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

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. 

A BRASS ORIENTAL/ASIAN TEMPLE BELL WITH DRAGON DESIGN PLUS A TRENCH ART BOWL WITH A SHELL FOR THE STEM

LORENZO QUINN (Rome, 1966)."Contigo", 2006.Bronze-plated resin, copy 739/999.Stainless steel support on travertine marble base.Signed and numbered.Attached certificate of authenticity issued by Forumdart.Size: 38 x 26 x 18.5 cm (sculpture); 43 x 26 x 18.5 cm (base).The hands that emerge from the ground and support threatened buildings, or that caress and embrace, have been worked by Lorenzo Quinn in countless and tireless forms, and as public sculpture have been seen in international events such as the Venice Biennale (2017).The son of actor Anthony Quinn, the sculptor grew up in the United States and Italy, and it was in Italy that he learned to appreciate art. At the age of twenty-one, he earned the respect of New York art society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Shortly afterwards he received a major commission from the Vatican, which commissioned him to create a sculpture of the saint for the 8th centenary of the death of Saint Anthony. Quinn has held exhibitions on five continents, and his work is represented at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were unveiled at the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar).

The globular body under a deep garnet-glaze rising to a stout neck thinning to a crackled-white ground, the foot-rim with heavy pooling; together with Another later example, glaze scratches, fritting, soiling, shelf wearthe taller 33cm high(2)cf. Bonhams, Knightsbridge, London, Asian Art, 9 May 2022, Lot 187

Ca. 1100-1200 AD A beautiful cast bronze figurine depicting a lion standing in profile atop an integral flat base. Its captivating visage comprises of a large nose, rounded perky ears, and hollow eyes. Its dramatic countenance is enhanced by incised diagonal lines to represent fur surrounding the mouth. Its body stands with a strong posture connoting pride. An outstanding example of Seljuk metalwork. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 AD. For a similar see The Louvre Museum, Main number: MAO S. 725.Size: L:48mm / W:52mm ; 85gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

A 19TH CENTURY ASIAN ART CHINESE FOLDING BAMBOO HEADREST, W 28 cm PLUS A CHINESE YAO MINORITY TRIBAL WOODEN FACE MASK,

A small quantity of modern decorative works of art to include portraits, topographical, Asian interior scenes, embroidered panels, etc, mostly framed and partially glazed.

Asian Art - Japanese warrior, Victorian frame; three rice paper pictures, framed as one; others (5)

Asian Art - a plated metal rose water sprinkler, possibly Burmese, 27.5cm high; a turned wooden and metal mounted prayer wheel holder, 17cm high; a bronzed tea kettle; a Japanese bronze figure, Fukurokuju; an Indian bronze Naga sun mask, 9.5cm high; etc

Asian Art - a Japanese bronze mirror, 34cm high; Tibetan brass Vajra; a brass sprinkler; etc

STATUETTE D'USHNISHAVIJAYA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE/XVIE SIÈCLEHimalayan Art Resources item no. 4601 23.8 cm (9 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF USHNISHAVIJAYACENTRAL TIBET, 15TH/16TH CENTURY藏中 十五/十六世紀 銅鎏金尊勝佛母像Provenance:With Claude de Marteau, Brussels, by 1970sUshnishavijaya, whose name translates as 'the Victorious Crown Ornament', is a peaceful deity who bestows long life. Depicted with three distinctive faces and eight arms, the deity is crowned, jeweled and ornamented seated atop a double lotus throne. Each implement and gesture signify the giving of boons. The primary right hand holds the visvavajra, the symbol of indestructability. The second right hand holds an effigy of the Buddha Amitabha, whose name means 'Infinite Light', and whose emanation is Amitayus, represented by the vase containing the elixir of long life held in Ushnishavijaya's fourth left hand. The third arm at right holds an arrow signifying wisdom with the bow mirrored in the second left hand symbolizing compassion. The lower right hand is held in varada mudra and the third left arm is raised in abhaya mudra expressing gestures of generosity and assurance respectively. The multi-faced, many armed deity offers enduring protection and favorable rebirth to those who have devoted faith. Adhering to a 15th-century style, Ushnishavijaya shows a syncretic blend of Indo-Nepalese, Central Asian, and Chinese artistic traditions. While these stylistic exchanges were occurring earlier during the Yuan dynasty, their integration matured in the 15th century with a distinctive Tibetan style at its art historical peak. Political and economic support for these artistic developments partly came from the Early Ming emperors' patronage with Tibetan monasteries. The sending and receiving of gifts between the Early Ming court and Tibetan lamas which included texts, commentaries, silks and Buddhist imagery inspired a process of elaboration and refinement in Tibetan art, yielding casts like this delicate gilded sculpture of Ushnishavijaya. The qualities that harken back to earlier influences from India and Nepal include the lithe proportions of the body, the foliate triangular leaf crown, and the cabochon of turquoise and inlaid stones with heavy gilding which was popular in Nepalese artistic traditions. Skilled Nepalese metalworkers coming from the Kathmandu Valley had long been involved in workshops relating to specific monasteries throughout Tibet. These stylistic choices, especially in consideration of the overall layout of ornamentation can be compared to another Ushnishavijaya in the Rubin Museum of Art (C2005.16.22). While the garments and ornamentation are predominantly of Indian and Nepalese style, the modeled face, with its demure expression, is more definitively Chinese and can closely be compared to another tantric deity of Ratnasambhava in this sale (see lot 21) along with a Vairocana Buddha on Himalayan Art Resources (HAR 15711).For further information on this lot please visit Bonhams.com

STATUETTE DE BOUDDHA EN ALLIAGE DE CUIVRE DORÉTIBET, XVI/XVIIE SIÈCLETibetan number inscribed underneath '3'.Himalayan Art Resources item no. 4634 28.2 cm (11 1/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF BUDDHATIBET, 16TH/17TH CENTURY西藏 十六/十七世紀 銅鎏金佛陀像Provenance:With Claude de Marteau, Brussels, by 1970sThis confident portrayal of the Buddha raises his right palm in the gesture of reassurance (abhaya mudra) while his left hand rests on his lap in the gesture of meditation (dhyana mudra). Located underneath the core is an incised numeral, indicating that the figure was commissioned in Tibet and was once part of a large sculptural assembly depicting the Thirty-Five Buddhas of Confession. First introduced by the founder of the Gelug order, Je Tsongkhapa (1357-1419), this Mahayana ritual is described in the, 'Sutra of the Three Heaps' (Triskandhadharmasutra), where practitioners recite the names of all Thirty-Five Confession Buddhas and present each being with offerings as a means of atonement for past improprieties. Certain elements of this unique bronze, such as its sweet expression, pointed nose, and robust physique are similarly evoked in a 14th-century gilt bronze Avalokiteshvara with strong Nepalese features (published in Pal, Asian Art at the Norton Simon Museum vol. 2, 2003 p. 92, no. 57), attesting to the recruitment of Newari artists by Tibetan patrons during the 13th and 15th centuries. That being said, the loose piles of heavy fabric gathering at the Buddha's feet and left shoulder are more comparable to later styles, including a 16th/17th century image of Bhaisajyaguru located in the Tibet Museum, Gruyerès (ABS 183) and a smaller gilt-bronze Amitabha also in this sale (see lot 30).For further information on this lot please visit Bonhams.com

STATUETTE DE TARA VERTE EN ALLIAGE DE CUIVRE DORÉKHASA MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 4612 18.8 cm (7 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF GREEN TARAKHASA MALLA, 14TH CENTURY卡薩馬拉 十四世紀 銅鎏金綠度母像 Provenance:With Claude de Marteau, Brussels, by 1970s Her eyes and lips accentuated with the application of cold gold, red, and white pigments, Green Tara casts a warm and empathic smile toward the viewer. The lotus and blue lily blossoming over her shoulders reflect her pure nature as the mother of all Buddhas. Likewise, as the female bodhisattva of compassion, she waits attentively with one hand outstretched in the gesture of wish-granting and one leg pendant, ready to rise to the aid of her devotees. The delineation of the joints of Tara's fingers, in addition to the application of red lacquer to the flattened back of her lotus base, are stylistic features associated with the Khasa Mallas, a Buddhist kingdom in Western Tibet and Nepal whose artists produced paintings and sculptures infused with the styles of neighboring artistic centers (see Alsop, 'The Metal Sculpture of the Khasa Malla Kingdom', in Singer & Denwood (eds.), Tibetan Art: Towards a Definition of Style, 1997, pp. 68-79). For instance, the present figure's hooked nose and rounded jawline bear a strong similarity to two images: a gilt bronze of Green Tara sold at Bonhams, Hong Kong, 2 October 2018, lot 154; and a portrait of a Khasa Malla Queen, now in the National Museum of Asian Art, Washington, D.C. (F1986.23).For further information on this lot please visit Bonhams.com

COLLECTION OF TWELVE SOTHEBY'S CATALOGUES, on Himalayan, Indian and South-East Asian Art - 1992-1995 (12)

'THE ARRIVAL AT THE PEACH FESTIVAL', QING DYNASTYChina. Ink and color on silk. Depicting the arrival of deities to the peach festival with Xiwangmu on the top right riding a horned dragon, to her right, Yudi on a throne carried by his attendants, both emerging from clouds, with other attendants and spectators carrying oversized peaches, on the lower left depicting the eight immortals, some arriving by boat and horse, and in the right corner Shoulao and his attendants in conversation while walking towards a bridge.Inscriptions: Top right one seal 'Qianlong yulan zhibao'. Center right 'Longmian jushi, Li Gonglin' and two seals.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Commensurate with age, some losses, creasing, tears, one handle missing, foxing, and soiling. Abrasions and wear. Dimensions: Image size 150 x 192 cm, Size incl. mounting 160.7 x 225 cmWith a brocade frame and a European brass handle, the latter dating to the first half of the 20th century or earlier.Expert's note: The present lot is influenced by the artwork of the Northern Song dynasty painter Li Gonglin (active 1049-1106). It is known that during the reign of Emperor Qianlong (1736-1795) masters from the Palace Painting Academy were commissioned to copy a significant number of ancient works from the Imperial palace collection, predominantly for conservatory purposes, but also for a number of other reasons. This could explain why a 'Qianlong yulan zhibao' seal mark can be found on the top right corner of the artwork.The Queen Mother of the West, or Xiwangmu, is one of the most important goddesses of the traditional Chinese pantheon. According to legend, she dwelt in the Kunlun Mountains, located south of the Takla Makan desert in western China, where she was visited by a number of emperors and Daoist masters seeking immortality. Her most famous encounter reportedly occurred in 110 BC, when she journeyed to the court of Emperor Wu of the Han dynasty (reigned 141-87 BC) and presented him with several magical peaches, which ripen only once every three thousand years. Said to confer immortality when eaten, these special peaches became the most common attribute of the Queen Mother. According to early sources, the peaches of immortality grow not only in the mountain home of the goddess but also on certain mythological islands in the ocean east of China, where other gods and immortals reside.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.清代《群仙拱壽圖》中國。絹本水墨設色。群仙來到爲慶祝西王母壽誕蟠桃盛會。圖中可見西王母騎著虯龍，很多侍從手中拿著仙桃，還可看到八仙過海場景，很多仙人翹首觀望，並有壽老與其隨從往一座橋走去。人物動作神態十分寫實自然，面部表情生動，將各人不同特徵表露無疑。 款識：乾隆御覽之寶，龍眠居士李公麟製 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。 1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。 這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：有一些缺損、摺痕、撕裂、褐變、污漬，有磨損。缺一柄。 尺寸：畫面150 x 192 厘米，總160.7 x 225 厘米 織錦框架和歐洲黃銅手柄，後者可以追溯到20世紀上半葉或更早。 專家注釋：此拍品受北宋畫家李公麟（1049-1106 年）的風格影響。眾所周知，在乾隆年間（1736-1795），宮廷畫院的畫師們被委託從皇宮收藏中復制大量古代作品，主要用於保存古代名作的目的，但也有其他一些原因 。這可以解釋為什麼在藝術品的右上角可以找到“乾隆御覽之寶”的印。

