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A RARE BUFFALO HORN NETSUKE OF A CICADAUnsignedJapan, 19th centuryResting with its wings drawn in and its legs grasping a branch carved in openwork, the veining on the wings and head finely rendered in relief. The horn of variegated tone. Natural himotoshi.LENGTH 5.9 cmCondition: Very good condition, minor wear, minuscule nibbling to the exposed areas.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.Auction comparison:Compare a closely related buffalo horn netsuke of a cicada, sold at Bonhams, The James A. Rose Collection of Netsuke and Sagemono, 17 September 2013, New York, lot 2030 (sold for 1,750 USD).

A POWERFUL OSAKA SCHOOL IVORY NETSUKE OF A CROUCHING TIGERUnsignedJapan, Osaka, early 19th century, Edo period (1615-1868)Published: Zacke (1989), Netsuke von Meistern, no. 44.Boldly carved and deeply stained, with particular attention devoted to the fur coat of alternating stripes and circles against the neatly incised fur. The bulky creature does its very best to look fierce, its head turned back, the eyes inlaid, the animal about to snarl with sharp fangs showing at the corners of the mouth. The thick tail curls over the back and the massive, chubby paws are firmly pressed against the ground. Small himotoshi underneath, the cord channel generously excavated. A compact and pleasingly tactile ivory netsuke bearing a fine patina.LENGTH 4.4 cmCondition: Very good condition, minor surface wear and expected age cracks. Fine patina. Natural nerve channels are brilliantly incorporated into the design forming part of the tiger's fur coat.Provenance: Old Viennese private collection, purchased from Galerie Gemini in 1990.The tiger (tora) is the third animal of the Asian zodiac and represents courage, resilience, and strength. It also plays an important role in Daoist philosophy providing a counterpoint to the dragon (tatsu). The tiger is not native to Japan; therefore, images of tigers were only known from Chinese paintings or on rare occasions when the tiger's fur was imported into Japan. This brings to mind a Japanese proverb - "When the tiger dies, he leaves his skin, the man his name".Auction comparison:For a closely related ivory netsuke see Bonhams, Fine Japanese Works of Art, 22 March 2022, New York, lot 3019 (sold for 4,636 USD). Another closely related ivory netsuke was sold at Lempertz, Asian Art, 27 June 2020, Cologne, lot 329 (sold for 4,000 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0454). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

IKKU: AN UNUSUAL CONTEMPORARY KOKUTAN WOOD NETSUKE OF A STYLIZED SPARROWBy Isamu Kasuya (Ikku, born 1949), signed Ikku 一空Japan, Tokyo, 20th centuryCarved from kokutan (ebony) wood embellished with various colored inlays and formed as a möbius-like band of waves taking the form of a stylized sparrow. Two small beaked birds with gilt metal eyes emerge from the structure facing into the central opening. The back with a beautifully stippled ground and the two himotoshi formed by one larger and one smaller hole. Signed on a polished rectangular reserve IKKU.HEIGHT 5 cmCondition: Excellent condition.Provenance: Collection Gabor Orszagh, Budapest, Hungary, purchased from Michael Strone.Literature comparison: A closely related kokutan wood netsuke by Ikku depicting waves is illustrated in Spindel, Michael (1993) Contemporary Netsuke, no. 36.Auction comparison:A set consisting of a netsuke and ojime by the artist was sold at Bonhams, Asian Decorative Art, 28 September 2005, San Francisco, lot 4562 (sold for 7,637 USD).Ikku is widely regarded as one of the greatest contemporary netsuke carvers of the 20th century. His output is fairly limited, and he preferred to never repeat subjects. He studied under the master carver Yasafusa Saito.

SHUYA: A WOOD NETSUKE OF GAMA SENNIN ON A TOADBy Shuya, signed Shuya 秋冶Japan, Echigo province, first half of 19th century, Edo period (1615-1868)Published: International Netsuke Society Journal (INSJ), 2001, vol. 21, no. 3, p. 29. (illustrated in a full-page advert by Sydney L. Moss Ltd.)Depicting Gama Sennin sleeping blissfully on the back of a massive toad, looking upwards, dressed in the typical mugwort cape and girdle. The toad with its head raised in an expression of irritated dismay, its body amusingly flattened, the eyes inlaid and ringed in metal, its masterfully carved warty skin contrasting with the smooth underside, the feet tucked neatly under its body. Himotoshi underneath, signed in boldly carved characters SHUYA - a pupil of the great Yasusada Shuzan. It is likely that Yasusada Shuzan originated this model, but Shuya's strongly individual flavour has improved upon his teacher's example. LENGTH 4.1 cmCondition: Very good condition, minor wear. Fine, smooth patina. Possibly some old, worn-down chips to the edges of the webbed feet.Provenance: Ex-collection Raymond and Frances Bushell. A French private collection. Purchased at Rosemary Bandini, 2012. Ex-collection Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn (1933-2012) 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.”The Japanese legend of Gama Sennin (English 'Toad Immortal') is based on the legendary Chinese figure Liu Hai, who is generally shown accompanied by a toad. According to legend, he can assume the shape of a toad himself. Chinese prototypes of this theme sometimes represent the immortal sitting on or resting his foot on the animal and holding a string of gold coins.Frogs and toads are symbolic animals in Japanese culture. They are often portrayed in poetry and art and are sometimes carried by travelers to make sure they return home safely from their journeys. The word 'frog' in Japanese is synonymous with 'return,' which is why it is considered a lucky animal and which brings good fortune.Literature comparison:Compare a near identical netsuke of Gama Sennin on a toad by Yasusada Shuzan, circa 1820, illustrated in Rutherston and Bandini, The Sheila M. Baker collection of Japanese netsuke and inro, 2011, no. 5. Another closely related wood netsuke by Shuya, the face similarly carved, is illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 1013.

KANSHOSAI TOYO: A MAGNIFICENT AND LARGE GOLD LACQUER THREE-CASE INRO WITH PEACOCKSBy Kanshosai Toyo, signed Kanshosai 觀松齋 and kakihan and inscribed Hakugyoku hoin and kakihanJapan, 19th century, Edo period (1615-1868)The large rectangular three-case inro bearing a luxurious nashiji ground and lacquered in radiant gold and iro-e takamaki-e, hiramaki-e, further embellished with kirigane flakes and lustrous inlays of aogai (mother-of-pearl), depicting a proud male peacock displaying its opulent tail feathers, while the peahen watches on the reverse. The inside of gold fundame. Signed underneath in gold KANSHOSAI and kakihan and inscribed Hakugyoku Hoin and kakihan.HEIGHT 8.5 cm, LENGTH 7.7 cmCondition: Excellent condition. Only very minimal wear to lacquer.Provenance: German private collection, purchased from Van Ham, Asian Art, 2 December 2015, Cologne, lot 2463 (hammer price 6,500 EUR).The Iizuka Toyo (Kanshosai) line of lacquerers was famous and had many followers. The kakihan used on this netsuke best compares to the ones shown in row 'A' illustrated in Earle, Joe [ed.], 1995, The Index of Inro Artists, p. 312.The inscription Hakugyoku hoin (hoin/hogen being an honorific title) likely refers to the Kano school painter Kano Eisen who inspired several designs of birds by the Kanshosai line of lacquerers.Museum comparison:A closely related inro signed Kanshosai (designed by Hogen Eisen and sealed Hakugyokusai) is in the Metropolitan Museum of Art (Met), New York, accession no. 29.100.759.Auction comparison:For a closely related inro depicting chickens by Kanshosai Toyo after a design by Kano Eisen, see Bonhams, The Bluette H. Kirchhoff Collection of Netsuke and Sagemono, 16 September 2009, New York, lot 2148 (sold for 10,370 USD).

A STAG ANTLER NETSUKE OF A MONK, ATTRIBUTED TO MASATOSHIAttributed to Nakamura Tokisada (Masatoshi) (1915-2001), unsignedJapan, Tokyo, second half of 20th centuryFinely carved from a choice piece of antler as an itinerant monk, leaning against a cane, screaming enigmatically with his mouth agape, the eyes inlaid in dark horn. Large himotoshi through the back.HEIGHT 5.7 cmCondition: Very good condition, tiny chip to the edge of one toe.Provenance: Ex-collection Richard R. Silverman, purchased from I.M Chait, Los Angeles, in 2000. 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.Auction comparison:A related stag antler netsuke of a bakemono was sold at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 216 (sold for 37,920 EUR).

SARI: A VERY RARE WOOD NETSUKE OF A NINGYO (MERMAID)By Sari, signed Sari 左里Japan, Iwashiro province, first half of 19th century, Edo period (1615-1868)Finely carved, the mermaid pulling her tail fin with both hands towards her body, her long hair falling along her back. The scales, fins, and long hair are finely incised, the oval face with a hypnotic smile. Natural himotoshi through the tail and right arm, signed SARI within an oval reserve.LENGTH 4.3 cmCondition: Good condition, one damage to the edge of the tail, possibly restored.Provenance: Ex-collection Teddy Hahn, Darmstadt. “Teddy” Hahn (1933-2012) 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.”Ningyo are half-human, half-fish sea creatures that equate with the mermaid of Western traditions. Most likely inspired by the sighting of dugongs in the ocean, folklore transforms them into alluring females, usually depicted cradling a baby to their naked breasts or holding a tama, the sacred jewel of the dragon king of the sea.Sari is well-known for his carvings of snails and animals, the present ningyo seems to be unique for the artist.Auction comparison:Compare a related wood netsuke of two fugu fishes by Sari, early 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke - Part I, 8 November 2016, London, lot 163 (sold for 5,000 GBP).

A RARE AND HUMOROUS WOOD AND NEGORO LACQUER NETSUKE OF HOTEI TAKING A BATHUnsigned Japan, late 18th to early 19th century, Edo period (1615-1868) An amusing parody of the classic shunga-esque subject of a lady, or sometimes Okame, taking a bath, though this time it is Hotei leaning over a bathtub, his left hand immersed in water, the right hand cleaning his pendulous earlobe, and his face with a joyful expression as he proudly presents his corpulent body with large breasts. His loincloth is lacquered in the negoro-style. Natural himotoshi. HEIGHT 3.7 cm Condition: Good condition, minor wear, some natural age cracks, one larger crack between the tub and Hotei's body, some minuscule nicks. Provenance: European collection. Auction comparison: Compare a related wood netsuke of Okame taking a bath, attributed to Tanaka Juntoko Minko, late 18th century, at Zacke, Asian Art Discoveries - Japanese & Korean Art, 10 September 2021, Vienna, lot 285 (sold for 2,402 EUR).

JUGYOKU: A RARE WOOD AND STAG ANTLER NETSUKE OF A KAPPA PLAYING THE CUCUMBERBy Ryukosai Jugyoku, signed Jugyoku 寿玉Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)A humorous wood netsuke of a kappa holding a green-stained stag antler cucumber in both hands, as if playing the biwa, the eyes and fangs inlaid in bone. The details are very finely carved. Himotoshi through the carapace in the back and signed underneath the right leg JUGYOKU.HEIGHT 3.3 cmCondition: Very good condition. The two arms are carved separately to hold the cucumber in place.Provenance: US private collection.Jugyoku was particularly skilled in combining various materials, the kappa holding a green-stained cucumber being one of his favored subjects. The present netsuke depicts this kappa in a particularly amusing and rather unique manner, holding his cucumber like an instrument.According to folklore there are two ways to escape a kappa-encounter unharmed. One is to feed it with a cucumber, which is the kappa's favorite food and the other is to bow, as kappa are exceedingly polite creatures and find it difficult to resist returning a bow. This is a problem for the kappa as the cavity on top of their head retains water, and if damaged or its liquid is lost, the kappa is severely weakened.Auction comparison:A closely related wood netsuke by Gyokusai was sold at Zacke, Asian Art Discoveries, 27 January 2020, Vienna, lot 592 (sold for 5,688 EUR).

