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A RARE PALE CELADON JADE 'SANYANG AND TAIJITU' GROUP, 18TH CENTURYChina. Carved as three recumbent rams, the larger animal with its head turned to the right, two smaller rams nestled at its side, each with wisps of vapor billowing from the mouths, with fine hair markings on the edge of the tails. The larger ram with a taijitu symbol emerging from its vapor. The translucent stone of an even pale celadon tone.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Condition: Excellent condition with minor wear, a fine natural fissure to the larger ram's head, and possibly microscopic nicks here and there. The stone with an attractive soft polish.Weight: 353.5 g Dimensions: Length 10.2 cmThe ram is a symbol of filial piety, kindness, and patience. The three rams, san yang, are also an auspicious motif, related both to the sun and to male children, as they provide a rebus for san yang kai tai, the opening up of the new growth in spring, which in turn symbolizes happiness and good fortune. Furthermore, the motif of three goats with the taijitu symbol suggests the auspicious beginning of a new year, based on a quotation from the I Ching (Yijing or Book of Changes).A taijitu is a symbol or diagram in Chinese philosophy representing Taiji, the "utmost extreme", in both its monist (wuji) and its dualist (yin and yang) aspects. Such a diagram was first introduced by Song dynasty philosopher Zhou Dunyi (1017-1073) in his Taijitu shuo. The modern Taoist canon, compiled during the Ming era, has at least half a dozen variants of such taijitu. The two most similar are the "Taiji Primal Heaven" (tàijí xiāntiān tú) and the "wuji" (wújí tú) diagrams, both of which have been extensively studied during the Qing period for their possible connection with Zhou Dunyi's taijitu.Literature comparison:Compare with three jade groups of the three rams in the Palace Museum, Beijing, one illustrated in Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pl. 88 (fig. 1). Compare two groups illustrated in Zhongguo Yuqi Quanji, vol. 6, pls. 269 and 307. Compare also one jade group of rams in the Tianjin Municipal Museum, illustrated in Cang Yu, Hong Kong, 1993, pl. 216.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1462Price: USD 80,500 or approx. EUR 101,500 converted and adjusted for inflation at the time of writingDescription: A finely carved pale greenish-white jade ram group, sanyang, 18th centuryExpert remark: Compare the closely related pose, the vapor, as well as the color of the jade, and the size (7.7 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 12 September 2018, lot 330Price: USD 55,000 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A white jade 'san yang' group, Qing dynasty, 18th centuryExpert remark: Compare the closely related pose, the vapor, the yin-yang symbol on the back, as well as the color of the jade, and the size (11.7 cm).十八世紀罕見青白玉三羊開泰擺件中國。青白玉圓雕三羊，趴伏於地，昂首擺尾，神態溫順。大羊口中叼著一株靈芝。玉質堅實，光澤柔美，刀法細膩，打磨精緻圓潤。 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：狀況良好，輕微磨損，公羊頭部有細密的天然裂縫，有微小的刻痕。 重量：353.5 克 尺寸：長10.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A YELLOW-GROUND BLUE AND WHITE 'GARDENIA' DISH, KANGXI PERIODChina, 1661-1722. Well potted with low rounded sides rising to slightly flaring rims, the dish finely painted in underglaze-blue with a central gardenia spray bearing two flowers and buds, the cavetto with evenly spaced sprays of nine grapes on a leafy vine, a beribboned Buddha's hand, a gnarled branch laden with two pomegranates and a persimmon branch with four fruits. The exterior is painted with eight rose blossoms on a continuous meander, all on a rich Imperial yellow ground within double-line borders. The recessed base with an apocryphal six-character mark Daqing Xuande nianzhi in underglaze blue and within a double circle.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. The base with an old paper label, inscribed in brown ink: 'Liddles No 2 collection'. 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 some wear and manufacturing flaws, fritting, and light surface scratches.Weight: 710 g Dimensions: Diameter 26.3 cmThis design found much popularity in the mid-Ming period and similar dishes were produced in varying sizes with either a pomegranate or a stylized flower, often identified as gardenia, in the interior. The design was first produced during the Xuande period, and continued through the Jiajing reign, peaking in popularity during the Hongzhi and Zhengde periods.Literature comparison:Compare a related yellow ground blue and white dish, dated to the Kangxi period, 1700-1722, in the collection of the Victoria and Albert Museum, accession number C.373-1921.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 24 March 2018, lot 1559Price: USD 20,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A yellow-ground 'double vajra' dish, Qing dynasty, Kangxi periodExpert remark: Compare the closely related colors, the double line borders and the apocryphal Xuande mark. Note the smaller size (20.6 cm).康熙黃地青花梔子花果紋盤中國，1661-1722年。黃彩青花，侈口窄唇，淺斜壁，圓腹，矮圈足。盤內底繪折枝青花花卉，外圈以雙圈藍色弦紋，內壁畫有葡萄、石榴、櫻桃等花果，外壁繪轉枝梔子花七朵，四片葉如花開，與梔子花相隔。造型勻稱精美，形態端莊穩重。圈足内白釉，底中心青花雙圈内書“大明宣德年製”六字雙行楷款。 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，有一些磨損和製造缺陷和輕微的表面劃痕。 重量：710 克 尺寸：直徑26.3 厘米 此類紋飾在明代中期很受歡迎，類似的盤子有不同大小的，內部有石榴或折枝花卉，統稱爲梔子花紋。梔子花紋飾始見於宣德一朝，中有間斷，成化年間復燒，弘治、正德年間，梔子花紋盛極一時。 文獻比較： 比較一件相近的康熙時期1700年至1722年黃地青花紋盤，收藏於維多利亞與亞伯特博物館，編號 C.373-1921。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2018年3月24日，lot 1559 價格：USD 20,000（相當於今日EUR 22,500） 描述：清代康熙黃地雙金剛杵紋盤 專家評論：比較非常相近的顏色，雙圈開光，以及底部雙層偽款。請注意尺寸較小 (20.6 厘米)。

AN IMPORTANT AND RARE BLACK AND TURQUOISE 'CAT' PORCELAIN NIGHTLIGHT, KANGXIChina, 1661-1722. The crouched feline with the tail curled against its haunches, the fur with vivid tiger-like striping, the face neatly detailed with pierced alert eyes and pricked ears, the top of its back with a circular aperture, the interior hollow. The remarkably thin biscuit is superbly modeled overall.Provenance: Charlotte Horstmann & Gerald Godfrey, Ltd., Hong Kong, 7 April 2003. A private collector, acquired from the above, and thence by descent. The interior with three inventory labels. A copy of the previous owner's personal notes, detailing the purchase of the present lot, noting a date of 7 April 2003, and a purchase price of USD 26,000 or approx. EUR 39,600 (converted and adjusted for inflation at the time of writing), accompanies this lot. Charlotte Horstmann (1908-2003) was a legendary art dealer in Hong Kong, widely recognized as one of the three doyennes of the Asian art world, together with Helen Ling in Singapore and Connie Mangskau in Bangkok. She was born in Berlin to missionaries who moved with their daughter to Beijing shortly after her birth. In the 1920s and 1930s, she worked as an interpreter, meeting important art collectors and academics such as John D. Rockefeller Jr. and Lawrence Sickman. She became an antiques dealer in Beijing and in 1950 moved to Bangkok, taking her now-famous collection of Ming furniture with her. In 1955, she moved to Hong Kong and opened a small shop on Ice House Road. Over time, this shop became a destination for stars, politicians, business magnates, and high-ranking government officials from around the world. In 1981, she renamed the shop Charlotte Horstmann & Gerald Godfrey, Ltd., the younger, English-born Godfrey being a partner in the business since its move to Hong Kong in 1955. In 1987, they opened a subsidiary gallery in London, Mayfair.Condition: Excellent condition with only minor old wear, mostly originating from tender caressing over centuries, and minimal manufacturing flaws. The interior with traces of soot. Extremely rare in this magnificent state of preservation, especially when considering the fragility of this item.Weight: 332.5 gDimensions: Length 19.5 cmCat nightlights were made as early as the late Ming period. Two blue and white examples were found in the first Hatcher cargo (sold at Christie's Amsterdam, 14 March 1984, lots 279 and 280). The French Jesuit François Xavier d'Entrecolles (1664 in Lyon - 1741 in Beijing), Chinese name Yin Hongxu, was famously struck by the form on his Kangxi period visit to Jingdezhen, writing, “I have seen a cat painted after life, in the head of which a little lamp was put to illuminate the eyes, and was assured that in the night the rats were terrified by it.”Literature comparison:Compare two related cat nightlights in the collection of the Philadelphia Museum of Art, one with a turquoise glaze dated to the 18th century, accession number 1955-50-345, and the other decorated with famille verte enamels and dated to the Kangxi period, accession number 1955-50-346.Auction result comparison: Type: Related Auction: Christie's New York, 21 January 2009, lot 15 Price: USD 11,250 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A rare blue and white cat nightlight, Kangxi periodAuction result comparison: Type: Related Auction: Sotheby's New York, 24 January 2014, lot 31 Price: USD 8,750 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Chinese export aubergine and green-glazed biscuit 'cat' night light, circa 1800.康熙出口瓷貓夜燈中國，1661-1722年。貓形夜燈，尾巴蜷縮在一側，虎紋，雙眼警覺，耳朵豎起，背部的頂部有一個圓形的孔，內部是空洞的。非常薄的素胚，整體造型生動。 來源：香港Charlotte Horstmann & Gerald Godfrey 藝廊，2003年4月7日；私人收藏，購於上述藝廊，保存至今。燈内有三個標籤。隨附一份2003年4月7日出具的前任藏家個人注釋副本，買價USD $26,000 ，相當於現在的 EUR 39,600 。 品相：品相極好，只有輕微磨損，可能因爲幾個世紀以來一直小心愛護，缺陷極少。內部有煙灰的痕跡。 重量：332.5 克 尺寸：長 19.5 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A 'CHAEKGORI' EIGHT-PANEL SCREEN, JOSEON DYNASTY, WITH 'HIDDEN' ARTIST SEALKorea, 19th century. Ink and watercolors on paper. The eight vertical 'Scholars Accoutrements' paintings mounted as an eight-panel folding screen depicting an array of books, scrolls, and other items associated with a scholar's studio. With silk brocade mounting, hardwood frame, and metal fittings. The lower section of the first panel from the right, showing a variety of seals, is painted with a hidden artist signature in the form of a seal face. Provenance: From an old German private collection, acquired in Korea during the 1970s, and thence by descent within the same family. Condition: Good original condition with some old wear. Minor tears, creases, losses, little soiling, and fading along the edges. Overall displaying spectacularly well. Exceedingly hard to find in this near-pristine state of preservation.Weight: 12.6 kg Dimensions: Screen size 179 x 342 cm, Image size 139 x 328.6 cmThe Chinese-style books on screens of the present type are usually depicted closed, stacked in sets wrapped in slipcases. Joseon-dynasty scholars sat on thin cushions on the floor and worked at small, portable desks. Chaekgeori is a Confucian theme, directly related to the scholarly aspiration of the landed gentry, the scholar-officials of the Joseon-dynasty government. Yet, bookstack screens were popular in the homes of commoners, as well, symbolizing the Confucian ideals of education and self-improvement, and perhaps providing inspiration to the family's children. There is literary evidence that this subject became a status symbol after King Jeongjo (reigned 1776-1800) placed one behind his desk in the men's quarters of the palace.Expert's note: Functioning the same way as a signature in Western art, a seal impression on a chaekgeori screen is sometimes included to reveal the painter's identity. It is called a 'hidden' seal due to its discreet placement. Only about 12 works with such a 'hidden' seal are known today.Literature comparison: Compare with a closely related ten-panel folding screen, also signed with a hidden seal, in the collection of the Cleveland Museum of Art, accession number 2011.37. For a full discussion of Chaekgeori screens, see Kay E. Black and Edward W. Wagner, "Court style Ch'aekkori," in Hopes and Aspirations: Decorative Paintings of Korea, exhibition catalog (Asian Art Museum of San Francisco, 1998), 21-35, and also Black and Wagner, "Ch'aekkori Paintings: A Korean Jigsaw Puzzle," Archives of Asian Art 46 (1993), 63-75.Auction result comparison:Type: Remotely relatedAuction: Bonhams New York, 22 July 2020, lot 1183Price: USD 16,325 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: Chaekgeori (Scholar's accoutrements), Joseon dynasty (1392-1897), 19th centuryAuction result comparison: Type: Closely related Auction: Galerie Zacke Vienna, 6 March 2021, lot 659Price: EUR 17,696 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A 'chaekgori' six-panel screen, Joseon dynasty, with 'hidden' artist sealExpert remark: Compare the closely related manner of painting and motifs. Note that the lot only comprises a six-panel screen.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2011, lot 992Price: USD 458,500 or approx. EUR 564,500 converted and adjusted for inflation at the time of writingDescription: Scholar's Accouterments (chaekgori), second half 19th centuryExpert remark: Note that the lot comprises a ten-panel screen (139 x 29 cm each panel), and that the painting is executed in ink and color on silk instead of paper.朝鮮王朝八片靜物畫屏，隱藏的藝術家鈴印韓國，十九世紀，紙本設色。八片靜物畫屏安裝為一個八片折疊屏風，描繪了一系列文房用品如書籍、捲軸和其他物品。絲綢錦架，硬木框架和金屬配件。右起第一個畫屏的下部，展示了各種印章，以印章的形式隱藏的藝術家簽名。 來源：德國私人舊藏，上世紀七十年代購於韓國，保存在同一家族至今。 品相：品相良好，有些磨損。邊緣有輕微撕裂、摺痕、缺損、少量污漬和褪色。整體狀況極好。 重量：12.6 公斤 尺寸：畫屏179 x 342 厘米，畫面 139 x 328.6 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A GOLD REPOUSSE FIGURE OF BUDDHA SHAKYAMUNI, AYUTTHAYA KINGDOM, 1351-1767Thailand, 17th-18th century. Seated in dhyanasana atop a finely chased, double lotus base, the right hand lowered in bhumisparsa mudra, the left resting on his lap, dressed in monastic robes. The serene face with a benevolent smile, flanked by long earlobes, the hair in tight curls surmounted by a flaming ushnisha.Condition: Very good condition with old wear, expected soil encrustations, minor losses, dents and nicks. The core is still in place.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.Weight: 698.4 gDimensions: Height 18.5 cmWith a recent fitted silk storage box. (2)Expert's Note: This pristinely modeled Buddha was fashioned from a sheet of 24-carat gold, using the repousse embossing technique, neatly modeled above an ancient resin or bitumen core. The style combines characteristics of both Cambodian and Thai sculptural schools. Statues made of pure gold, dating back to this era, are generally considered as rare.Literature comparison:Compare a related Ayutthaya Lopburi-style gold repousse Buddha, dated before 1424, but of smaller size (10.6 cm high), in the collection of the Cleveland Museum of Art, accession number 1999.316. Compare a related Ayutthaya gold and silver repousse Buddha, dated 1300-1600, in the collection of the Asian Art Museum of San Francisco, object number 1989.44.

