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

A YUE ‘LOTUS’ JAR AND COVER, FIVE DYNASTIESChina, 907-960. The ovoid body rising from a tall and slightly tapered ring foot, carved with seven lotus petals, the shoulder applied with four knobs below the cylindrical neck, the domed and lobed floral cover with a lotus stem finial. Overall covered in a finely crackled pale sea-green glaze pooling in the recesses, stopping irregularly at the foot and at the interior of the neck, the base left unglazed.Provenance: E. Pranger Oriental Arts, Amsterdam. Dr. Koos de Jong, acquired from the above at PAN Amsterdam in 2004 (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good condition with minor wear and firing irregularities, such as small firing cracks and minor kiln grit, one small chip to the cover, a nick to one of the lotus leaves with an old repair.Weight: 265.5 gDimensions: Height 14.5 cmThe Yue stoneware kilns, originally located in Northern Zhejiang Province, produced wares with green glazes which were highly valued and used as tribute for the Imperial court. The ware was also exported to foreign markets in the Middle East and in South East Asia. During the Five Dynasties period, despite the civil unrest and turbulence, production of high-quality Yue wares flourished and peaked.The present lot is a fine example of the high quality translucent soft olive-green glaze which the Yue potters achieved. Lotus-petal designs became increasingly popular on ceramics with the spread of Buddhism. This form of decoration was popular and used at various kilns, including also Longquan.Literature comparison: Compare a Five Dynasties dated Yueyao bowl and stand, with similar lotus-petal decoration, excavated from the pagoda in the Yunyan Temple, Huqiu Hill, Suzhou, Jiangsu province, in the Suzhou Museum, illustrated in Zhongguo mei shu fen lei quan ji: The Complete Works of Chinese Ceramics Vol. 6, Shanghai, 2000, no. 209. A Longquan funerary vessel with similar lotus petals and incised details, in the Victoria and Albert Museum, is illustrated by Rose Kerr, Song Dynasty Ceramics, London, 2004, p. 21, no. 13. See also Inaugural Exhibition, Vol. 1. Chinese Ceramics, The Museum of East Asian Art, Bath 1993, no. 41, p. 79, and R. Krahl, Chinese Ceramics from the Meiyingtang Collection, London 1994, Vol. 1, no. 319, p. 186.Auction result comparison: Compare with a related but smaller jar and cover at Bonhams Hong Kong in The Feng Wen Tang Collection of Early Chinese Ceramics on 9 October 2014, lot 125, bought-in at an estimate of HKD 200,000-300,000. Compare also with a jar and cover of closely related size and similar form at Christie’s Hong Kong in Chinese Ceramics From The Yangdetang Collection on 30 November 2016, lot 3101, sold for HKD 125,000.五代越窯蓮葉蓋罐 中國，907-960年。卵圓形罐體，圈足高且外撇，七個蓮花花瓣，在圓柱狀頸下方肩上四個旋鈕。罐蓋呈蓮葉狀上有蓮花莖形鈕。整體覆蓋海綠色釉中，底部未上釉。 來源：阿姆斯特丹E. Pranger Oriental Arts藝廊。Dr. Koos de Jong收藏，2004年購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 圖片: Edward Pranger 和他的妻子Franny 品相：狀況良好，有輕微的磨損和燒制不規則的現象，例如釉面開片和較小的窯渣、蓋上有一個小碎屑，其中一個荷葉上有一個缺口，已修過。 重量：265.5 g 尺寸：高14.5 厘米 拍賣結果比較：一件相近但更小的蓋罐，見香港邦翰斯The Feng Wen Tang Collection of Early Chinese Ceramics 拍場，2014年10月9日 lot 125, 估價HKD 200,000-300,000. 一個尺寸與形狀相近的蓋罐見香港佳士得Chinese Ceramics From The Yangdetang Collection 拍場，2016年11月30日 lot 3101, 售價HKD 125,000.