RARE SILK WOVEN BAG LIAO DYNASTY, 11TH-12TH CENTURY 遼 絲織束口袋 含白玉環 of rectangular form, composed of sections of fine woven silk, with a fastening cord attached to the upper side of the bag, two white circular jade fittings to hold the fastening cord, decorated with large rhombus with palmette to centre and floral buds in corners, lotus flowers and clouds, lining of brown gauzeDimensions:40cm x 30.5cmProvenance:Provenance: Private Scottish collection, acquired from Centasia Metals Limited, Cyprus on 19th July, 1998, with an original invoice Ref.65L43Published: Mikhail Baskhanov, Maria Baskhanova, Pavel Petrov & Nikolaj Serikoff, 2012. Arts from the Land of Timur: An Exhibition from a Scottish Private Collection. London: Black Gull Books, pg. 194Exhibited: Arts from the Land of Timur: An Exhibition from a Scottish Private Collection, Edinburgh 2012, no. 412Note: Note: This silk bag, originally purchased in 1998 as a Qarakhanid silk bag, Inner Asia, 12th-13th century, later exhibited in the Arts from the Land of Timur exhibition in 2012 and catalogued as a Semirechye piece, has been suggested by several Asian art specialists to be a Liao dynasty textile after the exhibition.Roughly a thousand years old, this fine silk bag is a rare survivor and a testimony to the extensive trade network passing through Central Asia during the eleventh/twelfth century. The quality of the silk and craftsmanship itself, largely lost today, further bears witness to the importance of the silk-route from China. Comparable flower pattern is illustrated in Liao Textiles and Costumes, Zhao Feng (ed.), Hong Kong, 2004, fig. 183; an embroidered bag with similar form and fasten-cord design in the Mengdiexuan Collection, Hong Kong is also illustrated in the same book, fig. 302. A further comparable weft-faced compound twill with flowers, cranes, and clouds decoration, dated to the Liao dynasty, 10th century, is in the Cleveland Museum of Art, inv. nos. 1992.112a

A RARE POLYCHROME LACQUER CIRCULAR BOX AND COVERXuande six-character mark and of the periodThe cover decorated with two bearded scholars each carrying a guqin under their arms, all beneath a gnarled pine tree with finely incised grain on a rock ledge, mountains and clouds in the distance, all on a diaper-pattern ground, the sides with wave patterns, the interior and base lacquered black, with fitted box. 11cm (4 2/8in) diam. (3).Footnotes:明宣德 彩漆戧金松下高士紋圓蓋盒「大明宣德年製」楷書刻款Provenance: Idemitsu Museum, Tokyo 來源：出光美術館,東京Endowed with cosmological and metaphysical significance and empowered to communicate the deepest feelings, the guqin, beloved of sages and of Confucius, is the most prestigious instrument in China and played an important part in the musical rituals of the Ming dynasty. The 'Collected Statutes of the Ming Dynasty' Da Ming Huidian records that the 'The Harmonious Ensemble' (Zhonghe Shaoyue) which played Court ritual music during ceremonial occasions, had ten guqin in their orchestra. The guqin was also played in private contexts or in small groups and many Ming dynasty princes and emperors were accomplished musicians themselves. Some Ming princes even made important contributions to musicology and music theory. For example, the first Prince of Lu (1568-1614), brother to the Wanli emperor, had hundreds of guqin made for his household and in 1634 wrote a treatise about the instrument, the Guyin Zhengzong; see J.Kenneth Moore, et al, Musical Instruments: Highlights of the Metropolitan Museum of Art New York, New York, 2015, p.63.Compare with a related circular box and cover, but made of only red lacquer, Xuande six-character mark and of the period, illustrated by S.Kwan, Chinese Lacquer: The Muwen Tang Collection Series, Hong Kong, 2010, pp.196-197, no.56. See also a related polychrome lacquer circular box and cover, 15th century, but decorated with lotus, illustrated by N.de Bisscop and W.G.de Kesel, Chinees Lakwerk, Zutphen, 1982, p.95. See also a related polychrome lacquer round box and cover, incised Xuande six-character mark and of the period, of similar palette, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, pp.86-87. A larger related box and cover, incised Xuande six-character mark and of the period, in the Qing Court Collection, is illustrated in ibid., p.88, no.62. See also a polychrome lacquer incense stand with related landscape design, 16th/17th century, illustrated in Karamono: Imported Lacquerwork - Chinese, Korean and Ryukyuan (Okinawa): Selections from the Tokugawa Art Museum, Nagoya, 1997, no.123. See also a related polychrome lacquer circular box and cover, Xuande mark and of the period, illustrated in 100 Masterpieces of Asian Art from the Tokyo National Museum, Tokyo, 2009, no.54.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE GILT-DECORATED RED LACQUER 'BAJIXIANG' SUTRA BOX AND COVEREarly 15th centuryThe rectangular box lacquered in vibrant red and decorated with gold-filled incised lines depicting scrolling lotus with the 'Eight Buddhist Emblems' each supported on an blossoming lotus flower, the cover hinged and with a gilt-bronze clasp at the front chased with lotus motifs, the sides of the cover with swirling clouds, the trapezoidal upper section with meandering foliate scrolls, the interior with woven silk lining. 40cm (15 3/4in) long. Footnotes:十五世紀早期 朱漆戧金八吉祥經盒Provenance:Christopher Bruckner Asian Art Gallery, London, prior to 2005Published and Illustrated:Céline and Christopher Bruckner, Chinese Imperial Patronage: Treasures from Temples and Palaces, vol.II, London, 2005, no.3來源：2005年前，倫敦Christopher Bruckner亞洲藝術廊出版著錄：Céline與Christopher Bruckner，《Chinese Imperial Patronage: Treasures from Temples and Palaces》，卷二，倫敦，2005年，編號3Compare with a box, probably made in the same workshop, but with a dragon design, in the Metropolitan Museum of Art, New York, illustrated by J.Watt and L.D.Patry, Defining Yongle: Imperial Art in Early Fifteenth Century China, New York, 2005, no.21. See also a related large square lacquer box decorated in the same technique with dragon roundels, dated 1389, illustrated by J.M.Addis, Chinese Ceramics from Datable Tombs, London, 1978, pl.32d.The present lot would have been made to hold a Buddhist sutra. Zhu Di (1360-1424), who ruled as the Yongle emperor, was introduced to Tibetan Buddhism and initiated into its practices around 1380, when he was enfeoffed in Beijing. Seeing himself as a universal ruler to rival former Mongol claims to power across the Eurasian continent, he sponsored and tolerated numerous religions including Tibetan Buddhism, which still had strong ties to the Mongol military elite. Following renewed contacts with religious and secular leaders in Tibet, the demand for works and ritual objects depicting Buddhist imagery increased at the beginning of the 15th century. In 1410, the Yongle emperor ordered the production of the Tibetan canon, or Kanjur, in Beijing; see Jiacuo, et al., 'Lasa Xianzang de liangbu Yongle Ganzhuer', Wenwu, 1985, pp.85-88.See two very similar lacquer sutra boxes and covers, Yongle, which were sold at Christie's Hong Kong, 16 November 1998, lot 14, and 3 June 2015, lot 3010.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE TIANQI AND QIANGJIN LACQUER 'DRAGONS' TRAYWanli incised eight-character mark cyclically dated to the Dingwei year corresponding to 1607 and of the periodOf rectangular form with canted corners and elegantly decorated with two writhing five-clawed dragons each confronting a flaming pearl in the centre, amidst ruyi-clouds and crashing waves and rocks, on a wan-diaper ground, the sides decorated with meandering peony scrolls, the base lacquered black and with incised and gilt mark Da Ming Wanli Dingwei nian zhi, Japanese wood box and cover. 35.1cm (13 3/4in) wide. (3).Footnotes:明萬曆，一六〇七年 戧金填漆雙龍戲珠紋長方盤「大明萬曆丁未年製」楷書款See a tianqi and qiangjin lacquer incense stand, with nine dragons, also with Wanli mark and also dated to the Dingwei year (1607), is in the Los Angeles County Museum of Art (acc.no.M.2004.51). Compare with a related polychrome lacquer rectangular tray with filled-in and engraved-gold decoration, with double dragon, Wanli, illustrated in East Asian Lacquer: The Florence and Hebert Irving Collection, New York, 1991, pp.120-121, no.51. Another related tianqi and qiangjin lacquer dragons tray, Wanli mark and cyclically dated to 1623, is illustrated in Chinesische Lackarbeiten, Stuttgart, 1979, pp.130-131, no.79. See also a further example of a tianqi and qiangjin lacquer tray, Wanli 20th year, corresponding to 1592 and of the period, illustrated in Catalogue of Selected Masterpieces from the Nezu Collections, Tokyo, 2001, p.170, no.202.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

AN UNUSUAL MALLOW-FORM LACQUER DISH17th/18th century or earlierRising from a short tapering foot to elegantly curving sides in the form of an unfurling flower with eight undulating petals bound with a thin metal band, applied overall with brown lacquer of dark-chocolate tone, except for two petals in shades of black and brown-red, the base with an apocryphal four-character Kangxi mark. 23cm (9in) diam. Footnotes:十七/十八世紀或更早 烏漆葵式盤「康熙年造」楷書款The form of the present lot is typical to dishes dating to the Southern Song dynasty, and therefore the appearance of a Kangxi mark is unusual as are the two differently coloured petals. See a similar brown lacquer flower-form dish, Southern Song dynasty, with collector seal mark on the base, illustrated in Art of China: Highlights from the Philadelphia Museum of Art, New Haven and London, 2018, pp.70-71, no.18. Another similarly-shaped dish, from the Florence and Herbert Irving collection, in the Metropolitan Museum of Art, New York, is illustrated in East Asian Lacquer, New York, 1991, no.2. A further brown lacquered mallow-shaped dish, Song dynasty, is illustrated in The Monochrome Principle: Lacquerware and Ceramics of the Song and Qing Dynasties, Munster, 2008, pl.7.With its distinctively shaped and slightly overlapping petals, the mallow flower was amongst the most popular forms for lacquerware produced between the tenth and the fourteenth centuries. The flower underscores auspicious symbolism relating to longevity and fulfilling life and was frequently also reproduced in metal wares, as well as Ding, Ru and Guan ceramic wares. The close dialogue between monochrome lacquer and ceramics is evident in the sheen of the surface and the delicate form of the bodies, and the present dish is very similar to that of fine Ding ware; see a persimmon-glazed mallow-shaped dish, Song dynasty, attributed to the Ding kilns, illustrated in The Colors and Forms of Song and Yuan China: Featuring Lacquerwares, Ceramics, and Metalwares, Tokyo, 2004, no.24.Compare with a related red-lacquer mallow-form dish, Song dynasty, which was sold at Christie's Hong Kong, 28 November 2012, lot 2080, and another black-lacquered mallow-form dish, Song dynasty, which was sold at Christie's Hong Kong, 3 December 2008, lot 2103.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE ARCHAIC BRONZE GOURD-SHAPED VASE AND COVER, HUEastern Zhou DynastyThe bulbous flask-shaped body supported on a simulated rope-twist foot, rising to a straight neck slightly curved on one side, intricately cast with two registers around the body and another below the mouth rim decorated with the 'coiling snake' panhui motifs, set on one side with a bar handle in the form of a snake attached to the body with two rope-twist rings and with a loose interlinked chain secured to the tail of the bird-shaped cover, the cover naturalistically cast as a bird with well detailed wing feathers bordered with archaistic scrolls, the sharp beak opening to form the aperture of the vessel, the bird grasping two serpents in its claws. 33cm (13in) high. (2).Footnotes:東周 蟠虺紋匏壺Provenance: Mark Dineley (1901-1975)Peter Dineley (1938-2018), and thence by descent來源：Mark Dineley（1901-1975年）舊藏Peter Dineley（1938-2018年）舊藏，並由後人保存迄今Mark Dineley and his son Peter Cleverly Dineley collected antique arms and armour, Chinese, Tibetan and Nepalese art amongst other interests. The collections were displayed in the former family home, Aubrey House, located in Holland Park, London - a stately 18th century house. The house came into the Dineley family when it was acquired in 1873 by William Cleverly Alexander (1840-1916) from whom Mark and Peter were descended. W.C. Alexander was a banker and a great connoisseur and patron of the artist James McNeill Whistler, as well as a renowned collector of Chinese ceramics, jade and Japanese art, much of which is now in the British Museum, London, including the celebrated Northern Song Alexander bowl. He was amongst the lenders to exhibitions held at the Burlington Fine Arts Club in 1895, 1896 and 1910 and to the City of Manchester Art Gallery's Exhibition of Chinese Applied Art in 1913, and to exhibitions held at the Victoria and Albert Museum, London. In May 1931 his collection of Chinese ceramics, including 355 lots, was sold over two days and Sir Percival David acquired a significant part, now in the British Museum.Gourd-shaped vessels resembling this vessel have been excavated in Henan, Shanxi and Shaanxi Provinces, which were among the territories ruled by the Jin and Wei. Such vessels were used for containing wine and it is notable that the design is rare compared with more common wine-vessel forms such as gu. Excavations in early Warring States tombs have only revealed one such vessel within a large burial, suggesting that such vessels reflected the noble status of the deceased.Compare with a similar gourd-shaped vessel and cover, Warring States, decorated with three registers of panhui motifs around the body, in the National Palace Museum, Taipei, (acc.no.GuTong000024N000000000); and another excavated in 1988 at Jinshen village, Taiyuan, Shanxi Province, now in the Shanxi Museum, see Zhongguo meishu fenlei quanji. Zhongguo qingtong tongqi quanji 8. Dongzhou 2, Beijing, 1995, pp.73-74, nos.81-83. See also other similar excavated examples in the Shaanxi Museum of History and the Sackler Gallery of Art illustrated in ibid., pp.75-76, nos.84-85. For an example of this rare type in the Arthur Sackler collection, see Jenny So, Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collection, Washington D.C., 1995, pp.236-239, no.39. The author suggests that this type of vessel was a 'short-lived type which appeared toward the end of the eighth century BC and disappeared by the early fifth century BC, and illustrates a closely related example formerly in the collection of Mrs. Otto H. Kahn, now in the Metropolitan Museum of Art, New York (acc.no.1949.135.9), illustrated ibid., p.238, fig.39.1.Following the trend for archaism in the 18th century, and especially during the reign of the Qianlong Emperor, vessels such as the present lot became the model for other gourd-shaped vessels in various other media such as jade and cloisonné enamel. See for example, a cloisonné enamel vase of similar form to the present lot, Qianlong, in the Asian Art Museum, San Francisco (acc.no.B6OP286).For further information on this lot please visit Bonhams.com