A SPECTACULAR PORTRAIT OF A SECOND-RANK CIVIL OFFICIAL, IMPERIAL SCHOOL, YONGZHENG, PRE-1730Expert's note: Before the Yongzheng Emperor's new regulations for hat finials in 1730, first-rank officials used a ruby bead and small white pearl, while second-rank officials wore a ruby bead and a small red gemstone. Afterwards, first-rank officials' finials were set with translucent red glass or ruby beads, while those of second-rank officials held coral beads or red glass in imitation of coral, with both using small white pearls. The hat finial of the present official is clearly set with a ruby and not a coral bead, which is evidenced by the paler color of his coral necklace, as well as a smaller red stone. Therefore, this portrait must have been painted before the 1730 regulations were put in place. For more information on Qing-dynasty hat finial regulations before and after 1730, see Gary Dickinson & Linda Wrigglesworth, Imperial Wardrobe, London, 1990, page 106.China, before 1730. Ink, gilt, and watercolors on silk, with a silk brocade frame and laid down on paper. The elderly aristocrat wearing a red official hat (chao guan) with a gold finial holding a large ruby and a smaller red gemstone. Note the exceptional quality of the painting and remarkable attention to detail - as found for example on the silk rug with its distinct forbidden stitch, the gilt-outlined swirling clouds on the rank badge, and the robe hems, which all appear strikingly lifelike.Provenance: Chicago trade, USA, sold for the benefit of a noted cultural nonprofit organization. European trade, acquired from the above.Condition: Very good condition with only minor wear, some soiling, little creasing, small losses, few minor touchups. Dimensions: Image size 155.6 x 77 cm, Size incl. mounting 175 x 80.8 cmSeated on a fine wooden yokeback chair with a tiger skin seat cover, wearing a midnight blue surcoat (pu fu) over a blue silk formal court robe (chao fu), the collar of the surcoat and hems of the robe decorated with sinuous dragons amid colorful clouds, matching the golden pheasant rank badge, his left hand holding a white pearl from his coral court necklace between two fingers, the realistically treated face marked by heavy-lidded eyes, deep wrinkles, and a gray mustache and beard. Note the texture of the soft fur of the tiger's pelt and coat edges, as well as the rough quality of the embroidered cloud-scroll bands of the coat cuffs.At the beginning of the Qing dynasty, the chao guan was worn on semi-formal occasions without its usual ornate spike. The Yongzheng Emperor appears to have felt that this was unsatisfactory. Easily identified hat finials were introduced in 1727 by the Yongzheng Emperor and were worn on all official and public occasions. The new insignia was a large round bead of material of the appropriate color, along with a smaller pearl or stone of the same color as the bead, mounted on a gilt base. The highest-ranking officials wore plain opaque red beads, while the lowest wore silver. In 1730, regulations were introduced to allow the use of colored glass instead of precious stones.Literature comparison: Compare a related portrait of Lirongbao, the father-in-law of Emperor Qianlong, painted posthumously during the 18th or 19th century and now in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institute, accession number S1991.130, illustrated in J. Stuart and E. S. Rawski, Worshiping the Ancestors: Chinese Commemorative Portraits, Washington, D.C., 2001, p. 161, fig. 6.8. Note the ruby bead and small white pearl on the finial, indicating that this painting was made after 1730.Auction result comparison: Type: Closely related Auction: 17 September 2010, lot 1060 Price: USD 74,500 or approx. EUR 98,000 converted and adjusted for inflation at the time of writing Description: Anonymous (18th/19th century), Portrait of a Civil Official Expert remark: Note that the coral bead and white pearl of the hat finial worn by this official were only used after the 1730 regulations (see Expert's note), which clearly indicates this portrait was painted after 1730 and thus after the present lot, although both works share the same level of artistic skill. Note the size (156.2 x 76.2 cm).雍正時期二品官員肖像畫中國，1730年前。絹本設色描金。br />專家注釋：1730年雍正皇帝頒布帽飾新規之前，一品官佩戴紅寶石珠和小白珠，二品官佩戴紅寶石珠和小紅寶石。之後，一品官的頭飾上鑲有半透明的紅玻璃或紅寶石珠，二品官員則戴珊瑚珠或仿珊瑚的紅玻璃，均用白色的小珍珠。拍品上的官員的朝冠上顯然鑲有紅寶石，而不是珊瑚珠，這從他的珊瑚項鍊的顏色較淡，以及一顆較小的紅色石頭就可以看出這一點。 因此，這幅肖像一定是在 1730 年的法規實施之前繪製的。有關 1730 年前後清朝帽飾規定的更多信息，參見 Gary Dickinson 和 Linda Wrigglesworth，Imperial Wardrobe，倫敦，1990年，頁106。 來源：美國芝加哥古玩交易，為資助一個知名的非盈利文化組織；歐洲古玩交易。 品相：狀況極好，只有輕微磨損、一些污漬、少量摺痕、缺損和修補。 尺寸：畫面155.6 x 77 厘米，總175 x 80.8 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled, the face framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing mustache below a straight nose, and a full beard set around full lips, the eyebrows and pupils with cold paint.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. Condition: Very good condition, fully consistent with the age of the sculpture. Some firing flaws, dents and losses to exposed areas, the nose tip with a small old repair. Remnants of a varnish coating which was applied a long time ago. Some ancient pigment is well preserved, especially to the eyebrowsFrench Export License: Certificat d'exportation pour un bien culturel Nr. 185423 dated 3 July 2017 has been granted and a copy is accompanying this lot.Weight: 10.2 kg Dimensions: Height 48.5 cm (incl. stand), 32.5 cm (excl. stand)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture, but the naturalistic face is reminiscent of Greco-Roman sculpture. 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 iinfluences. 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 was popular during the later Gandharan period from the 4th to the 6th centuries. 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. Only very few terracotta statues from this period and of this size have ever been recorded.Literature comparison: Compare a related terracotta head of Dionysos, dated to the 4th-5th century Gandharan, in the collection of the Metropolitan Museum of Art, accession number 1979.507.2. Sculptures with similarly substantial beards are also common to Gandharan Atlantes, see Zwalf, Gandharan Sculpture, London, 1990, pp. 208-10 and 216, nos. 362-64, 366, and 377.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2019, lot 3105Estimate: HKD 1,500,000 or approx. EUR 199,500 converted and adjusted for inflation at the time of writingDescription: A monumental terracotta statue of Vajrapani in the form of Hercules, Gandhara, 4th-5th centuryExpert remark: Compare the similar facial features and the wavy beard and hair. Note that the provenance of this statue is identical to the present lot and stated as “Collection of Arthur Huc (1854-1932), France, by repute.”Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 October 2018, lot 4Price: HKD 625,000 or approx. EUR 85,000 converted and adjusted for inflation at the time of writingDescription: A bronze inlaid marble head of a bearded man, ancient region of Gandhara, circa 3rd centuryExpert remark: Compare the closely related wavy beard and hair as well as the similar size (31 cm). Note that the head is carved from marble with bronze-inlaid eyes, and is dated slightly earlier.陶土金剛手菩薩神頭像呈赫拉克勒斯形象犍陀羅, 四至五世紀。由於字數限制，完整中文敘述請至www.zacke.at查看。

Mekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha.Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall.Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region’s hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert’s note: For a detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, please see the lot description on www.zacke.at. To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison:Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musée Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014–July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musée Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison:Type: RelatedAuction: Christie’s New York, 20 March 2012, lot 151Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writingDescription: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th centuryExpert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison:Type: RelatedAuction: Christie’s New York, 17 March 2015, lot 35Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writingDescription: An important stone figure of Buddha, Thailand, Dvaravati period, 8th centuryExpert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).

AN IMPORTANT CHAM GOLD REPOUSSE AND GEMSTONE-SET DIADEM, CHAM PERIODPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 110, Budapest 2013.Vietnam, former kingdoms of Champa, circa 10th century. Decorated with three heads of Shiva, each with almond-shaped eyes, bushy brow and mustache, an urna, and long pendulous earlobes, the heads surrounded by foliage above a wave border. Set with spinel, almandine, zircon, and amethyst cabochons, two loops for mounting.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 minor traces of age and wear, some minor bending, few tiny nicks here and there, and soil encrustations.Weight: 84 gDimensions: Height 8.5 cm, length 45.9 cmExpert's note: Diadems were used to adorn stone images of gods in Cham religious cult. They were made of gold or silver plates with repousse technique and gemstone inlays. They often depicted Shiva and the 'face of glory' (kirtimukha) on a background of lavish floral ornamentation, leafy tendrils and scrolls.

