，購買了一件漢代彩陶花費十五英鎊，至此開始了他的中國藝術品收藏生涯，此後的二十年閒，他從著名古董商Bluett’s 那裏購入了超過400件中國古代藝術品。此次拍賣的良渚文化四層獸面玉琮也是于這一時期購入。Condition ReportThe cong has been examined under UV light, the stone with a fine waxy polish with natural fissures and flaws, one emanating from the upper corner (approximately 2cm long) and one from the lower corner (approximately 1cm), three very minor chips to the corners of the human masks, and two circa 1cm., shallow chips to the base of the foot.

Tribal Art. An Ethiopian carved wood neck rest and various other African and South East Asian carved wood objects, circa mid 20th c As a lot in good condition

A rare pre-Columbian sheet gold headdress or breast plate, possibly Moche culture, Northern Peru, A.D. 200 - 850, of crescent shape, suspended with hand cut discs, the centre repousse worked with the figure of a warrior holding a war club in each hand, and wearing a crescent-shaped headdress and circular earflares,Compare a gold mounted earflare in the Metropolitan Musem of Art, New York, decorated with a similar figure wearing a similar crescent shaped headdress and earflares to the figure on the breast plate. War clubs are prominent in Moche representations of battles and ceremonies, but they also appear to have served as generalized symbols of power; on occasion ceramic representations of war clubs adorned the rooflines of buildings. 36cm wide 9.7cm high, weight 130g***CONDITION REPORT***Provenance - Ken Paul who collected Asian, American and European antiques from the 1950s to 1980s to hire as props in movies and television, thence by family descent. Tests as high grade gold and therefore highly unlikely to be have been made as a movie prop, known to have been acquired prior to 1980.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Ca. 618-907 AD.A circular bronze mirror with lobed recess to one face with intricate relief depicting a three-clawed dragon between four vaporous clouds. From the central part of the body, a perforated raised knob protrudes. The dragons' eyes, mouths, and scales are carefully depicted, indicating the many hours of workmanship that must have been spent on making this piece. Dragons are a symbol of power, strength, and good fortune in Chinese art. The Tang dynasty ruled most of China between AD 618 and 907, and this period is widely viewed as an era of progress and stability, during which many scientific and artistic advances were made. This beautiful mirror may have belonged to a noble lady who lived under the Tang. Cf. Christie's, Live Auction 2658, Luminous Perfection: Fine Chinese Mirrors from the Robert H. Ellsworth Collection, 22 March 2012, Lot 1452.Size: L:125mm / W:125mm ; 415gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 618-907 AD.A rosette-shaped bronze mirror with an intricate relief depicting repeating flying birds and intertwined floral motifs on the reverse, as well as a small loop for suspension. The birds' feathers are picked out individually indicating the many hours of workmanship that must have been spent on making this piece. The Tang dynasty ruled most of China between AD 618 and 907, and this period is widely viewed as an era of progress and stability, during which many scientific and artistic advances were made. This beautiful mirror may have belonged to a noble lady who lived under the Tang. Size: L:125mm / W:125mm ; 410gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 200-300 AD.A remarkable example of Kushan artistry, richly carved in grey schist, combines the naturalism of the classical Greek style with the Asian serenity of Buddhist art. The head is finely carved with a gentle bow-shaped mouth, straight nose, heavy-lidded eyes, elongated ears, and rippling hair over the wide nimbus, affirming his divinity.Size: L: 410mm / W:260mm ; With stand: 16Kg.Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTY 唐初大型重要許願錘鍱鎏金銅牌Expert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。

A WHITE AND RUSSET JADE GROUP OF A WATER BUFFALO AND A CALF, 18TH - 19TH CENTURY 十八至十九世紀白玉留皮子母牛擺件China. Carved in the round as a large water buffalo lying placidly on its stomach with four legs bent underneath and the head turned to the left towards a smaller buffalo, the gracefully curved horns flanking the flat forehead, the neck detailed with an undulating dewlap, the tail finely detailed with hair markings. The calf with its head raised playfully facing his larger companion. The translucent stone of even white to very pale celadon tone with distinct russet and white veining.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Condition: Excellent condition with minor wear. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The stone with an attractive soft polish.Weight: 340.0 g Dimensions: Length 8 cmAs a familiar beast of the fields, the water buffalo underpinned rice production and the rural economy. As such it is emblematic of agriculture and springtime and represents strength, endurance, dedication to hard work, prosperity, and tranquility. It is also used in artistic representations, particularly in Chinese paintings, to evoke a bucolic, idealized existence in the countryside. This, in turn, feeds into a more mythical or spiritual side to the buffalo, recalling both Buddhist and Daoist concerns with retreat, and the founder of Daoism, the philosopher Laozi, who departed from the borders of the known world on a buffalo.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 December 2021, lot 220Price: HKD 852,500 or approx. EUR 107,000 converted and adjusted for inflation at the time of writingDescription: A superb pale green jade 'buffalo and young' group, 18th centuryExpert remark: Compare the closely related pose, and the fine incision work. Note the larger size (12.5 cm) and the fact that this group is firmly dated to the 18th century.十八至十九世紀白玉留皮子母牛擺件中國。圓雕子母牛，五官清晰，呈俯臥狀，腿彎曲在肚子下面，一隻小牛依偎在大牛身旁，頑皮地抬起頭，面對著母牛。玉質溫潤細膩，包漿醇厚。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：狀況極好，有一些磨損。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的裂縫。 重量：340.0 克 尺寸：長 8 厘米 牛是最早被人類馴養的六畜之一，成為農耕社會裡重要的生產力。作為農耕社會的圖像符號，牛還像徵著春天，代表著力量、耐力、對辛勤工作的奉獻、繁榮和安寧。它也用於藝術表現，特別是在中國畫中，它是宋元畫家筆下描繪鄉野之趣、田園牧歌的詩意“化身”，也因此牛還有其神秘的一面，比如道教對退隱的嚮往，比如老子騎著青牛。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年12月2日，lot 220 價格：HKD 852,500（相當於今日EUR 107,000） 描述：十八世紀青白玉雕子母牛擺件 專家評論：比較非常相近的姿勢和精緻的雕刻。請注意尺寸較大 (12.5 厘米) ，以及此玉被斷為十八世紀。

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURY 大理國罕見觀音銅像Expert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CELADON AND RUSSET JADE FIGURE OF A CRANE, MING DYNASTY 明代青玉留皮仙鶴擺件China, 1644-1912. The bird perched on a lotus leaf with the feet tucked under the body, its head turned, the feathers and eyes finely incised. The translucent stone of a deep celadon tone with russet veins and highlights as well as small areas of calcification.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades, one of their first works of Asian art being a painting of Guan Yu, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus. Condition: Good condition with significant old wear, commensurate with age. The stone with natural inclusions and fissures, some of which have developed into small hairlines, small nicks here and there.Weight: 61.9 g Dimensions: Length 5.5 cm明代青玉留皮仙鶴擺件中國, 1644-1912年。仙鶴棲於荷葉上，雙足埋於身下，轉頭，翎毛與眼珠精雕細琢。深青色調的半透明玉料，帶有赤褐色的脈理和小面積的鈣化。 來源：Dr. Ferdinand 與Dr. Gudrun Thaler-Szulyovsky收藏，保存在同一家族至今。這對一直從事法律工作的夫婦於 1967 年因對藝術的共同熱情而相識。 幾十年來，他們一起建立了一個種類豐富的收藏。他們的第一批亞洲藝術古玩中有一幅《關羽肖像畫》，這是著名的施蒂里亞釀酒商 Sigurd Reininghaus 作爲法律服務給與的報酬。 品相：狀況良好，大面積磨損，與年代相符。玉料帶有天然内沁和裂紋，其中一些已經發展成細小的裂縫，大面積小刻痕。 重量：61.9 克 尺寸：長 5.5 厘米