A FIVE-COLOR OVERLAY GLASS ‘CHILONG’ BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved through a single translucent layer of ruby red, dusky pink, emerald green, lemon yellow, and sapphire blue with a continuous scene of ten chilong, seven sinuously coiling on the body and three clambering around the neck chasing their own long multi-furcated tails, all against an opaque white ground. Four-character Qianlong nianzhi mark wheel-cut to the base and of the period.Provenance: French private collection, by repute acquired prior to the year 2000 in Paris.Condition: Good condition with minor wear and expected manufacturing flaws, such as pitting and open swirls, mostly to the interior of the neck, as well as minuscule nicks and losses, one old fill to the foot rim (ca. 3 cm long).Weight: 423.0 gDimensions: Height 19.4 cmThis superb glass vase, so finely decorated with a multi-color overlaid design of chilong and inscribed with a Qianlong four-character mark, is extremely rare. A small number of Qianlong reign-marked overlaid glass vases is recorded in museum collections, but none of the exact same style.Literature comparison: A ruby-red ground glass vase decorated in turquoise blue overlays with flowers and butterflies in the Palace Museum, Beijing is illustrated by Zhang Rong, Lustre of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, pl. 81, bearing a similar wheel-cut Qianlong nianzhi four-character mark, but within a double square. The same mark is also found on a small glass jar in the Palace Museum, Beijing, illustrated ibid, pl. 79 overlaid with a pair of chilong in emerald green against a rich cobalt-blue ground. For examples of unmarked Qianlong period white-ground multi-color overlaid glass vases of similar decoration style, see a vase decorated with chilong in the Suntory Museum of Art, cataloged as Qianlong/Jiaqing, illustrated in The Glass that Galle Adored, Glass from the Qing Imperial Collection, Suntory Museum of Art, Tokyo, 2018, p. 104, cat. no. 78, and a vase carved with flowers from the Shorenstein collection, illustrated in C.F. Shangraw and C. Brown, A Chorus of Colors: Chinese Glass from Three American Collections, Asian Art Museum of San Francisco, 1995, cat. no. 78, and on the front cover, and sold at Christie’s Hong Kong, 1st December 2010, lot 2940.Auction result comparison: Compare with a closely related vase at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II on 3 October 2018, lot 3428, bought-in at an estimate of HKD 800,000-1,000,000, and a related but slightly smaller vase at Christie’s London in Fine Chinese Ceramics and Works of Art on 6 November 2018, lot 131, sold for GBP 25,000.乾隆款及年代五色套料螭龍紋長頸瓶中國，1736-1795年。涅白地上使用寶石紅、粉紅、翡翠綠、檸檬黃和藍寶石藍等五色套料表現螭龍紋，蜿蜒曲折。底足“乾隆年制”四字款。來源：法國私人收藏，購於2000年巴黎。品相：狀況良好，有輕微磨損，並且可見製做缺陷，例如凹痕和明顯的旋流，主要出現在頸部內部，並且細微的划痕和缺損，圈足上有小補（約3厘米長）。重量：423.0 克尺寸：高19.4 厘米 拍賣結果比較：一件非常相似的長頸瓶見香港蘇富比Gems of Chinese Art – The Speelman Collection II 拍場2018年10月 3日lot 3428, 估價HKD 800,000-1,000,000； 另一件稍小的瓶子見倫敦佳士得Fine Chinese Ceramics and Works of Art 拍場2018年11月6 日lot 131, 售價GBP 25,000.