A COPPER-RED-GLAZED BEEHIVE WATERPOT, TAIBO ZUN, 18TH CENTURYChina. The domed body is covered with a rich glaze transmuting from a dark liver-red tone below the rim to crushed-raspberry above the foot. The interior and base glazed white. The recessed base with an underglaze-blue double-circle.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: Perfect condition with only minor wear and firing irregularities.Weight: 442.4 g Dimensions: Diameter 12.7 cmThe taibo zun is of a classic dome shape typical of the Kangxi reign, originally inspired by the wine pot of the legendary Tang dynasty poet, Li Bai (AD 701-762). The poet, notorious for his drinking, is often depicted leaning against a wine jar of this form. The shape is sometimes also referred to as a jizhao zun, as it resembles a chicken coop. In its exquisite copper-red glaze, exhibiting the highest level of control in its transmutation from a dark liver-red to an attractive crushed-raspberry tone, the scholar's vessel has transcended its modest form, strictly limited to function, transformed into a jewel-like object, to be admired and prized.Auction result comparison: Type: Related Auction: Christie's London, 15 May 2015, lot 558 Price: GBP 10,625 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A celadon-glazed beehive water pot, 18th century Expert remark: Compare the closely related form, monochrome glaze, and non-reign mark, three features common to both this and the present lot. Note the smaller size (5.7 cm)Auction result comparison: Type: Remotely related Auction: Bonhams Hong Kong, 3 December 2015, lot 4 Price: HKD 1,600,000 or approx. EUR 230,500 converted and adjusted for inflation at the time of writing Description: A small rare copper-red-glazed waterpot, taibo zun, Yongzheng six-character mark and of the period Expert remark: Compare the similar form and related copper-red glaze. Note the smaller size (5.2 cm) and particularly the Yongzheng mark.十八世紀銅紅釉太白尊中國。半球狀腹，通體施銅紅釉，從太白尊邊緣紅褐色至足部鮮亮紅色。尊內和圈足内白色釉，足内青花雙圈。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：狀況極好，輕微的磨損和燒製瑕疵。 重量：442.4 克 尺寸：直徑12.7 厘米 太白尊為康熙時期的經典造型，因摹仿詩人、酒仙李太白的酒壇而得名，又因形似圈雞用的罩，還有"雞罩尊"之稱。高溫銅釉，溫度極難掌握，釉色如紅寶石般優美，非常名貴。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年5月15日，lot 558 價格：GBP 10,625（相當於今日EUR 15,500） 描述：十八世紀青釉太白尊 專家評論：比較非常相近的外型、單色釉，以及沒有底部款識，此三個特點和現拍品相同。請注意尺寸較小 (5.7 厘米)。 拍賣結果比較： 形制：稍微相近 拍賣：香港邦瀚斯，2015年12月3日，lot 4 價格：HKD 1,600,000（相當於今日EUR 230,500） 描述：清雍正霽紅釉水丞，青花「大清雍正年製」楷書款 專家評論：比較相似的外型和相近的釉色。請注意尺寸較小 (5.2 厘米) ，且有雍正款識。

A LARGE AND MASSIVE SPINACH-GREEN KHOTAN JADE FIGURE OF GUANYIN, PROBABLY TAKEN FROM THE OLD SUMMER PALACE IN BEIJING IN 1861China, ca. mid-18th to mid-19th century. Finely carved standing, cradling a lingzhi sprig and ruyi scepter in her delicate hands, wearing a long flowing robe cascading in voluminous folds, her serene face with heavy-lidded eyes, the neatly incised hair tied up into a high chignon secured by a ruyi-head hairpin. The stone of a deep spinach-green tone with creamy, russet, and cloudy inclusions.Provenance: Eugenie de Montijo (1826-1920), Empress of the French from her marriage to Emperor Napoleon III, and thence by descent in the family. Christie's London, 12 October 1950, lot 121. The Graham Collection, London, acquired from the above and thence by descent in the 1970s to a private English collector. A copy of the lot entry in the Christie's London auction catalog from 12 October 1950, stating the present lot was “Formerly the Property of the Empress Eugenie” and with handwritten notes by a previous owner, accompanies this lot.It is probable that the present statue was originally located at the Old Summer Palace, Yuanmingyuan, in Beijing and subsequently part of the loot of several hundred pieces sent to Empress Eugenie directly by General Charles Cousin-Montauban (1796-1878).In the morning of 21 September 1860 General Cousin-Montauban was the commanding officer of the Anglo-French troops, fighting the battle at the bridge of Palikao against the Qing Imperial forces, a decisive event of the Second Opium War. Their victory allowed the Western forces to take the Chinese capital Beijing and eventually defeat the Qing Empire. On 6 October 1860, French and British troops captured the Old Summer Palace, looting the Imperial collections over the next few days, again under the command of General Cousin-Montauban.In 1861, General Charles Cousin-Montauban sent numerous crates of the enormous French loot of the Summer Palace to Empress Eugenie in France as a personal gift to the Imperial French household, with the first shipment arriving in February 1861. The inventory of this shipment numbers some 800 objects, with over 300 coming directly from the sack of the Summer Palace. As a reward, the general eventually received the title of Comte de Palikao by Emperor Napoleon III in 1862.In 1863, the Empress established a museum of Chinese art called the Musee Chinois (Chinese Museum) at the Palace of Fontainebleau. She carefully curated the collections and displays of this museum, at the time almost exclusively consisting of the objects taken from the Old Summer Palace in 1860. In later years, Eugenie combined the Chinese collection with gifts originating from the French embassies in Siam, Cambodia, Japan, Korea, and Tibet to collectively form the core of the Asian art collection in Fontainebleau, which she later complemented with objects confiscated by the state during the French Revolution and kept since then at the National Library, some diplomatic and non-diplomatic gifts, and acquisitions she made on the French art market using the Imperial household's personal budget. The museum has been preserved in a layout largely similar to that of the 1860s and is one of the world's oldest museums specifically dedicated to Asian art. It is unknown which and how many of the pieces from the museum went with Empress Eugenie to England after her husband was overthrown in 1870, but there are speculations that the amount was quite substantial.Empress Eugenie of France was born María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 19th Countess of Teba, 16th Marchioness of Ardales, in Granada, Spain. She was Empress of the French from her marriage to Emperor Napoleon III on 30 January 1853 until the Emperor was overthrown on 4 September 1870. Napoleon and Eugenie had one child together, Napoleon, Prince Imperial (1856-79). After the fall of the Empire, the three lived in exile in England. Eugenie outlived both her husband and son and spent the remainder of her life working to commemorate the Second French Empire. After World War I, Eugenie lived long enough to see the collapse of other European monarchies, such as those of Russia, Germany and Austria-Hungary. She left her house in Farnborough with all her collections to the heir of her son, Prince Victor Bonaparte.Published: The Times, London, 13 October 1950, a column in the paper relating to various jades in the Christie's sale including this figure of Guanyin from Princess Eugenie which sold at 250 Guineas (at the time, the cost of house in London averaged at ca. 1.500 Guineas). A copy of a newspaper clipping with this column accompanies this lot.Condition: Very good condition with some old wear, natural inclusions and imperfections of the stone, few minuscule nicks here and there, light scratches. The wood base with minor losses, natural age cracks and a fine naturally grown patina.Weight: c. 24 kg (without the base) Dimensions: Height 75 cmWith a matching wood base dating from the same period, finely carved with lotus petals. (2)Literature comparison: Compare the movement of the robes, expression, high chignon with hairpin, and wood stand on a closely related jade figure of Guanyin, dated 19th century, 72.4 cm high, in the collection of the Metropolitan Museum of Art, accession number 39.65.24a, b.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1515 Price: USD 290,500 or approx. EUR 378,000 converted and adjusted for inflation at the time of writing Description: A large mottled jadeite figure of Guanyin Expert remark: Note the much smaller size (39.4 cm) 大型和田碧玉觀音立像，可能來自1861年圓明園之劫中國，約十八世紀中期至十九世紀中期。 來源：Eugenie de Montijo歐珍妮·德·蒙提荷(1826-1920)，是法蘭西第二帝國皇帝拿破崙三世的妻子和法國最後一位皇后，保存在同一家族；倫敦佳士得，1950年10月12日，lot 121；倫敦 Graham Collection，購於拍賣，一直保存至上世紀七十年代被一英國私人收藏家收藏。隨附倫敦佳士得拍賣目錄文字副本，上描述 “Formerly the Property of the Empress Eugenie” （歐珍妮皇后財產）與上任藏家手寫注釋。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND MASSIVE MOTTLED JADE CONG, LIANGZHU CULTUREChina, late Neolithic period, c. 3300-2200 BC. The thick-walled cong is of short square section with rounded sides and a cylindrical interior, each corner carved with a stylized human and animal mask design. The eyes and noses as well as the raised bands above the human mask and recesses in between are finely incised with line and scroll designs. The faces are divided with a gently recessed vertical band to the center of each side.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: Good condition, commensurate with age. Some wear, weathering, and minor alterations, as well as small nicks and nibbling to edges, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 1,349 g Dimensions: Diameter 10 cmThe partly translucent stone is of an olive-green and russet-brown tone with russet veins and inclusions as well as patches of cream tone and areas of opaque ivory-white calcification.The present cong displays the distinctive characteristic of Liangzhu culture cong vessels, with a square outer section around a circular inner part and decorated with stylized masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina formed on the surface over time.Literature comparison: Compare a similar jade cong, Liangzhu culture, also carved with two registers of stylized human and animal masks excavated in 1984 from Fuquanshan in Qingpu County, Shanghai, now in the Shanghai Administrative Committee of Culture Heritage, illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, pl. 19. See another related example of a jade cong, included in the Min Chiu Society Thirtieth Anniversary Exhibition: Selected Treasures of Chinese Art, Hong Kong, 1990, no. 195. For several other examples of two-tiered cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53, and 54.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2015, lot 470 Price: USD 60,000 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A mottled olive-green, russet-brown and ivory-colored opaque jade cong, China, Neolithic period, Liangzhu culture, 3rd millennium BC Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (6.5 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 5 April 2016, lot 1 Price: HKD 375,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A mottled green jade vessel, cong, Neolithic period, Liangzhu culture Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (7.5 cm).良渚文化玉琮中國 ，新石器時代末期，公元前約3300-2200年。器呈外方內圓的筒形，兩端琢成圓口，上下穿透，四角各有不同人面紋。 來源：Irene與 Wolfgang Zacke (1942-2022)。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：品相良好，一些磨損、風化、細微變化、刻痕，邊緣有一些小磕損，玉料帶有天然的內沁和裂縫，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：1,349 克 尺寸：直徑10 厘米這件玉琮展現了良渚文化的鮮明特色，外方內圓，均以四角為中軸線，雕琢神人獸面紋，雕琢精細。玉質精良，玉色深綠，局部得見黃白沁斑，不透明的象牙白色鈣化區域。表面包漿細膩。由於字數限制，完整中文敘述請至www.zacke.at查看。

A BRONZE FIGURE OF BUDDHA, PRE-ANGKOR PERIODStyle of Angkor Borei, Ta Keo region of the Mekong Delta, 7th century. Seated in dhyanasana on a rectangular plinth, the hands in dhyanamudra, the face with downcast eyes below gently arched eyebrows, flanked by two elongated ears, the hair in tight curls, surmounted by an ushnisha.Provenance: From the collection of an American gentleman. Galerie Zacke, 11 May 2019, lot 311, sold for EUR 8,216 or EUR 8,700 adjusted for inflation at the time of writing. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Extensive wear, some losses and cracks, traces of erosion, minor nicks. Very good condition considering the high age of this statue. Fine naturally grown patina.Weight: 521.9 g Dimensions: Height 17.4 cm (excl. base), 18.5 cm (incl. base)With a fitted modern wood base. (2)Angkor Borei was an important early center of Buddhism and Buddhist temple construction before the establishment of the Khmer Empire. The present figure is characteristic of Angkor Borei sculpture, as seen in the subtle protuberance of the ushnisha and the large snail-shell curls. Sculpture from this early period exhibits the naturalism and grace that echoes the treatment of the body in Gupta-period India, where ornamentation is minimized to emphasize the smooth volume of the form.Expert's note: The raw material of this sculpture is copper ore with iron oxide veins, which has developed an extensive malachite and azurite patina over the past 1400 years. A closely related piece from the same group was tested at the Ciram Laboratory in France in 2018 to confirm the material. According to the previous owner, the piece was originally found in the Ta Keo region of the Mekong Delta.Literature comparison:Compare a related bronze figure of Buddha, dated 7th-8th century, in the collection of the Metropolitan Museum of Art, accession number 1981.462.2.Auction result comparison:Type: Remotely relatedAuction: Christie's New York, 13 September 2016, lot 265Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A Sandstone Figure of a Seated Buddha, Pre-Angkor period, Angkor Borei style, 7th centuryExpert remark: Compare the closely related pose and facial features. Note the different material and significantly larger size (48.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