† A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTY 唐代小漢白玉獅Published: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A YELLOW AND RUSSET MINIATURE 'PIG DRAGON' PENDANT, ZHULONG, MING DYNASTY 明代黃玉帶皮小豬龍China, c. 16th-17th century or earlier. Of iconic form with a coiled body and superbly rendered head, subtly detailed with bulging eyes, a wrinkled snout and flared nostrils, the slit below the sealed lips terminated before meeting the central perforation, the neck drilled for suspension. The translucent stone of a yellowish green tone with black specks, dark and light russet patches.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades. Condition: Excellent condition with some old wear, and possibly microscopic nicks here and there. The stone with natural inclusions.Weight: 9.0 g Dimensions: Length 3.0 cmPig dragons, or zhulong, are zoomorphic forms with a pig-like head and an elongated limbless body coiled around to the head. They were first produced by the Hongshan culture. Along with the same culture's jade eagles, they often featured as grave goods. Pig bones have been found interred alongside humans at Hongshan burial sites, suggesting that the animal had some ritual significance.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 29 May 2019, lot 608Price: HKD 37,500 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: Two archaistic celadon jade carvings, Ming dynasty or earlierExpert remark: Compare subject, form and material. Note the lot consists of two jades.明代黃玉帶皮小豬龍中國，約十六至十七世紀或更早。玉豬龍造型渾厚，身體捲曲，首尾相接；面部雕琢逼真，神態炯炯有神；耳朵肥厚，眼睛大而誇張，豬吻上翹。黃綠色的半透明玉石，帶有黑色斑點、深色和赤褐色斑塊。 來源：Irene與 Wolfgang Zacke (1942-2022年) 私人收藏 。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極好，有一些磨損，大面積微小划痕。玉料含有天然內沁。 重量：9.0 克 尺寸：長3.0 厘米 玉豬龍是紅山文化的典型器，是用以代表神靈和先祖的圖騰物，且大多出現在墓葬當中，且為有身份地位的墓主所有。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年5月29日，lot 608 價格：HKD 37,500（相當於今日EUR 5,000） 描述：明或更早青玉豬龍及青玉琮 專家評論：比較主題、外型和材質。請注意此玉組有兩件玉。

A RARE ARCHAISTIC 'SHANG BRONZE IMITATION' JADE VESSEL, ZHI, LATE SONG TO EARLY MING DYNASTY 宋末至明初罕見仿商青銅酒杯玉觶China, 13th-15th century. Of flattened form, the pear-shaped body rising from a spreading foot carved with a raised bow-string band, the waisted neck with archaistic dragons and whorl motifs. The semi-translucent stone of a pale celadon tone with russet veins, cloudy inclusions, and few dark specks, mostly reserved to one side of the vessel which has been further heightened with cinnabar lacquer (extremely rare) to imitate the natural patina of the bronze prototype, cleverly presenting the archaistic jade to one side and its ancient inspiration to the other. Exhibited: On loan to the High Museum of Art, Atlanta, September 1973 to September 1980. Provenance: From the collection of William S. Arnett, Atlanta, Georgia, USA, acquired prior to 1971, and thence by descent within the same family. William Sydney Arnett (1939-2020) was an Atlanta-based writer, editor, curator, and art collector who built an internationally important collection of African, Asian, and African-American art. In 1978, he co-authored the Three Rivers of Nigeria exhibition catalog for Atlanta's High Museum of Art. As Arnett's collection of African-American art grew, he became convinced that the so-called folk or outsider artists of the black American South were in fact a coherent cultural movement and constituted a crucial chapter in world art. He spent decades gathering extensive documentation and amassing a near-definitive collection of work crucial to the understanding of this cultural phenomenon.Condition: Excellent condition with minor old wear from centuries of handling. Some minuscule nibbling is probably part of the simulated overall wear inherent to the original carving. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 127.1 gDimensions: Height 8.3 cmWith a velvet-padded silk storage box. (2)The present vessel was inspired by an archaic ritual bronze prototype, zhi, which contained wine offerings presented to the ancestors during the performance of religious rituals.The interest of Chinese scholars in ancient artifacts can be traced back to antiquity, but the study of these artifacts, known as antiquarianism or jinshixue 金石學, literally meaning 'the study of metals and stones,' first developed during the Northern Song dynasty. The practice of collecting precious objects was spreading through China as well, and many lost pieces from the Shang dynasty and later were found at building sites. Song scholars established a formal system of dating these artifacts by examining their inscriptions, decorative motif styles, and physical shapes, introducing terms such as taotie which are still in use today. Two works of this period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu, were especially influential on later artists. Along with many other illustrated catalogs they were reprinted during the Ming and Qing dynasties, inspiring the production of archaic style bronzes and jades.Literature comparison: Compare a closely related jade zhi in the collection of the Minneapolis Institute of Art, dated to the Song dynasty, decorated with a similar band and bowstring, accession number 16.10.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 1 December 2016, lot 568Price: HKD 437,500 or approx. EUR 59,000 converted and adjusted for inflation at the time of writingDescription: A small light brown jade miniature archaistic vase, hu, Song dynasty Expert remark: Compare the closely related form and decoration as well as related size (7.2 cm). Note the different color of the jade and that the vessel form was incorrectly identified as a hu.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2021, lot 137Price: GBP 25,250 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An archaistic white jade vessel, zhi, Ming dynasty Expert remark: Compare the related form and size (9 cm) as well as the similar inclusions to the jade. Note the slightly different decoration.宋末至明初罕見仿商青銅酒杯玉觶中國，十三至十五世紀。小瓶狀，圓腹，侈口，圈足。頸部飾有螭龍和雲紋。半透明的淡青色玉，帶有赤褐色的脈紋和絮狀物以及少量黑色斑點，大部分聚集在玉觶一側，並用硃砂（極為罕見）進一步加強，模仿青銅的自然光澤。 展覽: High Museum of Art，亞特蘭大，1973年9月至1980年9月。 由於字數限制，完整中文敘述請至www.zacke.at查看。。