A LONGQUAN CELADON ‘TWIN FISH’ DISH, LATE SOUTHERN SONG TO YUAN DYNASTYChina, 13th-14th century. The exterior of the deep rounded sides carved with a band of petals rising from the foot to the flat everted rim, and the interior decorated in the center with two molded fish, covered overall with a glaze of sea-green tone except for the foot rim burnt reddish-brown in the firing.Provenance: Ex-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: Old wear, firing flaws, old repairs to rim, the glaze with erosion probably from saltwater.Weight: 171.6 gDimensions: Diameter 12.7 cmPaired fish symbolize fertility and connubial bliss, and they are also one of the Eight Buddhist symbols. Dishes of this type, known as ‘twin fish’ dishes, were popular products of the Longquan kilns during the late Southern Song to early Ming period.Literature comparison: Similar Longquan celadon ‘twin fish’ dishes were recovered from the cargo of a trading vessel that sank off the coast of Sinan, South Korea, in the 1320s, and were included in the Special Exhibition of Cultural Relics Found off the Sinan Coast, National Museum of Korea, Seoul, 1977, pl. 28. Other examples are in the National Palace Museum, Taipei, included in Illustrated Catalogue of Sung Dynasty Porcelain in the National Palace Museum, Lung-chu'n Ware, Ko Ware and other Wares, Taipei, 1974, pl. 26, and in the Percival David Foundation, included in the Illustrated Catalogue of Celadon Wares, rev. ed., London, 1997, p. 27, no. 265.Auction result comparison: Compare with a closely related dish at Christie’s New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1275, sold for USD 9,375.宋末元初青釉雙魚盤中國, 十三至十四世紀。深圓形側面，腹外壁飾蓮瓣紋。盤寬折沿，平底，盤內底貼首尾相對的模印雙魚。整體覆蓋有青綠色釉，脚緣露胎成紅褐色。 來源：The Zelnik Istvan Southeast Asian Gold Museum, 168頁，布達佩斯2013。這件拍品還將出現在即將出版的關於Zelnik博士先生收藏中的金銀器一書中，該書將於2021年出版。圖片：Dr. István Zelnik 品相：舊磨損，燒制瑕疵，邊缘有舊的修復，釉面可能受鹽水侵蝕。 重量：171.6 克 尺寸：直徑12.7 厘米 拍賣結果比較：一件相近的盤，見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場，2005年3月30日，lot 318, 售價USD 11,400.

A BLUE AND WHITE ‘THREE FRIENDS OF WINTER’ DISH, KANGXIChina, 1662-1722. The shallow sides rising from a tall ring foot to a slightly everted rim, the interior painted with a central medallion enclosing a pine tree, bamboo and flowering prunus, the exterior also with the Three Friends of Winter above a geometric band to the foot. The base with an apocryphal six-character da Ming Xuande nianzhi mark.Provenance: Belgian private collection. Condition: Three short hairlines to the rim (inspected under strong blue light), one barely visible to the naked eye, the other two invisible. Minor pitting, some firing flaws, fritting, overall condition commensurate with age.Weight: 737.6 gDimensions: Diameter 25.5 cmMing imperial porcelains of the Xuande period represent a peak of quality, beauty, and inventiveness unique in the history of Chinese ceramics. Later emperors referred back to wares from this period, as seen in the present lot.Literature comparison: For the Xuande ‘Three Friends of Winter’ prototype, see a blue and white bowl in the collection of the British Museum, museum number PDF, B.635. Compare with a blue and white bowl, also from the Kangxi period and with an apocryphal Xuande mark, at Sotheby’s Hong Kong in A Tradition of Elegance – The Leshantang Collection on 11 April 2008, lot 2519.Auction result comparison: Compare with a related dish of smaller size, with a Qianlong seal mark and of the period, at Sotheby’s New York in Asian Art on 19 March 2016, lot 1412, sold for USD 35,000.康熙青花歲寒三友盤 中國，1662-1722年。淺邊，高圈足，邊緣外翻，盤内開光青花描繪松樹、竹子和梅花。盤外壁還可見歲寒三友紋。圈足内可見“大明宣德年制”款。 來源：比利時私人收藏 品相：邊緣的三根短髮絲細裂紋（在強烈的藍光下進行了檢查），其中一根肉眼幾乎不可見，另外兩條則不可見。小凹痕，一些燒制缺陷，熔結現像都很明顯，其總體狀況與年齡相稱。 重量：737.6 克 尺寸：直徑 25.5厘米 拍賣結果比較：一件相近但尺寸略小的乾隆款及年代盤，見紐約蘇富比Asian Art 拍場，2016年3月19日lot 1412, 售價USD 35,000.