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

AN EXCEPTIONAL LIMESTONE HEAD OF BUDDHA, NORTHERN QI DYNASTYChina, 550-577. Finely carved with almost perfectly symmetrical features imparting the head with a serene vitality, the eyebrows rising in smooth curves issuing from the bridge of the nose, the deeply-set large eyes half-closed under heavy lids sweeping in bowstring curves, the crisp undulating lips forming a subtle smile, all flanked by large ears with deeply cut lobing, beneath stylized hair depicted as undulating and overlapping waves rising rhythmically up to the smoothly domed ushnisha and centered with two whorls.Provenance: Dr. Robert Bigler, Zurich, Switzerland, 22 May 1997. A Swiss private collection, acquired from the above. A copy of the original signed invoice from Dr. Robert Bigler, dated 22 May 1997, stating a purchase price of CHF 45,000 or approx. EUR 65,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Dr. Robert Bigler mentions in the document above that the head was examined by “Dr. Brand” [sic] of the Linden-Museum Stuttgart, referring to Dr. Klaus-Joachim Brandt, who was the museum's curator for East Asian art at the time.Condition: Excellent condition, commensurate with age. Extensive wear, some weathering, losses, minor signs of erosion, nicks, scratches, encrustations.Weight: 9,667 g (excl. stand)Dimensions: Height 26.5 cm (excl. stand) and 29.8 cmLiterature comparison: Compare a related limestone head of a bodhisattva, also dated to the Northern Qi dynasty, exhibited by Gisèle Croës at Asia Week New York 2014.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 22 September 2005, lot 21 Price: USD 18,000 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A finely carved limestone small head of Buddha, China, late Northern Qi dynasty Expert remark: Compare the closely related carving with similar stylized hair centered by two whorls and large ears with deeply cut lobing. Note the smaller size (18.2 cm). Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2013, lot 1259 Price: USD 50,000 or approx. EUR 62,500 converted and adjusted for inflation at the time of writing Description: A limestone head of a bodhisattva, Northern Qi dynasty Expert remark: Compare the closely related stone and manner of carving with similar head form and symmetrical features. Note the larger size (33.5 cm).北齊石灰石佛陀頭像中國，550-577年。五官幾乎完美對稱，表情顯得更加寧靜慈祥。細眉長目，鼻樑筆挺，側面長耳垂，波浪形頭髮整齊地在頭上梳成螺髻。 來源：蘇黎世Dr. Robert Bigler收藏，購於1997年5月22日；一個瑞士私人收藏購於上述收藏。隨附由Dr. Robert Bigler簽名的原始發票的副本，時間爲1997年5月22日，售價為 CHF 45,000（相當於今日EUR 65,300）。Dr. Robert Bigler 在這份文件中提到這件佛頭曾被斯圖加特林登美術館東亞藝術部策展人Dr. Klaus-Joachim Brandt 的檢查。 品相：狀況極好，與年代相符。大面積磨損、一些風化、缺損、輕微的侵蝕跡象、刻痕、劃痕、結殼。 重量：不含底座9,667 克 尺寸：高26.5 厘米 (不含底座) ，總高 29.8 厘米 文獻比較： 比較一件相近的北齊石灰石菩薩像，於2014年紐約亞洲藝術週由 Gisèle Croës展出。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2005年9月22日，lot 21 價格：USD 18,000（相當於今日EUR 27,000） 描述：北齊末年石灰石佛陀頭像 專家評論：比較非常相近的髮型雕刻，以兩個螺髻為中心，以及兩側垂耳上深深的切口。請注意尺寸較小 (18.2 厘米). 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年3月22日，lot 1259 價格：USD 50,000（相當於今日EUR 62,500） 描述：北齊石灰石菩薩頭像 專家評論：比較非常相近的石質、頭形的雕刻風格，以及五官對稱的特徵。請注意尺寸較大 (33.5 厘米)。

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, GUI, WESTERN ZHOU DYNASTYChina, 11th-10th century BC. Well cast with the compressed body resting on a tall splayed foot, decorated below the gently everted rim with a band of stylized mythical birds, the two pairs on the main sides centered by an animal mask cast in high relief, the other two centered on the horned animal heads that surmount the handles, all above a bowstring band, the foot with a geometric band. The beast handles are neatly incised and set with pendent tabs.Provenance: The MacLean Collection of Asian Art Museum, acquired 1996 in Hong Kong and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Published: Richard A. Pegg and Zhang Lidong, The MacLean Collection: Chinese Ritual Bronzes, Chicago, 2010, pl. 19.Condition: Very good condition, commensurate with age. The vessel is slightly leaning and has some old wear as well as minor casting flaws, minuscule nicks, and small dents. The lower body has two small fills, invisible to the naked eye, but precisely detected on the five X-ray images provided (available in the online catalog at www.zacke.at or via e-mail upon request). Spectacular, naturally grown patina overall with several layers of malachite encrustation and small areas of azurite and cuprite. The crisply cast decorations are extremely well-preserved, which makes this one of the most attractive examples of its kind. In such pristine condition, it must be considered exceedingly rare.Weight: 2,878 gDimensions: Width 28 cm (across handles)Gui were used during ritual ceremonies for storing cooked rice or millet. While this vessel shape first appeared in the Erligang phase, they were not widely produced and examples from this period are rare. The form increased in popularity from the early Western Zhou dynasty onwards, and numerous variations of the original shape also began to appear. The present vessel, with its rounded body, everted rim and animal-head handles represents the most popular form.Literature comparison: A related gui unearthed from Xi'an, Shaanxi province, now in the National Museum of China, Beijing, is illustrated in Zhongguo qingtongqi quanji [Complete collection of Chinese archaic bronzes], vol. 5, Beijing, 1996, pl. 61. Another from the collection of T. Yamamoto is published in Sueji Umehara, Nihon Schūcho Shina kodō Seikwa/ Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol. 2, Osaka, 1960, pl. 107. Jessica Rawson notes in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, p. 415, that these types of gui vessels are more common in early Western Zhou, and lists five other examples, including one from Liaoning Kezuo Shanwanzi illustrated in Wenwu, 1977.12, p. 23-33, fig. 55. Compare also a related bronze gui, dated to the Western Zhou dynasty, in the collection of the British Museum, museum number 1955,0519.2. Finally compare a related bronze gui, dated to the Western Zhou dynasty, late 11th to early 10th century, in the collection of the Freer Gallery of Art at the National Museum of Asian Art, Smithsonian Institution, accession number F1924.14a-b.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 September 2020, lot 570Price: USD 478,800 or approx. EUR 540,500 converted and adjusted for inflation at the time of writingDescription: An important archaic bronze ritual food vessel (gui), Western Zhou dynasty Expert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized birds. Note the similar size (29.5 cm) and that this gui has a six-character inscription.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 15Price: USD 125,000 or approx. EUR 157,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel (gui), early Western Zhou dynasty, 11th-10th century BCExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized kui dragons. Note the similar size (29.5 cm) and that the gui has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3181 Price: USD 149,000 or approx. EUR 184,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, the gui early Western Zhou dynasty, 11th century BC, the inscription laterExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized taotie designs. Note the similar size (29.2 cm) and that this gui has a later-added inscription.西周青銅夔紋簋中國，公元前十一至十世紀。圓簋，折沿，雙耳，圓腹，圈足，耳做獸首形，下有附珥，圈足外有外凸的圈足座。口沿下有一圈有夔紋與獸面紋飾帶，器腹素面，足部飾橫條紋。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CLOISONNE ENAMEL 'TAOTIE' ARCHAISTIC BEAKER VASE, GU, 17TH-18TH CENTURYChina. The vase is enameled on the mid-section with a pair of taotie masks divided by gilt flanges, framed by gilt bowstrings enclosing key-fret and diaper bands, between upright petals on the trumpet neck with further taotie as well as archaistic scroll, surrounded by lotus blossoms and scrolling vines, and further taotie masks and archaistic scroll on the spreading foot.Provenance: Sotheby's London, 16 May 2007, lot 389. The MacLean Collection of Asian Art Museum, acquired from the above, and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Condition: Excellent condition with old wear and small manufacturing flaws, as well as minor nicks and losses and associated old fills (inspected under strong blue light). The base with small structural fissures. All exactly as expected from authentic 18th-century cloisonne wares of this size. For a detailed video of the vase taken under strong blue light, please refer to the department.Weight: 1,059 gDimensions: Height 25 cmExpert's note: The present cloisonne gu is exceptional for its refined design of taotie masks, which are highly expressive and comparable to some of the most valuable cloisonne wares of the 18th century ever to come up for auction. Compare a cloisonne zun, with a Qianlong mark and of the period, at Sotheby's Hong Kong, 2 April 2019, lot 3517, sold for HKD 4,495,000; a cloisonne hu, dated Yongzheng to Qianlong period, at Christie's Hong Kong, 30 November 2020, lot 2905, sold for HKD 8,650,000; and a cloisonne fang gu, dated Yongzheng to Qianlong period, sold in these rooms, 15 October 2021, lot 4, sold for EUR 48,000.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 6 April 2015, lot 176Price: HKD 250,000 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A cloisonne enamel vase, gu, Qing dynasty, 18th century Expert remark: Compare the near identical form and closely related decoration with taotie masks, archaistic and lotus scroll as well as gilt flanges and bowstrings. Note the size (34 cm). Auction result comparison: Type: Closely related Auction: Bonhams London, 7 June 2021, lot 671 Price: GBP 16,500 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel and gilt-bronze archaistic beaker vase, gu, Qianlong Expert remark: Compare the related form and decoration with taotie and archaistic scroll, as well as the similar size (24.7 cm). Note the absence of bowstrings and flanges.十七至十八世紀掐絲琺瑯饕餮紋觚中國。銅胎鍍金，圓觚，弧腹，口及底外撇。通體藍釉地，圖案層次分明，繁密工細。頸部飾仰覆蕉葉紋，蕉葉紋内飾獸面紋，腹部與底邊飾獸面紋，紋飾對稱分佈。口沿外裝飾勾蓮紋。口內鎏金無紋飾。造型渾厚凝重，裝飾富麗堂皇。 來源：2007年5月16日倫敦蘇富比，lot 389。The MacLean Collection of Asian Art Museum收藏，購於上述拍賣，2022年出售。The MacLean Collection由來自芝加哥的商人 Barry MacLean 在50 年前創立，他於 1970 年代初開始收藏。 他曾多次前往亞洲從商，並開始將注意力集中在來自中國的古代青銅器和後世的仿古青銅器上。The MacLean Collection由Larry Booth設計並於 2003 年完工。自 2004 年以來，該博物館已出版了七本書，舉辦了十三次展覽，將藏品借給許多其他博物館，並用十幾個獎學金來培訓未來的專家和愛好者。 品相：狀況極好，有磨損和小的製造缺陷，以及輕微的劃痕和缺損以及相應的填補（在強藍光下檢查）。底部有小結構裂隙。與這種尺寸的十八世紀景泰藍器皿完全一致。有關在強藍光下拍攝的花瓶的詳細視頻，歡迎聯係我們。 重量：1,059 克 尺寸：高25 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A SANDSTONE BUST OF A FEMALE DEITY, CHAM PERIODVietnam, Tam-Ky or Phu-ninh, former kingdoms of Champa, 10th-12th century. Finely modeled with voluptuous breasts below the serene face with thick-lidded almond-shaped eyes below elegantly curved brows and full lips forming a calm smile, flanked by long pendulous earlobes, the neatly incised hair arranged into a high chignon secured by a broad tiara.Provenance: From an old French private collection, assembled in Vietnam between 1920 and 1955, and thence by descent within the family.Condition: Good condition, commensurate with age. The head has been reattached. Extensive wear, signs of weathering and erosion, losses, some nicks and cracks.Weight: 5,347 g (excl. stand) Dimensions: Height 31 cm (excl. stand) and 37.5 cm (incl. stand)Literature comparison: Compare a related sandstone figure of a female dancer, dated approx. 1075-1125, 71.1 cm high, in the collection of the Asian Art Museum in San Francisco, object number BL77S3. Compare a related sandstone figure of a flying celestial, dated approx. 950-1000, 48.3 cm high, in the collection of the Asian Art Museum in San Francisco, object number B70S9.