A FIGURAL STYLE 'SNAKE AND LION' CHLORITE VESSEL, CIRCA LATE 3RD MILLENNIUM BCSoutheastern Iran, Jiroft culture. The slightly tapered sides boldly carved in relief with a roaring lion standing foursquare flanked by two confronting coiled serpents, the beasts with many recesses to take inlays. Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot comes from the same estate as the objects compiled in this inventory, but is not specifically mentioned, possibly because it was deemed too small to warrant inclusion, as suggested by the following entry for four closely related but larger vessels: “Quatre pots anciens en pierre sculptee avec decor d'incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the high age of this piece. Scratches, cracks, nicks, losses, minor fills, encrustations, all inlays lost. Remnants of old varnish. Significant wear, traces of aging, weathering overall.French Export License: Certificat d'exportation pour un bien culturel Nr. 184687 dated 9 June 2017 has been granted and a copy is accompanying this lot (note that although the certificate was granted for three items, only two lots are being offered at this point). Weight: 1,030 g Dimensions: Height 9.8 cm, Diameter 12.6 cmExpert's note: This finely decorated ceremonial vessel belongs to a class of chlorite artifacts from South-Eastern Iran described as 'Figural Style' or 'Jiroft' from the name of the area where they were most likely produced in antiquity. The Figural Style is characterized by high-quality workmanship that combines the use of powerful imagery with simple lines and the extensive use of inlays. Literature comparison:The motif of the lion fighting against a snake is a recurrent one in these types of vessels and appears several times amongst the famous corpus of unexcavated artifacts published by Madjidzadeh in 2003, see Y. Madjidzadeh, Jiroft. The Earliest Civilization, Teheran, 2003, pp. 76-94. Auction result comparison: Type: Closely related Auction: Bonhams London, 16 April 2015, lot 43 Estimate: GBP 20,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A 'Figural Style' green chlorite vessel, South-East Iran, circa late 3rd Millennium B.C.+Expert remark: Compare the closely related subject with fighting lion and snake and decoration with similar relief and deep recesses to take inlays. Note the different form and larger size (25 cm).Auction result comparison: Type: Closely related Auction: Galerie Zacke, 16 October 2021, lot 550 Price: EUR 12,008 or approx. EUR 13,000 adjusted for inflation at the time of writing Description: A Western Asiatic chlorite 'snake and lion' jar and cover, 3rd millennium BC Expert remark: Compare the closely related subject and decoration with similar relief and deep recesses to take inlays. Note the slightly different form, cover, and height (12 cm).

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

A SANDSTONE DOOR CASING PANEL OF A DEVATA, BAYON STYLEKhmer Empire, late 12th to 13th century. Carved as a standing devata, wearing a sampot, the right hand held to the chest, the faces with almond shaped eyes, the pendulous ears with round earrings, flanked by two pillars and a flaming arch. The right side with an ornamental band.Provenance: Santi's Art & Antiques, Bangkok, Thailand, 1987. A noted English private collection, by repute acquired from the above and thence by descent in the same family. Santi's Antiques was established in 1958 by Santi Sivakua in Bangkok, Thailand. Santi Sivakua became one of Thailand's most reputable dealers and an acclaimed expert in Chinese porcelain and Southeast Asian artifacts, serving as a consultant for several reference publications. In 1990, Santi's son Suk took over the business. Condition: Good condition, commensurate with age and as expected for a statue with an age of 800 years or more. Extensive wear, signs of centuries-old weathering and associated erosion, fills to backside, losses, few nicks, cracks and surface scratches. Displaying remarkably well overall. Dimensions: Height 76 cm (excl. base) and 82.8 cm (incl. base)Mounted to a modern wood base. (2)Devata are smaller and more focused Devas (Deities) in Indian religions, such as Hinduism and Buddhism. The term 'devata' itself can also mean deva and they can be either male or female. Every human activity has its devata, its spiritual counterpart or aspect.Literature comparison:Compare a related sandstone panel, dated to the 12th century, in the collection of the British Museum, accession number 2002,0330.1.Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 31 October 2006, lot 561Price: EUR 11,400 or approx. EUR 15,500 adjusted for inflation at the time of writingDescription: A Khmer, Bayon style, sandstone panel, 13th centuryExpert remark: Compare the figural element, the arch-shaped frame, and the ornamental decorations. Note the size (105 cm).

A PAIR OF BRONZE FRAGMENTARY HANDS OF BUDDHA, AYUTTHAYA KINGDOMThailand, 16th-17th century. The two fragments of a large Buddha statue are elaborately cast with thin and elongated fingers held in abhaya mudra. The bronze shows a fine, naturally grown patina. Provenance: From the collection of Nils Nessim, and thence by descent to the last owner. Nils Nessim (1916-1974), was a Swedish businessman and rug dealer, the son of leading rug specialist Jean Benjoam Nessim (1887-1946). Nils was taught by his father from an early age on and traveled the world to build an impressive collection of antique rugs and Asian works of art. Condition: Very good condition with minor wear and casting flaws as well as minuscule nicks and light surface scratches.Each hand is mounted to a customized wood base, for the pair to serve as bookends. (2)Weight: 351.9 g and 326.1 g (incl. base) Dimensions: Height 10.5 and 11.5 cm (excl. base) and 13 cm and 14 cm (incl. base)Auction result comparison: Type: RelatedAuction: Sotheby's Paris, 9 November 2021, lot 13Price: EUR 2,016 or approx. EUR 2,200 adjusted for inflation at the time of writingDescription: A gilt-bronze fragmentary hand of a Buddha, Thailand, Ayutthaya period, 16th-17th centuryExpert remark: Compare with a single hand of larger size (25 cm), showing a similar pose.

A TURQUOISE GLASS SNUFF BOTTLE, 18TH CENTURYPublished: Robert Kleiner, 'The Tuyet Nguyet Collection of Snuff Bottles and Saucers', Arts of Asia, November-December 1998, pp. 50, no. 19.China. Of cylindrical form, supported on a flat recessed foot, the tapered shoulder surmounted by a short cylindrical neck, the turquoise glass with faint swirls of slightly darker hue. Note the wide mouth with 8 mm diameter, typical of early glass wares.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Excellent condition with minor old wear and some manufacturing irregularities.Stopper: Jadeite stopperWeight: 43.2 g Dimensions: Height including stopper 81 mm. Diameter neck 14 mm and mouth 8 mmAuction result comparison:Type: RelatedAuction: Bonhams New York, 12 September 2016, lot 9019Price: USD 3,125 or approx. EUR 3,400 converted and adjusted for inflation at the time of writingDescription: A Turquoise-Blue Glass Snuff Bottle, Likely Imperial, Palace Workshops, Beijing, 1730-1800十八世紀孔雀藍色料器鼻烟壺中國。圓柱體，圓柱體頸部，圈足。孔雀藍色料器帶有輕微漩渦狀紋理。請注意，直徑為八毫米的壺口，是早期玻璃鼻烟壺的典型特徵。 出版：Robert Kleiner，〈The Tuyet Nguyet Collection of Snuff Bottles and Saucers〉，《Arts of Asia》，1998年11-12月，第50頁，編號19. 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相極佳，有輕微的磨損和一些製作瑕疵。 壺蓋：翡翠 重量：43.2 克 尺寸：高 （含蓋）81 毫米，頸部直徑14 毫米及壺口直徑8 毫米拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2016年9月12日，lot 9019 價格：USD 3,125 （相當於今日EUR 3,400） 描述：1730-1800年擬御製宮廷作坊北京工松石藍料鼻烟壺

A BRONZE TRIPOD STEAMER, YAN, WESTERN ZHOU DYNASTYChina, 1100-771 BC. Comprised of two parts, the lower vessel supported on three massive and tall feet, the shoulder encircled by a raised bowstring, all surmounted by a short, straight neck designed to fit neatly into the conforming foot of the bowl-shaped upper vessel, which rises elegantly to an everted rim. The exterior decorated with three distinct bands of stylized serpents, separated by bowstring bands, flanked by two short knob handles, the well with three bands of radiating apertures to allow steam to rise. (2)Provenance: From a private collection in Vancouver, Canada, sold to benefit the Art Gallery of Greater Victoria. European trade, acquired from the above. The Art Gallery of Greater Victoria in Victoria, British Columbia, Canada, first opened in 1951 and houses almost 20,000 works of art. With approximately 8,000 Asian works, the museum holds the second largest collection of Asian art in Canada, after the Royal Ontario Museum. While the collection of Asian works includes items from all over the continent (including Southeast and Western Asia), the focus is primarily on works from China and Japan. Condition: Fine overall condition, commensurate with age, possibly small losses with associated old fills. Extensive wear, signs of weathering and erosion, small nicks and cracks. Fine, naturally grown patina with extensive malachite and cuprite encrustation. Displaying remarkably well overall.Weight: 2130 g Dimensions: Height 31.2 cm Expert's remark: Note the intricate design of the three bands below the rim with interlocking serpent figures, composed of a head with a single round eye and separated by S and C-shaped scrolls. Literature comparison: Compare a related bronze steamer, also dated to the Western Zhou dynasty, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 23 March 2022, lot 231Price: USD 107,100 or approx. EUR 104,500 converted and adjusted for inflation at the time of writingDescription: A rare inscribed archaic bronze ritual vessel (Yan), Early Western Zhou dynastyExpert remark: Compare the related form with similar feet, bowstring bands, and size (34.5 cm)西周三足銅甗中國，公元前1100-771年。甗分兩部分：一甑一鬲。甑部與鬲部相連，甑底有十字紋的箅，外壁修飾三道雲雷紋。三足鬲。 來源：加拿大溫哥華私人收藏，為資助維多利亞美術館而出售；歐洲古玩交易，購於上述收藏。位於加拿大不列顛哥倫比亞省維多利亞的維多利亞美術館於 1951 年首次開放，收藏了近 20,000 件藝術品。該美術館擁有大約 8,000 件亞洲藏品，是加拿大第二大亞洲藝術收藏品，僅次於皇家安大略博物館。亞洲古玩的收藏主要是來自中國和日本的作品。品相：整體狀況良好。 大面積磨損、風化和侵蝕跡象、小刻痕和裂縫。 細膩且天然包漿，大量的紅綠結殼。 重量：2130 克 尺寸：高31.2 厘米 文獻比較： 比較一件相近的西周三足銅甗，收藏於史密森尼學會管轄的亞瑟·M·賽克勒美術館，編號S1987.352a-b。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2022年3月23日，lot 231 價格：USD 107,100（相當於今日EUR 104,500） 描述：西周初期溫弗生甗 專家評論：比較相近的外形、三足、弦紋、紋帶和尺寸 (34.5 厘米)。

A GREEN JADE 'CLOUD-SCROLL' PENDANT, HONGSHAN CULTUREPublished: Filippo Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, page 21, no. 20. Salviati notes: “No. 20 has a strongly emphasized abstract look which departs significantly from the general design of most of these ornaments. The abstract shape (…) seems to evoke the profile of an animal.”China, c. 4000-3000 BC. Finely carved in openwork as a single unit of a cloud-scroll with subsidiary arched segments protruding from the corners. The top is pierced with a circular aperture. The translucent stone is of a pale green tone with cloudy-white inclusions.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Very good condition with minor old wear and minuscule nibbling here and there. Some encrustations and minuscule surface alterations.Weight: 21.7 g Dimensions: Length 10.4 cmLiterature comparison: Compare a related cloud-scroll plaque, Hongshan culture, from the Myers collection published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, no. 1.Auction result comparison:Type: Closely related Auction: Christie's Hong Kong, 27 November 2019, lot 2711 Price: HKD 175,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writing Description: A green jade 'cloud-scroll' ornament, Hongshan culture, circa 4000-3000 BC.Expert remark: Compare the closely related color and form. Note the size (12.3 cm).紅山文化勾綠色玉雲紋珮中國，公元前 4000-3000 年。綠色的不透明玉石，夾雜著白色斑點。玉佩中央彎曲鏤空，成勾雲紋，一個穿孔用於懸掛。 出版：Filippo Salviati，《中國古玉4000年》，Zacke藝廊版，維也納， 2017年，頁21，圖 20。Salviati 教授: “編號20 has a strongly emphasized abstract look which departs significantly from the general design of most of these ornaments. The abstract shape (…) seems to evoke the profile of an animal.” （20號具有強烈的抽像外觀，與大多數這些飾品的總體設計大相徑庭。 抽象的形狀（……）似乎像是動物的輪廓）來源：Irene 與Wolfgang Zacke （1942-2022）收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代末，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 品相：狀況極好，有輕微磨損和磕損，一些結殼和微小的表面變化。 重量：21.7 克 尺寸：長 10.4 厘米 文獻比較： 比較一件相近的紅山文化勾雲形珮，收藏於Myers collection published，見Fillippo Salviati，《Radiant Stones: Archaic Chinese Jades》，2004年，香港，編號1。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2019年11月27日，lot 2711 價格：HKD 175,000（相當於今日EUR 23,000） 描述：紅山文化青玉勾雲形珮 專家評論：比較非常相近的顏色和外型。請注意尺寸(12.3厘米)。