A GE-TYPE LOBED BOWL, MINGChina, 1368-1644. The rounded sides rising from a short five-lobed foot to a five-lobed rim, covered overall in a soft gray glaze suffused with a network of black crackles, the glaze stopping irregularly at the foot ring.Provenance: French private collection.Condition: Excellent condition with minor wear and firing irregularities, extensive kiln grit to the well with an associated minuscule glaze loss. Weight: 86.4 g Dimensions: Diameter 9.8 cmLiterature comparison: For the prototype of this form and glaze, see several petal-lobed dishes of various sizes, in the Palace Museum, Beijing, illustrated in Selection of Ge Ware, Beijing, 2017, pls 42-46 and 63. Compare also a Ming dynasty Xuande mark and period dish, of circular form, now preserved in the Palace Museum, Beijing, illustrated in the exhibition catalog Power and Glory: Court Arts of China's Ming Dynasty, Asian Art Museum, San Francisco, 2008, pl. 76.Auction result comparison: A related dish of slightly larger size was sold by Sotheby’s Hong Kong in Tiaminlou – A Small History of Chinese Ceramics on 30 May 2019, lot 14, for HKD 75,000.明代仿哥窯式梅花碗 中國，1368-1644年。短碗足呈五瓣形，梅花形碗，整個表面施一層柔潤的灰色釉，黑色開片裂紋，釉不規則的聚集在腕足処。 來源：法國私人收藏 品相：狀況極佳，磨損少，燒制不規則，爐膛粗砂過多，釉料損失極少。 重量：86.4 克 尺寸：直徑9.8 厘米 拍賣結果比較：一件相近但尺寸更大的碟子售于香港蘇富比Tiaminlou – A Small History of Chinese Ceramics拍場，2019年5月30 日，lot 14, 售價HKD 75,000。

A GE-TYPE CENSER WITH INCURVED RIM, QINGChina, 18th century. Of massive decagonal form, the sides rising from a short circular foot to an incurved circular rim, covered overall in an attractive greenish-gray glaze suffused with dark gray crackle joined by russet crackles, a disk-shaped section of the underside unglazed with iron-brown dressing.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Excellent condition with minor old wear and expected firing flaws.Weight: 505.1 g Dimensions: Diameter 13 cmAuction result comparison: A Ge-type tripod censer with similar multi-tone crackle was sold by Sotheby’s Hong Kong in Chinese Art on 30-31 May 2019, lot 449, for HKD 75,000. A Ge-type bowl of larger size, with a similar multi-tone crackle to the glaze, was sold by Christie’s London in Chinese Ceramics, Works of Art and Textiles on 17 May 2013, lot 1367, for GBP 5,000.清代仿哥窯十方香爐 中國，十八世紀。十邊形香爐，圓形短足，邊角圓滑，整體覆蓋著誘人的灰綠色釉，深灰色開片紋，並帶有紅褐色的裂紋，下面是圓盤形的部分露胎，鐵銹色敷料。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今 品相：狀況極佳，有輕微的舊磨損和預期的燒制缺陷。 重量：505.1 克 尺寸：直徑 13 厘米 拍賣結果比較：比較一個帶有相似開片紋的仿哥窯香爐，於香港蘇富比2019年5月30-31日Chinese Art拍場，拍號449，售價HKD 75000。比較另一個較大且帶有相近開片紋理的仿哥碗，於倫敦佳士得2013年5月17日Chinese Ceramics, Works of Art and Textiles拍場，拍號1367，售價GBP 5000。

A PAINTED CIZHOU ‘GALLOPING HORSE’ DISH, MINGChina, 1368-1644. The shallow rounded sides rising from a short ring foot to an everted rim, covered overall with a creamy white glaze and boldly painted in dark and light shades of brown with a galloping horse below stylized clouds and above a lingzhi and grass blades, the rim with two circumferential lines.Provenance: Old French private collection. Remains of an old collector’s label to base.Condition: Good condition with minor wear, firing flaws, occasional light scratches, a larger and several smaller chips to the rim, few small and almost invisible hairlines to the rim.Weight: 1,060 gDimensions: Height 6.5 cm, Diameter 26.5 cmEarly painted cizhou wares sometimes show highly modernist designs of animals, such as horses, deer, and tigers, which by repute have inspired Pablo Picasso to create some of his most important ceramic works.Literature comparison: Such plates, although once numerous in China, are rarely seen in public collections and very few have been published. A related jar from the Seligman Collection is now in the Victoria and Albert Museum, London. Another jar, but with a design of fish, is in the Asian Art Museum, San Francisco. And a jar with a horse is in the British Museum, 1936,1012.41.明代磁州窯彩繪奔馬盤 中國，1368-1644。彩繪盤，淺盤，表面覆蓋著乳白色的釉料，並大膽地使用深色和淺褐色的陰影，盤内雲朵之下，靈芝和草葉之上奔騰著一匹駿馬， 盤邊緣處一道黑色圓圈。 來源：法國私人老收藏，底部有藏家舊標簽 品相：狀況良好，有輕微磨損，燒制缺陷，局部輕微擦傷，圈足上有大大小小的磕碰，幾乎不可見細髮絲裂紋。 重量：1,060 克 尺寸：高 6.5 厘米，直徑26.5 厘米