A TIGER-FORM JADE PENDANT, LATE SHANG DYNASTYChina, 13th-11th century BC. The crouching tiger carved in profile, the body well detailed and decorated with double-line grooves, the mouth pierced for suspension. The translucent stone of a celadon tone with extensive russet shading, some black patches, and small areas of alteration.Provenance: A Western private collection. Roger Keverne Ltd., London, United Kingdom, December 2007. A distinguished English private collection, acquired from the above. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020. Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition, London, 2007, page 101, no. 84.Condition: Very good condition overall with some old wear, traces of use and shallow surface scratches, an area of calcification to the tip of the tail with an associated minuscule loss. Fine, naturally grown patina. The jade with natural inclusions and fissures.Weight: 11.3 g Dimensions: Length 6.5 cmAn important stylistic feature of the present pendant is the use of the so-called double-line grooves. On first inspection, it appears that these rise in low relief. But in fact this is an optical illusion, or trompe-l'œil effect, as those slender “relief lines” are actually flush with the object's surface and seem to rise in relief only because of the intaglio lines, or grooves, that flank them. Such trompe-l'œil lines are a rare feature, and found on the very finest Shang jades only.The tiger, called hu or laohu in Chinese, is among the most recognizable of the world's charismatic megafauna. Originating in China and northern Central Asia, the tiger was known to the earliest Chinese, who likely feared, admired, and respected it for its strength, ferocity, and regal bearing. Though its precise symbolism in Shang times (c. 1600-1046 BC) remains unknown, the tiger doubtless played a totemic, tutelary, or talismanic role. By the Western Han period (206 BC-AD 9)—a thousand years after this pendant was made—the tiger was regarded as the “king of the hundred beasts”, or baishou zhi wang, due to its power and ferocity and especially to the markings on its forehead which typically resemble the character wang, or “king”. In addition, not only did the tiger figure among the twelve animals of the Chinese zodiac, but it gained a place among the auspicious animals that symbolize the four cardinal directions—the white tiger, or baihu, of the west, the azure dragon of the east, the vermillion bird of the south, and the black tortoise of the north.Literature comparison: Compare a related jade tiger plaque, also dated to the Shang dynasty, in the collection of the Asian Art Museum in San Francisco, object number B60J538. Compare a related jade tiger plaque, also dated to the Shang dynasty, circa 1200-1050 BC, in the collection of the British Museum, museum number 1935,0115.19.Auction result comparison: Type: Closely related Auction: Bonhams, 30 May 2017, lot 20 Price: HKD 562,500 or approx. EUR 84,000 converted and adjusted for inflation at the time of writing Description: A jade tiger and a jade bird, the tiger Shang dynasty, the bird Western Zhou dynastyExpert remark: Compare the closely related pose and manner of carving, also employing double-line grooves, the mouth similarly pierced for suspension, the eyes and mouth near-identical. Note the smaller size (3.9 cm) and that the lot also comprises a small jade bird (2.5 cm) from a later period.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 15 December 2016, lot 9 Price: EUR 20,000 or approx. EUR 23,500 adjusted for inflation at the time of writingDescription: Pendentif en jade Dynastie Shang, ca. 1200-1100 avant J.-C.Expert remark: Compare the closely related pose and manner of carving, with similar double-line grooves. Note the slightly larger size (8.2 cm).商末虎形青玉珮中國，公元前十三至十一世紀。珮呈扁片狀，以陰刻雙線技法雕琢半蹲老虎的側身形，虎口處，琢一小穿。局部淺褐色沁。 來源：西方私人收藏 ；英國倫敦Roger Keverne Ltd.藝廊，2007年12月；一個傑出的英國私人收藏，購於上述藝廊。Roger Keverne曾任倫敦亞洲藝術主席和BADA總裁。他在 Spink & Son 開始了 50 年的職業生涯，年僅 28 歲就升任亞洲部負責人。他於 1992 年離開 Spink，與他的妻子兼商業夥伴 Miranda Clarke 一起在倫敦梅菲爾開設了自己的畫廊 ，最終於 2020年 6 月關門。 出版：Roger Keverne，《Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition》，2007年，倫敦，頁101，編號84. 品相：整體狀況極好，有一些磨損、使用痕跡和表面淺劃痕、尾部尖端有鈣化區域以及相應的微小缺損。細膩的包漿，有天然內沁和裂縫的玉料。 重量：11.3 克 尺寸：長 6.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A SUBLIME SANDSTONE TORSO OF UMA, ANGKOR PERIOD, BAPHUON STYLEKhmer Empire, 11th century. Standing in samabhanga, her young unadorned body with prominent breasts and her belly beautifully rounded, wearing a long, pleated sarong tied at the front, the long central fold elegantly culminating in a 'fishtail' shape at the hem, secured by a belt with beaded festoons.Provenance: Funan Selected Works of Art, Singapore, 27 September 1983. From the collection of the late Michael Sherrard CBE, QC, acquired from the above and thence by descent. A copy of the original invoice from Funan Selected Works of Art, addressed to Michael Sherrard, dated 27 September 1983, confirming the dating above, and stating a purchase price of USD 15,000 or approx. EUR 43,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. 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: Good condition, commensurate with age, expected weathering, wear and losses, minor nicks, few structural cracks. Some signs of erosion. Fine naturally grown patina overall.Weight: 3,885 g (excl. stand) Dimensions: Height 34.5 cm (excl. stand) and 40 cm (incl. stand)Fitted to an associated metal stand.(2)This piece exemplifies the style of Baphuon female figures with the frontal stance, the ovoid skirt wide at the hips and narrowing around the knees, the sarong in an elevated position at the back and curving down to below the navel and the elegant central pleat. According to Boisselier, the highly decorative style of Banteay Srei inspired the development of Baphuon period sculpture, a manner which became more embellished with decorative elements as it reached a zenith during the Angkor Wat period a century later, see Helen Ibbitson Jessup and Thierry Zephir, editors, Sculpture of Angkor and Ancient Cambodia - Millennium of Glory, Washington 1997, page 255.The modeling of the torso, the curled end of the sarong above the belt and a long central fold certainly recalls Banteay Srei sculpture, see Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Chicago, 2004, page 175, fig. 8.6.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 10 June 2021, lot 236 Price: EUR 18,900 or approx. EUR 20,500 adjusted for inflation at the time of writing Description: A grey sandstone torso of a female divinity, Khmer art, Baphuon style, circa 11th century Expert remark: Compare the closely related pleated sampot with similar fishtail hem. Note the size (47 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 274 Price: USD 37,500 or approx. EUR 50,000 converted and adjusted for inflation at the time of writing Description: A sandstone torso of Uma, Khmer, Angkor period, Baphuon style, 11th century Expert remark: Compare the related belt with similar beaded festoons. Note that the figure was originally of larger size but is overall smaller than the present lot (28 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2007, lot 279 Price: USD 31,200 or approx. EUR 43,500 converted and adjusted for inflation at the time of writing Description: A small sandstone torso of a goddess, Khmer, Angkor period, Baphuon style, 11th century Expert remark: Note the related size (35.5 cm) and that the sampot is not pleated as in the present lot.

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

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

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

A SANDSTONE 'BUDDHIST TRIAD' STELE, TANG DYNASTY, DATED 717China. Well carved in deep relief, the arched niche centered by a figure of Buddha standing on a double lotus dais with his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, his serene face with heavy-lidded eyes, plump cheeks, and full lips, the hair surmounted by an ushnisha, backed by a neatly incised halo. Flanked by two similarly carved bodhisattvas with their hair pulled up into high chignons, all above a rectangular panel with a neatly incised inscription.Inscriptions: Below the figures, 'On the eighth day of the third month of the fifth year of the Kaiyuan era of the Tang dynasty, Jia had this stele made for his parents'.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. The back with an old label, '717 AD'. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Condition: Excellent condition, commensurate with age. Extensive wear, shallow surface scratches, signs of weathering and erosion. Small losses, nicks and cracks, some encrustations.Weight: 3,357 gDimensions: Height 23.3 cmLiterature comparison: Compare the stone stele of this shape that is similarly carved in high relief with a seated figure of Buddha flanked by two bodhisattvas standing on waisted lotus plinths, that bears a dedicatory inscription dated to the second year of Jingyun (AD 711), illustrated by Li JIngjie in Shifo Xuancui (Essence of Buddhistic Statues), Beijing, 1995, p. 73, no. 53. The inscription states that the stele was donated by Lu Zhaoshun.Auction result comparison: Type: Closely related Auction: Christie's New York, 15 September 2017, lot 918 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A grey limestone Buddhist stele, Tang dynasty Expert remark: Compare the closely related form of the arched niche, deep relief carving of the figures, and inscription with dating below the figures. Note the larger size (34.6 cm) and the more advanced weathering and erosion of the stone. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 April 2019, lot 3015 Estimate: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A rare limestone 'Buddhist triad' stele, Tang dynasty Expert remark: Compare the related form of the arched niche and deep relief carving of the figures. Note the similar size (26.4 cm).唐代砂岩三聖造像碑，717年中國。此尊龕式造像碑，裝飾精美。高浮雕佛陀立蓮像，右手施無畏印，左手與願印，身穿寬鬆袈裟，面容安詳。雙眼微垂，面容豐滿，頭上結螺髻，後有光背。兩側是菩薩，同樣高髻。 款識：大唐開元五年三月八日賈氏爲父母敬造 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：品相極佳，與年代相符。大面積磨損、表面淺劃痕、風化和侵蝕跡象。小缺損，刻痕和裂縫，一些結殼。 重量：3,357 克 尺寸：高23.3 厘米 文獻比較： 比較一尊高浮雕坐佛像，兩邊是站在腰部蓮花座上的兩位菩薩，有景雲二年（西元711年）的銘文，見李靜杰编著，《石佛選粹》，北京，1995年，頁73，編號53。由於字數限制，完整中文敘述請至www.zacke.at查看。

A BLACK SCHIST STELE OF BUDDHA SHAKYAMUNI, PALA PERIODNortheastern India, Bihar, 10th century. Well carved seated in dhyanasana on a double lotus base, supported on a stepped pedestal adorned with numerous smaller figures, the palm of the hand and soles of the feet with neatly incised circles. Buddha's face with a benign expression and almond shaped eyes, the hair in tight curls surmounted by an ushnisha, wearing a sanghati draped over one shoulder, flanked by two pillars surmounted by stupas centering a nimbus with a stylized foliate border.Provenance: The personal collection of Arturo Schwarz, Milan, late 1990s. Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and author, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, some losses, nicks and surface scratches, structural cracks. The finely polished surface with a solid, naturally grown patina and an unctuous feel overall. Dimensions: Height 61.2 cm (excl. base) and 64.2 cm (incl. base)Mounted to a modern metal base. (2)Literature comparison:Compare a related stone figure of Buddha, 10th century, Bihar, in the collection of the British Museum, museum number 1942,0415.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 268Price: USD 86,500 or approx. EUR 111,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of seated Buddha, Northeastern India, Pala period, circa 10th century Expert remark: Note the related size (63.5 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 20 March 2018, lot 3224Price: USD 250,000 or approx. EUR 290,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of crowned Buddha, Bihar, Pala period, 10th centuryExpert remark: Note the size (45 cm)Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 11Price: EUR 71,100 or approx. EUR 83,000 adjusted for inflation at the time of writingDescription: A rare sedimentary stone stele of Shakyamuni Buddha, Northeast India, Pala Period, 10th centuryExpert remark: Note the size (31 cm)