A PAIR OF WOOD TEMPLE GUARDIAN FIGURESEdo period (1615-1868), probably 19th centuryEach of carved and assembled wood, depicting two Nio (Buddhist guardian deities), decorated in gesso and pigment, their robes gathered at the waist revealing the exaggerated musculature of their upper bodies, bearing fierce expressions with their mouths open or closed to form the Buddhist incantations A and Un, one holding a tama (jewel), the eyes inlaid; each with a metal stand. Each approx., 214cm (84¼in) high with stand. (4).Footnotes:Provenance:A gift to the current owners in the 1980s from private collectors of Japanese and Southeast Asian Buddhist art.A stylistically similar pair of temple guardian figures, dating circa 1300-1400, is housed at the Rijksmuseum, Amsterdam, object nos.AK-RAK-2007-1-A, B.In times gone by, these two fearsome evil-averting guardians—once brightly coloured— warded off evil influences at the entrance to a Buddhist temple. They are named Agyo and Ungyo, from their open and closed mouths, representing a and un, the first and last syllables of the Siddham script (used to write Sanskrit). The two syllables stand for all spoken language and thus all knowledge, which is symbolically absorbed by worshippers as they enter the temple through its Nio-mon (Guardian Gate).Lot to be sold without reserve.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

ANONYMOUS, KANO SCHOOLEdo period (1615-1868), mid-17th/18th centuryTartars Hunting and Hawking in a Mountain LandscapePair of six-panel byobu (folding screens) painted in ink, mineral colours, gold, and gold leaf on paper with silk borders within black lacquer frames; the right-hand screen depicting Tartars on horseback hunting wild boars, rabbits, and a deer; at top right a Tartar leader looking on accompanied by his retinue including attendants holding a parasol and a banner, the lower foreground occupied by a group of mounted Tartars engaged in the hunt using bows and arrows and spears, at far left another group looking on, at top left a tiger and cub on a crag; the left-hand screen including two mounted falconers and a variety of wild birds, the three rightmost panels with a lake and rice paddies; all set against a background of Kano-style mountains, waterfalls, and trees interspersed with gold clouds and gold flecks. Each overall: 173.5cm x 353.8cm (68¼in x 139 5/8in); image: 158cm x 337.2cm (62 3/16in x 132¾in). (2).Footnotes:Painted screens depicting the northeast Asian nomadic hunters known as Dattanjin or Tartars (also written Tatars), although less numerous or well-known than the so-called Nanban ('Southern Barbarian') screens—with Portuguese ships, their exotic crews, and Christian priests arriving at Japanese ports—reflect the same global outlook that developed during the sixteenth century as trade in goods and information increased between Japan and the outside world, including both Europe and the Asian continent. Similar depictions of Tartars, based on Chinese paintings of the thirteenth to sixteenth centuries and identifiable by their dashing equestrian poses, prominent banners and weapons, and distinctive fur-trimmed hats (later also seen in netsuke and inro), are featured in several important examples preserved in Japanese and American collections. One of the earliest, in the Museum of Fine Arts, Boston and attributed to no less an artist than Kano Eitoku (1543-1590), shows Tartar envoys bringing tribute (inv. no. 11.4450), but Tartars are more usually shown—in contrast to Southern Barbarians—in their home country, either hunting or playing polo in wild mountain landscapes, often, as here, with senior groups viewing the proceedings from lofty positions. Along with other screens in Boston dating from the sixteenth and seventeenth centuries (see collections.mfa.org/search/objects/*/tartars), there are fine pairs in the National Museum of Asian Art, Washington D.C. (by Kano Jinnojo, active 1610s-1640s, asia.si.edu/object/F1968.62-63/) and Kyushu National Museum (bunka.nii.ac.jp/heritages/detail/514464). The present pair, of slightly later date, continues in a well-established tradition where Chinese prototypes are augmented by the use of mineral pigments and gold and shown in the much larger, and quintessentially Japanese, screen-pair format.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A GROUP OF BONHAMS CATALOGUES MOSTLY ON JAPANESE AND ASIAN ARTConsisting of broken runs from 1972, 1978-1983, 1988-1999, 2004-2019, 2021, and important collections including: The Harriet Szechenyi Collection of Japanese Art (2011), Fine Netsuke from the Adrienne Barbanson Collection (2013), The Edward Wrangham Collection: Parts I-III, V-VI (2012-2015), The Misumi Collection: Parts I-II (2014-2015), The Arlette and Julius Katchen Collection of Fine Netsuke: Part I (2016); several duplicates included. (a lot).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A GROUP OF CHRISTIE'S CATALOGUES MOSTLY ON JAPANESE AND ASIAN ARTConsisting of broken runs from 1986, 1988-1990, 1994-1997, 1999-2016, and important collections including: The I. A. and Cecile Mann Victor Collection of Netsuke (1989), The Duncan Beresford-Jones Collection of Japanese Art (2000), The Avo Krikorian Collection (2007), The Ten Signs of Long Life: The Robert Moore Collection of Korean Art (2014); several duplicates included. (a lot).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A GROUP OF SOTHEBY'S CATALOGUES MOSTLY ON JAPANESE AND ASIAN ARTConsisting of broken runs from 1982, 1988-1994, 1998, 2000-2007, 2010, 2018-2019, and important collections including: Kakiemon Porcelain from the collection of Mrs Cornelia Wingfield Digby (1990), Inro from the Collection of the Late Charles A. Greenfield (1998), Netsuke from the Collection of Raymond and Frances Bushell (2000); several duplicates included. (a lot).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A GROUP OF REFERENCE BOOKS ON COLLECTIONS, NETSUKE, AND JAPANESE ARTComprising: Kakudo, Yoshiko, Netsuke: Myth and Nature in Miniature, San Francisco, Asian Art Museum, 1981; Jonas, F. M., Netsuke, London, Charles E. Tuttle and Kegan Paul, Trench, Trubner & Co., 1960; Bushell, Raymond, Collectors' Netsuke, Tokyo, Weatherhill, 1971; Kinsey, Miriam, Living Masters of Netsuke, Tokyo, Kodansha International, 1984; Ayers, John, The Baur Collection Geneva: Japanese Ceramics, Geneva, Collections Baur, 1982; Chu, Arthur and Grace Chu, Oriental Cloisonné and Other Enamels: A Guide to Collecting and Repairing, New York, Crown Publishers, 1975; Irvine, Gregory, Japanese Cloisonné Enamels: The Seven Treasures, London, V & A Publishing, 2006; Mintz, Robert, Japanese Cloisonné Enamels: The Stephen W. Fisher Collection, exhibition catalogue, Baltimore, Md., Walters Art Museum, 2010; Schiermeier, Kris and Matthi Forrer, Wonders of Imperial Japan: Meiji Arts from the Khalili Collection, Zwolle, Waanders Publishers, 2006; Lawrence, Louis, Satsuma: Masterpieces from the World's Important Collections, London, Dauphin Publishing, 1991; Impey, Oliver, and Fairley, Malcolm, Treasures of Imperial Japan: Ceramics from the Khalili Collection, exhibition catalogue, London, National Museum of Wales and The Kibo Foundation, 1994; Yutaka Mino, The Great Eastern Temple: Treasures of Japanese Buddhist Art from Todai-ji, Chicago, Art Institute of Chicago, 1986; National Gallery of Victoria, Focus on Lacquer: Japanese Lacquer at the National Gallery of Victoria pamphlet, 2006; Muneshige Narazaki, Sharaku: The Enigmatic Ukiyo-e Master, Tokyo, Kodansha International, 1983; Tadashi Kobayashi, Ukiyo-e: Great Japanese Art, London, Kodansha International, 1982; Nazarov, Viktor, Netsuke, Okimono, Veyera (Netsuke, Okimono, Fans), St. Petersburg, Atlant, 2017; Bordignon, Laura, The Golden Age of Japanese Okimono, Suffolk, Antique Collector's Club, 2010; Pekarik, Andrew J., Japanese Lacquer, 1600–1900: Selections from the Charles A. Greenfield Collection, exhibition catalogue, New York, Metropolitan Museum of Art, 1980. (18).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A group of Asian art comprising a Japanese Imari vase, height 25cm, two Japanese Imari jars and covers, a cloisonné vase, two small ginger jars, a teapot and a baluster vase and cover (vase and cover badly af).

A RARE LARGE PAINTED STUCCO RECLINING FIGURE OF BUDDHAWestern Xia Dynasty, 11th/12th centuryDepicting the Buddha's entry into Nirvana, reclining, with long flowing robes, his right arm supporting his head with peaceful expression, accompanied by a dancing mourner, richly painted in blue, red, brown, black and peach-coloured pigments and embellished with extensive gilding. 54cm (21 1/4in) long (2).Footnotes:Provenance: Jonathan Tucker and Antonia Tozer, Asian Art, London, 2001An English private collectionPublished and Illustrated: J.Tucker and A.Tozer, Splendours of Buddhist Art, London, 2001, no.6The subject matter of this image is the passage of the Buddha into Nirvana. He lies down on a royal couch in the sala grove of the Malla kings beside the Hirannavati River. Surrounded by his faithful monks he utters his final words: 'Everything is subject to change; strive on without delay', and at dawn on the following day passes into the great Nirvana.There is a large reclining Buddha in Zhangye, Gansu Province, 34.5 metres long and the largest in China, at the 'Monastery of the Great Buddha' (Dafosi) built in 1098 by the Tangut Kingdom of Xixia. The private Young Museum of Ancient Cultural Arts in Texas has a marble block relief of similar date depicting the parinirvana with mourners.For further information on this lot please visit Bonhams.com

TWO UNGLAZED POTTERY MUSICIANS AND A DANCERTang DynastyOne lady modelled as a dancer standing with head tilted to one side and looking in the direction of her raised arm, wearing a long flowing dress with long sleeves that fall to the ground, the other two ladies kneeling with their legs tucked under their dresses, one playing the xiao, the other a qin. The tallest 26cm (10 1/8in) high (3).Footnotes:Provenance: Spink & Son Ltd., London, 1998Jonathan Tucker and Antonia Tozer, Asian Art, London, 2002An English private collectionSee related figures of dancers and musicians, Tang Dynasty, excavated in 1972 from the tomb of Zheng Rentai, Liquan County, Shaanxi Province, and now in the collection of the Shaanxi History Museum, illustrated by C. Michaelson, 'Gilded Dragons: Buried Treasures from China's Golden Ages', London, 1999, no.39.For further information on this lot please visit Bonhams.com

A WHITE GLAZED THREE-LEGGED TOAD INCENSE BURNERLate Ming Dynasty, 17th centuryMoulded in the shape of a three-legged toad with blue bugling eyes below thick eyebrows with flaring nostrils and open mouth, the bossed body covered overall in a white glaze, with hardwood stand. 19cm (7 1/2in) long (2).Footnotes:Compare with an example published in 'Ausstellung Chinesischer Kunst - The East Asian Art Society and the Prussian Academy of Art, Berlin, 12 Jan to 2 Apr 1929', fig. 1009.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

SKY RANCH MOTEL LIGHT UP WALL ART, on vintage Asian door, 17cm x 52cm.

A FINE AND LARGE CHINESE EMBROIDERED SILK BED COVER Qing Dynasty, 2nd half 19th Century The centre with a vibrant ornamental pheasant, amongst bamboo, prunus and peonies, within a circular border of mandarin ducks and other birds, and a further border of flying cranes, the corners decorated with butterflies, insects and other birds amongst chrysanthemums For a comparable set of four similarly embroidered panels see Christie's Paris, Asian Art, 9 June 2021, Lot 179 266cm x 266cm Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com

ASIAN ART BOOKS - BY IMPERIAL COMMAND, HUGH MOSS By Imperial Command, An Introduction to Ch'ing Imperial Painted Enamels Hibaya Co Ltd, Hong Kong, 1976, Limited edition, number 177 from the published 1000 copies Two volumes, hardcovers, no dust jackets, with outer slip case Condition: Condition Report The slip case shows plenty of wear, and one section to the of the case is lacking, both volumes are lacking their dust jackets but pages appear clean This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

YOSKAY YAMAMOTO,SUNSET MATISSE 1, Acrylic on paper, signed,22.5cm x 30cm,OriginalBorn and raised in Toba, Japan, Yoskay Yamamoto moved to the United States at the age of 15. A self-trained illustrator, Yamamoto's artistic tastes expanded as he fell in love with the urban culture of the West Coast. Yamamoto discovered a way to fuse the two different cultural backgrounds together into his work. Yamamoto nostalgically blends pop iconic characters from his new Western home with traditional and mythical Japanese elements, balancing his Asian heritage with urban pop art.

YOSKAY YAMAMOTO,SUNSET MATISSE 2,Acrylic on paper, signed,22.5cm x 30cm,OriginalBorn and raised in Toba, Japan, Yoskay Yamamoto moved to the United States at the age of 15. A self-trained illustrator, Yamamoto's artistic tastes expanded as he fell in love with the urban culture of the West Coast. Yamamoto discovered a way to fuse the two different cultural backgrounds together into his work. Yamamoto nostalgically blends pop iconic characters from his new Western home with traditional and mythical Japanese elements, balancing his Asian heritage with urban pop art.

YOSKAY YAMAMOTO,SUNSET MATISSE 3,Acrylic on paper, signed22.5cm x 30cm,OriginalBorn and raised in Toba, Japan, Yoskay Yamamoto moved to the United States at the age of 15. A self-trained illustrator, Yamamoto's artistic tastes expanded as he fell in love with the urban culture of the West Coast. Yamamoto discovered a way to fuse the two different cultural backgrounds together into his work. Yamamoto nostalgically blends pop iconic characters from his new Western home with traditional and mythical Japanese elements, balancing his Asian heritage with urban pop art.