A FAMILLE VERTE PORCELAIN FIGURE OF GUANYIN, QING DYNASTYChina, 18th century. Seated in lalitasana, wearing long flowing robes, and a beaded jewelry necklace, holding a scroll in one hand, the other resting on her right knee, the face showing a serene expression with spectacular incised downcast eyes and slender lips forming a benevolent smile, the hair arranged in a high chignon under the cowl.Provenance: French private collection, acquired at Piguet, Geneva, on 12 December 2016. A copy of the invoice accompanies this lot.Condition: Excellent condition with minor old wear and some expected firing flaws.Weight: 1,338 g Dimensions: Height 25.5 cmThe figure is finely painted in enamels of blue, iron red, emerald green, lemon yellow, and aubergine. The impressive quality of molding and incision work to Guanyin’s face clearly indicate an 18th century date.Auction result comparison: A similar enameled porcelain figure of Guanyin, retaining its original base, was sold by Sotheby’s New York in Asian Art on 17 September 2016, lot 942, for USD 25,000.清代硬彩觀音瓷像 中國，十八世紀。觀音成休閑坐，身著飄揚長袍，頭戴華冠, 頸上瓔珞項鏈，手執書卷置於右膝上，面部表情慈祥微笑，眼睛微垂。 來源：法國私人收藏，購於日内瓦 Piguet，2016年12月12日。隨附發票複印件。 品相：狀況極佳，有輕微的舊磨損和燒製缺陷。 重量：1,338 克 尺寸：高 25.5 厘米拍賣結果比較：比較一個相似的觀音瓷像，於2016年9月17日紐約蘇富比Asian Art拍場，拍號942，售價USD 25000。

A DEHUA PORCELAIN FIGURE OF GUANYIN, QINGChina, 18th century. Seated in lalitasana with the right arm resting on a box of texts, wearing an elegant long flowing robe, a tiara, and the hair arranged in plaited locks gently falling over the shoulders.Provenance: Formerly in the Vermeer & Griggs Collection. Old label to backside. An American private collector, acquired from the above. In 1976, Michael L. Vermeer (1947-2015) joined Alan Griggs (1939-1995) to form Vermeer & Griggs, the famous Los Angeles gallery. Alan’s extensive knowledge of Asian art, specifically Chinese ceramics, was complemented by Michael’s strong interest in Ming and Qing Imperial porcelain. They catered to an audience of the rich and famous, being one of the most reputed galleries in Southern California.Condition: Good condition with minor wear and firing flaws, a microscopic nick to one finger, some soiling to base, firing crack to the interior of the base.Weight: 913.4 gDimensions: Height 19.8 cmThe heavily potted figure with a thick white glaze, also to the interior, partially transparent, thus revealing the white ware with areas burnt to orange.Auction result comparison: A related Dehua figure of Guanyin was sold by Sotheby’s Hong Kong in Fine Chinese Ceramics Works of Art on 2 May 2005, lot 683, for HKD 480,000.清代德化白瓷自在觀音 中國 ，十八世紀。 觀音右腿半蹲，左腿後曲，右手自然支撐在書盒上。菩薩頭頂戴如意花冠，左右兩邊垂下辮子，著袒胸廣袖上衣，下著裙，衣褶層次明快清晰。 來源：原先來自Vermeer & Griggs 收藏。背面可見老標簽。一個美國私人收藏家，購於上述收藏。1976年Michael L. Vermeer (1947-2015) 加入 Alan Griggs (1939-1995) 建立Vermeer & Griggs，一個洛杉磯著名藝廊。Alan對亞洲藝術（尤其是中國陶瓷）的廣泛了解與Michael對明清瓷器的濃厚興趣相輔相成。 他們迎合了富有與知名人物，成爲南加州最著名的藝廊之一。 品相：狀況良好，有輕微的磨損和燒制缺陷，一根手指有細微的缺口，底座有些污漬，底座內部有些燒製裂紋。重量：913.4 克 尺寸：高19.8 厘米 拍賣結果比較：一件相似德化觀音像售于香港蘇富比Fine Chinese Ceramics Works of Art拍場，2005年5月2日，lot 683, 售價HKD 480,000.