A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。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：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。

A GRAY AND BLACK NEPHRITE JADE FIGURE OF A HORSE, MING DYNASTYChina, 17th century. Well carved as a recumbent horse with the legs tucked in. The head is turned backwards with the mane falling on either side of the arched neck, and the tail is flicked onto the left rear haunch. The semi-translucent stone is of a pale gray tone with cloudy inclusions, dark veins, and black patches and shadings.Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco, 23 August 2004. A private collection in Bethesda, Maryland, USA, acquired from the above. A copy of a description document from S. Bernstein & Co., signed and sealed by Sam Bernstein and confirming the dating above, as well as a copy of the original invoice, dated 23 August 2004 and stating a purchase price of USD 14,000 or approx. EUR 20,500 (converted and adjusted for inflation at the time of writing), accompany this lot. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including The Emperor's Jade Suit and Chinese Jade: The Immortal Stone. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout Europe and the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Very good condition with minor old wear, few light surface scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 197.2 g (excl. base) and 245.7 g (incl. base)Dimensions: Length 8.5 cm (the jade) and 9.1 cm (the base)With a fitted wood base and a padded box. (3)The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: Related Auction: Christie's New York, 20 September 2013, lot 1683 Price: USD 56,250 or approx. EUR 67,000 converted and adjusted for inflation at the time of writing Description: A well-carved grey-green jade figure of a recumbent horse, 17th/18th century Expert remark: Compare the closely related pose and incision work. Note the different color and larger size (15.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 3056 Price: HKD 500,000 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A jade recumbent horse, Ming dynasty Expert remark: Compare the closely related eyes, mane, tail, and ears, as well as the similar size (9.4 cm). Note the slightly different pose and mostly russet color.明代灰黑玉臥馬中國，十七世紀。臥馬表滿佈絲霧狀黑褐色沁，玉質溫潤，觸手細膩，包漿潤潤。玉馬倒地嬉戲，臥馬兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。 來源：2004年8月23日舊金山S. Bernstein & Co.玉器與東亞藝術藝廊；美國馬里蘭州貝塞斯達私人收藏，購於上述藝廊。隨附一份藝廊Sam Bernstein親筆簽署並蓋章的描述文件，以及一份原始發票複印件，時間爲2004年8月23日，價格爲USD 14,000，相當於現在的EUR 20,500。Sam Bernstein是國際公認的中國古物專業經銷商。他撰寫了十三卷有關中國藝術的著作，包括《The Emperor's Jade Suit》和《Chinese Jade: The Immortal Stone》。在過去的二十五年裡，Bernstein先生積累了豐富的亞洲藝術收藏的經驗。他的父母都是亞洲藝術的熱情收藏家，並在歐洲和遠東多次旅行。1991 年，Bernstein先生在舊金山歷史悠久的Fairmont酒店創立了 S. Bernstein & Co., 玉器與東亞藝術藝廊，專門研究博物館品質的中國玉器及相關藝術品。 品相：狀況非常好，有輕微的磨損，輕微的表面劃痕和刻痕，有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 重量：197.2 克 (不含底座) 與245.7 克(含底座) 尺寸：長 8.5 厘米 (玉) 與9.1 厘米 (底座) 配有合身的木質底座和帶襯墊的盒子。(3)由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTYExpert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request)China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。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：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

AN INSCRIBED BAMBOO BRUSHPOT, BITONG, BY WANG LUYI, 18TH CENTURYChina. Of cylindrical form, supported on three short feet, finely carved in relief and undercut with three men in a sampan fishing boat under swirling clouds and a willow growing from rockwork with bamboo and a crane. The reverse with a poetic inscription as well as a cyclical date and the artist signature.Inscription: To reverse, 'Wang Luyi' (name of artist), 'Youzhu' (artist sobriquet), dated to spring of Dingxu year (corresponding to 1706 or 1766). The poem:“Returning home, the charcoal smoke is rising;A single boat approaches the willow's shade.”Provenance: Ralph M. Chait Galleries, New York, USA (according to label on base). The collection of Dr. Thomas Navratil, Zurich, Switzerland. Sydney L. Moss Ltd., London, United Kingdom, 22 November 1999. The collection of Teddy Hahn (1933-2012), acquired from the above, and thence by descent to the present owner. A copy of the original stamped and signed invoice, dated 22 November 1999, stating a purchase price of GBP 4,000 or approx. EUR 7,700 (converted and adjusted for inflation at the time of writing), accompanies this lot. The base with an old inventory label, inscribed '89', and further inscribed '[…] 1080'. 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.”Published: Sydney L. Moss Ltd, Escape from the Dusty World: Chinese Paintings and Literati Works of Art”, London, 1999, no. 19.Condition: Good condition with old wear, light scratches, few minuscule nicks, natural age cracks with associated small losses and old fills. Elegant naturally grown patina overall.Weight: 477.4 gDimensions: Height 14.9 cm, Diameter 14 cmAuction result comparison: Type: Related Auction: Sotheby's New York, 10 September 2019, lot 54 Price: USD 15,000 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing Description: A bamboo 'scholars' brushpot, Qing dynasty, 18th centuryExpert remark: Compare the related manner of carving, also with a sampan under clouds and trees. Note that the composition is denser while the brushpot is narrower and lacks any inscriptions or signatures. 十八世紀竹雕人物筆筒，王魯一款中國。圓柱體，筆筒外壁浮雕人物場景，漁船上三個人物，一個在撐船，一個似乎是婦人正在吹火。柳樹下立著一隻仙鶴。另有詩文。底部三短足。 題詩: 載歸煤烟生，？船就柳蔭 丙戌仲春友竹居士王魯一製 來源：美國紐約Ralph M. Chait Galleries藝廊 (根據底部標籤)；蘇黎世Dr. Thomas Navratil收藏；英國倫敦Sydney L. Moss Ltd.藝廊，1999年11月22日；Teddy Hahn (1933-2012)收藏，購於上述藝廊，保存直徑。隨附1999年11月22日出具的蓋章並簽名的發票複印件，顯示當年價格：：為 GBP 4,000 ，相當於如今的 EUR 7,700 。底部有收藏標籤顯示 '89'以及'[…] 1080'字樣。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。” 出版：Sydney L. Moss Ltd, Escape from the Dusty World: Chinese Paintings and Literati Works of Art”, 倫敦, 1999年，編號19。 品相：品相良好，有磨損、輕微劃痕、少量細小的刻痕、自然老化裂縫以及相應的缺損和填充。整體包漿優雅自然。 重量：477.4 克 尺寸：高14.9 厘米, 直徑 14 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比, 2019年9月10日, lot 54 價格：USD 15,000 （相當於今日EUR 16,000） 描述：十八世紀清代竹雕人物筆筒 專家評論：比較相近的雕刻，例如雲與樹下的小舟。請注意，此筆筒構圖比較密集，而筆筒比較窄，沒有任何銘文或簽名。