A Mughal floral silk cut velvet, late Jahangir or early Shah Jahan period, 1620-1630, polychrome silk cut velvet on twill ground, 89cm. long x 16 cm. highProvenance:Private collection, ParisThe fluidity of movement, particularly in the treatment of leaves, is reminiscent of late Jahangiri style decoration, as seen for example in the coloured stone inlay of the tomb of I'timad al-Daula in Agra (1622-28).These velvets, usually consisting of four borders woven as one piece, were woven as yardage which would then have been cut into strips, along the grooves, to be used as borders to velvet floor spreads or blinds.Another similar velvet, drawn with less fluidity of design, is in the Musee Guimet in Paris (gift of Krishna Riboud A.E.D.T.A. no 1692).BibliographyWalker, D., Flowers Underfoot - Indian Carpets of the Mugahl Era, Metropolitan Museum of Art, 1997, fig. 19ed. Riboud, K., In Quest of Themes and Skills - Asian Textiles, Marg 1989, Smart, E.S. & Gluckman, D. 'Cloth of Luxury: Velvet in Mughal India' no. 4, p. 39Please refer to department for condition report

Piraji Sagara (Indian, 1931 - 2014), A Fish, Mixed media on wood, Signed and dated 'P.C. Sagara 70' upper right and further titled 'A FISH' and indistinctly inscribed on reverse67.5 x 47.2 cm. (26 ½ x 18 ½ in.)Executed in 1970Provenance: The Surya Collection: Property from Mrs Ute RettbergPiraji Sagara is one of Gujarat's best known artists of sculpture and painting. Born in 1931 in Ahmedabad he completed a Masters in Drawing in 1957 and Master in Arts in 1960 from the Sir J.J. School of Art, Mumbai. Sagara's works have been exhibited around the world, including the San Paolo Biennale, Brazil in 1971; Art Now in India exhibition around Europe 1972-73 and the Exhibition of Asian Artists in Fukukoma Museum of Art, Tokyo 1979-80. His many awards include the medal of Kolkata Fine Arts Academy in 1960 and 1961 and a National Lalit Kala Akademi award, New Delhi in 1963. Please refer to department for condition report

A group of 76 catalogues comprising of:Sotheby’s, Mobili ed Oggetti D’Arte, 24th and 25th October 1974.Sotheby’s, Una Bella Raccolta Di Maiolica Italiana, 8th of April 1976.The Whistler Peacock Room, The Freer Gallery of Art of the Smithsonian Institution (Washington D.C. 1972).International Art Treasures Exhibition – Third, Presented by C.I.N.O.A: The International Confederation of Art Dealer, Victoria and Albert Museum, 2nd March – 29th April 1962CAHN AUKTIONEN AG, Ancient Art – Auction 8, Private Collections from Switzerland, Germany, USA and other properties, Ancient Near Eastern, Egyptian, Greek, Etruscan and Roman works of art, 9th November 2013.Nouveaux Témoignages Du Culte De El Et De Baal A Ras Shamra-Ugarit, Extrait de la Revue Syria, XLIII, 1966, Fasc. 1-2, Librairie Orientaliste Paul Geuthner, Paris.Sotheby’s, Works of Art from Benin, 16th June 1980.Sotheby’s Zurich, The Collection of Ancient and Later Coins, The Property of The Metropolitan Museum of Art, Part II Greek Coins from The John Ward Collection, , 4th April and 5th April 1973.Gorny & Mosch, Giessener Münzhandlung GMBH, Auktion Hochwertige Münzen der Antike (The Old Sable Collection etc.) 215, 14th and 15th Oktober 2013.AUKTION 59, 16 Juni 1981, AGYPTISCHE KUNST, Münzen und Medaillen AG Basel, WERKE AGYPTISCHER KUNST, von der Frühzeit bis zur Spatantike, Aus zwei Schweizer Sammlungen und anderem Privatbesitz.Christie’s London, Antiquities Catalogue, 26th April 2006.Sotheby’s, Italian Maiolica, Continental Pottery and Porcelain, Including the Property of S. H. V. Hickson, ESQ., the Property of W. Avery, ESQ., the Property of Mrs. J. Ough and the Property of The Lady Killearn, 10th July, 1972.Sotheby’s, Fine English and Continental Glass, 14th May 1973.Sotheby’s, Antiquities Primitive Art Islamic, Indian, Tibetan, Nepalese, and South-East Asian Art, 3rd and 4th July 1978.Sotheby’s, Antiquities Islamic and Indian Art, 14th July 1975.Sotheby’s, Antiquities and Islamic Art, Primitive Art, Tibetan, Nepalese, Indian and South-East Asian Art, 16th June 1975.Sotheby’s, Antiquities Islamic Art, Indian, South-East Asian, Tibetan and Nepalese Art, African, Oceanic and American Indian Art, 27th October 1975.Sotheby’s, Antiquities and Tribal Art, Tibetan, Nepalese, South-East Asian and Indian Art, 22nd December 1975.Sotheby’s, Egyptian, Near Eastern, Greek and Roman Antiquities, 6th July 1964.Sotheby’s, French Paperweights and English and Continental Glass, 3rd December 1973.Sotheby’s, English and Continental Glass, 4th February 1974.Sotheby’s, Fine English and Continental Glass, 3rd June 1974.Sotheby’s, Fine English and Continental Glass, 6th January 1975.Sotheby’s, Fine Glass Paperweights, 27th January 1975. Sotheby’s, Fine English and Continental Glass, 7th April 1975.Sotheby’s, Fine English and Continental Glass, 29th September 1975.Sotheby’s, Fine English and Continental Glass, 15th December 1975.Sotheby’s, Important German Glass, 26th June 1978.Sotheby’s, English and Continental Glass, 21st May 1979.Sotheby’s, Una Importante Collezione DI Antiche Maioliche E Porcellane Italiane, 11th October 1972.Sotheby’s, Highly Important Italian Maiolica, 18th March 1975.Sotheby’s, An Important Collection of Italian Renaissance Maiolica, 20th March 1973.Sotheby’s, Italian Maiolica Continental Pottery and Porcelain, 22nd May 1973.Sotheby’s, Important Continental Porcelain, 17th June 1975.Sotheby’s, Continental Ceramics, 21st October 1975.Sotheby’s, European Ceramics, 16th December 1975.Sotheby’s, Continental Pottery and Porcelain, 16th March 1976.Sotheby's, Egyptian, Classical, and Western Asiatic Antiquities, 16th May 1980.Collection – Roger Peyrefitte, Paris 26th Mai 1977.Journal of Jewish Art, Volume Eight 1981, Center for Jewish Art of the Hebrew University Jerusalem.Journal of Jewish Art, Volume Three & Four 1977, Spertus College of Judaica Press Chicago, Illinois.Proche, Moyen et Extrême-Orient, Bibliothèque Orientale De M.A. , Drouot Richelieu – 29 et 30 Novembre 2004.Christie’s London, Antiquities, 25th October 2007.Christie’s London, The ‘Canford’ Assyrian Reliefs, 6th July 1994.BEAUSSANT LEFEVRE, Paris – Drouot – 3 Mars, 2006.VENTE PUBLIQUE 35, Monnaies Romaines et Byzantines Brakteaten Haus Osterreich Osterreichische Fursten.Monnaies Ancienne et Modernes, Vente aux Encheres Publiques 8, Auktion 8, 27 und 28 Juni 1978. Auctiones S.A., Bale.VENTE PUBLIQUE 52, Monnaies et Medailles S.A. Bale, 19 et 20 Juin 1975.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Islamic and Iznik Pottery, Tibetan Tankas, Nepalese, Tibetan, Indian, Thailand, Khmer and Indonesian Art, 14th May 1973.Sotheby’s, Antiquities, Middle Eastern, Irish, Viking, Egyptian, Greek, Roman and Etruscan Antiquities, 10th July 1979.Sotheby’s, Antiquities, 9th December, 1974.Sotheby’s, Egyptian Seals, Scarabs and Signet Rings, 21st April 1975.Sotheby’s, Oriental Ceramics and Works of Art, 23rd September 1975.Sotheby’s, Ancient Iranian Bronzes and Silver Formerly in the Peter Adam Collection, 10th November 1975.Art & Auction, Fashion Photos Click, February 1994.REVUE DE L’ART 60, Editions du C. N. R.S. 1983.Galerie Simone de Monbrison (2), Arts Antiques, Art Primitifs, Galerie Simone de Monbrison, 11 Rue des Saints-Peres, Paris 6.Attische Schwarzfigurige Vasen, Bucher Uber Archaologie, Munzen und Medaillen A. G. Basel Sonderliste G, November 1964.Art of the Ancients, Greeks, Etruscans and Romans, Andre Emmerich Gallery Inc. Exhibition Catalogue, February 7th – March 13th 1968.Bronzegefasse und Bronzegerate der Antike, Romische Tonlampen, Antike Glaser, Bucher Uber Archaologie, Sonderliste J, Munzen und Medaillen A.G. Basel, Marz 1968.Christie’s London, Important Ancient Coins, 8th October 1985.The Museum Maritime Museum Haifa, SEFUNIM (Bulletin) VII, 1988 (Published by the National Maritime Museum Foundation).M Laurin – Guilloux – Buffetaud – Cailleur, Commissaires – Priseurs Associes, 1987.Gorny & Mosch, Giessener Munzhandlung GMBH, 216, Auktion, Antike Munzen und Lots, 15th and 16th October 2013. Sotheby’s, Antiquities – Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Iznik Pottery, 9th July 1974.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Iznik and Islamic Pottery, 3rd December 1973.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 9th July 1973.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Iznik and Islamic Pottery, 4th December 1972.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 10th July 1972.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Islamic Metalwork, 6th December 1971.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Islamic Pottery and Metalwork, 1st December 1969.Ancient Art, Robin Symes, June 1971.Sotheby’s New York, Antiquities and Islamic Works of Art, 25th June 1992. Haute Curiosite Arts Primitifs – Art Musulman, 1973. Please refer to department for condition report

Property from the Private Collection of Neville Kingston (1955-2019) Lots 96-101An Ottoman silk embroidered linen textile panel (bocha), Turkey, 18th century, with alternating palmettes and rust red tulips with small leaf and flower motifs scattered between, the borders similarly worked, with modern cream linen backing, 108 x 102cm. Provenance: Private Collection of Neville Kingston (1955-2019). Kingston was known for his collections of Central Asian carpets and textile but like most collectors, his interests were far ranging, and not just confined to Central Asia. His fascination with shapes and motifs, coupled with embroidery, lead to him collecting textiles from Eastern Europe to China and Japan.Neville was born in Dublin and studied as a veterinary surgeon at Trinity College, Dublin. After qualifying, and a short period managing polo ponies in Chippenham, he moved to East Yorkshire where he spent the next 35 years in practise, specialising in pigs. The veterinary group had an international reputation and Neville travelled extensively, always taking the opportunity to widen his textile knowledge. Over the years he fastidiously attended auctions and sales, searching out unusual Turkmen weavings. He travelled extensively in Central Asia in the late 1990s and was a frequent visitor to Istanbul, where he sought out unusual embroideries and carpets which would extend his knowledge of textile art. some restoration, ground distressed and re-backed

A quantity of 44 Christie's and Sotheby's catalogues, comprising: Sotheby's, Catalogue of Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 26th November 1968.Sotheby's, Catalogue of Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities also Islamic Pottery, 18th June 1968.Sotheby's, Catalogue of Islamic Arms and Armour Glass, Textiles, Ceramics, Woodwork and Metalwork also Qajar Enamels, 2nd May 1977.Sotheby's, Catalogue of African, Oceanic, Pre-Columbian and American Indian Art also Japanese and Indian Sculpture and Islamic Pottery, 27th of June, 1966.Sotheby's, Catalogue of Fine Oriental Miniatures, Manuscripts and Printed Books, 28th of April 1981. Sotheby's, Catalogue of Fine Islamic Rugs ad Carpets, 29th of March 1978.Sotheby's, Catalogue of Fine Oriental Miniatures, Manuscripts and Printed Books, 12th and 13th October 1981.Sotheby's, Catalogue of Fine Oriental , Manuscripts and Miniatures, 16th of April 1984.Sotheby's, Catalogue of Fine Oriental , Manuscripts and Miniatures, 16th of April 1984, 17th of October 1983.Sotheby's, Catalogue of Egyptian, Western Asiatic, Irish Bronze Age, Greek, Etruscan, Roman, Celtic, Anglo-Saxon and Byzantine Antiquities Islamic Pottery and Metalwork, 13th of July, 1970.Sotheby's, Catalogue of Fine Oriental Carpets and Rugs, 6th of May 1977.Sotheby's, Islamic Work of Art Part II, Metalwork, Ceramics, Glass, Textiles and Qajar Enamels, 22nd of November, 1976.Christie's, Indian Miniatures, 12th of July 1979.Christie's, Fine Oriental Miniatures and Manuscripts, 10th of July 1975.Christie's, Important Islamic Manuscripts and Indian Miniatures, 9th of November 1977. Christie's, Important Islamic and Indian Manuscripts Miniatures, 24th of April 1980.Christie's, Indian Miniatures and Watercolours, 3rd of July 1980.Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 11th of April 1989.Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 11th and 12th of June 1984. Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 4th of July 1985.Christie's, Oriental Ceramics and Works of Art, 31st October 1991.Christie's, Oriental Ceramics and Works of Art, 23rd July 1992. Christie's, Oriental Ceramics and Works of Art and Indian and Islamic Miniatures and Manuscripts, 17th of October 1989.Christie's, Oriental Ceramics and Works of Art and Indian and Islamic Miniatures and Manuscripts, 3rd of May 1990.Christie's, Oriental Ceramics and Works of Art, 17th of May 1990.Christie's, Oriental Ceramics and Works of Art, 28th of June 1990.Christie's, Persian and Islamic Works of Art, 11th of July 1977.Christie's, Persian and Islamic Works of Art, 14th of July 1975.Christie's, Important Travel and Natural History Books, 20th of February 1980.Christie's, Sale of Islamic and South East Asian Paintings, Manuscripts and Works of Art, 14th of June 1983.Christie's, Oriental Ceramics and Works of Art, 18th of December 1991.Christie's, Oriental Ceramics and Works of Art, 4th of September 1990.Christie's, Carpets and Furniture, 25th of March 1992.Christie's, Oriental Ceramics and Works of Art, 23rd of January 1992.Christie's, Oriental Ceramics and Works of Art, 9th of July 1992.Christie's, Oriental Ceramics and Works of Art, 18th of October 1990.Christie's, Oriental Ceramics, Works of Art, Miniatures and Manuscripts, 8th of August 1991. Christie's, Oriental Ceramics, Works of Art, 26th of July 1990.Christie's, Review of the Season 1983.Christie's, Review of the Season 1988.H. Daiber, Catalogue of the Arabic Manuscripts in the Daiber Collection, Institute of Oriental Culture, University of Tokyo, 1988.Oriental Miniatures and Illumination, Bulletin No. 41, Maggs Bros. Ltd. (44) Please refer to department for condition report