AN IMPERIAL CARAMEL GLASS FACETED SNUFF BOTTLE, 18TH CENTURYChina, Palace Workshops, Beijing. The opaque caramel glass bottle is of octagonal shape and is carved on either side with a flat, raised oval panel encircled by pentagonal facets. The glass with very faint swirls. Note the wide mouth with 12 mm diameter, typical of early glass wares.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Excellent condition with some old wear as expected, few shallow surface scratches.Stopper: Agate stopperWeight: 52.2 g Dimensions: Height including stopper 62 mm. Diameter neck 17 mm and mouth 12 mmFaceted forms derive from European stylistic and technical influence during the early years of the Beijing Palace glassworks which were set up in 1696. At this time, the workshops were under the direction of a Jesuit missionary named Kilian Stumpf (1655-1720) and there is every reason to expect European influence in design as well as manufacture.Auction result comparison:Type: RelatedAuction: Christie's New York, 16 September 2015, lot 254Price: USD 3,250 or approx. EUR 3,800 converted and adjusted for inflation at the time of writingDescription: A small purple glass faceted snuff bottle, Imperial, Palace workshops, Beijing, 1720-1800Expert remark: Compare the closely related form. Note the color of the glass and the size of the bottle (44 mm).十八世紀御製八方式焦糖色料器鼻烟壺中國，北京清宮鼻烟壺造辦處。不透明的焦糖色鼻烟壺為八方式，兩面開光内有一個凸起圓形，周圍環繞著五角形切面。料器有著非常微弱的漩渦紋理。請注意，壺口直徑為 12 毫米，這是早期料器鼻烟壺的典型特徵。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相極佳，如預期的有些磨損，表面有少量淺劃痕。 壺蓋：瑪瑙 重量：52.2 克 尺寸：高 （含蓋）62 毫米，頸部直徑17 毫米及瓶口直徑12 毫米 切面式源自於 1696 年成立的北京清宮玻璃造辦處早期歐洲風格和技術的影響。當時，這些工作坊由傳教士 Kilian Stumpf (1655-1720) 指導，所以很可能也是受到歐洲風格的影響。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年9月16日，lot 254 價格：USD 3,250（相當於今日EUR 3,800） 描述：1720-1800年北京造辦處御製紫色料八方式鼻烟壺 專家評論：比較非常相近的外型。請注意色料的顏色和尺寸不同(44 毫米)。

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

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

AN AYUTTHAYA PERIOD BRONZE OF BUDDHA SHAKYAMUNI, 17TH CENTURYBuddha Shakyamuni is standing in Samabhanga pose with his right hand showing the Abhayamudra, the gesture of fearlessness, reassurance and safety. His left hand is stretched downwards near the hems of his garment. Buddha is wearing a Samghati robe with a belt around his hip and pendeloque earrings as well as an ornate tiara with floral decoration and a stupa-like, conical-shaped ushnisha. The face shows a fine meditative expression, with cast-down eyes, a serene smile and elongated earlobes.Provenance: Austrian private collection, acquired in 1988 in our galleries.Condition: Good condition with appealing patina. Ketumala end-piece restored.Dimensions: 48 cm (height of sculpture), 51 cm (total height with base)Literature comparison: See Christie's, Indian, Himalayan and Southeast Asian Art, 18 April 2005, Amsterdam, lot 118 (for a very similar Buddha of the same size) and Bonham's, Indian, Himalayan and Southeast Asian Art, 17 September 2014, New York, lot 178 (for a very similar bronze, larger in size).

A MARBLE HEAD OF BUDDHA, TANG DYNASTYChina, 618-907. The full face carved with small, delicate features, such as the heavy-lidded eyes below the gently arched eyebrows and the full lips pursed to form a subtle smile, all below the hair dressed in waves with two whorls above the forehead and a third whorl below the pronounced ushnisha.Provenance: Collection of Rene Vittoz, thence by descent. Rene Vittoz (1904-1992) was a Swiss scholar of Romance languages and a teacher of French and art history. He authored several books, including 'Essai sur les Conditions de la Poesie Pure' and a play, 'L'ivresse de Noe' (Drunkenness of Noah). He was also a painter and a passionate collector of Asian and European works of art. After his death, a number of works in his collection were auctioned at Christie's.Condition: Excellent condition, commensurate with age. Extensive wear, losses, minor nicks and scratches. The back with two circular recesses showing remnants of iron, indicating a prior mounting. Fine, naturally grown, honey-brown patina.Weight: 6.2 kg (incl. base)Dimensions: Height 21 cm (excl. base) and 36.5 cm (incl. base)Mounted to an old wood base with metal fittings, dating to the earlier 20th century, allowing the head to be turned 360°. (2)Literature comparison: Stylistically this head closely relates to other mid-Tang limestone figures from the Longmen caves. See two heads of Buddha (32 and 66 cm high) in the Avery Brundage Collection, illustrated in Chinese, Korean and Japanese Sculpture, Asian Art Museum of San Francisco, Japan, 1974, pp. 212-5, nos. 104 and 106 (the larger head with the object number B60S38+). Of particular note is the treatment of the hair, with both the illustrated examples and the present lot exhibiting two whorls above the forehead and a third whorl below a pronounced ushnisha. Another feature of this group is the relatively plump face, with deeply set eyes beneath high, arched eyebrows. These same features are also seen on a number of other examples from this group, illustrated in The Lost Statues of the Longmen Caves, Shanghai, 1993, pp. 49-59. Auction result comparison:Type: RelatedAuction: Sotheby's New York, 21 September 2021, lot 109Price: USD 40,320 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: A marble head of bodhisattva, Tang DynastyExpert remark: Compare the related form, expression, curled hair, and material. Note the size (12.7 cm) Auction result comparison:Type: RelatedAuction: Christie's London, 15 May 2018, lot 158Price: GBP 18,750 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A small dark grey stone head of buddha, Tang dynasty (618-907)Expert remark: Compare the related form, expression, and distinct whorls. Note the size (11.5 cm) Auction result comparison:Type: RelatedAuction: Christie's New York, 18 March 2009, lot 350Price: USD 32,500 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: A dark grey stone head of buddha, Tang dynasty (618-907), Longmen cavesExpert remark: Compare the related face, expression, and distinct whorls. Note the size (25.5 cm)唐代大理石佛頭中國，618-907年。莊嚴、大氣、飽滿的佛陀頭像，面部略顯豐腴，眼睛細長，拱形的眉毛，形成與鼻脊和諧曲線，眉間白毫，以及盤到頭上的高高髮髻，表現出唐代佛像經典風格。 來源：Rene Vittoz收藏，保存至今。Rene Vittoz (1904-1992) 瑞士羅曼語學者、法語和藝術史教師。 他撰寫的幾本書，包括 “Essai sur les Conditions de la Poesie Pure”和一部戲劇“L'ivresse de Noe”（諾亞的醉酒）。 他也是一位畫家，同時也是亞洲和歐洲藝術品的熱情收藏家。 在他去世後，他收藏的多件作品在佳士得拍賣。 品相：狀況極佳，與年齡相稱。 廣泛的磨損、缺損、輕微的劃痕和刻痕。背面有兩個圓形凹槽，顯示鐵的殘留物，表明之前的有支架。自然生長的蜜褐色包漿。 重量：6.2 公斤 (含底座) 尺寸：高21 厘米 (不含底座)，總36.5厘米 木底座，金屬支架，應為二十世紀，頭像可以360° 轉動以便觀摩。 (2) 拍賣結果比較：形制：相近拍賣：紐約蘇富比，2021年9月21日，lot 109價格：USD 40,320 描述：唐代大理石菩薩首像專家評論：比較相近的外型、表情、捲髮和材質。請注意尺寸(12.7厘米)。拍賣結果比較：形制：相近拍賣：倫敦佳士得，2018年5月15日，lot 158價格：GBP 18,750 描述：唐代石雕佛頭像專家評論：比較相近的外型、表情和髮髻上的螺旋紋。請注意尺寸(11.5厘米)。拍賣結果比較：形制：相近拍賣：紐約佳士得， 2009年3月18日，lot 350價格：USD 32,500 描述：唐代龍門灰石雕佛頭像

A TERRACOTTA HEAD OF MAITREYA, GANDHARAAncient region of Gandhara, 4th-5th century. The head modeled with finely curled hair and wearing an elaborately adorned tiara centered by a stylized flower, the face with elegant features, such as the finely incised arched eyebrows, almond-shaped eyes, aquiline nose, gentle smile, and long earlobes with circular earrings.Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Oxford Authentication, reference no. N116n12, dated 18 October 2016, and is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. French Export License: Certificat d'exportation pour un bien culturel Nr. 185456 dated 30 June 2017 has been granted and a copy is accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture. Some firing flaws and material loss to exposed areas. Old wear, weathering, minor cracks and nicks.Weight: 5.9 kg (incl. stand) Dimensions: Height 28.5 cm (excl. stand) and 40.2 cm (incl. stand)With a modern metal stand. (2)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering.According to Buddhist tradition, Maitreya is a bodhisattva who will appear on Earth in the future, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor to the present Buddha. The prophecy of the arrival of Maitreya refers to a time in the future when the dharma will have been forgotten by most on the terrestrial world. In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya was the most popular figure to be represented along with Gautama Buddha.Auction result comparison:Type: RelatedAuction: Christie's New York, 17 October 2001, lot 3Price: USD 18,800 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A Terracotta Head of a Bodhisattva, Gandhara, 4th/5th centuryExpert remark: Note the size (24 cm)Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2000, lot 7Price: USD 28,200 or approx. EUR 47,500 converted and adjusted for inflation at the time of writingDescription: A Terracotta Head of a Bodhisattva, Gandhara, 4th centuryExpert remark: Note the size (30.4 cm)犍陀羅紅陶彌勒頭像犍陀羅，四至五世紀。頭飾捲曲，佩戴著五葉冠，細長眉，杏仁形眼睛，鼻梁高挺，面帶微笑，長耳垂佩戴圓形耳環，面容慈祥溫和。 科學檢測報告：牛津鑒定研究所熱釋光報告編號N116n12，2016年10月18日，得出相關製作時間。隨附報告複印件。 來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。GANDHARA”（二十二個陶土頭像系列，犍陀羅）。隨附清單和封面副本。 法國出口證書：隨附2017年6月30日出具的Certificat d'exportation pour un bien culturel 證書的複本，編號 185465。 品相：狀況極好，與雕塑的年代相符。一些燒製缺陷和暴露區域的材料缺損。磨損、風化、輕微裂縫和刻痕。 重量：5.9 公斤 (含底座) 尺寸：高28.5 厘米 (不含底座) ，總40.2 厘米 (含底座) 現代金屬支架。由於字數限制，完整拍品中文敘述請至www.zacke.at查看。