A LAPIS LAZULI FIGURE OF BUDDHA, QING DYNASTYChina, mid-18th to 19th century. Superbly carved, seated in dhyanasana with the hands lowered in dhyana mudra, supporting a globular jewel, wearing a loose-fitting robe falling down the body in naturalistic folds, the wide face bearing a contemplative and serene expression marked by heavy-lidded downcast eyes and framed by long pendulous earlobes and sharply carved curls of hair surrounding a small ushnisha. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: A private collection in New England, USA. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Excellent condition with minor old wear and possibly microscopic nicks here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 301.5 g Dimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Lapis lazuli was highly prized during the Qianlong period, as evidenced by a pair of Qianlong period stone lions dyed to imitate the stone, included in the exhibition Tributes from Guangdong to the Qing Court, Hong Kong, 1987, cat. Nos. 71 and 72, and a Qianlong period lapis lazuli mountain in the Asian Art Museum of San Francisco, illustrated in Michael Knight, He Li and Terese Tse Bartholomew, Chinese Jades, San Francisco, 2007, plate 354. The stone was mostly imported from Afghanistan, and was used principally for carving vessels, figures in relatively small sizes and boulder or grotto carvings, often with solitary luohans. Little Buddha figures, such as the present lot, were often made for smaller Imperial altars during the late 18th century and onwards.Literature comparison: Examples of lapis lazuli figures of Buddha are illustrated in Buddhist Art from Rehol, Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, no.81; and by M. Knight, He Li and T. Tse Bartholomew, Chinese Jades, San Francisco, 2007, no. 327, dated to the 18th century. Compare a closely related lapis lazuli figure of Buddha, dated 18th century, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021. Compare a closely related lapis lazuli figure of Buddha, 18th century, in the Metropolitan Museum of Art, accession number 30.95.324. Compare a closely related ivory figure of Buddha, dated late Ming to early Qing dynasty, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 143, cat. no. 113.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 25 June 2013, lot 8009 Price: USD 52,500 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A carved lapis lazuli figure of the BuddhaExpert remark: Compare the related carving style and the similarities of the stone. Note the larger size (18cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.清代青金石佛像中國，十八世紀中期至十九世紀。精雕細琢，阿彌陀佛結珈趺坐，雙手結印，托寳珠，身穿寬鬆長袍，紋理流暢，面容慈祥，雙眼微垂，長耳垂，螺髻。青金石閃爍的雲母斑點，深淺不一的灰色紋理，醒目的藍色。 來源：美國新英格蘭私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏。 品相：狀況極好，有輕微磨損，大面積微小劃痕。具有天然紋理和裂縫的石料，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：301.5 克 尺寸：高10 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND MASSIVE BRONZE 'CHILONG' ARROW VASE, TOUHU, YUAN TO EARLY MING DYNASTYChina, 13th-15th century. Heavily cast, the compressed globular body rising from a splayed foot and surmounted by a tall cylindrical neck. The body decorated in relief with archaistic motifs on a key-fret diapered ground at the foot and the four tubular 'target' lugs, further molded with four beast-mask handles suspending loose rings, and four chilong sinuously wrapping around the shoulder and elongated neck.Provenance: From the collection of Dr. Walter Rieder (1890-1986), and thence by descent in the same family. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Condition: Very good condition with extensive old wear, few casting irregularities, small losses, nicks and dents, a small hole to the shoulder, possibly inherent to the manufacture. The base plate shows some soldering, but is original to the vase. Dark, naturally grown patina, exactly as expected from this type of bronze.Weight: 6,448 g Dimensions: Height 47.8 cmThe form of this vase is inspired by archaic bronze vessels used for touhu (lit. 'pitch-pot'), a traditional East Asian game that requires players to throw arrows or sticks from a set distance into a large, sometimes ornate, vessel. The game had originated by the Warring States period, probably invented by archers or soldiers as a pastime during idle periods. It began as a game of skill or a drinking game at parties, but by the time it was described in a chapter of the Chinese Classic Book of Rites, it had acquired Confucian moral overtones. Initially popular among elites, it spread to other classes and remained popular in China until the end of the Qing Dynasty. Touhu was usually a contest between players, who had to throw arrows into the mouth or tubular lugs located at the top of the vase, which was placed at an equal distance between two mats on which the players knelt. Touhu vases continued to be produced in the Song dynasty and later, made in various materials including bronze, cloisonne, and ceramic.Literature comparison: See a related bronze arrow vase, dated as first half 17th century, illustrated in The Chinese Scholar's Studio: Artistic Life in the Late Ming Period, New York, 1987, no. 63. Auction result comparison:Type: Closely relatedAuction: Christie's London, 11 Nov 2011, lot 1411Price: GBP 11,250 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A large bronze 'eight immortals' arrow vase, Ming dynasty (1368-1644)Expert remark: Compare the closely related form, the four beast-mask handles at the body, and the archaistic design to the foot and upper neck. Note the size (57 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3331Price: HKD 175,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A large bronze arrow-handled vase, Ming dynasty, 16th centuryExpert remark: Compare the closely related design with dragons at the neck and archaistic design to foot and neck.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 May 2022, lot 23Price: HKD 242,250 or approx. EUR 30,500 converted at the time of writingDescription: A Very Rare Bronze Arrow Vase, Touhu, Yuan DynastyExpert remark: Compare the closely related form, the sinuous chilong, and the archaistic design overall. Note the size (35.5 cm).元至明初大型螭龍紋輔首啣環投壺中國，十三至十五世紀。該件瓶為銅質。唇口，口沿兩側附雙貫耳，形成三個並列的口部，貫耳下端亦為唇口，雷紋地龍紋。細長頸，圓雕兩螭龍攀附。平肩，肩部攀附一對螭龍。鼓腹，四輔首啣環。高圈足。壺整器規矩，錯落有致。 來源：Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。 品相：品相極好，大面積磨損，輕微鑄造瑕疵，小缺損、小刻痕和凹痕，肩部有一個小孔，可能是製造時出現的。底板看上去有過焊接。深色的包漿，與這種青銅器皿的預期完全一樣。 重量：6,448 克 尺寸：高47.8 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AQUAMARINE BLUE GLASS BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. The remarkably thick-walled, globular body is raised on a short tapered foot and surmounted by a tall cylindrical neck. The transparent glass is of an attractive aquamarine-blue tone. The recessed base with an incised four-character mark Qianlong nianzhi and of the period.Provenance: From the collection of Ina and Sandford Gadient. Old collector's label inscribed 'Ina & Sandford Gadient No. 23'. Ina and Sandford Gadient were collectors of Chinese glass and long-time supporters of the Lowe Art Museum at the University of Miami in Florida. In 1999, the Museum, an important art institution in the US, hosted an exhibition of over 120 pieces from the Gadient collection including the present lot, titled “Treasures of Chinese Glass Workshops”. The collection has also been exhibited at several other museums across the US (see exhibition section below).Published: Treasures of Chinese Glass Workshops. A Selection from the Ina and Sandford Gadient Collection, Lowe Art Museum, University of Miami, 1999, Number 24.Exhibited: The Norton Museum of Art, West Palm Beach, October 2011. The New Orleans Art Museum, May 2004. The Lowe Art Museum, December 1999. The Corning Museum of Glass, September 1996. The Lentz Center of Asian Culture, October 1994. The Honolulu Academy of Art, Hawaii, June 1992.Condition: Excellent condition with some old wear, minor surface scratches, microscopic nicks and expected manufacturing irregularities, including swirls and bubbles.Weight: 1,500 g Dimensions: Height 25 cmExpert's note: The overall thickness of the glass, becoming most visible at the massive foot and neck, along with the exceedingly rare color variant of transparent aquamarine blue, indicates that this vase was made rather early during the Qianlong period.Literature comparison: A related bottle vase of comparable size, also with a Qianlong mark and of the period, is illustrated by Simon Kwan in Early Chinese Glass, Art Museum, The Chinese University of Hong Kong, 2001, pp. 422-3, no. 218.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1215 Price: USD 16,380 or EUR 15,500 converted at the time of writing Description: A large blue glass bottle vase, Qianlong four-character incised mark and of the period (1736-1795) Expert remark: Compare the closely related thick-walled glass. Note the darker sapphire-blue color and larger size (33.7 cm).乾隆款與年代罕見寶石藍琉璃瓶中國，1736-1795年。不透明的寶石藍玻璃，直口，長頸，鼓腹，底足厚壁，造型秀巧。圈足内“乾隆年製“四字款。 來源： Ina 與Sandford Gadient收藏。收藏標籤上注明”Ina & Sandford Gadient No. 23”。Ina 與Sandford Gadient是中國琉璃器皿收藏家，長期資助佛羅里達州邁阿密大學洛威藝術博物館。1999年，美國重要的一個藝術機構博物館舉辦了一場展覽，展出了包括本拍品在內的Gadient收藏的120多件作品，名為“Treasures of Chinese Glass Workshops”。 該系列還曾在美國其他幾家博物館展出（見下面的展覽部分）。 出版：Treasures of Chinese Glass Workshops. A Selection from the Ina and Sandford Gadient Collection, Lowe Art Museum, University of Miami, 1999年，編號24. 展覽：The Norton Museum of Art, West Palm Beach, 2011年10月；The New Orleans Art Museum, 2004年5月；The Lowe Art Museum, 1999年12月；The Corning Museum of Glass, 1996年9月；The Lentz Center of Asian Culture, 1994年10月；The Honolulu Academy of Art, Hawaii, 1992年6月。 品相：品相極好，一些磨損、輕微的表面劃痕、微小的刻痕和預期的製造不規則性，包括漩渦和氣泡。 重量：1,500 克 尺寸：高25 厘米專家注釋：玻璃的整體厚度，在足部和頸部最為明顯，以及極為罕見的透明海藍寶石顏色變化，表明此瓶製作於乾隆早期。 文獻比較：一件尺寸相近的乾隆款及年代玻璃瓶，見Simon Kwan，《中國古代玻璃》，藝術博物館，香港中文大學， 2001年，頁422-3，編號218。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得, 25 March 2022, lot 1215 價格：USD 16,380（相當於今日EUR 15,500） 描述：乾隆款與年代(1736-1795) 大型寶石藍琉璃瓶 專家評論：比較相近的厚實寶石藍玻璃材質。請注意較深的藍寶石色，尺寸較大(33.7 厘米)。

A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)Opinion: This pair of jardinières, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinières to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinières, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.These aforementioned two facts lead this author to the conclusion that the present jardinières are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.Link for the video:https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce (available to OCS members only)Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinières. Superbly potted, the tapering sides of each of the two jardinières are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardinière.The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinières.Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, is accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Very good condition, especially when considering the size and age of these jardinières, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardinière with small chips to one section of the base. Dimensions: Diameter 45.7 cm(2)Literature comparison: Compare a closely related unmarked faux-bois jardinière dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 October 2011, lot 17Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinières.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.一對乾隆款大型仿木紋釉花盆由於字數限制，完整中文敘述請至www.zacke.at查看。

Toko Shinoda (Japanese, 1913-2021). Lithograph on paper titled "Spring", ca. 1980, depicting loose abstract Sumi-e brushstrokes. Pencil signed, titled, and numbered 25/30 along the lower left.Shinoda is best known for her abstract Sumi paintings and prints created by fusing traditional East Asian calligraphy techniques with Abstract Expressionism. She pushed the boundaries of traditional calligraphy and introduced abstraction and dynamism to the art that placed her at the forefront of her field.Sight; height: 25 3/4 in x 19 3/4 in. Framed; height: 33 in x 26 1/2 in.

Toko Shinoda (Japanese, 1913-2021). Lithograph on paper titled "Verdure," depicting loose abstract Sumi-e brushstrokes and a green square. Pencil signed, titled, and numbered 2/35 along the lower left.Shinoda is best known for her abstract Sumi paintings and prints created by fusing traditional East Asian calligraphy techniques with Abstract Expressionism. She pushed the boundaries of traditional calligraphy and introduced abstraction and dynamism to the art that placed her at the forefront of her field.Sight; height: 12 3/4 in x width: 9 3/4 in. Framed; height: 19 1/4 in x width: 15 1/2 in.

Chinese, Japanese, Asian catalogues and interest, Hertherington, A. L. "The Early Ceramic Wares of China ...", Benn Brothers 1922, colour frontis with lettered tissue guard, colour and other plates with lettered tissue guards, a blind stamp on title page "Complimentary Copy", brown cloth, gilt Ming horse stamped on front cover, corners rather bumped, Burlington Magazine "Chinese Art ...", Fry, Binyon Rackham, etc. Batsford 1925, colour frontis, plates, illustrations, bookplate Paul Champkins inside front board, decorated end papers, the boards all rather rubbed , with corners and backstrip bumped, "The Edward T. Child Collection", Sotheby's catalogues Part 2 & 3, 16th December 1980, 19th May 1981, with dust jackets, and a large quantity of catalogues from I. M. Chait, Parke-Bernet Galleries, Lempertz, Christie's, The British Museum Exhibition, Oriental Paintings and Antiquities 1933-63, 8th November '63 to April 1964, Dreweats & Kunsthandel Klefisch (2 boxes)

4 x Silver Metal Asian Art items. Chinese Spoon likely Silver with Character marks. White Metal circular Cricket Cage, likely Indian. Silver Metal Matchbox Holder possibly Sino-Tibetan or Arabic. Chinese white metal Vesta type Case with applied Dragon and a broken hinge. Spoon is 13cm long.4 x 银色金属亚洲艺术品。中国勺子可能是带有字符标记的银色。白色金属圆形蟋蟀笼，可能是印度人。银色金属火柴盒座，可能是汉藏或阿拉伯文。中国白色金属灶神星型表壳，带有应用的龙和破损的铰链。勺子长 13 厘米。

A Group of Asian and Euroupean Ceramics, Including a Chinese Porcerlain Garniture, similar small tea pot, a Japanese doll including serveral different hairstyles, a blue and wite jardinaire decorated with precious objects, together with a Victorian wash bowl, a Royal Doulton bunnykins christiing set, an Italin art glass decanter, etc (qty)Both vases with heavy restoration and damage. Vase and cover with restored and damaged cover. Teapot with heavy damage to the spout, cover and handle. Star crack to the base. Jardiniere in reasonable condition.

A 19TH CENTURY ASIAN ART CHINESE FOLDING BAMBOO HEADREST, W 28 cm

Coupe transversale de dent de mammouth Extinct Mammoth Tooth Cross-section SlabMammuthus columbiPleistoceneSouth Carolina, USAThe Columbian mammoth (Mammuthus columbi) is an extinct species of mammoth that inhabited the Americas stretching from the Northern United States and as far south as Costa Rica. It was one of the last in a line of mammoth species, beginning with Mammuthus subplanifrons in the early Pliocene. DNA studies show that the Columbian mammoth was a hybrid species between woolly mammoths and another lineage descended from steppe mammoths; the hybridization happened more than 420,000 years ago. The pygmy mammoths of the Channel Islands of California evolved from Columbian mammoths. The closest extant relative of the Columbian and other mammoths is the Asian elephant.Reaching 4 m at the shoulders and 10 tonnes in weight, the Columbian mammoth was one of the largest species of mammoth. It had long, curved tusks and four molars, which were replaced six times during the lifetime of an individual. It most likely used its tusks and trunk like modern elephants—for manipulating objects, fighting, and foraging. Bones, hair, dung, and stomach contents have been discovered, but no preserved carcasses are known. The Columbian mammoth preferred open areas, such as parkland landscapes, and fed on sedges, grasses, and other plants. It did not live in the Arctic regions of Canada, which were instead inhabited by woolly mammoths. The ranges of the two species may have overlapped, and genetic evidence suggests that they interbred. Several sites contain the skeletons of multiple Columbian mammoths, either because they died in incidents such as a drought, or because these locations were natural traps in which individuals accumulated over time.For a few thousand years prior to their extinction, Columbian mammoths coexisted in North America with Paleoamericans – the first humans to inhabit the Americas – who hunted them for food, used their bones for making tools, and depicted them in ancient art. Columbian mammoth remains have been found in association with Clovis culture artifacts; these remains may have stemmed either from hunting or scavenging. The Columbian mammoth disappeared at the end of the Pleistocene around 11,500 years ago, most likely as a result of habitat loss caused by climate change, hunting by humans, or a combination of both. The present specimen is a thick cross-section slab cut from a tooth which exhibits a rich blue, grey and brown coloration due to mineralization. Polished on both sides, the original texture was left remaining on all sides. Measuring 19 x 8 x 2 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Asian Art - a Persian brass and filligree rectangular panel, applied with turquoise and orange beads, in scrolls, 29.5cm x 26cm; a circular brass tray, inlaid in copper and silver metal, 31cm diam; a brass rectangular tray, engraved with dragons and scrolls, 41cm wide

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 Chinese carved horn dragon long boat, with figures, 66cm long; a carved soapstone vase (2)

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

A collection of reference work, including English furniture and Asian art/Provenance: The Estate of Anthony J Beeson CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

S Howard Hansford, Seligman Collection of Oriental Art - Chinese, Central Asian and Luristan Bronzes, and Chinese Jades and Sculptures, Arts Council of Great Britain, 1957; a companion work, John Ayres, Chinese and Korean Pottery and Porcelain; various editions of Transactions of the Oriental Ceramic Society; together with other works on oriental work.