A FAMILLE ROSE PORCELAIN DISH, YONGZHENG PERIODChina, 1723-1735. The shallow sides rising from a flat recessed base to a wide everted rim. Painted in bright enamels with a man fishing from a boat on a river and a woman drying clothes, with craggy rockwork, blossoming prunus, and another tree in the background. All encircled by a band of scrolling vines, below four shaped cartouches with flowers on a diaper ground.Provenance: Formerly in a notable English private collection. Condition: Absolutely perfect condition with only very minor wear and firing irregularities.Weight: 353.7 gDimensions: Diameter 22.7 cmAuction result comparison: Compare with a closely related dish at Koller, Zurich, in Asian Art, on 3rd December, 2018, lot 335, sold for CHF 7,500.雍正時期粉彩開光盤 中國，1723-1735年。折沿淺盤，明亮的粉彩，一個男人在船上捕魚，一個女人在岸上晾衣服，周圍有岩石和花樹。折沿上有纏枝紋地，四個開光内繪製花樹。 來源：英國著名私人收藏 品相：絕對完美的狀態，只有極少的磨損和燒傷不規則現象。 重量：353.7 克 尺寸：直徑22.7 厘米 拍賣結果比較：一件相近的粉彩開光盤，售于蘇黎世Koller Asian Art拍場2018年12月3日，lot 335, 售價CHF 7,500。

AN IRON-RUST GLAZED BOTTLE VASE, QINGChina, 18th century. The compressed globular body rising from a short ring foot to a long cylindrical neck, covered overall in a lustrous deep reddish-brown glaze speckled with iridescent black flecks, simulating rusted iron, the base similarly glazed save for the foot ring. Provenance: Estates of William R. Appleby (1915-2007) and Elinor Appleby (1920-2020), longtime donors to the Metropolitan Museum of Art in New York. Mrs. Appleby had a particular interest in Asian art, and she and her husband supported the Department of Asian Art as well as the Fund for The Met, providing for important acquisitions and institutional initiatives. Collector’s label to base.Condition: Excellent condition with minor wear and firing flaws, little fritting around the mouth.Weight: 366.0 gDimensions: Height 14 cmAuction result comparison: A similar but larger bottle vase was sold by Sotheby’s Hong Kong in Ceramics and Jades from the Collection of Sir Quo-Wie Lee on 28 November 2019, lot 76, for HKD 40,000.清代醬釉瓶中國，十八世紀。圓柱形長頸，球狀體，短圈足。瓶子表面覆蓋著一層發亮的深紅棕色釉，有虹彩的黑色斑紋，猶如生鏽的鐵，底部也有類似的釉，除了圈足。 來源：William R. Appleby (1915-2007) and Elinor Appleby (1920-2020)遺產，紐約大都會博物館的長期捐助者。 Appleby夫人對亞洲藝術特別感興趣，她和她的丈夫支持亞洲藝術部以及大都會基金會，提供重要的收購和學術性倡議。 底部有藏家標簽。 品相：狀況極佳，有輕微磨損和燒制缺陷，瓶口周圍有些微熔渣。 重量：366.0 克 尺寸：高 14 厘米 拍賣結果比較：一件相似但大些的瓶子售于香港蘇富比Ceramics and Jades from the Collection of Sir Quo-Wie Lee拍場，2019年11月28日，lot 76, 售價HKD 40,000。