A SMALL JADE FIGURE OF A BIXIE, SIX DYNASTIES 六朝玉雕小辟邪China, 220-589. The mythical beast is shown crouched low in an attacking stance, standing on four feet, the face with mouth ajar revealing a set of sharp fangs, bulging eyes below curled eyebrows, the body further detailed and finely incised, terminating in a bifurcated tail, and pierced through the center. The translucent stone is of a fine pale celadon and yellow tone with white surface alterations.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades. Condition: Very good condition with minor wear, encrustations, surface alterations, remnants of iron red soil, few small nicks here and there. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 26.4 g Dimensions: Length 5.8 cmBixie are considered powerful protectors of feng shui practitioners and resemble strong, winged lions. Traditionally, Bixie have been regarded as auspicious creatures that possessed mystical powers capable of attracting wealth from all directions.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 31 May 2017, lot 2743Price: HKD 375,000 or approx. EUR 5,200 converted and adjusted for inflation at the time of writingDescription: A white jade Bixie, Six dynasties (220-589)Expert remark: Compare the closely related subject, form, material and similar size.六朝玉雕小辟邪中國，220-589年。神獸呈低蹲攻擊姿態，四足站立，作虎行狀；雙目炯炯，張嘴露齒，頭頂有雙角；尾巴分叉彎曲。半透明的玉料是細膩的淡青和黃色調，多處沁斑。 來源：Irene與 Wolfgang Zacke (1942-2022年) 私人收藏 。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極好，有輕微磨損、結殼、紅色土壤結殼，局部少量小刻痕。具有天然內沁和裂縫的石料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：26.4 克 尺寸：長5.8 厘米鎮墓石獸辟邪在東漢時頗為流行，小型者以玉製作，成為漢代人心目中的祥瑞之獸，至六朝風行不減。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月31日，lot 2743 價格：HKD 375,000（相當於今日EUR 5,200） 描述：魏晉南北朝白玉辟邪 專家評論：比較非常相近的主題、外型、材質和相似的尺寸。

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

† A MARBLE HEAD OF BUDDHA, TANG DYNASTY 唐代漢白玉佛頭China, 618-907. Finely carved, the serene face depicted with a pair of heavy-lidded downcast eyes, an elongated nose flanked by long pendulous ears, and pursed lips forming a subtle smile, all below elegantly arched eyebrows, the hair arranged in dense rows of spiral curls rising to a domed ushnisha. Note the remarkably fine incision work on this piece as well as the subtle, elegant polish - both hallmarks of high Tang marble works.Provenance: Vallin Gallery, Wilton, Connecticut, USA. Karsten Tietz, acquired from the above during Asia Week New York in 2010. Michael Phillips, acquired from the above in 2016. A copy of the original invoice from Karsten Tietz, dated 23 March 2016, stating a purchase price of USD 15,000 or approximately EUR 18,200 converted and adjusted for inflation at the time of writing, signed by Karsten Tietz, accompanies this lot. Vallin Galleries, established in 1940, were dealers of fine Asian art. Owned and operated by Peter L. Rosenberg for nearly thirty years until his sudden death in December 2013, the gallery was widely regarded as an outstanding source for the best of Asian art. Karsten Tietz is a Berlin-based expert and dealer of selected masterpieces from Asia. Some of his pieces have been sold to important museums, including the Metropolitan Museum of Art. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, few nicks and tiny cracks, shallow surface scratches, some losses, remnants of pigments. Good natural patina overall.Weight: 1,102 g Dimensions: Height 12.5 cm (excl. stand), 25.7 cm (incl. stand)With a modern acrylic stand. (2)Literature comparison: Compare a closely related marble head of Buddha, dated to the Tang dynasty, 17.8 cm high, in the collection of the Israel Museum, Jerusalem, accession number B88.0040.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 15 May 2018, lot 158Price: GBP 18,750 or approx. EUR 26,200 converted and adjusted for inflation at the time of writingDescription: A Small Dark Grey Stone Head of Buddha, Tang Dynasty (618-907)Expert's remark: Note the similar size (11.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代漢白玉佛頭中國，618-907年。佛頭頭上有螺髻，眼睛微閉，彎月眉，面露微笑，表情慈祥安寧，長耳垂。漢白玉整體瑩潤光滑。表面光滑瑩潤，雕工精美，這是唐朝漢白玉造像的特徵。 來源：美國康涅狄格州威爾頓Vallin Gallery藝廊；Karsten Tietz在2010年紐約亞洲藝術周購於上述藝廊；Michael Phillips 2016年購於Karsten Tietz處。隨附Karsten Tietz出具的原始發票副本，時間爲2016年3月23日，價格為 USD 15,000，相當於現在的 EUR 18,200 。Vallin Galleries成立於 1940 年，是亞洲精美藝術品的經銷商，由 Peter L. Rosenberg經營近 30 年，直到 2013年 年 12 月突然去世。該藝廊被認為是亞洲藝術品的最佳藝廊之一。Karsten Tietz是來自柏林的專家和亞洲藝術品的經銷商，他的很多藏品已出售給重要的博物館，包括大都會博物館。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好。大面積磨損、風化和侵蝕、土壤結塊、少量刻痕和微小裂縫、表面淺劃痕、顏料殘留。整體良好的自然光澤。 重量：1,102 克 尺寸：高12.5 厘米 (不含底座)，25.7 厘米 (含底座) 現代樹脂支架。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND MASSIVE FAHUA-GLAZED STONEWARE BUST OF GUANYIN, MING DYNASTY 明代大型法華釉觀音半身像China, 16th century. The scarves, jewelry, and crown are glazed turquoise, the hair is glazed black, and the face is detailed with pigment. Exposed areas of flesh are fired in the biscuit to lend a greater naturalism to the figure.Expert's note: This impressive statue is a classic example of the vibrant fahua-decorated Buddhist images made at Jingdezhen in the mid-Ming period. Fahua wares have been produced since the 14th century in the north in Shanxi, during the Yuan dynasty, and in the south at Jingdezhen during the 15th century. The distinct alkaline glazes of fahua wares were mainly used for large objects and it is likely that the present lot was used in a temple or shrine for many centuries.Guanyin's left hand is raised and held in vitarka mudra. She wears billowing scarves and is adorned with a floral necklace. Her serene face shows heavy-lidded downcast eyes, gently curved brows, plump cheeks, and full lips, all framed by long pendulous earlobes and neatly incised hair falling elegantly in strands over the shoulders, tied up into a high chignon behind the foliate tiara, which is centered by a small image of the Buddha Amitabha.Provenance: French trade. Condition: Excellent condition, commensurate with age, with extensive old wear and expected firing flaws, intentional glaze crackling, one finger missing, some glaze flaking, remnants of ancient pigment.Weight: 9,760 g Dimensions: Height 55 cmLiterature comparison: Compare a related polychrome figure which may represent the Daoist deity Yuan Shi Tian Zun (The Primal Celestial Excellency) of the San Qing (Three Pure Ones), dated to the Ming dynasty, circa 1488-1644, in the collection of the British Museum, museum number 1930,0719.62. Compare with a closely related sancai Buddha from the Avery Brundage collection, now in the Asian Art Museum, San Francisco, object number B60P139.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 1 June 2011, lot 3767 Price: HKD 4,580,000 or approx. EUR 781,000 converted and adjusted for inflation at the time of writing Description: A rare Ming sancai glazed stoneware figure of Guanyin, Ming dynasty, 16th century Expert remark: Note the sancai glaze and larger size (89.8 cm).明代大型法華釉觀音半身像中國，十六世紀。觀音的飄帶、瓔珞和王冠是綠松石色釉，頭髮施黑色釉，面部彩繪。身體部分為素抷。觀音的左手舉起結安慰印。觀音身披飄帶，戴著瓔珞，面容平靜祥和，眼睛微垂，微彎的眉毛，臉龐豐滿，長耳垂，頭髮優雅披在肩上，葉冠後有高髻，葉冠中央有阿彌陀佛像。 專家注釋：這尊造像可以説是明代中期景德鎮法華佛教造像的經典例子。十四世紀北方山西以及十五世紀南方景德鎮開始生產法華器。法華釉主要用於大型物件，這件造像很可能在寺廟裏使用了多個世紀。 來源：法國古玩交易。 品相：品相極佳，有大量磨損和燒製缺陷，釉面開片和剝落，一根手指缺失，一些釉剝落，顏料殘餘。 重量：9,760 克 尺寸：高 55 厘米 文獻比較： 比較一件相近的1488-1644年明代可能為彩釉元始天尊，收藏於大英博物館，編號1930,0719.62。比較一件非常相近的三彩佛陀，來自 Avery Brundage collection，現藏於舊金山亞洲藝術博物館，編號B60P139。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2011年6月1日，lot 3767 價格：HKD 4,580,000（相當於今日EUR 781,000） 描述：十六世紀明代三彩觀音像 專家評論：請注意三彩和尺寸較大(89.8厘米)。