A PAIR OF LONGQUAN CELADON VASES, MEIPING, MING DYNASTYChina, 1368-1644. Heavily potted, the high-shouldered bodies tapering to spreading feet, surmounted by short necks with everted rims, the sides freely carved with broad bands of peony scroll framed by bands of stiff petals. Covered overall in a glaze of sea-green tone except for the unglazed foot rims burnt orange in the firing. The circular wooden stands carved in openwork with floral designs and vines.Provenance: Sydney Moss Ltd, London, United Kingdom. A British private collection, by repute acquired from the above (invoice not available). Sydney Moss Ltd is a London based art gallery. The company was established in 1910 and focuses on Chinese and Japanese works of art, including paintings, calligraphy, and objects in “the scholar's taste”. It is one of the longest-lived family-owned Asian art dealerships in the West, and the oldest in London. Condition: Fair condition, commensurate with age, with extensive old wear. One vase with a small chip to the rim and minor hairline cracks at the foot. The other with minor losses and an associated old repair to the rim. Both slightly leaning and with distinct signs of use and age.Weight: 559.1 g and 566.7 g Dimensions: Height 16.2 cm and 16.6 cmWith a carved wood stand. (4)Literature comparison:Compare the very similar meiping of the same period illustrated by Zhao Zigang, Qinqci Qinbaicai Zhenpin (The Treasury of Green and Qingbai Wares), Guangzhou, 1997, col. pl. 149. An uncarved Longquan meiping dated to the Yuan dynasty of nearly identical shape, including the collared shoulder and beveled foot, is illustrated in An Anthology of Chinese Art, Min Chiu Society Silver Jubilee Exhibition, Hong Kong, 1985, no. 146. A meiping with similar carved decoration, formerly in the Hirota Collection and now in the Tokyo National Museum, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 1, Tokyo, 1982, no. 107. Auction result comparison:Type: RelatedAuction: Christie's New York, 30 March 2005, lot 322Price: USD 18,000 or approx. EUR 26,500 converted and adjusted for inflation at the time of writingDescription: An unusual longquan celadon carved bottle, Meiping, Yuan/early Ming dynasty, 14th-15th centuryExpert remark: Compare the closely related form, floral design, and glaze. Note the similar size (18.4 cm) and that the lot comprises a single vase.明代一對龍泉青釉暗刻梅瓶中國，1368-1644年。梅瓶侈口，直頸、豐肩、斂腹，造形優美。器身主體以暗刻卷葉花卉紋，肩部和腹部下方修飾蕉葉紋。通體施青釉，釉汁濃厚肥潤。足緣未上釉，成橘色。圓形木架採用鏤空雕刻，飾有花卉圖案和藤蔓。來源：英國倫敦Sydney Moss Ltd藝廊；英國私人收藏，據説購於上述藝廊（發票遺失）。Sydney Moss Ltd是一家位於倫敦的藝廊。該藝廊成立於 1910 年，專注於中國和日本的藝術品，包括文人繪畫、書法和物品。它是西方歷史最悠久的亞洲藝術品家族式經銷商之一，也是倫敦最古老的藝術品經銷商之一。 品相：狀況良好，與年齡相稱，有大量磨損。一個花瓶邊緣有一個小缺口，腳上有輕微的冲線。 另一個有輕微的磕損和邊緣的小修。兩者都略微傾斜，並帶有明顯的使用和年齡跡象。 重量：分別為559.1 克與566.7克 尺寸：高分別為16.2 厘米與16.6 厘米 木雕底座。 文獻比較： 比較非常相似的同年代梅瓶，見Zhao Zigang，《The Treasury of Green and Qingbai Wares》，廣州，1997年，編號149。一件幾乎相同外型元代龍泉梅瓶，有豐肩和足部外撇的設計，見《中國文物集珍》，香港，1985年，編號146。一件相似的暗刻梅瓶，早年收藏於Hirota Collection，現藏於東京國立博物館，見Oriental Ceramics，《The World's Great Collections》，卷一，東京，1982年，編號107。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2005年3月30日，lot 322 價格：USD 18,000（相當於今日EUR 26,500） 描述：十四至十五世紀元至明初龍泉青釉暗刻梅瓶 專家評論：比較非常相近外型、卷葉花卉紋和釉面。請注意相似的尺寸(18.4 厘米) 和此拍品僅有一梅瓶。

A WESTERN ASIATIC 'SNAKE AND BIRD' CHLORITE VESSEL, 3RD MILLENNIUM BCWith a slightly domed base and tapering sides rising to a flat everted rim, carved in relief with three birds of prey with spread wings and curved beak, each flanked by two confronting serpents coiled to form a figure of eight, the animals' eyes neatly inlaid in bone, the snakes with many recesses to take inlays.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot comes from the same estate as the objects compiled in this inventory, but is not specifically mentioned, possibly because it was deemed too small to warrant inclusion, as suggested by the following entry for four closely related but larger vessels: “Quatre pots anciens en pierre sculptee avec decor d'incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the high age of this piece. Scratches, cracks, nicks, losses, minor fills, encrustations, most inlays lost (except for the animals' eyes). Remnants of old varnish. Significant wear, traces of aging, weathering overall.French Export License: Certificat d'exportation pour un bien culturel Nr. 184687 dated 9 June 2017 has been granted and a copy is accompanying this lot (note that although the certificate was granted for three items, only two lots are being offered at this point).Weight: 2,902 g Dimensions: Height 14.2 cm, Diameter 26.3 cmLiterature comparison:A related chlorite vessel with two zebu, of smaller size, dated 2600-2350 BC and attributed to Al-Rafiah, on the east coast of the island of Tarut, is in the collection of the Metropolitan Museum of Art, accession number 2014.717.Auction result comparison:Type: Related Auction: Christie's London, 1 October 2014, lot 143 Price: GBP 20,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A Bactrian chlorite jar, 3rd millennium B.C.Expert remark: Compare the related subject and decoration. Note the diameter (9.5 cm).Auction result comparison: Type: Closely related Auction: Galerie Zacke, 6 March 2021, lot 693 Price: EUR 15,168 or approx. EUR 16,500 adjusted for inflation at the time of writing Description: A Western Asiatic chlorite 'snake' vessel, 3rd millennium BCExpert remark: Compare the closely related form with similar domed base and tapering sides rising to a flat everted rim as well as the relief and inlay decoration. Note the height (16 cm).

A CLOISONNE 'LANDSCAPE' VASE, CONG, LATE QING TO REPUBLICChina, 1850-1950 or earlier. The square-sectioned body rising from a splayed foot and surmounted by a tapered neck, each facet brightly enameled with a landscape scene, variously depicting tiered pavilions nestled amongst jagged cliffs and trees below vaporous clouds, the foot and neck similarly decorated with stylized lotus scrolls against a turquoise ground, the borders covered in gilt. The base with a neatly incised four-character mark Qianlong nianzhi within an inlaid and gilt square reserve.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Very good condition with some old wear, shallow surface scratches overall, firing flaws including extensive pitting, few minor nicks and microscopic hairline cracks here and there.Weight: 3 kg Dimensions: Height 32.2 cmLiterature comparison:Compare a closely related cloisonne enamel 'landscape' cong, but dated to the Qianlong period (1736-1795), at Christie's Hong Kong, 29 May 2013, lot 2075.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.清末民初山水紋掐絲琺瑯瓶中國，1850-1950 年或更早。沿襲了玉琮基本形制，上下口足為圓形，短頸，方柱形長身。瓶口足、邊緣棱角均鎏金，瓶身四面開光內以藍色琺瑯釉為地，以紅、白、藍、黑等色繪製軒榭庭宇、遠山近水等紋飾，頸、足處掐絲裝飾四朵纏枝蓮花紋，色彩繽紛艷麗，工藝精湛。圈足内“乾隆年製”款。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。 1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。 這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀況極好，有一些舊磨損，整體表面劃痕較淺，燒製缺陷包括大範圍的點蝕，很少有輕微的劃痕和細微的細線裂紋。 重量：3 公斤 尺寸：高32.2 厘米 文獻比較： 比較一件非常相近的清乾隆山水圖掐絲琺瑯琮式瓶，見香港佳士得，2013年5月29日，lot 2075。

A FACETED AND SANDWICHED 'TORTOISESHELL IMITATION' GLASS SNUFF BOTTLE, 18TH-19TH CENTURYPublished: Robert Kleiner, 'The Tuyet Nguyet Collection of Snuff Bottles and Saucers', Arts of Asia, November-December 1998, pp. 50, no. 8China. Of ovoid form, raised on a circular concave foot, with a waisted neck, the four sides carved with raised oblong panels forming a square section. The glass a dark red with black, white, and yellow tones in swirling patterns, in imitation of tortoise shell.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Very good condition with minor wear and microscopic nibbling to the rim and edges.Stopper: Glass in imitation of jadeiteWeight: 52.2 g Dimensions: Height including stopper 69 mm. Diameter neck 13 mm and mouth 6 mm Auction result comparison:Type: RelatedAuction: Bonhams New York, 16 March 2015, lot 1046Price: USD 5,000 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A sandwiched glass snuff bottle with splashed and swirled decoration, 1730-1780Expert remark: Compare the closely related color and swirls. Note the different form and smaller size (53 mm)十八至十九世紀仿玳瑁料器四方開光鼻烟壺中國。撇口，束頸，溜肩，四方圓角，每面開光，圈足。料器呈暗紅色，夾雜著黑、白及黃色漩渦紋，仿玳瑁。 出版：Robert Kleiner，〈The Tuyet Nguyet Collection of Snuff Bottles and Saucers〉，《Arts of Asia》，1998年11-12月，第50頁，編號8。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相極好，輕微磨損，邊緣有細微磕損。 壺蓋：仿翡翠綠玻璃 重量：52.2 克 尺寸：高 （含蓋）69 毫米，頸部直徑13 毫米及瓶口直徑6 毫米 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2015年3月16日，lot 1046價格：USD 5,000（相當於今日EUR 5,900） 描述：1730-1780年攪色料胎鼻烟壺 專家評論：比較非常相近絞色和紋理。請注意外型不同和尺寸稍小 (53 毫米)。

A CIZHOU PAINTED MEIPING, MING DYNASTYChina, 1368-1644. Heavily potted, rising from a waisted foot to a high sloping shoulder and a short cylindrical neck. The body finely painted with flying cranes amid clouds and pines, above a band of stylized flowerheads and scrolling vines, the shoulder with large chrysanthemum blossoms and leaves, between line borders, all in black on a white slip under a clear glaze stopping unevenly above the foot to reveal the buff ware.Inscriptions: To the base, 'Jihao Liang Xizhou' (marked by Liang Xizhou)Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Condition: Very good condition with extensive old wear and firing flaws, some glaze flaking, few chips to edges. Overall exactly as expected for a vessel with an age of half a millennium or even more.Weight: 2,996 g Dimensions: Height 23.8 cmAuction result comparison:Type: Closely relatedAuction: Bonhams London, 13 May 2013, lot 189Price: GBP 2,500 or approx. EUR 3,600 converted and adjusted for inflation at the time of writingDescription: A Cizhou-style vase, Yuan Dynasty or laterExpert remark: Compare the closely related form, manner of painting, and glaze. Note that the vase has condition issues including a chip to the mouth.Auction result comparison:Type: RelatedAuction: Bonhams London, 7 June 2021, lot 507Price: GBP 3,570 or approx. EUR 4,300 converted and adjusted for inflation at the time of writingDescription: A cizhou painted baluster vase, Ming DynastyExpert remark: Compare the related crane motif as well as the similar manner of painting. Note the different form and larger size (27.5 cm).明代磁州窯花卉仙鶴紋梅瓶中國, 1368-1644年。梅瓶小口、短頸、豐肩 、瘦底、圈足。瓶的肩部有大朵花卉如牡丹和菊花卷葉紋，其身中部繪雲松間飛鶴。通體白地黑紋。腳部露胎。 款識: 瓶底圈足内 “梁希周記號“。 來源：德國達姆斯達特Teddy Hahn私人收藏，保存至今。Theodor “Teddy” Hahn 曾是知名的根付和亞洲藝術收藏家。他參觀了很多博物館，研究世界早期文化，對造像產生了特別的興趣，他開始收藏，他說：“我不知何故知道它會對我的生活產生深遠的影響。 我是多麼正確。 以及我有多開心。” 品相：品相非常好，有大量的舊磨損和燒製缺陷，一些釉料剝落，邊緣有磕損。總體而言，對於500年甚至更老的梅瓶而言，完全符合預期。 重量：2,996 克 尺寸：高23.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰思, 2013年5月13日, lot 189 價格：GBP 2,500（相當於今日EUR 3,600） 描述：元代或稍晚磁州瓶 專家評論：比較非常相近的外型、繪畫風格和釉面。請注意此瓶瓶口有一個缺口。 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰思, 2021年6月7日, lot 507 價格：GBP 3,570（相當於今日EUR 4,300） 描述：明磁州系開光鹿鶴同春紋罐 專家評論：比較相似的仙鶴圖案和繪畫風格。請注意此瓶外型不同和尺寸稍大 (27.5 厘米)。