A GUAN-TYPE CELADON-GLAZED CONG-FORM VASE WITH THE EIGHT TRIGRAMS, TONGZHI MARK AND PERIODChina, 1862-1873. The square vase with a characteristic circular foot ring and mouth rim, molded on each side with the Eight Trigrams (bagua) and covered overall with a finely russet-crackled bluish sea-green glaze thinning to a slightly paler tone on the edges. Six-character Tongzhi mark to base and from the period.Provenance: Tajan, Paris, 11 June 2001. French private collection, acquired from the above. A copy of the invoice accompanies this lot.Condition: Excellent condition with minor wear and firing flaws, occasional light scratches.Weight: 2,804 g Dimensions: Height 28.4 cmAuction result comparison: A closely related vase was sold by Christie’s Paris in Art d’Asie on 19 December 2012, lot 152, for EUR 15,000. A pair of related vases, with Tongzhi marks but dated to Republic, was sold by Bonhams San Francisco in Asian Decorative Arts on 28 July 2009, lot 1352, for USD 36,600.同治款與年代青釉八卦琮式瓶中國，1862-1873年。瓶圓口、方腹、圈足，四面凸起橫直條紋，飾太極八卦紋。胎體細膩，通體施粉青釉，釉層凝厚純淨。瓶底六字同治款。 來源：法國巴黎私人收藏，購於巴黎Tajan拍賣行，2001年6月11日，隨附購買發票複印件。 品相：狀況極佳，有輕微磨損和燒製缺陷，局部有輕微划痕。 重量：2,804 克 尺寸：高 28.4 厘米 拍賣結果比較：一件相近琮式瓶售于巴黎佳士得，Art d’Asie拍場，2012年12月19日，拍號152，售價 EUR 15,000. 一對同治款的民國琮式瓶售于舊金山邦翰斯Asian Decorative Arts，2009年7月28日，拍號1352, 售價 USD 36,600。

A BLUE-GLAZED CONG-FORM VASE WITH ELEPHANT HANDLES, GUANGXU MARK AND PERIODChina, 1875-1908. The square vase with a characteristic circular foot ring and mouth rim, applied with a pair of molded elephant-heads, each suspending a mock ring-handle, covered overall with a lustrous, deep-blue glaze thinning slightly on the edges. Six-character Guangxu mark to base and of the period.Provenance: Collection of Mr. Mah in New Jersey, USA, by repute acquired by the collector’s father in China prior to 1949, and thence by descent in the same family.Condition: Very good condition with minor wear and firing flaws, occasional light scratches, the base drilled to center.Weight: 3,401 g Dimensions: Height 30 cmLiterature comparison: Compare a similar, slightly smaller, blue-glazed cong vase, Guangxu mark and period, illustrated by P. Lam, ed., Imperial Porcelain of Late Qing from the Kwan Collection, Hong Kong, 1983, catalog no. 142.Auction result comparison: Compare with a closely related vase sold by Christie’s New York in Fine Chinese Ceramics and Works of Art on 14-15 September 2017, lot 1257, for USD 10,000, another sold by Sotheby’s Paris in Asian Art on 16 December 2010, lot 297, for EUR 10,625, and a third sold by Bonhams London in Fine Chinese Art on 11 November 2010, lot 403, for GBP 10,800.光緒款和年代祭藍釉象耳琮式瓶 中國，1875-1908年。方形琮式瓶圓圈足，圓瓶口，瓶身上有一對象頭，每個大像頭上都懸掛著一個環柄，整體上覆蓋著一層祭藍釉，邊緣略圓滑。光緒六字款。 來源：美國新澤西州 Mr. Mah收藏，據説是藏家的父親1949年前在中國購得，自此保存於同一家族至今。 品相：狀況極佳，有輕微磨損和燒制缺陷，局部有輕微划痕，底座鑽到中心。 重量：3,401 克 尺寸：高 30 厘米 拍賣結果比較：比較一個非常相近的瓶，於紐約佳士得Fine Chinese Ceramics and Works of Art拍場售出，2017年9月14至15日，拍號1257，售價USD 10,000。另一個於2010年12月16日巴黎蘇富比Asian Art拍場售出，拍號297，售價EUR 10,625。第三個於倫敦邦瀚斯 Fine Chinese Art拍場售出，2010年11月11日，拍號403，售價GBP 10,800。