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

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

† A WHITE MARBLE HEAD OF A BODHISATTVA, KINGDOM OF GANDHARA 犍陀羅白色大理石菩薩頭像Published: Stephen Little, Images of Buddha from the Michael Phillips Collection, Arts of Asia, January-February 2013, page 105, no. 8.Shahi period, 5th-7th century. The face, turned to one side, beautifully carved with a serene expression, downcast eyes, an aquiline nose, flanked by two elongated earlobes, the hair in neatly elaborated curls, a distinct spiral-form ushnisha above the forehead.Provenance: Art Ancient Ltd., United Kingdom, 2010. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Extensive old wear, signs of weathering and erosion, some losses, small nicks and cracks, minor surface scratches, soil encrustations.Weight: 1,266 g (incl. stand) Dimensions: Height 12.7 cm (excl. stand) and 15.8 cm (incl. stand) Mounted to a modern metal stand. (2)Expert's note: Relatively few sculptures survived from the Shahi period, mostly those made from marble. Both the turned head and the large, spiral-shaped ushnisha above the forehead are notable features also found in the contemporaneous Greco-Buddhist stucco bodhisattvas from Hadda.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.犍陀羅白色大理石菩薩頭像沙希，五至七世紀。菩薩的臉偏向一側，雕刻精美，表情安祥平靜，眼睛微閉，鼻子高挺，長耳垂，頭髮捲曲分明，額前有一螺旋形髮髻。 出版： Stephen Little，〈Images of Buddha from the Michael Phillips Collection〉，《Arts of Asia》， 2013年1月至2月，頁105，編號8。 來源：英國Art Ancient Ltd.藝廊，2010年；Michael Phillips 購於上述藝廊。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好，大面積磨損、風化和侵蝕，一些缺損、小刻痕和裂縫，輕微的表面劃痕。 重量：1,266 g (含底座) 尺寸：高12.7 厘米 (不含底座) and 15.8 厘米 (含底座) 現代金屬支架。 專家注釋：沙希時期倖存下來的造像相對較少，主要是大理石製成的。轉頭和額頭上方的螺旋形髮髻都是同時期的哈達希臘佛教灰泥菩薩的顯著特徵。

A JADE DISC, HUAN, EASTERN ZHOU DYNASTY 東周玉環China, 8th-3rd century BC. The disc is neatly decorated in low relief with archaic motifs of s-scrolls, interspersed by four evenly spaced mythical beasts with dragon heads and fish bodies, showing neatly incised scales and tail fins, all between slightly raised borders. The translucent stone is of a pale celadon to russet and dark brown tone with areas of semi-opaque calcification.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Very good condition with some old wear and minuscule nibbling here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Signs of natural weathering and erosion, surface alterations.Weight: 138.3 gDimensions: Diameter 12 cmLiterature comparison:Compare a related Eastern Zhou jade disc from the Myers collection, with altered areas and a similar design, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, no. 82. A similar example but only carved on one side in the Palace Museum Collection, Beijing is illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware (I), 1995, Hong Kong, p. 126, pl. 104.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2007, lot 1595 Price: HKD 162,500 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A pale celadon jade huan, Eastern Zhou dynastyExpert remark: Note the related size (11.7 cm)東周玉環中國，公元前八至三世紀。玉環扁平，圓形，兩面紋飾相同，環內外緣各飾一圈弦紋，淺浮雕勾連雲紋，中間穿插著四隻龍魚紋，魚鱗清晰，通體規整。青玉質，局部微透明，表面布有深淺不一灰白及褐色沁與鈣化區域。 來源：Irene 與Wolfgang Zacke （1942-2022）收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代末，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 品相：狀況極好，有一些磨損和輕微的磕損。具有天然內沁和裂縫的玉料，其中一些可能隨著時間的推移發展成細小的裂縫。自然風化和侵蝕的跡象，表面鈣化。 重量：138.3 克 尺寸：直徑 12 厘米 文獻比較： 比較一件相近西周玉，有鈣化的區域和相似的設計，收藏於Myers collection，出版於Fillippo Salviati，《Radiant Stones: Archaic Chinese Jades》，2004年，香港，編號82。一件相似的例子，但只雕刻一面，收藏於北京故宮博物院，見《北京故宮博物院藏珍品全集‧玉器》，卷一， 1995年，香港，頁126，編號104. 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2007年11月27日，lot 1595 價格：HKD 162,500（相當於今日EUR 30,500） 描述：西周青玉環 專家評論：請注意相近尺寸(11.7厘米)。