Four Roman glass vessels Circa 1st-4th Century A.D. Two glass unguentaria, one almost clear with an old ink inscribed label on one side, 10.3cm high; another in dark blue glass, with oval body cut-off across the cylindrical neck, an old ink inscribed label attached to the underside of the base, 6.4cm high; a Roman amber glass sprinkler vessel, with spherical body and out-turned folded lip, 8.2cm high; a Roman pale green glass two-handled vessel with squat spherical body, a pronounced ridge below the rim, the handles trailed from the lip to the shoulder, 7.5cm high; several Roman glass fragments, one mounted on card with old pencil inscription on the back; a fragmentary Islamic molar flask and a fragmentary Roman - Medieval glass bottle neck; two button-shaped mocha stones, mounted on card, old ink inscription ‘Mocha stones, Hodeida. Yemen, Soukh Arabia 1903’(a lot)Provenance: Sprinkler flask: with Superior Stamp & Coin, Los Angeles, December 1979.The two handled jar: UK private collection, formed from the 1960s onwards.All other artefacts: Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He initially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote The History of Llandovery, published in 1975.Please refer to department for condition report

A group of 72 catalogues on Islamic and Indian Arts, comprising of:Ader Nordmann, Orient - Extreme Orient, Drouot-Richelieu, 2 mars 2012.Thos. Agnew & Sons Ltd., Persian Miniatures: An exhibition of seventeen pages from the Houghton Shahnameh, 3rd July - 24th August, 1979.G. M. Meredith-Owens, Persian Illustrated Manuscripts, (The Trustees of the British Museum, 1965).G. M. Meredith-Owens, Turkish Miniatures, (The Trustees of the British Museum, 1963). (2)M. Lings, Y. H. Safadi, The Qur'an, A british Library Exhibition World of Islam Festival, 1976. (6)The Metropolitan Museum of Art Bulletin, April 1971.Morton & Eden, Important Coins of the Islamic World, 22nd of April 2013.Morton & Eden, Important Coins of the Islamic World, 4th of April 2011.Sotheby's, Islamic works of art, carpets and textiles, 12th and 13th of October 1982.Oriental Art Auctions, Islamic Art Auction, 18th November 2020.Christie's Paris, Mobilier et Objets d'Art, Art Islamique, Ceramiques Europeennes et Verre, 7 novembre 2006.Christie's Paris, Art des Terres d'Islam, 5 novembre 2008. (2)Sotheby's, Regard sur l'Orient, 28 octobre 2009.Sotheby's, Regard sur l'Orient, 30 mars 2011. (2)Sotheby's, Regard sur l'Orient, 23 juin 2010.Sotheby's, Collection Patrick Guerrand-Hermes, 9 octobre 2012.Sotheby's, Regard sur l'Orient, 9 octobre 2012. (2)Sotheby's, Arts of the Islamic World Evening Sale, 4th October 2011.Sotheby's, Arts of the Islamic World Day Sale, 5th October 2011.Sotheby's, Arts of the Islamic World, 25th April 2018.Pierre Berge&Associes, Arts d'Orient, Archeologie, 17 juin 2010.Pierre Berge&Associes, Archeologie, Arts d'Orient, Extreme-Orient, 27 et 28 avril 2007.Pierre Berge&Associes, Archeologie, Arts d'Orient, Extreme-Orient, 27 et 28 octobre 2006.Pierre Berge&Associes, Arts d'Orient, Extreme-Orient, 13 mai 2009.Pierre Berge&Associes,Art Primitif, Extreme-Orient, Art d'Orient, 30 novembre 2007.Pierre Berge&Associes,Archeologie, Art de l'Islam, Art Africain, Art Precolombien, 28 et 29 avril 2006.Pierre Berge&Associes, Art d'Orient, Extreme-Orient, Archeologie, 28 et 29 mai 2008.Bonhams, Orientalist Pictures&Works of Art, 11th May 2009. Bonhams, Modern and Contemporary Turkish Art, 5th April 2011. Bonhams, Modern and Contemporary Middle Eastern Art, 7th October 2014.Bonhams, Modern and Contemporary Middle Eastern Art, 28th November 2017.Bonhams, Egypt's Awakening and Modern&Contemporary Middle Eastern Art, 18th April 2018.Bonhams, Modern and Contemporary Arab, Iranian, Indian and Pakistani Art, 3rd March 2008.Bonhams, Photographs, 13th April 2011.Bonhams, The Art of Lebanon, 27th April 2016.Bonhams, A Century of Iraqi Art, 20th April 2015.Bonhams, A Century of Iraqi Art Part II, 7th October 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 26th April 2017.Bonhams, Modern and Contemporary Middle Eastern Art, 7th October 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 20th April 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 12th October 2016.Bonhams, Islamic&Indian Art, 23rd November 2011. Bonhams, Modern and Contemporary Middle Eastern Art, 8th April 2014.Bonhams, Islamic&Indian Art, 5th April 2011.Bonhams, Islamic&Indian Art Part II, 6th April 2006. Bonhams, Modern and Contemporary Middle Eastern & South Asian Art, 11th October 2010.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 17 decembre 2008.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 3 juin 2008.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 9 novembre 2010.Christie's Paris, Orientalisme, Africanisme et Tableaux Africains Contemporains, 18 decembre 2007.Christie's, Orientalist Art, 2nd July 2008.Christie's, Orientalist Art, 14th June 2006.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 16 juin 2009.Christie's, Orientalist Art, 9th July 2009.Christie's Paris, Une Importante Collection Privee d'Art Orientaliste, 20 juin 2013. Christie's, A Window on the Orient, 4th November 2010.Christie's South Kensington, Arts of Islam, 1st October 2012.Christie's, A Private Collection Donated to Benefit the University of Oxford, 26th April 2012.Christie's Paris, Art Islamique et Tableaux Orientalistes, 6 juin 2007.Christie's Paris, Arts d'Orient, 18 decembre 2007. (72)Please refer to department for condition report

"A. R. PENCK"; RALF WINKLER (Dresden, Germany; 1939- Switzerland, 2017)."Olympia".Mixed media on paper.Signed in the lower left corner.A. R. Penck originally created this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 70 x 50 cm; 85 x 65 cm (frame).The controversy aroused by the work that we now present to the Barcelona 92 Olympic Organising Committee was due to its highly erotic nature. The fact that Penck depicted a young lady like Olympia, with her breasts exposed (multiplied by 5, each corresponding to an Olympic ring) or with two naked pubes, was reason enough to censure the work as inappropriate. It was not the first time that an Olympia had aroused controversy in art: when Édouard Manet presented his work of the same name at the Paris Salon in 1865, it was branded pornographic owing to its high degree of eroticism, causing a great stir among the critics of the time. It is striking how, despite the time difference of almost 130 years between the two works, history is repeating itself.Ralf Winkler, who also used the pseudonyms Mike Hammer, T.M., Mickey Spilane, Theodor Marx, "a. Y." or simply "Y" was a German painter, printmaker, sculptor and jazz drummer. Penck was born in Dresden, during his teenage years he began attending painting and drawing classes with Jürgen Böttcher, known by the pseudonym Strawalde, and joined him to form the renegade artists' group Erste Phalanx Nedserd, notable for its members' refusal to study at an academy. Members of the group were also denied acceptance into the GDR Association of Visual Artists. They therefore had to earn their living as labourers or craftsmen. Later he worked for a year as a trainee draughtsman at the state advertising agency in Dresden. From 1955 to 1956, Winkler was a draughtsman at the advertising agency DEWAG and from 1956, he tried to enter the Academy of Fine Arts in Dresden and the Berlin University of the Arts in East Berlin, but it was not until 1966, when Winkler became a candidate to join the Association of Fine Artists, now under the artistic pseudonym A. R. Penck. Which was elected after the geologist Albrecht Penck. From 1969 onwards he had more and more problems with the GDR Ministry of State Security. His paintings were confiscated and his acceptance into the GDR Association of Visual Artists (VBK) was refused.Winkler was one of the founding members, in May 1971, together with Steffen Terk, Wolfgang Opitz and Harald Gallasch, of the artists' group GAP, which existed until 1976. From 1973 he worked under the pseudonyms Mike Hammer and TM. After serving in the military in 1974, he was awarded the Will Grohmann Prize in 1975 by the West Berlin Academy of Arts. In 1976, Penck met the West German painter Jörg Immendorff, with whom he would collaborate in the following years. In their work they campaigned for the abolition of the German internal border, and for dissidents, among them Rudolf Bahro and Robert Havemann. From 1976, he also signed simply Y. In 1977, some of his paintings were confiscated. In May 1979, several of his works and records were destroyed during a burglary at his studio. On 3 August 1980, he was transferred to West Germany. After emigrating, Penck became one of the leading exponents of the new figuration, along with Jörg Immendorff, Georg Baselitz and Markus Lüpertz. Their work was shown in major museums and galleries in the West throughout the 1980s. They were included in several important shows, such as the famous Zeitgeist exhibition at the famous Martin Gropius Bau Museum and the important New Art exhibition at the Tate in 1983. He first lived in Kerpen, southwest of Cologne. In 1981, the Goethe Foundation awarded him the Rembrandt Prize in Basel, Switzerland. In 1983, Winkler moved to London and received the Aachen Art Prize in 1985. In 1988 he took part in the exhibition Made in Cologne, in the same year he was appointed professor of painting at the Düsseldorf Academy of Arts.His paintings depict worlds and spaces of experience, full of symbolic abbreviations. He used stick figures and graphic icons reminiscent of cave paintings, Asian calligraphy and graffiti art. In the 1960s and 1970s, he created a series of paintings and sculptures, which he called Standarts, a combination of "standard" and "art", echoing the German word for banner or flag, Standarte, by which he meant an art form that used simple, archaic pictorial symbols, such as road signs or trademarks. In the 1980s.

Sultan 'Abu'l Hasan of Golconda (reg. 1672-87), seated on a palace terrace holding a flower Deccan, 18th Centurygouache and gold on paper, laid down on an album page with alternating floral and gilt borders painting 220 x 138 mm.; album page 320 x 238 mm.Footnotes:ProvenanceThe collection of Evelyn and Peter Kraus, USA.Bonhams, Islamic and Indian Art, 19th April 2016, lot 240.Private UK collection.For another 18th Century Deccan painting depicting Shah Isma'il Safavi (reg. 1501-1524), apparently from the same series, with identical patterns on the bolster, carpets, and the album page border, see Christie's New York, Indian and Southeast Asian Art including 20th Century Indian Paintings, 17th September 2003, lot 123.For further information on this lot please visit Bonhams.com

An illustration from a Ramayana series, depicting the victory of Rama over Ravana, with celestial rejoicing and earthly homage to him Kangra or Guler, attributed to Purkhu and his workshop, circa 1800-20gouache and gold on paper, blue gold-decorated border 290 x 375 mm.Footnotes:ProvenancePrivate UK collection.The painting depicts the moment when Rama is honoured by both earth and heaven, namely chapter 108 of the Yudda Kanda, or Book of War (Book VI). Rama stands triumphantly in Indra's celestial chariot beside his charioteer Matali. He holds up the Brahma-weapon, which he has just used to kill Ravana (and which magically returned to him) - the moment captured in another painting in this sale (lot 138). In the sky can be seen Indra on his elephant mount and celestial beings playing drums and sounding trumpets. Flowers rain down on Rama. The monkey army (again carrying the Dunsinane tree trunks seen in lot 138) see off the stragglers of the demon army, and begin to occupy the fortress of Lanka (one monkey is seen at a turret window already freeing Sita).A Kangra artist at the court of Maharaja Sansar Chand, Purkhu was active between circa 1780 and 1820 and had a large workshop of pupils. Although there are no known works signed by Purkhu, a number of extensive large-sized series, including the Harivamsa, have been associated with him and his family. For a list of works attributed to the family workshop of Purkhu, see M. C. Beach, E. Fischer, B. N. Goswamy (edd.), Masters of Indian Painting 1650-1900, Zurich 2011, pp. 720-721.A Ramayana painting (depicting Narada teaching), perhaps from the same series, attributed to Purkhu, Kangra, circa 1810-15, is in the Metropolitan Museum of Art, New York (search no. 76074).For another Ramayana scene portraying the subject of gods and celestials in celebration at Rama and Sita's return, attributed to Mandi, circa 1820, see Christie's, New York, Indian and Southeast Asian Art, 21st March 2007, lot 357.For a work in a similar style see B. N. Goswamy and E. Fischer, Pahari Masters, 1991, no. 164 (from a Harivamsa series, circa 1800-15, attributed to Purkhu). See also: Bonhams, Islamic and Indian Art, 19th April 2007, lot 340 (from a Harivamsa series); Sotheby's New York, Indian and Southeast Asian Works of Art, 19th March 2008, lots 209-216 (from Harivamsa and Mahabharata series); Simon Ray, Indian and Islamic Works of Art, April 2006, no. 74; Francesca Galloway, The Divine and the Profane, London 2012, no. 7; Sotheby's NY, 20th September, 2005, lots 110-112; Sotheby's NY, 19th September 2006, lots 15-18; M. Brand, The Vision of Kings, National Gallery of Australia, 1995, no. 21; Subash Kapoor, Art of the Past, September 2007, no. 9.For further information on this lot please visit Bonhams.com