A BLUE AND WHITE 'SCHOLARS' SNUFF BOTTLE, QING DYNASTYChina, 1644-1912. Of baluster form, rising from a flaring foot to a straight cylindrical neck, the body finely decorated with a palace garden scene, depicting scholars and attendants in scholarly pursuits, with banana trees, scholar's rock, and pine. The foot and neck with double line borders.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Very good condition with old wear and minor firing irregularities. A very faint and shallow crack near the foot (ca. 1 cm long).Stopper: Glazed ceramic in imitation of coral (with minuscule chips and remnants of adhesive)Weight: 35.2 g Dimensions: Height including stopper 82 mm. Diameter neck 15 mm and mouth 10 mmThe recessed base with an apocryphal six-character mark da Qing Yongzheng nianzhi in underglaze blue within a double circle.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 25 May 2014, lot 1074Price: HKD 37,500 or approx. EUR 5,500 converted and adjusted for inflation at the time of writingDescription: A Blue and White Porcelain 'Figure Scene' Snuff Bottle Qing Dynasty, 19th century清代青花“學堂苦讀圖”鼻烟壺中國，1644-1912年。長頸，豐胸溜肩，束腹，底足外撇。壺身青花描繪一幅學堂圖，先生坐在中堂，學童們正拿著書籍，或是自己學習，或是詢問師長，四周芭蕉林園假山。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相極好，有磨損和輕微的燒製瑕疵。 足部附近有一條非常細微的裂縫（約 1 厘米長）。 壺蓋：仿珊瑚瓷蓋（帶有微小的磕損和修補殘留物） 重量：35.2 克 尺寸：高 （含蓋）82 毫米，頸部直徑15 毫米及壺口直徑10 毫米 圈足内雙圈青花六字款“大清雍正年製”。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年5月25日，lot 1074 價格：HKD 37,500（相當於今日EUR 5,500） 描述：十九世紀清代青花人物鼻烟壺

A PINK SANDSTONE HEAD OF BUDDHA, MATHURA, KUSHAN PERIODIndia, Uttar Pradesh, 2nd-3rd century. The head finely carved with a round face, a gentle smile below heavy-lidded eyes, the brows centered by a circular urna, the face flanked by elongated ears and surmounted by closely cropped hair, remains of a back pillar. Provenance: The Pan-Asian Collection of Christian Humann, Denver, Colorado, USA. Formerly on loan to the Denver Art Museum. Sotheby's New York, 27 March 1991, lot 13, at an estimate of USD 4,000 or approx. EUR 8,500 (converted and adjusted for inflation at the time of writing). Stefaan Grusenmeyer, Belgium, acquired from the above. A noted Belgian private collection, acquired from the above in 1991 and thence by descent in the same family. A copy of the Sotheby's catalog entry from 27 March 1991 for the present lot, dating the head to circa 2nd century AD and attributing it to Mathura, accompanies this lot. Christian Humann (1929-1981) was born in France and later moved to the United States, eventually becoming the Curator of Asian Art at the Denver Art Museum. Humann was an enthusiastic collector of Asian statues, and his Pan-Asian Collection included a vast number of sculptures spanning from Afghanistan to Southeast Asia over the last two millennia. Condition: Good condition commensurate with age and overall as expected from a stone sculpture with an age of roughly two millennia. Extensive wear with signs of weathering and erosion, some nicks, structural cracks, and losses. Fine, naturally grown patina.Weight: 5,390 g Dimensions: Height 19.6 cm (excl. stand), 28.8 cm (incl. stand)With a modern metal stand. (2)Due to its location on the caravan trade routes through central India, Mathura was for centuries an important economic center. In the 2nd and 3rd centuries, it became a capital for the mighty Kushan Empire. During this time, both in Mathura and the region of Gandhara simultaneously, images of Buddha began to appear in anthropomorphic form for the first time. In contrast to Gandhara, where Graeco-Roman concerns for naturalism were stressed, the body types of the Mathura Buddhas convey an idealized Indian vitality.Literature comparison: Compare a related Indian red sandstone head of Buddha, dated to 1st-2nd century, in the collection of the Metropolitan Museum of Art, accession number 28.97.2.Auction result comparison:Type: Near identicalAuction: Christie's New York, 19 March 2014, lot 1069Price: USD 60,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writingDescription: A red sandstone head of Buddha, India, Mathura, Kushan period, 2nd/3rd centuryExpert remark: Compare the near identical face, eyes, urna, and hair. Note the size (33.5 cm).

A TWO-COLOR OVERLAY 'FOUR GUARDIANS' WHITE GLASS SNUFF BOTTLE, 19TH CENTURYChina. Of flattened ovoid form, rising from an oval foot to a waisted neck with everted rim, decorated with a blue azure dragon, a red and blue phoenix, a red qilin and a blue tortoise, interspersed with fire and the magic pearl, the details finely incised, all on an opaque white ground. Provenance: Collection of Chris and Louise Randall, Florida. Rachelle R. Holden, New York. A collector's label from Rachelle Holden with inventory number '350' to the base. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life. Condition: Very good condition with minor wear, small nick to dragon's horn and foot.Stopper: Jadeite stopperWeight: 47.3 g Dimensions: Height including stopper 69 mm. Diameter neck 16 mm and mouth 8 mm.The Four Symbols are four mythological creatures appearing among the Chinese constellations along the ecliptic and viewed as the guardians of the four cardinal directions. These four creatures are also referred to by a variety of other names, including 'Four Guardians' or 'Four Gods'. They are the azure dragon of the east, the vermilion bird or phoenix of the south, the white tiger of the west, and the black tortoise of the north, sometimes a fifth creature, the qilin is present. Each of the creatures is most closely associated with a cardinal direction and a color, but also additionally represents other aspects, including a season of the year, an emotion, or virtue, and one of the Chinese five elements (wood, fire, earth, metal, and water). Each has been given its own individual traits, origin story and reason for being. Symbolically, and as part of spiritual and religious belief and meaning, these creatures have been culturally important across countries in the East Asian cultural sphere.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 25 November 2013, lot 177Price: HKD 87,500 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A ruby-red and sapphire-blue overlay white glass 'dragons and bats' snuff bottle, Qing dynasty, 18th / 19th centuryExpert remark: Compare the related motif, the use of red and blue color as overlay on white glass.十九世紀白地套雙色“四聖獸”鼻烟壺中國。直唇，束頸，削肩，壺身修長，底足略外撇，圈足。白地紅藍雙色雕琢四大聖獸，藍色飛龍，紅藍朱雀，紅色麒麟和藍色神龜，造型生動，神氣凜凜。 來源：弗羅里達Chris與Louise Randall舊藏；紐約Rachelle R. Holden收藏。底部可見Rachelle Holden 收藏編號“350 “。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相良好，輕微磨損，龍角和足上有小缺口。 壺蓋：翡翠 重量：47.3 克 尺寸：高 （含蓋）69 毫米，頸部直徑16 毫米及壺口直徑8 毫米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2013年11月25日，lot 177 價格：HKD 87,500（相當於今日EUR 13,000） 描述：十八世紀或十九世紀白地寶石紅和藍套料“龍和蝙蝠〞鼻烟壺 專家評論：比較相近相近的形制、白地紅藍雙色套料。

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

A BRONZE FIGURE OF BUDDHA ON A THRONEJava, 14th-15th century or somewhat later. Heavily cast as Buddha seated on a rectangular throne with a baldachin, the feet resting on a short round stool, his right hand in apanamudra, the left resting on his lap in dhyanamudra, backed by a teardrop-shaped mandorla with a large, distinctively beaded rim. The face with a serene expression, surmounted by an ushnisha covered in tight curls.Provenance: Lawrence Phillips, acquired during the 1960s and 1970s and thence by descent to Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age, with some casting flaws, losses, warping, small nicks and dents, minor corrosion. The patina with few touch-ups.Weight: 1,260 g Dimensions: Height 14.6 cm13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

'THREE MANCHURIAN CRANES', BY YU FEIAN (1888-1959)China. Ink and watercolors on handwoven silk. Depicting three cranes in flight framed by swirling clouds, their plumage neatly painted. Inscribed with a poem by Zhao Ji, the personal name of Emperor Huizong of the Song Dynasty (1082-1135).Inscriptions: Center left, with an extract of a poem by Zhao Ji, signed 'Yu Feian'. Three seals, 'Yushanyan zhai' (Studioname of Yu Feian), 'Yu Zhao he yin', and 'Fei An'Provenance: British trade. Condition: Very good condition with minor wear, few stains and creases, minor foxing to the frame.Dimensions: Image size 83.4 x 37.4 cm, Size incl. mounting 192.8 x 50.9 cmZhao Ji was the personal name of Emperor Huizong of Song (1082-1135), the eighth emperor of the Northern Song dynasty. Emperor Huizong was a great painter, poet, and calligrapher. The emperor took huge efforts to search for art masters. He established the Hanlin Huayuan ('Hanlin Imperial painting house') where top painters around China shared their best works. The primary subjects of his paintings are birds and flowers.Yu Feian (1888-1959), also known Yu Zhaoge, was born in Beijing where he was taught by calligraphers and painters since early childhood. He specialized in brush paintings depicting flowers and birds and later served as a researcher at the Institute of Ethnic Art of the Central Academy of Fine Arts. Yu Feian was also the vice president of the Chinese Painting Research Association, and of the Beijing Painting Institute, and wrote several books.The red-crowned crane (Grus Japonensis), also called the Manchurian crane, is a large East Asian crane and among the rarest cranes in the world. In China, it is known as a symbol of luck, longevity, and fidelity.Literature comparison:A scroll painting by Zhao Ji, depicting cranes in flight above a palace roof, possibly the inspiration for the present painting, is in the collection of the Liaoning Museum.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 October 2007, lot 228Price: HKD 211,500 or approx. EUR 39,500 converted and adjusted for inflation at the time of writingDescription: Yu Fei'an 1888-1959, Pine and crane于非闇(1888-1959) 款《瑞鶴圖》中國，絹本設色。描繪了三隻雲中飛鶴，姿勢優美。筆左下角仿宋徽宗瘦金體題《題瑞鶴圖》詩，橫似鶴骨，勾若鷺喙，瘦逸而遒勁。 款識：清曉觚棱拂彩霓，仙禽告瑞忽來儀。飄飄元是三山侶，兩兩還呈千歲姿。非闇。鈴印：玉山硯齋，于照和印，非闇 來源：英國古玩交易。 品相：狀況極好，輕微磨損，輕微污漬和摺痕、褐變。 尺寸：畫面83.4 x 37.4 厘米，總192.8 x 50.9 厘米 于非闇（1889年3月22日—1959年7月3日），原名于魁照，後改名於照，近現代中國畫家。自幼得書畫家傳，歷任中央美術學院民族美術研究所研究員、北京中國畫研究會副會長、北京畫院副院長。 文獻比較： 現拍品可能是受到《宋徽宗瑞鶴圖卷》影響，原圖收藏於遼寧省博物館。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2007年10月5日，lot 228 價格：HKD 211,500（相當於今日EUR 39,500） 描述：于非闇(1888-1959) 《松下瑞鶴圖》

AN EARLY BRONZE FRAGMENT OF BUDDHA, PYU KINGDOMBurma, 8th-9th century. Cast seated in vajrasana on a pedestal, his right hand in bhumisparsha mudra, his left resting on his lap, wearing a monastic robe, the face with a serene expression, heavy-lidded downcast eyes, gently arched eyebrows, a broad nose, and full lips. The hair worked in tight curls and surmounted by a conical ushnisha.Provenance: French trade. Condition: Condition commensurate with age and still presenting remarkably well for an excavated bronze from this period. Extensive wear, weathering and corrosion, significant losses, remnants of countless layers of old lacquer from different periods, structural cracks, some dents and nicks.Weight: 6,024 g Dimensions: Height 37 cmThe Pyu kingdom flourished in central and northern Burma from the early years B.C. to about 832, when Halin, the capital, was sacked by forces of the southern Chinese Nanchao kingdom. The sculpture displays a fluidity of modeling, with an emphasis on soft, flowing volumes rather than a linear development of form, which is only seen in very early Southeast Asian sculpture. Literature comparison:Compare a related bronze figure of a Buddha, dated to the Pyu period, 8th to 9th century, Burma, in the collection of the Metropolitan Museum of Art, accession number: 2006.53.