A PEACHBLOOM-GLAZED BEEHIVE WATERPOT, TAIBO ZUN, 19TH TO EARLY 20TH CENTURY 十九至二十世紀初豇豆紅釉團花紋太白尊China. The domed body is incised to the exterior with three dragon roundels and is covered with a peach bloom glaze with characteristic green copper-oxide spots as well as pale lavender to dark gray shadings. The lipped rim, interior, and base glazed white. The recessed base with an apocryphal six-character mark da Qing Kangxi nianzhi.Provenance: Charles M. Blackmon, South Carolina, USA. A notable institution in the Southern United States, gifted from the above in 1969. The wood stand lacquered with accession numbers, '69.10' and '69.10.1 Bottom'. Charles Mason Blackmon was a collector of Asian art. Following his graduation from Harvard University in 1934, Charles' interest in Asian culture grew when he was stationed in Southern China during World War II. His approach to collecting was thorough, as he believed that “determination in finding various objects and a knowledge of them” were important to building a well-rounded collection. Beginning in 1961, Charles became involved with several notable institutions, and over the years loaned some of his most important pieces to museum collections.Condition: Excellent condition with minor wear and firing flaws, including small glaze recesses near the foot.Weight: 526.3 g (excl. stand)Dimensions: Diameter 13 cm (the waterpot) and 16 cm (the stand)With a well-carved and open worked wood stand. (2)Expert's note: The peach bloom glaze on this waterpot is a good example of the sometimes quite successful attempts to recreate the unbelievably rich (and diverse) Kangxi glazes during the 19th century and thereafter. While the present color combination is of remarkable beauty overall, emulating the transmutation so flawlessly executed on the Kangxi wares, it comes up short in its lack of control. The green spotting for example is reminiscent of some of the very best peach bloom vessels made during the early 18th century, but the scattered shadings of pale lavender and gray clearly show the difficulties the artisans encountered in balancing the color spectrum.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 24 June 2020, lot 1018 Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A peachbloom-glazed 'beehive' waterpot, 19th / early 20th century Expert remark: Compare the closely related form, incised dragon roundels, apocryphal Kangxi mark, and peachbloom glaze, which much like the present lot's glaze is of remarkable beauty. Note the closely related size (13.1 cm).十九至二十世紀初豇豆紅釉團花紋太白尊中國。小口微外侈，短頸溜肩，廣腹，形似半圓球，平底凹足。通體施豇豆紅釉，可見綠色斑點，局部深淺不同的紅色。器腹淺劃三組暗花團螭紋，口沿、圈足内及器內施白釉。圈足内六字款“大清康熙年製”。 來源：美國南卡羅林娜州Charles M. Blackmon收藏；一個美國南部知名機構1969年受贈。木底座上有收藏編號“69.10” 及“69.10.1 Bottom”。Charles Mason Blackmon是一位亞洲藝術收藏家。1934年從哈佛大學畢業後，他在二戰期間駐紮在中國南方，對亞洲文化的興趣與日俱增。他認為“收藏各種物品的決心和對它們的了解”對於建立一個全面的收藏很重要。1961 年開始，查爾斯與幾個著名機構接觸密切。多年來，他一直將一些最重要的藏品借給博物館展出。品相：品相極佳，有輕微磨損和燒製缺陷，包括靠近足部的釉面小凹槽。 重量：526.3 克 (不含底座) 尺寸：直徑13 厘米，總16 厘米 鏤空木底座。 專家注釋：太白尊的豇豆紅釉是一個很好的例子，器身施銅紅釉，因受窯爐溫度影響，又經過氧化，呈色有深淺之別。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富，2020年6月24日，lot 1018 價格：USD 23,750（相當於今日EUR 27,000） 描述：十九 / 二十世纪初豇豆紅釉團花紋太白尊，《大清康熙年製》仿款 專家評論：比較非常相近的外型、淺劃暗花團紋、康熙仿款、豇豆紅釉，與本拍品的釉面一樣，具有非凡的美感。請注意非常相近的尺寸(13.1 厘米)。

A RUSSET-PAINTED BLACK-GLAZED HENAN JAR, JIN TO YUAN DYNASTY 金至元河南窯口黑釉鉄鏽斑罐China, 1115-1368. The globular body rising from a tapered foot to a short cylindrical neck and waisted mouth, freely painted at the shoulder with leafy lotus sprays against a rich and lustrous black glaze. The foot rim left unglazed to reveal the buff ware. The recessed circular base glazed.Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Condition: Very good condition with minor wear, minuscule nicks, some firing flaws and light surface scratches.Weight: 1,628 g Dimensions: Height 23.5 cmAuction result comparison:Type: Closely relatedAuction: Christie's London, 7 November 2014, lot 501Price: GBP 4,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writingDescription: A black-glazed Henan globular jar, Jin-Yuan dynasty (1115-1368)Expert remark: Compare the closely related form, glaze, and motif, as well as the near-identical size (22.2 cm)Auction result comparison: Type: RelatedAuction: Christie's New York, 20 March 2015, lot 852Price: USD 60,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writingDescription: A large Cizhou-type russet-painted blackish-brown-glazed jar, China, Jin-Yuan dynasty, 13th centuryExpert remark: Compare the closely related form and glaze, and the lotus motif. Note the differences in size (41.3 cm) and execution of glaze and painting.金至元河南窯口黑釉鉄鏽斑罐中國，1115-1368年。器型呈小口， 短頸，頸部一道凸紋，溜肩， 圓型鼓腹下收，平底。通體施黑釉，釉面間有鐵鏽窯變斑荷花紋，與濃郁而有光澤的黑釉相映成趣。足緣沒有上釉，露出淺黃色胎。 來源：德國達姆斯達特Teddy Hahn私人收藏，保存至今。Theodor “Teddy” Hahn 曾是知名的根付和亞洲藝術收藏家。他參觀了很多博物館，研究世界早期文化，對造像產生了特別的興趣，他開始收藏，他說：“我不知何故知道它會對我的生活產生深遠的影響。 我是多麼正確。 以及我有多開心。” 品相：品相非常好，有輕微磨損、微小的刻痕、一些燒製缺陷和輕微的表面劃痕。 重量：1,628 克 尺寸：高23.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得, 2014年11月7日, lot 501 價格：GBP 4,000（相當於今日EUR 5,600） 描述：金至元(1115-1368)河南窯口黑釉球型罐 專家評論：比較非常相近的外型、釉色、斑紋，以及幾近相同的尺寸 (22.2 厘米) 。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得, 2015年3月20日, lot 852 價格：USD 60,000 （相當於今日EUR 68,500） 描述：十三世紀大型磁州黑釉鉄鏽斑罐 專家評論：比較相近的外型、釉色和蓮花斑紋。請注意尺寸不同(41.3 厘米) 。