A scene from a Ramayana series (the 'Second' Guler Ramayana), depicting Rama about to kill the demon king Ravana in the battle between the two armies Guler, circa 1790-1800gouache and gold on paper, gold-decorated blue floral inner border, flecked pink outer border 256 x 357 mm.Footnotes:ProvenanceBy family repute, acquired at Spink, London, in the 1980s.Private UK collection, 1980s-present.The scene depicts a climactic moment in the battle between the armies of Rama and of Ravana, the demon king, at which, after several days fighting, the arrows of Rama cut off each of Ravana's heads in turn - but they grow back again. Rama is reminded by his charioteer, Matali, to use his Brahma-weapon - which finally defeats the demon king.This superb painting is an illustration from the series known as the 'second' Guler Ramayana, attributed to the first generation of artists after Manaku and Nainsukh. The first section of the series is referred to by W. G. Archer as the Kangra Ramayana series, and is dated circa 1775-1780 (and also as the 'Bharany' Ramayana). This comprises illustrations from the first three books of the Ramayana. Our painting belongs to the second section of the series, comprising illustrations from Books Five and Six, and specifically to Book Six, the Yuddhakanda or the Book of War. Goswamy and Fischer date this second section to circa 1790 and list known paintings belonging to it (M.C. Beach, E. Fischer, B.N. Goswamy (ed.), Masters of Indian Painting 1650-1900, Zurich, 2011, p. 690).J. P. Losty discusses another illustration from Book Six depicting Ram, Sita, Lakshmana and the monkey army seated inside the golden chariot about to begin their return to Ayodhya. He dates this illustration to circa 1800 and attributes it to an artist from Guler, noting that the human faces are depicted with an angular profile characteristic of the Guler style and sharp noses which bear the influence of Nainsukh rather than the smoother profile usually associated with Kangra. He suggests that it is quite likely this second part of the series was painted in Guler during the last years of Raja Bhup Singh's reign prior to its annexation by Sikh forces in 1813. (See J. P. Losty, A Mystical Realm of Love: Pahari Paintings from the Eva and Konrad Seitz Collection, London 2017, no. 22, pp. 119, 122-123).Other examples from this series have appeared at auction: particular comparison can be made with the following:Christie's, Arts of India, 12th June 2018, lot 26 (depicting Rama, Lakhshmana and Sita at the hermitage of Bharadvaja).Bonhams, New York, Indian, Himalayan and Southeast Asian Art, 11th September 2012, lot 89 (Rama and Lakhshmana conferring with the monkey army while other monkeys are in combat with the demon army).Sotheby's New York, Indian and Southeast Asian Works of Art, 21st March 2012, lot 210 (Vibhishana bowing before Rama, surrounded by the monkey and bear army, with the fortress of Lanka in the background). Both of these have the noticeable pink-tinged ridges of the hills, seen in our painting, though less pronounced here.Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, 22nd March 2002, lots 59 and 60 (Guler or Kangra, circa 1790; the trees and branches carried by the monkeys are prominent - hints of Birnam Wood come to Dunsinane - and the decoration on the demon chariots is very similar).Sotheby's New York, Indian and Southeast Asian Works of Art, 20th March 2013, lot 319 (Rama and Lakhshmana wounded by the arrow of Indrajit).Sotheby's New York, Indian and Southeast Asian Art, 19th September 1996, lot 185 (the monkey army beginning their assault on Lanka under the direction of Rama).Sotheby's, Oriental Manuscripts and Miniatures, 23rd April 1997, lot 149 (Hanuman conducting a reconnaissance of the fortress of Lanka).Sotheby Parke Bernet, New York, Fine Oriental Miniatures, Manuscripts, Islamic Works of Art, and 19th Century Paintings, 14th December 1979, lot 225 (there attributed to Garwhal, circa 1800).For paintings from the first series (1775-80), see for example:Goswamy and Fischer, op. cit., nos. 143-145, pp. 340-343.D. Ehnbom, Indian Miniatures: the Ehrenfeld Collection, New York 1985, nos. 116-118.S. Kossak, Indian Court Painting, 16th-19th Century, New Yorkl 1997, no. 62. Sotheby's New York, March 22, 2002, lots 47 & 48.Sotheby's, Oriental Manuscripts and Miniatures, 12th October 1981, lot 107.A. G. Poster, Realms of Heroism: Indian Paintings at the Brooklyn Museum, New York 1994, pp. 263-264, nos. 215 & 216.Other pages can also be found in the Mittal Collection, Shimla Museum, and the Metropolitan Museum of Art, New York.For further information on this lot please visit Bonhams.com

An unidentified scene from a ragamala series, depicting a prince on a palace terrace Kangra, circa 1820gouache and gold on paper, floral inner borders, red outer border, nagari inscription in upper border raga mangal, putra hindo 250 x 297 mm.Footnotes:ProvenanceDoris Wiener Gallery, New York.Private collection, Virginia, USA.Bonhams New York, Indian, Himalayan and Southeast Asian Art, 17th March 2014, lot 117.Private UK collection.Comparison can be made with another page from the same series in the John and Berte Ford Collection (published in P. Pal, Dancing to the Flute, Sydney 1998, no. 191); another offered at Christie's (Arts of India, 25th May 2017, lot 51, velavali ragini of Bhairava raga); and Sotheby's, Fine Oriental Miniatures, Manuscripts and Qajar Paintings, 4th April 1978, lot 297 (illus.).For further information on this lot please visit Bonhams.com

A Chola bronze figure of Shiva as Chandrashekhara South India, 12th/ 13th Centurystanding in sampada on a circular base, his principal right hand in abhayamudra and left hand resting below his waist, his upper hands holding the axe and antelope, wearing a short dhoti secured by a multi-stranded belt with festoons and sashes, adorned with elaborate jewellery, his face with serene expression and almond-shaped eyes, straight aquiline nose, the hair piled into a high headdress, backed by a halo, mounted on a stand 18.3 cm. high excluding standFootnotes:Provenance George Sheridan Collection, formed between the 1950s and 80s.Private US collection. George Sheridan (1923-2008) was one of the founding members of the artistic community of Deià in the Balearic island of Mallorca, among such illustrious residents as the poet Robert Graves. His painting style reflects the colour and rugged beauty of his adopted home in Spain, having spent many years working as an artist in London and Paris after leaving his native America. His influences included the art of India and the Himalayas, which he collected avidly and whose themes he incorporated into his work. He frequented Spink and Son whenever he was in London, becoming close friends with the legendary head of the Indian and Southeast Asian department, Anthony Gardiner, from whom he bought regularly. When in Paris he would buy from the leading dealers of the day, Jean-Claude Moreau-Gobard and Josette Schulmann. His eye for Asian art extended from the Buddhist sculpture of Gandhara, Nepal and Tibet, through classical Indian sculpture to the magical world of Indian miniatures.Having come to power in the mid-ninth century in the Tanjore District, Tamil Nadu, the Cholas built an empire that dominated the region and became the locus for great strides in bronze casting, resulting in elegant figures that balanced idealised forms with naturalistic modelling (see P. Pratapaditya, Indian Sculpture, Volume 2, Los Angeles, 1998, p. 230). The present lot demonstrates these elegant forms, depicting Shiva as Chandrashekhara, 'Lord of the crescent moon', a connection forged by their shared symbolism of fertility and healing. A sculpture of Shiva Chandrashekhara dated to the 10th Century is in the Brooklyn Museum, New York, acc. no. 2007.2. Another example also featuring Parvati and dated to the 13th Century can be seen in P. Pratapaditya, Indian Sculpture, Volume 2, Los Angeles, 1998, pp. 284-5, cat. 152.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Jain brass shrine Karnataka, 17th Centurythe naked Tirthankara with broad shoulders and long arms to the sides, flanked by Saraswati and a multi-armed warrior under an arched mandorla with a kirttimukha at the crest 32.8 cm. highFootnotes:ProvenanceButterfield and Butterfield, San Francisco, November 4, 2003, lot 3250.Private US collection. For a similar example dated to the 16th Century and sold at Sotheby's see, Indian, Himalayan and Southeast Asian Works of Art Including Property from the Estate of Dr. Claus Virch, 16 March 2016, lot 766.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A collection of approx. 90 auction catalogues mostly relating to Asian Art, Chinese porcelain, & Oriental Works-of-Art, including Sotheby’s, Christies, Bonhams, etc. (mostly 2000 onwards).

RARE ET IMPORTANTE BRIQUE FUNÉRAIRE EN TERRE CUITE ESTAMPÉEDynastie Han (206 avant J-C - 220 ap. J.-C)A RARE AND LARGE IMPRESSED 'ELEPHANT-EYE PATTERN' GREY POTTERY TOMB BRICK Han Dynasty (206 BC-220 AD)The large rectangular brick hollow and impressed with cartouches variously enclosing striding tigers, standing figures carrying spears and swords, trees, chariots, taotie mask-handles, galloping horses, all framed by cross-hatched diaper ground bands, the reverse with a central impressed and embossed diaper-ground with raised bosses surrounded by diamond and cross-hatched borders and a taotie mask-handle cartouche, the sides plain, huali stand. The brick 62.8cm (24 6/8in) high x 51.5cm (20 1/4in) wide x 14.2cm (5 9/16in) deep. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The diagonal lozenge patterns are also known as 'elephant-eye' patterns. According to Wen Zhenheng (1585-1645) in the Zhang wu zhi ('Treatise on Superfluous Things') These were considered desirable on Han or ancient bricks used as part of guqin tables to enhance the sound of the musical instrument. See a related brick on a guqin table, illustrated in C.L.Ma Collection: Traditional Chinese Furniture from the Greater Shanxi Region, Hong Kong, 1999, pp.210-211. Another related brick showing trees, tomb doorways and tethered horse, Han dynasty, is in the Victoria and Albert Museum, London (acc.no.A.13-1924).A hollow tomb impressed brick, Han dynasty, is in the Asian Art Museum of San Francisco, illustrated by He Li, Chinese Ceramics: A New Comprehensive Survey, New York, 1996, p.72, no.58. Related grey earthenware pillars with impressed designs, Han dynasty, are also illustrated in Spirit of Han: Ceramics for the After Life, Singapore, 1991, p.76.漢 灰陶畫像磚來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