Jin Dynasty, circa 12th-mid 13th century A.D. A charming pair of Cizhou stoneware lady attendant figurines with white slip and iron pigments, each with similar hairstyles and dressed in long robes, the features picked out in original brown, black and green pigments. Cf. The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler Gallery, accession no. S2012.9.3097. 185 grams total, 12.2 cm each (4 3/4 in.). Hong Kong private collection. Asian Art KCS gallery, London, UK. [2]

Circa 2nd century A.D. or later. A bronze Buddha ??kyamuni figure modelled in the round standing bare-footed on an architectural plinth, wearing a shin-length garment, ushnisha to head, hands in the abhayamudr? of fearlessness; pierced lug to reverse; ‘Buckingham Collection’ label to verso. Cf. The Zhiguan Museum of Fine Art, Treasures of Himalayan Art, Sakyamuni, Gandhara, bronze, 4th-5th century, height 44 cm, ZG 1 001, for similar. Tibet House, An Exhibition at Tibet House New York from the Buckingham Collections, New York, cat.no.GMB027, p.131. 1.1 kg, 27.5 cm high (10 7/8 in.). Dr Paul Singer, New Jersey, USA, 1995. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages: Exhibition catalogue cat.no.GMB027, p.131; and no.237, p.71. Accompanied by a copy of Nik Douglas' catalogue page #075 with provenance and price of US$220,000.00. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11375-191880. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

2nd-3rd century A.D. or later. A bronze figure of Buddha Sakyamuni modelled in the round standing bare-footed on a double lotus flower podium, wearing a robe, ushnisha to the head, stylised facial features and hands in the mudra of fearlessness; pierced lug to reverse. Tibet House, An Exhibition at Tibet House New York from the Buckingham Collections, New York, cat.no.GMB033, p.133 and no.234. 1.72 kg, 29.5 cm high (11 5/8 in.). Japanese private collection, 1971. Acquired through K. Takegami, Tokyo, Japan. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages: Exhibition catalogue cat.no.GMB033, p.133; and no.234, p.71. Accompanied by a copy of Nik Douglas' catalogue page #093 with provenance and price of US$180,000.00. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11376-191878. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

Late 2nd century A.D. or later. A Buddha figure modelled in the round meditating on a lotus flower base adorned with two lion figures, wearing a robe and with ushnisha; unfinished; ‘Buckingham Collection’ label to the interior. Cf. Tibet House., An Exhibition at Tibet House New York from the Buckingham Collections, New York, cat.no.GMB016, p.41, fig.115 & 116. 2.7 kg, 19 cm high (7 1/2 in.). Tom Harney, through Oxus, London, UK, 1967. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages including an image of this lot featured in one of the display cases (p.174): Exhibition catalogue cat.no.GMB016, p.41, fig.115 & 116. Accompanied by a copy of Nik Douglas' catalogue page #059 with provenance and price of US$75,000.00. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11377-191877. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

Circa 3rd century A.D. or later. A bronze shrine or altar featuring Buddha Sakyamuni seated cross-legged on a throne supported by two stylised lions sporting long manes, lotus petals below, hands seemingly held in dharmacakra-pravartana mudr?, flaming aureole behind his head, animals and mythical creatures adorning the trilobate hollow-formed backing; pierced suspension lug to reverse; ‘Buckingham Collection’ label to verso. Tibet House, An Exhibition at Tibet House New York from the Buckingham Collections, New York, cat.no.GMB028, p.131. 1.88 kg, 20 cm high (7 7/8 in.). Miangul Aukun Wali, London, UK, 1975 ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages: Exhibition catalogue cat.no.GMB028, p.131. Accompanied by a copy of Nik Douglas' catalogue page #076 with provenance and price of US$360,000.00. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11378-191879. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

Circa 3rd century A.D. or later. A U-shaped vessel divided into two upper C-section bands and lower D-section bowl, with everted rim and collared and domed foot, frieze of stylised flower heads, Buddhas and flames shooting upwards from the base. 1.3 kg, 17 cm high (6 3/4 in.). Acquired 1960s to early 1970s. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11379-191882. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

A LARGE AND IMPRESSIVE WOOD FIGURE OF ZOCHOTEN (VIRUDHAKA)Japan, 14th-16th century, Muromachi period (1336-1573)Of joined-block yosegi construction, covered in black lacquer, the guardian deity of the South standing firmly atop two oni on a rocky ledge, dressed in Chinese armor centered by a demon mask design, his left arm raised and clasped to hold a staff, the fierce face framed by tufts of hair flanking a high chignon, with eyes of inlaid reverse-painted and gilt crystal, the two demons with crystal eyes as well.HEIGHT 93 cmCondition: Good condition with some wear, age cracks, minor flaking and small losses to lacquer, minor chips and nicks, a weapon or staff held in the guardian’s hand lost, further minor losses.Provenance: Dutch collection.The Shitenno, whose origins are in Hindu traditions, were adopted into the Buddhist pantheon as subjugators of Buddha's enemies. With their transmission into East Asian Buddhist teachings, their appearance took on a martial quality and their iconography included armor, weapons, and fearsome expressions. In temple halls where sculptural arrangements were set up to emulate Sumeru, the Buddhist cosmic mountain, the Shitenno were placed at the four corners surrounding and protecting the central Buddhist sculptures in the configuration. Bishamonten is the most powerful and guards the north, while Zochoten guards the south. In Japan, the status of the Shitenno was further elevated to include protection of the nation.Auction comparison:Compare a closely related lacquered wood figure of Zochoten, dated to the Nanbokucho period, 14th century, the figure 83 cm high, the base 25.4 cm high, at Christie’s, Japanese & Korean Art, 24 March 2010, New York, lot 594 (sold for 47,500 USD).

Ɏ AN IVORY NETSUKE OF A RECLINING HOTEI WITH HOSSU (FLYWHISK)Japan, 18th century, Edo period (1615-1868)Finely carved in a reclining posture, holding a hossu, the netsuke of a type meant to be worn horizontally reclining on the top of the obi. His loose robe with finely carved folds and opening at the chest to reveal his rotund belly and ample chest, a cheerful expression on his chubby face, the mouth agape in a laugh, the back with two generously excavated, asymmetrical himotoshi.LENGTH 6.1 cmCondition: Very good condition, appealingly worn, minor age cracks, light honey-yellow patina to the reverse. The himotoshi clearly display signs of use.Provenance: Acquired at Kunsthaus Lempertz, Asian Art, 6 September 2017, Cologne, lot 500.Netsuke such as the present lot are of unusually high quality for early figural ivory netsuke. Unlike the seated Hotei types, which tend to follow earlier Chinese models, these horizontal variants are purely Japanese in concept.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0339).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

Ɏ KOSAI MORITOSHI: A SUPERB IVORY MANJU NETSUKE DEPICTING THE TALE OF PRINCE HANZOKU AND THE NINE-TAILED FOXBy Kosai Moritoshi (1854-1911), signed Kosai Moritoshi 孝齋 守壽 with kakihanJapan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Of circular form, the two-part manju finely carved to one side in shishiaibori (sunken relief) with Prince Hanzoku standing in a dynamic pose with all limbs spread out, wearing a pleated sarong and billowing scarves, adorned with a beaded necklace, his face with a grim expression, his curled hair neatly incised. The other side similarly carved with a nine-tailed fox, the true form of Hanzoku’s consort Lady Kayo, the beast with a fierce expression, the long body elegantly curved and still covered in the fine robes of her previous guise. Signed to the back KOSAI MORITOSHI with the characteristic ‘flying crane’ kakihan.DIAMETER 5.3 cmCondition: Very good condition with minor surface wear. Fine honey-yellow patina.The present netsuke depicts the Indian prince Hanzoku and his consort Lady Kayo, who reveals herself as a nine-tailed fox, and is based on a print by Utagawa Kuniyoshi (1798-1861) from 1849.Kosai Moritoshi (1854-1911) was the founder of a school of Manju netsuke carvers. Ueda Reikichi describes this carver’s work as having “a beautiful style”, see Bushell, Raymond (1961) The Netsuke Handbook by Ueda Reikichi, p. 543.Literature comparison: Compare a related ivory manju netsuke by Kosai Moritoshi, similarly carved in shishiaibori, formerly in the collection of Raymond Bushell and now in the Los Angeles County Museum of Art, accession number M.87.263.25. Compare a closely related ivory manju netsuke, the subject described as “the story of Abe no Seimei and the nine-tailed fox”, signed Shunkosai Moritoshi and also with a ‘flying crane’ kakihan, dated c. 1870, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 581.Auction comparison: Compare a related ivory manju netsuke by Moritoshi, similarly carved in shishiaibori and also with a ‘flying crane’ kakihan, at Bonhams, Asian Decorative Arts, 24 June 2015, San Francisco, lot 8007 (sold for 3,750 USD). Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0229).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

KOGYOKU: A WALNUT NETSUKE OF DARUMABy Kogyoku, signed KogyokuJapan, mid-19th century, Edo period (1615-1868)The kurumi netsuke finely carved as Daruma completely enveloped in his robe, his grotesque facial expression quite amusing, the eyes inlaid in dark horn with metal surrounds. The back with two himotoshi, one florally rimmed, the signature KOGYOKU within a recessed reserve.HEIGHT 4.2 cmCondition: Very good condition, minor surface wear, natural flaws to the material. Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie’s, Sotheby’s, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA’s Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

Frank Colson, A Contemporary Painted Pottery Fish (Sarasota, FL., 1931-2015) The base signed Colson. The fish resting on its spine, poised with tail and head rising upward, set upon, cf. Frank Colson, a local Sarasota artist from 1960 onwards was well-known amongst those active in Florida’s West Coast artistic community. He is best known for his ceramics, bronze sculpture, and mixed media art. Signature pieces include mask-like flat wall items and metamorphic representations of animals. Colson and his wife, Diana, relocated from Tallahassee to Bradenton in the early 1960’s, where the Manatee Art League offered him a studio to work from. In 1964, Colson bought the house and studio on Hillview Street, previously owned by Hilton Leech, one of Florida’s premier watercolorists. It was at this house and studio, now on the National Historic Register, where Colson established the Colson School of Art. As written in Colson’s biography, The Marks Project, Dictionary of American Studio Ceramics, From 1946 Onwards, “Colson was inspired by his world travels. His own term for his artistic style was “neo-primitive.” Before settling down in Sarasota he had lived in 67 countries and had found himself drawn to native artists, particularly those working in clay. Throughout his artistic career the artist work- ed with clay and bronze and was constantly interested in trying different techniques and materials. Colson claimed his desire to master so many different media came from his ‘strong sense of adventure and the desire to immerse himself in the mechanical and manual arts. Colson was an important member in Sarasota arts community. His bronzes can be seen throughout Sarasota, including, one of his best-known works, the World War I Bronze Doughboy, standing at the foot of Main Street. He served on the Board of Directors of the Museum of Asian Art in 1999, the Board of Public Art Advisory from 1990 to 1993, as its chairman from 1993 to 1994, and was a juror for the Ringling Museum of Art craft festival. Size: 4 1/4 x 2 1/2 x 7 1/8 in.

Seven Christie’s Asian Art Catalogs, miscellaneous catalogs from 2005, 2008, 2009, 2010. Size: 10 1/2 x 8 1/2 in.

Three Asian Art Books, titles include: The Raven Crown, Empowered Masters. Size: 11 3/8 x 9 1/2 in.

Collection of (5) Sotheby's Catalog Books: "Indian & Southeast Asian Art" (2) "Fine Chinese Ceramics & Works of Art" "Fine Chinese Ceramics & Works of Art" (2). Size: 10 3/4 x 8 1/4 in.