A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BC 公元前1500-1400年商代早期銅鉞Opinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。 來源：香港Mandala Fine Arts, 1989年；巴黎Acher Eskenasy購於上述藝廊 (發票遺失)；布魯塞爾Martin Doustar 2011年購於上述收藏；一位美國紳士購於上述收藏。隨附一封手寫的信，Acher Eskenasy簽名，確認此拍品于1989年購於香港Mandala Fine Arts，2011年賣于 Martin Doustar。Acher Eskenasy是一位著名的法國學者和亞洲和部落藝術收藏家。 他以前擁有的主要藏品現在都在重要的博物館收藏中，例如紐約大都會藝術博物館和巴黎的 Musee du Quai Branly。 品相：狀態極佳，與年齡相稱。大面積磨損、風化和侵蝕、輕微劃痕和裂縫。細膩的包漿，孔雀石色結殼。 重量：838.8 克 (不含底座) 尺寸：長24.9 厘米 (不含底座) 金屬支架。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN EMBROIDERED 'CRANES WORSHIPPING THE PHOENIX' SILK PANEL, 19TH CENTURY 十九世紀《水雲鄉》刺綉掛屏China. Finely embroidered in elegant monochrome colors, depicting two majestic phoenixes with long trailing tails standing on a rock, two cranes looking upwards to them, at the lower right several mandarin ducks frolicking in a pond, and two birds perched on a tree.Inscriptions: To the upper left an inscription by the Song dynasty civil servant Huang Yuandao, writing about cranes and how they dance and fly. With two seal marks.Provenance: From a British private collection, according to the owner acquired in the early 20th century in China by their grandparents, and thence by descent within the same family. Condition: Superb condition with only minor wear, faint soiling and few loose threads to edges. The frame with nicks, scratches and other traces of wear and age. Must be considered exceedingly rare in this pristine state of preservation, especially given the frailty of the fabric.Dimensions: Size 41.9 x 87 cm (excl. frame), 48.2 x 94.4 cm (incl. frame)Paintings and embroideries with phoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace.Literature comparison:Compare a silk painting with a closely related subject, depicting two phoenixes surrounded by various species of birds and titled 'A hundred birds worship the phoenixes', 18th century, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1909.218.Auction result comparison:Type: RelatedAuction: Christie's London, 6 November 2018, lot 317Price: GBP 17,500 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: An embroidered silk 'phoenix and qilin' panel, 19th centuryExpert remark: Compare related motif and choice of colors. Note the size (70.5 x 102.8 cm).十九世紀《水雲鄉》刺綉掛屏中國。緞面素色綉，描繪了成雙成對的鳥類。樹下鳳凰立於假山上，兩隻白鶴仰頭朝拜鳳凰。一側兩隻鴛鴦戲水，樹上一對小鳥。 款識：水雲鄉天高海闊任翱翔，翮健汝思勞鞠養。凜冰霜，披鶴氅，去朝凰，樂未央，夫妻逑好長絕倡。兄弟融融笑他鬥鬩牆。眾友？詩歌時和唱。天籟響，自然？？。只羽族，重倫常。順化黃元道題 來源：英國私人收藏，藏家的祖父於二十世紀初購於中國，自此保存在同一家族至今。 品相：品相極好，只有輕微的磨損、污漬，邊緣有少量鬆線。鏡框有劃痕等磨損和年代痕跡。刺綉類拍品保存如此之好，極其罕見的。 尺寸：41.9 x 87 厘米 (不含框), 總48.2 x 94.4 厘米 文獻比較： 比較一件相似主題、一對鳳凰被眾鳥崇拜的十八世紀刺綉掛屏，名為〈百鳥朝鳳圖〉，收藏於佛利爾美術館，史密森尼學會的國立亞洲藝術博物館，編號F1909.218。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2018年11月6日，lot 317 價格：GBP 17,500（相當於今日EUR 22,500） 描述：十九世紀鳳凰和麒麟刺綉掛屏 專家評論：比較相近的圖紋和顏色。請注意尺寸(70.5 x 102.8 厘米)。

† A LARGE 'FIVE DRAGON' WOOL CARPET, QIANLONG 乾隆大型紅地五龍紋羊毛地毯China, 1736-1795. Finely woven with a central front-facing five-clawed dragon writhing around a flaming pearl, encircled by two pairs of confronting sinuous dragons, each chasing a pearl, surrounded by swirling clouds, bordered to the long sides with bands of pearls, key-fret, and the Eight Buddhist emblems alternating with floral designs, each end with a terrestrial diagram above lishui stripe.Provenance: From the personal collection of Michael B. Weisbrod, New York, by repute acquired at Sotheby's in the 1990s for approx. USD 30,000. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Overall fair condition with extensive wear, minor fading to colors, losses and tears, possibly minor old repairs.Dimensions: Size ca. 480 x 350 cmWhile the dragon itself is the symbol of the emperor, the number five is most auspicious and represents the 'Five Blessings (wufu)' of old age, wealth, health, virtue and peaceful death. The design of 'Five Dragons' also alludes to the 'Five Dragons of Yanshan (Yanshan wulong)', named after the five sons of Dou Yujun, who lived in Yanshan during the Five dynasties period (907-960), each of whom achieved exceptional success with their father epitomizing the ideal parent.The Eight Auspicious Buddhist Symbols (bajixiang) amongst the dragons in the design are also unusual and suggest the possibility of the rug being used at Buddhist ceremonies or on special religious occasions. However, it also demonstrates the level of creative freedom exercised by artists during Qianlong's reign who were encouraged to produce pieces with one-off designs. See a zitan closet, where the bajixiang is carved amongst dense ruyi-form clouds, from the Qing Court collection and still in Beijing, included in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, pl. 206, and a red sandalwood throne also carved with dragons and clouds, where the bajixiang is used as a design element on its own, ibidem, pl. 26.Literature comparison: A related Imperial dragon carpet dating from the 18th century is illustrated by R. Soame Jenyns, Chinese Art, Vol. III, Oxford, 1981, no. 18.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.乾隆大型紅地五龍紋羊毛地毯中國，1736-1795年。地毯正中央盤旋著一條五爪大龍，龍身與龍頭為深藍色，龍爪則是深藍色，龍看上去炯炯有神，面對一顆火珠，氣勢十足。在這條大龍的上下兩側，分佈著四條模樣相似的小龍，這些小龍都面向大龍團團圍住，一派祥和。而在五條龍盤踞的區域外圍，則有規律地分佈著花草、祥雲、五色波紋，圖案豐滿，氣勢恢宏。 來源：美國紐約Michael B. Weisbrod私人收藏，在20世紀90年代以約30,000美元的價格在蘇富比拍賣會上購得。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：整體狀況良好，磨損嚴重，輕微褪色、缺損，撕裂，可能有輕微的維修。 尺寸：約480 x 350 厘米 龍象徵帝王，數字五是最吉祥，是代表著長壽、財富、健康、美德和安寧的“五福”。此外，地毯上的八吉祥紋也很不尋常，表明地毯可能用於佛教儀式或特殊的宗教場合。同時，它也展示了乾隆年間藝術家的創作自由程度。文獻比較： 一件相近的十八世紀御製龍紋地毯，R. Soame Jenyns，《Chinese Art》，卷III，牛津，1981年，編號18。

A LARGE PALE GREEN AND RUSSET JADE 'DOUBLE DRAGON' PENDANT, HUANG, EARLY WESTERN HAN 西漢早期大型青玉帶沁雙龍紋璜China, 2nd century BC. The elegantly curved huang with a stylized dragon head to either end. The mostly translucent stone of a sea-green tone with cloudy white and russet inclusions and shadings. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Condition: Very good condition with old wear, signs of weathering, minuscule nibbling to edges, shallow surface scratches and other traces of use, minor erosion.Weight: 227.6 gDimensions: Length 33.5 cmThe surface is densely covered with small and slightly raised hexagons, a pattern called pu, or 'cat tail'. During the Han dynasty, this motif was mostly used to decorate large funerary discs with carved masks. The squarish indentations carved on the border at the extremities of the ornaments evoke the stylized features of two dragon heads in profile: the chin, mouth, snout, and horns.Literature comparison: Three related huang carved with patterns of small, raised curls and hexagons were excavated from the princely tombs at Shizishan (Xuzhou, Jiangsu) between 1994 and 1995. Similar huang with jagged profiles but decorated with spirals and dated to the late Eastern Zhou period, are in the National Museum of History, Taiwan, and in the Samuel and Myrna Myers collection. Compare also with a very similar, yet significantly smaller pair in F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, no. 285.Auction result comparison: Compare with a related jade huang, of significantly smaller size and dated to the Eastern Zhou dynasty, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 18-19 March 2014, lot 151, bought-in at an estimate of USD 10,000-15,000.西漢早期大型青玉帶沁雙龍紋璜中國，公元前二世紀。弧形，典雅的黃褐色，兩端龍首，總體海綠色，半透明的玉石，帶有絮狀物和赤褐色的內含物。 穿孔。来源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授品相：狀況良好，有舊磨損，風化，細微的邊緣磕損，表面淺划痕和使用痕跡，輕微腐蝕。重量：227.6 克尺寸：長33.5 厘米拍賣結果比較：一件相近的東周玉璜，尺寸更小，見紐約蘇富比 Fine Chinese Ceramics & Works of Art 拍場2014年3月18-19日lot 151, 估價 USD 10,000-15,000.