VASE COUVERT TRIPODE EN BRONZE DORÉ À DÉCOR INCISÉ DE SCÈNE DE CHASSE ET D'ANIMAUX FANTASTIQUES, LIANDynastie des Han occidentaux (206 av. J.-C. - 9 ap. J.-C.)A VERY RARE GILT-BRONZE INCISED 'HUNTING SCENE' TRIPOD CONTAINER AND COVER, LIANWestern Han Dynasty (206 BC-9 AD)The cylindrical vessel raised on three kneeling bear supports, divided into registers by three bowstrings, variously decorated around the sides with an intricate incised designs of lappets and scrollwork with a scene of a man wielding a spear hunting a mythical beast, flanked with a pair of taotie-mask and ring handles, the cover with an external border decorated with a similar hunting scene, around the internal medallion with lappets alternating with six animals including an owl and a toad around a four lappets encircling an aperture. 23.5cm (9 2/8in) diam. x 23.5cm (9 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Cast as a miniature 'mountain' decorated with spear-armed men hunting mythical beasts, the present vessel was once entirely gilt and thus particularly precious. Although the shape is probably inspired by ritual wine containers, zun, produced during the Warring States period (475-221 BC), the vessel could have been used also as a cosmetic box or in the ritual context, may have acted as a visual aid for the tomb occupant to envision the mythical Immortal land of Penglai which they were hoped to reach in their afterlife.According to the Classic of Mountains and Seas, Shanhai Jing, likely compiled during the 4th century BC, Penglai was one of the Immortal islands located in the Eastern Bohai sea, which vanished from sight as voyagers glimpsed them and hoped to land on them in their search of Immortality-granting elixirs. These islands were defined by high mountains dotted with caves where Immortals were thought to live. Based on the Daoist idea of a peaked island, the miniature landscape presented on this vessel may have represented the deceased's journey through a winding obstacle-laden landscape, in search of the elixir of eternal life. '(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor', mentions the 'Masters from Huainan', Huainanzi, in the 2nd century BC. See A.G.Wenley, 'The Question of the Po-Shan-Hsiang-Lu', in Archives of the Chinese Art Society of America, no.3, 1948, pp.5-12.Mountains were highly regarded in China as primary components of the universe, because of their ability to produce water, the life-giving element, from the clouds swirling around them. They were linked with a profound interest in meeting the Immortal spirits inhabiting their naturally high peaks, which provided the closest connection with heaven. From at least the time of emperor Wudi (r.141-87 BC), the mountains located on the Immortal islands in the Eastern Sea were thought to be reached in two ways, wither during one's earthly lifespan, through the ingestion of magical potions, or following one's death, through the preservation of the body and soul in the burial. See J.Rawson, Mysteries of Ancient China: New Discoveries From the Early Dynasties, London, 1996, pp.172-173; see also S.Erickson, 'Boshanlu: Mountain Censer of the Western Han Period: A Typological and Iconographical Analysis', in Archives of Asian Art, 1992, vol.45, pp.6-28. The animals populating the mythical mountain depicted on the present vessel were probably inspired by the mythical creatures inhabiting the wondrous realms described in the Shanghai Jing (Classic of Mountains and Seas), the Huainanzi, compiled sometime before 139 BC, and the Zhuangzi (Master Zhuang) of the late Warring States period (476-221 BC). It is also quite possible that the animals may have been inspired by those involved in the imperial hunts that were carefully staged in the royal parks during the Han dynasty. The Han emperors had an unprecedented passion for building brilliant parks of great size where the rulers staged symbolical conquests of the natural world through ritual hunts and animal combats. See E.H.Schafer, 'Hunting Parks and Animal Enclosures in ancient China', in Journal of the Economic and Social History of the Orient, 1968, vol.11, no.3, pp.318-343.The taotie mask designs decorating the ring handles and the three bears shaping the feet were probably aimed at protecting the deceased against the evil influences they may encounter in their afterlife. Although the actual significance of the taotie motif is still the subjects of extensive academic research, it is mentioned in the 'Spring and Autumn Rituals' as bodiless monster swallowing hostile tribes. By the same token, the 'Classics of Mountains and Seas' praises the bear for its bravery and refers to the creature as the gate guardian of the mythical mountains invoked by Daoists. See D.Jenkins (et al.), Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.34-35.Compare a closely related gilt openwork lian and cover, Han dynasty, in the Cleveland Museum of Art (Leonard C. Hanna, Jr. Fund 1972.44); see also a related gilt and silver bronze example, Han dynasty, in the Minneapolis Institute of Art (acc.no.50.46.49a,b).A related bronze un-gilt and plain lian and cover, Han dynasty, with tiger supports and ram finials, was sold at Sotheby's New York, 22 March 2011, lot 195.Réalisé à l'image d'une montagne miniature et décoré d'hommes armés de lances chassant des animaux fabuleux, ce vase tripode était à l'origine entièrement doré et donc particulièrement précieux. Bien que sa forme soit probablement inspirée des récipients rituels à alcool de type zun, produits durant l'époque des Royaumes Combattants (475 – 221 av. J.-C.), ce récipient a aussi pu servir de boîte à cosmétiques ou, dans un contexte rituel, faire office de support visuel pour aider l'occupant de la tombe à imaginer l'île mythique des immortels Penglai, dans l'espoir d'atteindre l'au-delà.Selon le Classique des Montagnes et des Mers, Shanhai Jing, sans doute compilé au IVe siècle av. J.-C., Penglai était une des îles des Immortels situées dans la mer orientale de Bohai, îles qui disparaissaient une fois aperçues par les voyageurs espérant y parvenir dans leur quête de l'élixir d'immortalité. Ces îles étaient formées de hautes montagnes parsemées de grottes où vivaient, pensait-on, les Immortels.Basé sur l'idée taoïste d'une île formant un pic montagneux, le paysage miniature présenté sur ce récipient pourrait avoir représenté le voyage du défunt à travers un paysage sinueux plein d'obstacles, à la recherche de l'élixir d'immortalité. « (...) Après avoir dépassé les montagnes sacrées, on obtiendra des pouvoirs magiques, contrôlant le vent et la pluie, et on accèdera finalement au Ciel, « la Demeure de l'Empereur Céleste » dit le Huainanzi (Le Maître de Huainan) au IIe siècle av. J.-C. Voir A. G. Wenley, «The Question of the Po-Shan-Hsiang-Lu », dans Archives of the Chinese Art Society of America, n°3, 1948, pp.5-12.Les montagnes étaient considérées avec un grand respect, en Chine, en tant qu'éléments primordiaux de l'univers, en raison de leur capacité à produire de l'eau, l'élément donnant la vie, depuis les nuages tourbillonnant autour d'elles. Elles étaient associées au d... For further information on this lot please visit Bonhams.com

RARE STATUETTE DE BODHISTTAVA EN PIERRE SCULPTÉEDynastie des Zhou du Nord/dynastie Sui (557-581/589-618)AN EXCEPTIONALLY RARE STONE FIGURE OF A BODHISATTVANorthern Zhou/Sui Dynasty (557-581 AD/589-618 AD)The deity, probably representing Avalokiteshvara, standing with its body naturalistically slightly swayed to the front and right, holding a vase in its left hand containing the nectar of Immortality, wearing flowing robes naturalistically draped in folds around its shoulders and arms, folded over its waist and reaching its bare feet, adorned with beaded bejewelled and tasselled necklaces with a central lotus pendant, the right arm raised, the serene face gazing forward with well detailed features flanked by pendulous ears with adorned with earrings, below the high beaded and bejewelled tiara with ribbons set around the coiffure, the back displaying the robe with its folds and overlapping pleats, tied below the neck and folded over the waist, with a bracket section on the back of the head, with red, green and black pigments and gilding, supported on an inverted circular base, stand. 54.3cm (21 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), according to a family note, acquired from Tchou Teh Hoo, Beijing, 10 January 1925Jean-Pierre Rousset, Paris (1936-2021) Characterised by regal countenance and adornment, the present figure bridges the aesthetic style of the Northern Zhou and Sui dynasties. The Sui dynasty utilised the patronism of Buddhism to unify China in 589, with craftsmen merging the artistic achievements of the preceding quarter century of the Northern Qi and Northern Zhou styles.See a stone figure of Guanyin, Northern Zhou dynasty (550-581), with similar proportions of large head atop narrow shoulders, illustrated by O.Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol.I, Bangkok, 1998, pl.266A (reprinted from the Ernest Benn 1925 edition). Sculptures from this period are rare and the closest example to the present lot may be a pair of standing bodhisattvas, Northern Zhou dynasty, discovered in 1992 in Xi'an, Shaanxi Province, illustrated in China: Dawn of a Golden Age, 200-750 AD, New York, 2004, no.170. The present exceptional figure with its opulent decoration and rich jewels was thus clearly influenced by the Northern Zhou style.The bodhisattva most likely represents Avalokiteshvara, known as Guanyin in China. Characteristically, the deity carries in her left hand a vase, a 'pure water bottle', one of the eight symbols of good fortune. The vase was believed to contain pure water capable of relieving suffering. The right hand probably once held a willow branch used to sprinkle the divine water. Compare with a related stone figure of Guanyin similarly holding a bottle vase and draped with long necklace, Sui dynasty, and another related stone figure of Guanyin, Sui dynasty, illustrated by O.Siren, ibid., pls.311 and 316. See also two limestone figures of a bodhisattva, Sui dynasty, from the Avery Brundage collection, in the Asian Art Museum San Francisco (acc.nos.B60S37 and B60S423). Compare also two stone figures of Bodhisattva Avalokiteshvara (Guanyin), in the Freer Gallery of Art, Washington DC, the first dated by inscription to 592 AD, (acc.no.FSC-S-52), and the second to the Sui dynasty (acc.no.S2012.9.4531).Caractérisé par une attitude majestueuse et sa parure, cette statue fait le lien entre le style esthétique des Zhou du Nord et celui des Sui. La dynastie des Sui fit de son patronage du bouddhisme un outil de l'unification de la Chine en 589, ses artisans mêlant les styles développés durant le quart de siècle précédent par les Qi du Nord et des Zhou du Nord.Voir une statue de Guanyin en pierre, dynastie des Zhou du Nord (550-581), aux proportions similaires, une large tête et des épaules étroites, illustrée dans O. Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol. I, Bangkok, 1998, ill. .266A (réédition de l'original 1925 chez Ernest Benn). Les sculptures de cette époque sont rares et l'exemple le plus proche de ce lot pourrait être une paire de bodhisattvas debouts, dynastie des Zhou du Nord, découvert en 1992 à Xi'an, au Shaanxi, illustrée dans China : Dawn of a Golden Age, 200-750 AD, New-York, 2004, n°170. L'exceptionnelle statue présentée ici, avec ses riches ornements et joyaux, est ainsi clairement influencée par le style des Zhou du Nord.Le bodhisattva représente probablement Avalokiteshvara, appelé Guanyin en Chine. Il porte de façon caractéristique dans sa main gauche un vase, « bouteille à eau lustrale », un des huit symboles auspicieux. Ce vase était censé contenir une eau pure pouvant soulager les souffrances. La main droite tenait probablement une branche de saule, utilisée pour asperger cette eau sacrée.A comparer avec une sculpture de Guanyin tenant de la même manière un vase et portant de longs colliers, dynastie Sui, et une sculpture comparable de Guanyin, dynastie Sui, illustré dans O. Siren, Ibid., ill. 311 et 316. Voir aussi deux statues en calcaire de bodhisattva, dynastie Sui, dans l'Avery Brundage Collection, à l'Asian Art Museum de San Francisco (inv. n° B60S37 et B60S423). Comparer encore avec deux statues de bodhisattva Avalokiteshvara (Guanyin) à la Freer Gallery of Art, Washington DC, la première datée par une inscription de l'an 592 (inv. n° FSC-S-52), la seconde de la dynastie Sui (inv. n° S2012.9.4531).北周/隋 石雕菩薩立像來源：巴黎Robert Rousset（1901-1981）舊藏據家族記錄，於1925年1月10日購自北京Tchou Teh Hoo巴黎Jean-Pierre Rousset（1936-2021）舊藏該立像寶相莊嚴，衣飾華麗，集北周與隋之韻致於一身。隋代在589年重新統一中國，其帝王皆護持佛法，並以佛教作為鞏固統治手段之一。因此隋代二帝時全國建立經像，盛極一時。此時佛教造像發展及技藝亦臻於完善，上承北齊、北周之大成，下啟盛唐風氣。與本像頭闊肩窄之比例相似者，可參見一例北周石雕觀音像 ，收錄於喜仁龍（O. Siren），Chinese Sculpture from the Fifth to the Fourteenth Century（五至十四世紀之中國雕塑），卷一，曼谷，1998年，圖版266A（重印自1925年Ernest Benn版）。本拍品應為觀音造像。其左手所持'淨瓶'為八吉祥之一。右手或曾持楊柳枝，&#... For further information on this lot please visit Bonhams.com

STATUETTE DE VISHNU EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA COPPER ALLOY FIGURE OF VISHNUCambodia, Angkor Wat style, 12th centuryThe hairstyle is that of Cakravartin with a diadem and a conical mukuta terminating in lotus button is common to Shiva, yet he holds the attributes of Vishnu. The pectoral muscles of his chest is well defined and adorned with an elaborate necklace. His short sampot is dominated by a large flap spilling over the belt and a detailed butterfly wing at the back, stand. 16cm (6 1/4in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)Compare with P.Pal, Asian Art at the Norton Simon Museum, Vol.3: Art from Sri Lanka and Southeast Asia, 2004, p.203, cat. no.159 and H.I.Jessup, Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, 1997, p.261, cat. no.69.柬埔寨 吳哥窟風格 十二世紀 銅毘濕奴立像來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

TRIADE BOUDDHIQUE EN ALLIAGE DE CUIVRECambodge, fin de la période angkorienne, fin du XIIe siècle/début du XIIIe siècleA COPPER ALLOY TRIAD OF BUDDHACambodia, Late Angkor Period, late 12th/early 13th centuryInscribed on the front of the base. With Buddha under Muchalinda at the centre flanked by a four-armed Avalokiteshvara, and the now missing figure of Prajnaparamita. 21.5cm (8 1/2in) high.Footnotes:Provenance: Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)The combination of this triad was a common representation in Khmer sculpture in all media, and the particular focus of a cult during the reign of Jayavarman VII, who ruled the Khmer empire from about 1181 to 1218. As noted by Czuma 'During his reign, the naga-enthroned Buddha became a ubiquitous image for veneration, often set up together with Lokeshvara, who was associated with his father, and Prajnaparamita, the form under which his deceased mother was honoured. Lokeshvara is the powerful enlightened being of compassion, while Prajnaparmita is the goddess who personifies wisdom. King Jayavarman VII, therefore, presented himself as the enlightened Buddha, the product of the union of Compassion and Wisdom, supported and glorified by the naga, which refers to the Khmer people.' (Masterworks of Asian Art, Cleveland, 1998, pp.163–163).Compare with an example in M.Giteau, L'Art Khmer - Reflet des Civilisations d'Angkor, Paris, 1997, p.118 and a similar composition sold at Christie's Paris, 11 December 2013, lot 345.柬埔寨 吳哥時期晚期 十二世紀末/十三世紀初 銅一佛兩菩薩立像來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