A SMALL KHMER BRONZE FIGURE OF AN APSARA, BAYON PERIODPublished: Stephen Little, Images of Buddha from the Michael Phillips Collection, Arts of Asia, January-February 2013, page 100, no. 18.Cambodia, Khmer, 12th - early 13th century. Neatly cast in dancing posture, with the right leg raised, the left hand holding an implement, dressed in a finely decorated sampot, adorned with jewelry, the face with a serene expression, flanked by two elongated earlobes, surmounted by a tiara in front of a conical-shaped headdress.Provenance: Collection of Lawrence Phillips, acquired during the 1960s and 1970s and thence by descent to Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Some old wear, minor losses, few nicks, cracks and shallow surface scratches, and minuscule encrustations. With an attractive malachite patina.Weight: 184.5 g (incl. base) Dimensions: Height 12 cm (incl. base) Mounted to a modern acrylic base. (2) Apsaras carved in bas-relief are frequently encountered on the walls of Khmer stone temples or Khmer bronzes. This particular apsara can be dated to the Khmer King Jayavarman VII (reign 1181-1200), who was a devoted patron of Buddhism and Buddhist art. The figure was cast in bronze over an iron armature, part of which can be seen within the broken right arm. It is likely that this figure belonged to a larger Buddhist shrine, such as that of Hevajra, in which case she would be classified as yogini.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 September 2004, lot 61Price: USD 9,560 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Figure of a Dancing Apsara, Khmer, Bayon style, late 12th/Early 13th centuryExpert remark: Compare the closely related pose, headdress, and patina. Note the size (28.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

AN IMPRESSIVE POTTERY FIGURE OF A BULL, SUI TO TANG DYNASTYChina, 581-907. Well modeled standing foursquare in an alert pose, the dewlap hanging low and the neck with incised folds of skin, wearing a yoke and the back adorned with a decorative harness, covered overall with an elegant amber-colored glaze and with traces of black and red pigments to the yoke and harness.Provenance: Dr. Wallace and Alice Smith, San Francisco, in the collection prior to 1971, thence by direct descent to their daughter Wallis Smith. Wallis 'Wally' Smith (1937-2021) was a volunteer for various organizations in California as well as an avid traveler, taking many trips across Asia and Europe. Like her parents, she was a collector of Asian works of art, continuing the collection she inherited from her parents and seeing herself as a guardian of these precious treasures. Condition: Old repairs and touchups as generally expected from Sui and Tang dynasty excavations. Losses, fissures, and soiling. Minor firing flaws, such as firing cracks and glaze flakes.Weight: 3,442 g (excl. stand) Dimensions: Length 17.8 cmWith an associated well-carved and fitted wood stand. (2)Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2019, lot 113Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A rare sancai-glazed pottery figure of a spotted bull, Tang dynastyExpert remark: Compare the closely related stance and similar size (20.3 cm). Note the sancai glaze.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 9 July 2020, lot 2865 Price: HKD 250,000 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: A painted pottery model of a recumbent ox, Eastern Wei dynasty Expert remark: Compare the closely related stance and similar harness. Note the unglazed pottery and slightly earlier dating to the Eastern Wei dynasty (534-550). 隋至唐代公牛陶像中國，581-907年。陶牛身姿端正，此件陶牛佩戴轡頭，背上遍布裝飾圖案，很可能是祭祀活動中的公牛造型。整體覆蓋著琥珀色釉，並帶有黑色和紅色的彩繪痕跡。來源：舊金山Dr. Wallace 與 Alice Smith夫婦收藏，1971年前進入收藏，直至他們的女兒 Wallis Smith。Wallis 'Wally' Smith (1937-2021年) 曾是加州多個組織的志願者，也是一名旅行愛好者，曾多次穿越亞洲和歐洲。和她的父母一樣，她是亞洲藝術品的收藏家，繼承了父母的收藏，並將自己視為這些珍貴寶藏的守護者。 品相：隋唐發掘中普遍預期的修復和修補。缺損、裂縫和污漬。輕微的燒製缺陷，例如裂紋和釉面開片。 重量：3,442 克 (不含底座) 尺寸：長 17.8 厘米 木製底座。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年3月19日，lot 113 價格：USD 21,250（相當於今日EUR 24,000） 描述：唐代三彩陶牛 專家評論：比較非常相近站姿和尺寸 (20.3 厘米)。請注意此陶牛為三彩。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2020年7月9日，lot 2865 價格：HKD 250,000（相當於今日EUR 31,500） 描述：東魏彩繪灰陶牛 專家評論：比較非常相近的站姿和轡頭。請注意此陶牛為露胎，以及年代為較早的東魏時期 (534-550)。

A GILT COPPER ALLOY AND CLOISONNE ENAMEL 'LOTUS' BOWL, QING DYNASTYChina, 1780-1860. The deep rounded sides supported on a short and slightly tapered food, the rims gilt, the exterior finely decorated in bright enamels with stylized lotus flowerheads and scrolling vines against a turquoise ground, a band of pendent ruyi heads below the rim, the foot with a band of foliate scroll against a blue ground below a blue lappet border.Provenance: The Mobile Museum of Art, Alabama, USA, sold to benefit their Collections, Care and Acquisitions Fund. British trade, acquired from the above. Since its founding in 1963 as a public-private entity then known as the Mobile Art Gallery, the museum has a collection of over 6,400 artworks comprised of painting, sculpture, and decorative arts. The Asian Collection contains selections of works ranging from ancient Chinese bronzes and ceramics to early 20th-century works and includes the David and Inger Duberman Collection of Chinese Cloisonne from the 16th to the 19th centuries. Condition: Very good condition with some wear, particularly to gilt, and expected manufacturing flaws, such as pitting. Minor nicks, losses, crackling and light scratches.Weight: 660 g Dimensions: Diameter 17.3 cmAuction result comparison:Type: RelatedAuction: Christie's London, 5 November 2013, lot 278Price: GBP 6,250 or approx. EUR 9,500 converted and adjusted for inflation at the time of writingDescription: A cloisonne enamel bowl, 18th centuryExpert remark: Compare the related form and motif. Note the smaller size (12.1 cm).清代掐絲琺瑯纏枝蓮紋碗中國，1780-1860年。碗收腹，圈足。內壁施藍色琺瑯釉為地；外壁口沿下一周如意紋帶，腹部四朵纏枝蓮紋，佈局規矩對稱，紋飾絢美富麗。 來源：美國阿拉巴馬州莫比爾市美術館義賣；英國古玩交易，購於上述美術館。自 1963 年作為公私合營實體成立以來，該美術館被稱為莫比爾美術館，收藏了 6,400 多件藝術品，包括繪畫、雕塑和裝飾藝術，亞洲藏品包含從中國古代青銅器和陶瓷到二十世紀初的精選作品，其中包括十六世紀至十九世紀David 與 Inger Duberman的中國景泰藍藏品。 品相：狀況非常好，有一些磨損，尤其是鎏金，以及製造缺陷，例如點蝕、輕微劃痕、缺損和開片。 重量：660 克 尺寸：直徑 17.3 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年11月5日，lot 278 價格：GBP 6,250（相當於今日EUR 9,500） 描述：十八世紀掐絲琺瑯碗 專家評論：比較相近的外型和主題。請注意尺寸較小(12.1厘米)。

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

AN ANDESITE HEAD OF BUDDHA, 9TH Р10TH CENTURYIndonesia, Central Java. Finely carved with bow-shaped mouth and downcast eyes centered by a raised urna, flanked by pendulous earlobes, the hair in snail-shell curls over the conical ushnisha.Provenance: Hopareboden Antikviteter, Stockholm, Sweden, 14 June 1965. From the private collection of Mr. Lampa, Sweden, acquired from the above, and thence by descent to the last owner. A copy of the original invoice from Hopareboden Antikviteter, signed by the owner Eva Rudensch̦ld, dated 14 June 1965, accompanies this lot. Countess Eva Gabriella Rudensch̦ld (1915-2005) was a Swedish noblewoman and a well-regarded collector and antiques dealer in Stockholm. Condition: Overall commensurate with age, showing old wear from handling and worship, sings of weathering and erosion, few chips and losses. The wood base with minuscule nicks.Weight: 6.2 kg (incl. base) Dimensions: Height 24.7 cm (excl. base) and 35 cm (incl. base)With a wood base dating to the 1960s. (2)The facial features of this finely carved andesite head share physiognomic elements inspired by the preceding Gupta artistic tradition of Northern India, such as the well-defined nose and snail-shell curls covering both the head and ushnisha. This remarkable head also closely resembles the manifold transcendental Buddhas that adorn the Buddhist monument of Borobudur in Central Java, erected under the Sailendra Dynasty in the early years of the 9th century. The porous texture of the volcanic stone expertly fashioned into serene expressions manifest a sense of sincerity and bliss characteristic of classical Javanese sculpture. The great stupa of Borobudur is a three-dimensional mandala that maps the cosmic universe in five ascending terraces. The large-scale Buddhas at its pinnacle represent the highest levels of transcendental wisdom.Literature comparison:For a related example, see P. Pal, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, 1997, p. 104, cat. no. 126.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 September 2020, lot 715Price: USD 32,500 or approx. EUR 35,200 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th Р10th centuryExpert remark: Compare the closely related curls, urna, and expression. Note the significantly larger size of 40.6 cm.