Indian carved stone fragment of an elephant, possibly 10th century AD. Purchased David Baker Asian art

Seltene kaiserliche doucai-Schale mit Blütenmedaillon. Yongzheng-Periode (1722–1735)Yongzheng-Sechszeichenmarke in kaishu und aus der ZeitVon saucer-Form mit flachrunden Seiten, innen und außen fein bemalt in einer weitreichenden Palette von Purpur, Orange, Eisenrot, Gelb und Grün mit einem Medaillon mit Blütenköpfen, bestehend aus Päonie, Hibiskus, Lotos, Malve und Lilie, inmitten von Blütenknospen, Blattwerk und gekräuselten Blättern, alles fein in Unterglasurblau umrandet, das Blütenmedaillon innen eingefasst von einem unterglasurblauem Doppelkreis.Der vorliegende Teller ist ein herausragendes Exempel der kaiserlichen Porzellankunst der Yongzheng-Periode (1722-1735). Die klassische Farbpalette der legendären doucai-Vorbilder aus der Chenghua-Periode (1464-1487) der Ming-Dynastie hat der Porzellanmaler hier durch weitere Farben und Schattierungen ergänzt, deren Erzeugung in dieser Periode möglich wurden. So entstand eine farbenprächtige Komposition, die Blüten miteinander vereinigt, die in der Natur eigentlich zu unterschiedlichen Jahreszeiten blühen. Das Einbringen der Schmelzfarben in die unterglasurblauen Konturen erfolgte mit größter Sorgfalt und Präzision, so findet man kaum Stellen, an denen sie übermalt sind. Der Porzellankörper besteht aus einem sehr reinen weißen Scherben und ist äußerst dünnwandig getöpfert.Die Sechszeichen-Regierungsmarke am Boden ist exzellent geschrieben und korrespondiert in ihrer vertikalen Achse mit den Blüten auf der Außenwand.Das Design ist von anderen doucai-Stücken der Yongzheng-Periode bekannt, wie beispielsweise einer Kumme im Museum of East Asian Art in Bath. Das vorliegende Stück scheint jedoch das einzige bislang bekannte in flacher Schalenform zu sein.D 20,5 cmProvenienzAlte Privatsammlung Nordrhein-Westfalen, seither in FamilienbesitzLiteraturVgl. eine Kumme mit ähnlichem Dekor in: The Museum of East Asian Art, Inaugural Exhibition, Band I, Chinese Ceramics, Bath 1993, S. 253, Nr. 199

A RARE SWORD-HATCHET (KUDI TRACHANG), SOUTH INDIAN OR SOUTHEAST ASIAN, 16TH/18TH CENTURY, with recurved blade formed with a sharply tapering double-edged point, the lower half of triangular-section with robust back-edge engraved with linear designs, chiselled with a foliate moulding at the forte, plain socket with a square washer and turned hardwood, perhaps ebony, grip with iron pommel (pitted), 63.0 cm overall¦¦Roy Elvis catalogue number C86.¦¦Another example is preserved in the Metropolitan Museum of Art, New York, 36.25.1287.¦¦Highlight from the Roy Elvis Collection (1944-2022)¦

Buddhistische Ikonografie, Buddha Sakyamuni, 4 Bände, u.a. Lokesh Chandra, Pratapaditya PalLokesh Chandra: "Buddhist Iconography" Band I und II, 1987. Pratapaditya Pal: "Lights of Asia: Buddha Sakyamuni in Asian art", 1984.Aus einer europäischen Privatsammlung, erworben vor 2007

Bedeutende feuervergoldete Bronze des Buddha ShakyamuniNepal, 14./ 15. Jh.H. 27 (35,5 ) cmMajestätisch in Vajrasana sitzend, die rechte Hand in Bhumisparshamudra gesenkt, während die linke auf seinem Schoß ruht, trägt er ein diaphanes Mönchsgewand, das einen Ärmel zeigt, der seinen linken Arm bedeckt und an seinem gefalteten Ende mit einem Knopf verziert ist, der ursprünglich mit einem Halbedelstein eingelegt war, dessen doppelte Bordüre mit verschiedenen Mustern fein eingeschnitten ist, ein kleiner Teil seines Gewandes ist in Form eines Schwalbenschwanzes über die linke Schulter drapiert, verziert mit einem Knopf, der mit einem Halbedelstein besetzt ist, sein Gesicht zeigt einen heiteren Ausdruck mit niedergeschlagenen Augen unter gewölbten Augenbrauen, die in den Nasensteg übergehen, eine Urna auf der Stirn, die mit einer türkisfarbenen Perle besetzt ist, lächelnde Lippen, gepiercte, längliche Ohrläppchen, blau gefärbte Frisur, die sich in die Ushnisha fortsetzt und mit einer Lotusknospe gekrönt ist, unversiegelt. Später hinzugefügter Lotussockel aus vergoldeter Bronze des 20. Jahrhunderts.Alte Münchner Privatsammlung, erworben im März 1982 in der Galerie Annapurna, Paul Rutten, AmsterdamDieses großartige Bildnis des Buddha ist eine der wenigen großen Bronzen, die dem Khasa-Malla-Königreich zugeschrieben werden, dessen Territorium zwischen dem 12. und 14. Jahrhundert Teile von Westnepal und Tibet umfasste. Die Gegenüberstellung des warmen, ruhigen Auftretens dieses Buddhas und seines gewaltigen, robusten Körperbaus stellt ein gelungenes Gleichgewicht dar, das eine gütige und doch überragende Autorität vermittelt. Obwohl das geheimnisvolle Königreich der Khasa Mallas westlichen Gelehrten seit den 1950er Jahren aus epigraphischen Quellen bekannt war, waren es Ian Alsops bahnbrechende Forschungen zu einer eigenartigen weiblichen Figur aus vergoldeter Bronze im National Museum of Asian Art, Washington D. C. (1986.23M), die das Bewusstsein für die visuelle Kultur der Khasa Mallas schärfte (Alsop, "The Metal Sculpture of the Khasa Malla Kingdom" in Singer & Denwood (eds.), Tibetan Art, Towards a Definition of Style, 1997, pp. 68-79). In der Folgezeit wurde eine wachsende Zahl von Objekten ihrer eifrigen Förderung des Buddhismus zugeordnet, dessen Ästhetik von den vorherrschenden Stilen geprägt war, die in den benachbarten Königreichen und den von den Khasa Mallas kontrollierten oder geplünderten Ländern im Umlauf waren. So zeigen zahlreiche Merkmale der vorliegenden Skulptur deutliche Anleihen aus dem Malla-Königreich, dessen Zentrum sich im Kathmandutal befand. Dazu gehören die dicke Perlenstickerei entlang des "Reiskorn"-Saums des Gewandes, die Blumenmedaillons hinter den Ohren des Buddhas, seine Schnabelnase und die über seine linke Schulter drapierte Fischschwanzschärpe. Vergleichen Sie diese Merkmale mit drei Malla-Buddha-Skulpturen, die bei Sotheby's, New York, am 25. März 1999, Los 39, bei Sotheby's, New York, am 1.4.2005, Los 52, und bei Christies, New York, am 13.9.2017, Los 620, verkauft wurdenLeichte Gebrauchsspuren, Altersspuren, die Rückseite mit Delle