STATUE DE DIVINITÉ FÉMININE EN GRÈS ROUGEInde du Nord, Rajasthan, vers XIe siècleA RED SANDSTONE FIGURE OF A FEMALE DEITYNorth India, Rajasthan, circa 11th centuryAdorned with a detailed necklace with heavy pendants in the centre a long single cord ending in a pearl pendant that falls between her prominent breasts. A second five-row necklace of pearls with shaped medallions passes over her breasts and across her stomach. Her lower diaphanous garment is defined by the presence of small wave-like motifs on her upper thighs, mostly obscured by the elaborate belt and beaded swags and bells that fall in arches over her thighs. Her straight legs are interrupted by a fragment of a flower garland that passes across her shins and her feet stand on a lotus-shaped pedestal. 95cm (37 3/8in) high.Footnotes:Provenance:Willy H. Wolf, New YorkRobert Rousset, Paris (1901-1981), acquired from the above on 25 January 1962Jean-Pierre Rousset, Paris (1936-2021)Referenced:Wm H. Wolff, Far Eastern Gallery, New York, in Oriental Art, Winter 1961, p.10 Far from the classic contrapposto position of female deities of the Indian medieval period, this hieratic representation engages the adorant with a surprising frontality. Compare with a related more conventional figure of a Surasundari published by P.Pal, Indo-Asian Art from The John Gilmore Ford Collection, Baltimore, 1971, pl.10, and later sold at Bonhams New York, 17 March 2014, lot 78.Loin de la position classique de contrapposto des divinités féminines de la période médiévale indienne, cette représentation hiératique présente l'adorateur à une frontalité surprenante.Comparer avec une statue plus conventionnelle d'une Surasundari par P.Pal, Indo-Asian Art from The John Gilmore Ford Collection, Baltimore, 1971, pl.10 et vendue à Bonhams New York, 17 mars 2014, lot 78.印度北 拉賈斯坦邦 約十一世紀 紅砂岩女神立像來源：巴黎Robert Rousset（1901-1981）舊藏， 於1962年1月25日得自紐約Willy H. Wolff巴黎Jean-Pierre Rousset（1936-2021）舊藏引用：Wm H. Wolff，遠東藝廊，紐約，《Oriental Art》，1961年冬，頁10與印度中世紀時期女神像的經典對立式平衡姿態大相逕庭，此尊符合宗教準則的神像以驚人的正面姿態吸引着朝拜者。 見一例更見常規的蘇拉孫達里像，圖載於P.Pal，《Indo-Asian Art from the John Gilmore Ford Collection》，巴爾的摩，1971年，圖版10，並售於紐約邦瀚斯， 2014年3月17日，編號78。For further information on this lot please visit Bonhams.com

TORSE DE DIVINITÉ MASCULINE EN GRÈSCambodge, style de Khleang, fin du Xe/début du XIe siècle A SANDSTONE TORSO OF A MALE DEITYCambodia, Khleang style, late 10th/early 11th centuryThe elegant torso with subtle, yet powerful representation of his pectoral muscles and broad shoulders. The superb sampot is rendered in narrow vertical pleats and spreads across the left thigh in broader fan-like manner. The fabric is drawn between the thighs and arranged on the verso in a double hook that rises from beneath the belt. The observation of the garment by the artist is remarkable in the manner in which it is secured with a delicately depicted overlapping sash on the left side and is pulled under the right side with a fold protruding artfully from the top and the end draped in a scabbard-like fold. 70cm (27 9/16in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Peng Seng, Bangkok, 26 January 1971Jean-Pierre Rousset, Paris (1936-2021)This rare and very important sculpture represents the transition in aesthetic tastes under Sûryavarman I (1002-1010) that defined the Khleang style. It is most likely that the figure portrays Avalokiteshvara due to the presence of four arms and the ruler's favour of Buddhism. The shoulders are quite straight and do not yet have the roundness of the style of the Baphuon and the adaptation of the sampot closer to the style of Banteay Srei. As with an example in the Norton Simon Museum of Art (P.Pal, Asian Art from the Norton Simon Museum of Art, Volume 3, p.184, no.145) the sampot has become shorter and has an oblique edge stopping at mid-thighs. The rendering of a finely pleated fabric replaces the broad vertical panels favoured in the 10th century reflecting the residual hieratic power of Pre Rup (see Jessup and Zéphir, Sculpture of Angkor and Ancient Cambodia, Millennium of Glory, 1997, p.218, no.46), and predicts the following celebrated Baphuon style (see lot 66). Here the sampot circles the waist in a flatter line as opposed to riding high on the hips as seen in Baphuon but is carved with the same delicacy and lightness (see Brand and Phoeurn, The Age of Angkor: Treasures from the National Museum of Cambodia, Australia, 1992, p. 74).Cette rare et très importante sculpture traduit la transition des styles sous Sûryavarman I (1002-1010) qui annonce le style de Khleang. La préférence du souverain pour le bouddhisme suggère que cette statue est une représentation d'Avalokiteshvara, avec ses quatre bras. Les épaules sont assez raides et n'ont pas encore la rondeur du style de Baphuon. Le style du sampot est plus proche du style de Banteay Srei. Dans l'exemple du Norton Simon Museum of Art (P.Pal, Asian Art from the Norton Simon Museum of Art, Volume 3, p.184, no.145) le sampot est plus court avec un bord oblique s'arrêtant à mi-cuisse. Le rendu d'un tissu finement plissé remplace les larges pans d'étoffe verticaux privilégiés au Xe siècle, reflétant le pouvoir hiérarchique résiduel de Pré Rup (voir H.I.Jessup et T.Zéphir, Sculpture of Angkor and Ancient Cambodia, Millennium of Glory, 1997, p.218, no.46), et prédit le célèbre style Baphuon qui suivra (voir lot 66). Ici, le sampot entoure la taille d'une ligne plus plate contrairement au style de Baphuon qui est au-dessus des hanches, mais il est sculpté avec la même délicatesse et légèreté (voir Brand et Phoeurn, The Age of Angkor: Treasures from the National Museum of Cambodia, Australia, 1992, p.74).柬埔寨 克亮風格 十世紀末/十一世紀初 砂岩神像來源：巴黎Robert Rousset（1901-1981）舊藏，於1971年1月26日得自曼谷Peng Seng古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏這尊罕見且十分重要的雕塑代表了蘇利耶跋摩一世時期(1002-1010年) 審美趣味的轉變，奠定了南北倉風格。因其具四臂，且時任統治者更推崇佛教，故此像應為觀世音菩薩。此像肩膀筆直，未見巴普昂寺風格般渾圓的處理手法，其沙龍樣式更接近女王宮風格。參見諾頓西蒙博物館館藏一例，收錄于P. Pal著《Asian Art from the Norton Simon Museum of Art》，卷 3，頁184，編號145，其沙龍長度縮短，裙擺為斜邊，及大腿中部。裙褶處理手法精細，取代流行於十世紀體現比粒寺準則的寬闊垂直布幅（參見 H.I. Jessup et T. Zéphir，《Sculpture of Angkor and Ancient Cambodia, Millennium of Glory》，1997年，頁218，編號46)，並預示此後出現的巴普昂寺風格（見拍品編號66）。此處沙龍環繞腰際，線條處理較扁平，相較而言，巴普昂寺風格的沙龍則繫于臀部上方，但雕刻同樣精緻輕盈（參見 M. Brand 和 C. Phoeurn所著，《The Age of Angkor: Treasures from the National Museum of Cambodia》，澳大利亞，1992年，頁74)。For further information on this lot please visit Bonhams.com

TÊTE DE DIVINITÉ EN GRÈSCambodge, style du Bayon, fin du XIIe/début du XIIIe siècleSANDSTONE HEAD OF A DEITYCambodia, Bayon style, late 12th/early 13th centuryThe hair is rendered in vertical braided bands with a pearl band that surrounds the forehead and tightly frames the ears. The hairstyle and the shallow fragment of the ushnisha do not allow for a clear designation of the deity as the features are shared by both Buddha and bodhisattva figures, stand. 23cm (9in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Smit Gallery, Bangkok, 19 April 1965Jean-Pierre Rousset, Paris (1936-2021)Published, Illustrated and Exhibited:Sherman Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, October 1969, p.85, no.48 A noted by Sherman Lee in the ground breaking exhibition on Cambodian sculpture at the Asian House Gallery in New York in 1969 'This fragment of a male head- probably that of a Buddha- although very incomplete, gives another version of the Bayon sculptural type. The stylised, bead-shaped locks arranged in vertical rows, the thick projecting eyebrows, the closed eyes with well-formed lids, and the sensuous mouth with its corners raised in a smile.'This magnificent fragment of the time of Jayavarman VII captures, despite the section lost, an emotion that no other work of Khmer art from earlier period had managed to deliver. The youthful face already wears all signs of maturity. The high forehead and very thick eyebrow give a feature of naturalistic interpretation that connect, like many sculpture of the period with the portrait of Jayavarma VII (see H.I.Jessup and T.Zephir, Sculptures of Angkor and Ancient Cambodia, Washington 1997, p.301, no.89). The serene expression is amplified by the eye, closed in a deep meditation, conveying total introspection and perfect tranquility. Also see H.I.Jessup and T.Zephir, Sculptures of Angkor and Ancient Cambodia, Washington 1997, pp.305-315, nos.92-98.Executed in a very fine sandstone whose quality was reserved for exceptional pieces, this head is the testimony of the magnificence of the Bayon period and the work of an inspired artist.柬埔寨 巴戎寺風格 十二世紀末/十三世紀初 砂岩像首來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年4月19日得自曼谷Smit藝廊巴黎Jean-Pierre Rousset（1936-2021）舊藏展覽著錄：Sherman Lee, 《Ancient Cambodian Sculpture》，Asia House畫廊，紐約，1969年10月，頁85，編號48For further information on this lot please visit Bonhams.com

EXTRÉMITÉ DE PALANQUIN EN ALLIAGE DE CUIVRE DORÉ REPRÉSENTANT GARUDACambodge, style du Bayon, fin du XIIe/début XIIIe siècleA GILT COPPER ALLOY GARUDA PALANQUIN FINIALCambodia, Bayon style, late 12th/early 13th centuryAt the base two opposing heads of Kala supporting the body of Garuda with its humanoid bust surmounted by a head of bird of prey with a hooked beak, bulging eyes highlighted by strong eyebrows and a halo of wings around the main body, stand. 21.5cm (8 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)Still with remains of gilding, this superbly detailed casting represents the adaption of Garuda, a central figure within Hindu mythology and the animal-vehicle (vâharana) of Vishnu. For further discussion of the increasing important role of Garuda within the context of late Bayon sculpture see P.D.Sharrock, 'Garuda, Vajrapani and religious change in Jayavarman VII's Angkor', Journal of Southeast Asian Studies, vol.40, no.1, Feb. 2009, pp.111.The complexity and attention to detail at the front and back to create the abstract wings and feather is characteristic of the style of the Bayon, compare with another in S.E.Lee, The sculpture of Cambodia, Asia House Gallery, New York, 1969, p.96, no.57 and another in the Minneapolis Institute of Art (70.11) and Norton Simon Museum of Art (M.1974.16.08).柬埔寨 巴戎寺風格 十二世紀末/十三世紀初 鎏金銅迦樓羅式轎飾來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

GROUPE REPRÉSENTANT VISHNU PORTÉ PAR GARUDA EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA COPPER ALLOY GROUP DEPICTING VISHNU ON GARUDACambodia, Angkor Wat style, 12th centuryThis configuration shows Garuda in his role as vahana carrying Vishnu, the god benevolent, guardian and saviour of the world protector of humans. The garuda is a mythical bird that is as well represented in Brahmanic iconography as well as Buddhist. His hybrid body is humanoid, his bust and thighs are feathered, its head is that of a bird of prey with a hooked beak, its eyes are globular and its ears similar to those of a man. Vishnu is shown in a dynamic posture with one foot resting on the tail of the mythical animal and the other on his shoulder, stand. 20cm (7 7/8 in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Peng Seng, Bangkok, 21 December 1968Jean-Pierre Rousset, Paris (1936-2021)Under Suryavarman II, who ascended the throne in 1113, Vishnu was elevated to higher prominence and became an state symbol. A closely related example is in The Walters Art Gallery, Baltimore (H.W.Woodward, The Sacred Sculpture of Thailand, 1997, cat. no.17) and in Baptise and Zephir L'Art khmer dans les collections du musée Guimet, Paris, 2008, p. 241 , no. 70. Also compare with P.Pal, The Sensuous Immortals. A Selection of Sculptures from the Pan-Asian Collection, Los Angeles 1978, no.152 and another in The Norton Simon Museum of Art (F.1972.16.1.S).柬埔寨 吳哥窟風格 十二世紀 銅毗濕奴與迦樓羅像來源：巴黎Robert Rousset（1901-1981）舊藏，於1968年12月21日得自曼谷Peng Seng古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

CHINESE RED LACQUERED BOW FRONT CABINET,of good quality and attractively decorated with birds perched amongst floral blooms, with two short drawers above cupboard door, 91cm high, 61cm wide, 35cm deepProvenance: Purchased from a French dealership specialising in Asian furniture and works of art.

Two turquoise Chinese snuff bottles in the shape of fisherman and another together with carved soapstone Foo Dogs and Ganesh, quantity of Asian ceramics and tribal art figure

Collection of Asian art, to include a Japanese Imari jar and cover, 32cm high, two stands, Chinese Yixing teapot, assorted tea bowls, etc.- The larger ginger jar has been repaired to a good standard though you can still see the cracks. The small triangled rim cup has a hairline crack as does the cup sat on the saucer. The lacquer box has a piece of decoration missing. All the others are in good order though would benefit from a clean.

A group of early Asian art including a Han Dynasty (206 BC - 220 AD) vase, Japanese yunomi, shallow bowls, etc (10).Provenance: private collection, North Yorkshire.