A MARBLE FIGURE OF BUDDHA, TANG DYNASTYChina, 618-907. Buddha is shown seated in padmasana on an oval base, dressed in heavy robes with cascading folds tied at the waist, the face with a serene expression, downcast eyes below gently arched eyebrows, and the smooth hair surmounted by an ushnisha, flanked by two elongated earlobes. Fine ancient polish with an unctuous feel overall.Provenance: From the collection of Michael Phillips, Los Angeles, California, USA. An old collector's label to the base. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, few nicks and shallow surface scratches, some losses, and minor cracks. Magnificent natural patina of ivory color overall.Weight: 1,357 g Dimensions: Height 17.2 cmLiterature comparison:Compare a related marble figure of buddha, dated to the Tang dynasty, in the collection of the Metropolitan Museum of Art, accession number 28.114.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.唐代漢白玉佛像中國，618-907年。佛像坐在橢圓形底座上，頭上有螺髻，身著僧袍，褶皺紋理流暢，面部表情慈祥安寧，眼睛微閉，眉毛微拱，長耳垂。漢白玉整體瑩潤光滑。 來源：美國洛杉磯Michael Phillips 私人收藏，底座有藏家收藏標籤。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好。大面積磨損、風化和侵蝕跡象、土壤結殼、少量刻痕和表面淺劃痕、一些缺損、輕微裂縫。整體呈現象牙色的自然光澤。 重量：1,357 克 尺寸：高17.2 厘米 文獻比較： 比較一件相近的唐代漢白玉佛像，收藏於大都會藝術博物館，編號28.114。

'DEER AND PINE', 17TH-18TH CENTURY OR EARLIERChina. Ink and watercolor on silk. Depicting two deer, one resting below a rose bush, the other raising his head towards two birds perched on a gnarly branch. The background with a waterfall and crashing waves. Mounted to a blue brocade frame with wan symbols.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: The painting is in good original condition, commensurate with age, and still presenting well. Minor wear, few creases, small tears and losses, some abrasions, staining and browning, but no restorations or touch-ups whatsoever. The colors are still quite fresh. The brocade mount with losses and tears.Dimensions: Image size 177.5 x 100.5 cm, Size incl. mounting 224.3 x 117 cmIn Chinese culture, the deer symbolized longevity, but can also have wealth and prosperity connotations to it. The Chinese word for deer is also a homonym for lu, which means good income. The animal is generally associated with Shoulao, the god of longevity.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.十七至十八世紀或更早《松下雙鹿圖》中國，絹本水墨設色。描繪了兩隻鹿，一隻在玫瑰叢下休息，另一隻抬起頭，望著兩隻棲息在松樹上的錦鷄。樹後岩石之間有瀑布。萬字紋藍色織錦裝裱。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。 1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。 這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：畫作保存完好，輕微磨損、少量摺痕與撕裂、一些擦傷、缺損、染色和褐變，但沒有任何修復或修飾。顏色仍然相當鮮豔。錦緞裝裱有缺損和撕裂。 尺寸：畫面177.5 x 100.5 厘米，總224.3 x 117 厘米

A WHITE JADE 'BUTTERFLY' PLAQUE, LATE QING TO REPUBLICChina, 1850-1949. Of circular form, carved in openwork as two confronting butterflies, the body and wings finely incised. The larger butterfly decorated with two movable quatrefoil crosses at the wings. The translucent stone of an even white tone. Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades, one of their first works of Asian art being a painting of Guan Yu, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus. Condition: Very good condition with little wear, the circular cut-outs with minor nibbling, few minuscule nicks here and there.Weight: 35.8 g Dimensions: Diameter 5.9 cm清末民初白玉蝴蝶如意佩中國，1850-1949年。圓形，鏤空雕刻成兩隻面對面的蝴蝶，身體和翅膀雕刻精美。較大的蝴蝶在翅膀上左右飾有兩個可移動如意紋。白色半透明玉料。 來源：Dr. Ferdinand 與Dr. Gudrun Thaler-Szulyovsky收藏，保存在同一家族至今。這對一直從事法律工作的夫婦於 1967 年因對藝術的共同熱情而相識。 幾十年來，他們一起建立了一個種類豐富的收藏。他們的第一批亞洲藝術古玩中有一幅《關羽肖像畫》，這是著名的施蒂里亞釀酒商 Sigurd Reininghaus 作爲法律服務給與的報酬。 品相：品相極好，幾乎沒有磨損，帶有輕微磕損，一些微小的刻痕。 重量：35.8 克 尺寸：直徑5.9 厘米

A BLUE AND WHITE 'EIGHT IMMORTALS' SNUFF BOTTLE, QING DYNASTYChina, 1644-1912. Of cylindrical form with straight cylindrical neck, finely painted in underglaze blue with the eight immortals floating above crashing waves, holding their attributes. The shoulder with swirling clouds, the neck decorated with a band of ruyi.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Two collector's labels with inventory numbers '51' and '133' to the base. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Very good condition with minor old wear and some firing irregularities, the foot with a minor touchup.Stopper: Glazed ceramic stopper in imitation of coral (minuscule chip, remnants of adhesive)Weight: 26.8 g Dimensions: Height including stopper 75 mm. Diameter neck 10 mm and mouth 7 mmAuction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 31 May 2015, lot 145Price: HKD 37,500 or approx. EUR 5,200 converted and adjusted for inflation at the time of writingDescription: A blue and white porcelain 'eight immortals' snuff bottle, Qing dynasty, Jiaqing/Daoguang period清代青花“八仙過海”鼻烟壺中國，1644-1912年。圓柱體壺身，直頸，溜肩。頸部如意紋，壺身青花描繪八仙過海場景。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。底部兩個收藏標簽“51”和“133”。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相極好，有輕微磨損和一些燒製瑕疵，足部有輕微的修飾。 壺蓋：仿珊瑚瓷蓋 重量：26.8 克 尺寸：高 （含蓋）75 毫米，頸部直徑10 毫米及壺口直徑7 毫米拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2015年5月31日，lot 145 價格：HKD 37,500（相當於今日EUR 5,200） 描述：清代嘉慶道光青花八仙過海鼻烟壺

AN INSCRIBED RUBY-RED GLASS SNUFF BOTTLE, 1750-1850Published: Robert Kleiner, 'The Tuyet Nguyet Collection of Snuff Bottles and Saucers', Arts of Asia, November-December 1998, pp. 53, no. 21.China. Of flattened rectangular form with rounded edges, the long sides each with a raised oval panel neatly incised with a poetic inscription, the short sides each with a raised oblong panel.Expert's note: Many monochrome glass snuff bottles were incised with poems and inscriptions, adding to their attraction for the literati class during the Qing dynasty. This is a good example, the raised panels providing an ideal platform for the incision work, which is of spectacular quality and shows fine gilding as well.Inscriptions: With a poem by Li Yifu, Tang Dynasty “She (the goddess of the Luo river) takes the moon as her fan and the clouds as her dress. She dances and looks at her image mirrored by the river.”Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Excellent condition with minor wear, few light surface scratches.Stopper: Glass in imitation of jadeiteWeight: 31.0 g Dimensions: Height including stopper 64 mm. Diameter neck 15 mm and mouth 8 mmAuction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2007, lot 689Price: USD 21,250 or approx. EUR 25,900 converted and adjusted for inflation at the time of writingDescription: A Very Rare Ruyi Guan Inscribed Ruby-Red Glass Snuff BottleExpert remark: Compare the closely related color and calligraphy. Note the different form.1750-1850年寶石紅料詩文鼻烟壺中國。扁平長方形，溜肩，邊緣圓潤，兩面開光雕刻詩文。 出版：Robert Kleiner，〈The Tuyet Nguyet Collection of Snuff Bottles and Saucers〉，《Arts of Asia》，1998年11-12月，第53頁，編號21。 專家注釋：許多單色玻璃鼻烟壺上刻有詩句和款識，這就是清代一個很好的例子。 款識：鏤月成歌扇，裁雲作舞衣。自憐回雪影，孤到（應是“好取“）洛川歸。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相優良，小磨損，表面輕微劃痕。壺蓋：仿翡翠玻璃料 重量：31.0 克 尺寸：高 （含蓋）64 毫米；頸部直徑15 毫米 及瓶口直徑8 毫米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年9月19日，lot 689 價格：USD 21,250（相當於今日EUR 25,900） 描述：如意館造寶石紅料詩文鼻烟壺 專家評論：比較非常相近的顏色和書法。請注意外型不同。

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

AN ETCHED AND ENAMELED GLASS 'WINTER LANDSCAPE' SNUFF BOTTLE, BY DAUM NANCY, EARLY 20TH CENTURYOpinion: The present lot, with its classic round form and short everted neck, is without a doubt a snuff bottle, as opposed to the more common perfume bottles which are always larger in size, typically varying between 12 and 18 cm. This means that the present lot was specifically designed as an export article for the Chinese market and thus must be considered extremely rare.France, circa 1910. Of flattened globular form, superbly painted in bright enamels to depict a winter landscape with bare trees and bushes against a reddish-orange ground suggestive of the evening sky. The swirled opaque glass with orange and yellow streaks, edged, cut, and finely polished. The base with an enameled mark Daum Nancy with the cross of Lorraine.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. The base inscribed 'Daum & Nancy'. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Very good condition with minor old wear and possibly very light retouching to the mouth rim.Stopper: Pearl stopper with silver mountingWeight: 23.4 g Dimensions: Height 52 mm. Diameter neck 11 mm and mouth 6 mmDaum was created in 1892 by Auguste Daum (1853-1909) and Antonin Daum (1864-1930) in the French town Nancy. They developed the Art Nouveau style for which they received the 'Grand Prix' medal at the world exhibition in 1900. Daum glass works are known for their motifs of scenery and nature with mostly plants or flowers. Daum formed the Ecole de Nancy (Nancy School) together with other glass and furniture factories operating in the French city of Nancy. Acid etching was often combined with carving, enameling, and engraving on a single piece of glass to produce creative glass masterpieces. Auction result comparison:Type: RelatedAuction: Christie's New York, 23 July 2010, lot 217Price: USD 20,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A French etched and enameled glass 'winter landscape' vase, signed in enamel 'Daum Nancy' and with cross of Lorraine, circa 1910Expert remark: Compare the closely related decoration, the color, and the signature. Note the size of the vase (8 cm). 二十世紀初DAUM NANCY派蝕刻琺琅彩冬景鼻烟壺法國，約1910年。扁平圓形，明亮的琺瑯，描繪了一幅秀麗的冬日夕陽圖，夕陽下掉光了樹葉的樹和灌木叢以及雪地。帶有橙色和黃色條紋的漩渦狀不透明玻璃，經過磨邊、切割和精細拋光。帶有洛林十字架的琺瑯標記和 Daum Nancy款的底座。 專家注釋：本拍品具有經典的圓形、短頸和弦唇，毫無疑問是一個鼻烟壺，而不是香水瓶，後者的尺寸總是更大，通常在 12 到 18 厘米之間變化。這意味著本拍品是專門為中國市場設計的外銷商品，極為罕見。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。底座上標注 'Daum & Nancy'。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相極好，有輕微的磨損，壺口有輕微修飾。 壺蓋：珍珠，鑲銀 重量：23.4 克 尺寸：高 52 毫米，頸部直徑11 毫米 及瓶口直徑6 毫米 Daum 於 1892 年由 Auguste Daum (1853-1909) 和 Antonin Daum (1864-1930) 在法國小鎮Nancy創建。他們創立了新藝術運動風格，並因此在 1900 年世界博覽會上獲得大獎。Daum 玻璃作品以其風景和自然的主題而聞名，主要是植物花卉。Daum 與在法國Nancy市運營的其他玻璃和家具工坊一起成立了 Ecole de Nancy（Nancy派）。酸蝕通常與在一塊玻璃上的雕刻和上釉相結合，以製作出富有創意的玻璃作品。

A LARGE SILVER REPOUSSE STATUE OF BUDDHACambodia, post-Angkor-period, c. 15th-17th century. Standing on a circular lotus base, holding his right hand in abhayamudra, the protection gesture, dressed in a long robe with finely incised folds, a shawl hanging over the left shoulder, the face with a benevolent expression, almond shaped eyes below gently arched eyebrows, flanked by elongated earlobes, surmounted by a flaming ushnisha.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Excellent condition, commensurate with age. Some wear, casting flaws, few nicks and dents, light surface scratches, and traces of old soldering. The interior with ancient filling material.Weight: 5.7 kg Dimensions: Height 64.8 cmLiterature comparison:Compare a related silver figure of a standing Buddha, also attributed to post-Angkor-period Cambodia, in the collection of the National Museum of Cambodia, inventory number Ga.1928. Compare a related silver figure of the seated Buddha, with related incision work to the base, dated to the 16th century, Cambodia, in the collection of the Metropolitan Museum of Art, accession number 85.11.1.