Feine Deckeldose aus Rotlack mit Drei Alten Gelehrten in einer LandschaftChina, eingeritzte und mit Gold gefüllte Xuande-Sechszeichenmarke am Boden, wohl Yongle-PeriodeD. 14,3 cmDrei Alte Literaten unter einer großen Kiefer mit zwei Dienerknaben mit Kranichen am Himmel. An den Seiten verschiedene Blüten und Blattwerk in feiner Ausführung. Innen und am Boden schwarz lackiert, gravierte Xuande-Marke am Rand.Aus einer alten europäischen Privatsammlung, vor 1990 gesammeltEine ähnlich geschnitzte Lackdose in der Freer Gallery of Art, Washington D.C., ist publiziert bei Derek Clifford, Chinese Carved Lacquer, London, 1992, Taf. 33; eine weitere war in der Ausstellung 'Selection of Masterpieces from Ringen Art Museum', Ringen Art Museum, Okoyama, 1990, Kat.-Nr. 167, zu sehen; vgl. auch Dosen dieses Typs mit Yongle-Marken und aus der Zeit: eine im Palastmuseum, Peking, abgebildet in 'The Complete Collection of Treasures of the Palace Museum', op. cit, Abb. 41, zusammen mit einer anderen, die eine Qianlong-Inschrift trägt, Abb. 37; eine dritte ist in der Ausstellung 'East Asian Lacquer. The Florence and Herbert Irving Collection', The Metropolitan Museum of Art, New York, 1991, Kat.-Nr. 27 publiziert. Part. etwas rest.

TWO BOXES OF ASSORTED SUNDRIES, to include a ceramic based table lamp, height 43cm to top of brass fitting, a brass Aladdin oil lamp (missing shade), a large copper coffee pot (stamped on base Birmingham 1931), a pair of blue ground cloisonné vases, height 18cm, a boxed Japanese table runner, a blue floral tapestry wall hanging, an Eluxa bracket clock with key and pendulum, with a brass face and hand painted floral design to case with a matching shelf, a pair of hand carved hardwood tribal art bookends, a relief decorated lidded urn, a boxed collector's plate to commemorate 150th anniversary of Burton Rail, an Asian brass bell, brass jug, brass candle stick, a brass dinner gong, vintage table linen, an SB wall barometer, a Ronson onyx table lighter, a Seiko carriage clock, a NZ Paua shell dish, etc (s.d) (2 boxes + loose)

Karl Singporewala, ARB RIBA. Queen of Spades. 'Gaia'. Timber Marquetry. Karl Singporewala is an architect and sculptor. As a practising member of the Royal Institute of British Architects, working internationally from London, his practices architecture is always a product of collaboration which focuses on social impact, the role of beauty in buildings and the art of construction. His artwork, however, is more personal in nature and embellished by personal circumstances that draw on his Zoroastrian Parsee heritage. His architectural drawings and sculptural maquettes are held in both public and private collections world-wide. Select exhibitions include the Saatchi Gallery, V&A digital futures, The New York Institute of Technology, The Royal West Academy (RWA), Bristol and at The Royal Academy of Arts, London. In 2020, his artwork was awarded the inaugural RWA Art Prize for work by a Black Asian or Ethnic Minority artist. He is currently shortlisted to be a royal academician at the Bristol Academy.

SHUZAN: A VERY FINE WOOD MASK NETSUKE OF KINTAROBy Shuzan, signed Shuzan 舟山Japan, Edo (Tokyo), mid-19th centuryFinely carved as Kintaro, the face with a pronounced nose, two pierced eyes and a subtle smile below prominent cheeks, framed by delicately engraved hair. The reverse with a himotoshi bar signed SHUZAN. Superb, smooth polish.HEIGHT 4.3 cmCondition: Excellent condition, minor wear.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Kintaro (English: Golden Boy) is a hero from Japanese folklore. According to legend, he was raised by a mountain witch and possessed supernatural strength. Kintaro is a popular figure in Bunraku and Kabuki dramas. In Japanese custom, Kintaro dolls are set out on Boy's Day in the hope that boys will become equally brave and strong.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

SESSON SHUKEI: A SCROLL PAINTING OF FUKUROKUJUSchool of Sesson Shukei (1504-1589), signed Sesson Shukei with one seal Japan, 17th-18th century, early Edo period (1615-1868)Finely painted in ink on paper, with a silk brocade frame and mounted as a hanging scroll, depicting the lucky god Fukurokuju holding with both hands a small scroll to his head, his mouth obscured but the eyes at least seemingly betraying an unusually serious expression, his cowl and wide sleeves rendered with bold, dynamic brushstrokes, the brows and beard are painted with dense brushwork, his nostril hairs with short lines, and the contours and wrinkles of his face with dynamic brushstrokes.SIZE 110 x 50 cm (image) and 190 x 70 cm (total)Condition: Good condition with old wear, creasing, soiling, Provenance: German private collection.Sesson Shukei (1504-1589) was a Japanese Zen monk and painter from the Muromachi period. He was born a member of the Satake clan, but left after being disinherited by his father and was inducted as a monk at Shoso-ji temple, the Satake bodaiji. Sesson was a master of ink painting, ranked with Sesshu Toyo, one of the greatest painters in Japanese history, and worked in a dramatic style that generally accentuated idiosyncrasy, humor, and exaggeration in his approach to subjects, whether figural or landscape.Museum comparison: Compare a related painting of Jurojin by Sesson Shukei, 136.5 x 70.6 cm, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F2015.6a-d. Also compare to a closely related painting of Daruma, School of Sesson Shukei, dated 17th-18th century, in the British Museum, accession no. 1913,0501,0.109.

KAKUHA: A FINE BRONZE OKIMONO OF A STRIDING BACTRIAN CAMELBy Kakuha, signed Kakuha seiJapan, late 19th century, Meiji period (1868-1912)Naturalistically modeled, walking forwards, the head raised, with shaggy fur and neatly detailed facial features. Signed within a square reserve underneath KAKUHA sei.HEIGHT 24.6 cmWEIGHT 3,532 gCondition: Very good condition, minor wear.Provenance: Old German private collection, acquired prior to 2007.Kakuha Kanzaemon IX, real name Kakuha Zenjiro, was a member of a lineage of metalworkers from Toyama. In 1869, he started a branch office in the port of Yokohama for the export trade of bronze ware, also acting as a retailer for foreign clients in Japan.Auction comparison:Compare a closely related bronze of a Bactrian camel, by Seiya, sold at Koller, Asian Art, 3 June 2015, Zurich, lot 379 (sold for 4,500 CHF). Another closely related bronze of a camel, by Yoshihara, was sold at Sotheby's, The Collection of Craig Wright, 30 September 2011, New York, lot 192 (sold for 5,938 USD).