A SANDSTONE HEAD OF BUDDHA, AYUTTHAYA KINGDOMOpinion: The present lot is a sad and at the same time hopeful testimonial to the sheer endless number of Buddhist images that were destroyed during two millennia of turmoil, upheaval, revolution and outright war. Sad, because the tragedy of brutal and mortifying repression is apparent in this statue, hopeful because even the most savage physical harm was unable to diminish Buddha's eternally peaceful appearance.Thailand, 14th-16th century. The ovoid face sensitively carved with finely detailed facial features, the eyes with sinuous upper lids, the brows gracefully arched, the bow-shaped mouth with full lips and subtly incised mustache.Provenance: French trade. Condition: Extensive wear, signs of weathering and erosion, some losses, nicks, scratches, encrustations. The hair and top of the head have been cut off, evidently to mortify Buddha's image and diminish its function to merely a supportive structure.Weight: 7,559 g (excl. stand) and 9,544 g (incl. stand)Dimensions: Height 21 cm (excl. stand) and 39.5 cm (incl. stand)Literature comparison: Compare a similar incomplete head in H. Woodward, The Sacred Sculpture of Thailand, 1997, p. 179 and 198, cat. no. 68, fig. 179. Compare a related sandstone head of Buddha in the collection of the Asian Art Museum in San Francisco, object number F2002.8.9.Auction result comparison: Type: Related Auction: Christie's New York, 23 September 2004, lot 71 Price: USD 15,535 or approx. EUR 23,000 converted and adjusted for inflation at the time of writing Description: A large sandstone head of Buddha, Thailand, 16th centuryExpert remark: Note the better state of preservation and larger size (41.8 cm), however the present head would be of similar size in its original state.

A LARGE SILVER REPOUSSE FIGURE OF UMA, CHAM PERIODVietnam, former kingdoms of Champa, 13th-16th century. Standing in samabhanga atop a double lotus base with beaded edges, holding in her hands a jewel and a small vessel, wearing a finely incised pleated sampot with pendent ornaments repeated on the necklace above her voluptuous breasts, the wide face with almond-shaped eyes, the pupils inlaid with amethyst, flanked by elongated earlobes, the hair secured by a tiara centered by an inlaid garnet.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Very good condition with some old wear, small dents, possibly a minor loss to the attribute held in the right hand, the silver tarnished in some small areas, few minuscule nicks here and there, occasional light scratches, encrustations. Weight: 1,090 gDimensions: Height 47 cm

A 'TAOTIE' INCENSE STAND, XIANGJI, QING DYNASTYChina, 1644-1912. Of roughly oval, foliate-lobed form, the top carved to the sides with key-fret and inset with a conforming panel above the recessed waist carved with reticulated kui scroll panels, supported on an intricately carved apron decorated with taotie masks, pierced designs, and cloud scroll, the six elaborate cabriole legs carved with further archaistic scroll motifs, raised on a stretcher carved with key-fret to the sides.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Good condition with old wear, expected age cracks, small losses, minor chips, light scratches. There is a remote possibility that the apron and cabriole legs are of a significantly earlier date than the top, waist, and stretcher which date from the mid to late Qing dynasty. Fine, naturally grown patina overall.Dimensions: Height 69 cm, Width 60 cm (the tabletop)Incense stands, both in lacquer and hardwood, are seen in a variety of forms, including round, square, foliate, hexagonal and octagonal and are constructed with between three and six legs. Round lacquer incense stands appear to be the most commonly published examples and are depicted in woodblock prints from the Ming dynasty. The Palace Museum, Beijing has four examples ranging in date from the Xuande period (1426-1435) to the early Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties, 2002, nos. 162, 165, 166, and 169.Expert's note: The timber from which this incense stand was made is rosewood (Dalbergia). It has a lovely grain and fine patina. While some houses refer to this type of wood as huanghuali, in our opinion and due to some subtle differences, it may also be accurate to refer to it as hongmu. The stand has been created by a highly skilled craftsman and the quality of the carving is excellent, most remarkably around the apron and cabriole legs.Expert's note (continued): Since the printing of this catalogue, we have been informed that this lot was originally acquired by Anunt Hengtrakul in New York, USA, c. 1985. Furthermore, it was at the time inspected by the famous Manhattan-based Chinese art dealer Robert H. Ellsworth and his restorer, Paul Chow, and both confirmed that while the apron and feet of this Xiangji are carved from Zitan, the top, waist and stretcher are made from Hongmu. Ellsworth specifically mentioned that while this seems to be a rare combination, he had seen other examples before. One such table for example is found in the Soame Jenyns Collection of Japanese and Chinese Art, sold at Christies London, 6 November 2018, lot 43, for GBP 32,500, or EUR 44,500 (converted and adjusted for inflation). A Xiangji with the same combination was sold by Sotheby's on 7 November 2018, lot 130, for GBP 32,500 or EUR 44,500 as well.Literature comparison:Compare a related xiangji, also supported on six legs, in the Palace Museum, Beijing, illustrated in Wang Shixiang, Classic Chinese Furniture, London, 1986, pl. 76.Auction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 192 Price: GBP 18,750 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A huanghuali five-legged incense stand, xiangji, 18th century Expert remark: Compare the related openwork decoration to the apron. Note the smaller size (51.2 cm high)13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.清代饕餮紋香几中國，1644-1912年。六足香几，高束腰，造型優美典雅、線條高挑流暢，頂部刻有雷紋，並在束腰部上方嵌有一個面板，雕刻有網狀夔龍紋，牙條飾有饕餮面具，鏤空雕刻，捲雲紋，六條三彎腿上雕刻著卷葉紋，圓形托泥帶龜腳。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況良好，老化裂紋、小缺損、輕微碎屑、輕微劃痕。牙條和腿的年代可能早於其他部位。整體包漿細膩。 尺寸：高69 厘米，寬 60 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, DING, EARLY WESTERN ZHOU DYNASTYChina, 11th-10th century BC. The deep, rounded body is massively cast and raised on three columnar supports, the exterior with a flat-cast band of three taotie masks in relief below the rim from which two sturdy U-shaped loop handles rise. The interior with a crisp two character pictogram in oracle bone script below the rim.Inscriptions: To interior below the rim, 'hao' (good).Provenance: Nellie Clay Foster, acquired in China during the 1930s, and thence by descent in the family. Nellie 'Nelchen' K. A. Foster (nee Armstrong, d. 1950) was a socialite and amateur poet in Louisville, Kentucky, USA. She married the noted naturalist and yachtsman Henry Clay Foster (d. 1950). Nellie and Henry both traveled across Asia in the 1930s. According to information provided by the family, they got acquainted with a curator or consultant of the Metropolitan Museum in New York during one of their journeys through China. On one occasion this curator - possibly Gijs Bosch-Reitz (1860-1938) - had discovered five ancient bronzes for sale, of which he could only afford the purchase of three. As the story goes, the owner insisted on selling all five bronzes at once, and so Nellie was invited to pick two pieces. Her first choice was the present ding vessel, which she kept in her New Jersey home until her death.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, nicks and cracks, all pretty much as expected from ancient bronzes. Beautiful, naturally grown patina with extensive malachite encrustation. X-Ray and CT: The images clearly document the outstanding overall condition of this lot. The crisply cast relief is remarkably well-preserved (see x-ray image 4). Note the three distinct areas of minor erosion at the inside bottom of the vessel (CT image 25). Further note the characteristic remnants of soil inside the legs (CT images 21 and 22).Weight: 3,022 gDimensions: Diameter 20 cm, height 23.6 cmLiterature comparison: Compare a closely related bronze ding decorated with a similar taotie band, dated to the Western Zhou dynasty, 11th century BC, 23.1 cm wide, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.328. Compare a closely related bronze ding decorated with a similar taotie band, dated to the Western Zhou dynasty, 11th-10th century BC, 17.5 cm wide, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number FSC-B-603.Auction result comparison: Type: Closely related Auction: Christie's, 15 December 2010, lot 273 Price: EUR 46,600 or approx. EUR 59,000 converted and adjusted for inflation at the time of writing Description: A bronze tripod food vessel, ding, China, Western Zhou dynasty Expert remark: Compare the closely related form and taotie band. Note the smaller height (19.5 cm).Auction result comparison: Type: Closely related Auction: Christie's, 19 September 2014, lot 986 Price: USD 87,500 or approx. EUR 106,000 converted and adjusted for inflation at the time of writing Description: A large bronze ritual tripod food vessel, ding, late Shang-Western Zhou dynasty, 11th century BC Expert remark: Compare the closely related form, taotie band, and inscription to interior below the rim. Note the larger height (30.2 cm).西周初期饕餮紋青銅鼎中國，公元前十一至十一世紀。鼎體渾圓且深，向上收口，兩側對稱設耳，鼎體上部有扁平浮雕饕餮紋。 款識：鼎内邊緣下可見“好” 來源：上世紀三十年代Nellie Clay Foster購於中國，保存在同一家族。Nellie 'Nelchen' K. A. Foster (nee Armstrong， 1950年逝世) 是美國肯塔基州路易斯維爾的社交名流和詩人。她嫁給了著名的博物學家和帆船運動員Henry Clay Foster (1950 年逝世）。 Nellie 和 Henry 都在 1930 年代遊歷了亞洲。據家人提供的信息，他們在一次中國之旅中結識了紐約大都會博物館的一位策展人或顧問。 品相：狀況極佳，大面積磨損、風化和侵蝕的跡象、輕微的缺損、刻痕和裂縫。美麗、自然生長的皮殼，帶有大量綠色鏽斑。清晰的浮雕保存得非常好，可在 X 射線圖像（可根據要求提供）上也見到，清楚地記錄了該拍品出色的整體狀況。 重量：3,022 克 尺寸：直徑 20厘米，高23.6 厘米 文獻比較： 比較一件非常相近的公元前十一世紀西周饕餮紋青銅鼎(寬23.1 厘米)，收藏於亞瑟·M·賽克勒美術館，史密森尼學會，編號S1987.328。比較一件非常相近的公元前十至十一世紀西周饕餮紋青銅鼎(17.5 厘米寬)，收藏於亞瑟·M·賽克勒美術館Freer Gallery of Art，史密森尼學會，編號FSC-B-603。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND IMPORTANT 'LEOPARD QUEEN' CHLORITE JAR, WESTERN ASIA, 3RD MILLENNIUM BCThe massive and heavy vessel is supported on a domed base with tapering sides rising to a lipped rim finely incised with diapered lozenges, boldly carved in relief with two standing female figures, each holding two leopards by their tails, each flanked by two confronting scorpions below the protruding handles, the leopards with many circular recesses to take inlays.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d'incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the high age of this piece. Scratches, cracks, nicks, losses, minor fills, encrustations, the inlays are all lost. Remnants of old varnish. Significant wear, traces of aging, weathering overall.French Export License: Certificat d'exportation pour un bien culturel Nr. 184682, dated 9 June 2017, has been granted and a copy is accompanying this lot. Dimensions: Height 20 cm, Diameter 40 cmLiterature comparison:A related chlorite vessel with two zebu, of smaller size, dated 2600-2350 BC and attributed to Al-Rafiah, on the east coast of the island of Tarut, is in the collection of the Metropolitan Museum of Art, accession number 2014.717.Auction result comparison:Type: Related Auction: Christie's London, 15 May 2002, lot 265 Price: GBP 19,975 or approx. EUR 23,750 converted and adjusted for inflation at the time of writing Description: A Western Asiatic chlorite jar, circa 2500 B.C.Expert remark: Note the much smaller height (10.8 cm)Auction result comparison: Type: Closely related Auction: Galerie Zacke, 6 March 2021, lot 694 Price: EUR 53,720 or approx. EUR 58,500 adjusted for inflation at the time of writing Description: A large and heavy Western Asiatic chlorite 'scorpion' vessel, 3rd millennium BCExpert remark: Compare the related form as well as the closely related decoration with similar female figures, though holding scorpions (instead of leopards as on the present lot). The relief and inlay are closely related as well. Note the height (22.5 cm).

A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BCOpinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。器體呈梯形，長方形內直，肩部平直，兩側有對稱的長方形孔，弧刃，兩側略外張，器身中部有較大的圓孔，肩下及兩側各飾夔紋，柄上有饕餮紋。由於字數限制，完整中文敘述請至www.zacke.at查看。

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