A FAHUA GLAZED ‘LOTUS’ JAR, LATE MINGChina, early 17th century. The body of globular form rising from a ring foot to the short cylindrical mouth, decorated with a wide band of lotus flowers and leafy vines between a ruyi head border on the shoulder and lotus lappets on the foot.Provenance: Dr. Marshall Hertig, an internationally noted medical entomologist who conducted research on disease-bearing insects at the Peking Union Medical College from 1923-1928. Descended from Dr. Hertig to his wife Edwina Smiley Hertig, then to their son Bruce Allerton Hertig and then to the present owner.Condition: Excellent condition with old wear and expected firing flaws, the glaze with intentional crackling, minor and old chipping to foot rim.Weight: 896.2 gDimensions: Size 14.6 x 9.9 cmAuction result comparison: A closely related but much smaller jar was sold by Bonhams Sydney in Asian Art on 30 November 2015, lot 34, for AUD $4,880.晚明法華彩蓮花紋蓋罐 中國，十七世紀早期。罐短直頸，風肩，肩以下漸收斂，圈足，蓋平頂無紐。腹部施蓮花纏枝紋，肩部和足部施如意紋。 來源： Marshall Hertig博士先生, 一位國際知名的醫學昆蟲學家，他於1923-1928年在北京協和醫學院進行了關於帶病昆蟲的研究。 拍品從Marshall Hertig博士到他的妻子Edwina Smiley Hertig，再到他們的兒子Bruce Allerton Hertig，再到現任所有者。圖片: Marshall Hertig博士、他的妻子Edwina Smiley Hertig和他們的兒子Bruce Allerton Hertig 品相：狀況極佳，有舊磨損和燒制缺陷，釉面開片，圈足釉面有輕微的剝落。 重量：896.2 克 尺寸：14.6 x 9.9 厘米拍賣結果比較：一個相近但小得多的罐子，於2015年11月30日澳洲悉尼邦瀚斯Asian Art拍場，拍號34，售價AUD 4,880。

A LARGE AUBERGINE-GLAZED ‘BOMBE’ TRIPOD CENSER, QING DYNASTYChina, 18th to early 19th century. The compressed globular body supported on three tapered feet, the lipped rim raised on a waisted neck and set with two loop handles, covered overall in a rich and iridescent glaze of deep and glossy violet tone, the glaze finely dripping between the feet and pooling irregularly at the interior sides, with few splashes to the otherwise unglazed well, finely incised double circle to base.Provenance: A noted German private collection, by repute acquired at Nagel Auctions in Stutgart, Germany.Condition: Good condition with extensive wear, surface scratches, intentional crazing, one foot repaired.Weight: 3,261 gDimensions: Height 14.5 cm, Diameter 23.4 cmAuction result comparison: Compare with a related but possibly earlier censer, dated to the Kangxi period and with lion handles instead of loop handles, at Christie’s London in Asian Art on 5 November 2018, lot 142, sold for GBP 4,375.清代大型茄紫釉橋耳三足爐 中國，十八至十九世紀初。三足爐胎體厚重，底出三乳足，橋形耳，整體覆蓋著深而有光澤的紫色釉，釉在腳之間微細滴落，不規則地聚集在內側，幾乎沒有飛濺到爐内。 來源：德國知名私人收藏，據説購於德國斯圖加特Nagel拍賣行。 品相：狀況良好，有廣泛的磨損，表面划痕，釉面開片，一隻腳已修復。 重量：3,261 克 尺寸：高14.5 厘米, 直徑23.4 厘米 拍賣結果比較：一件相近但年代更早的康熙獅首耳爐，見倫敦佳士得Asian Art 拍場，2018年11月5日 lot 142, 售價GBP 4,375.

A ROCK CRYSTAL SPHERE WITH A GILT BRONZE LOTUS BASE, QING DYNASTYChina, 1644-1912. The rock crystal of near perfect spherical form and good clarity, fitting perfectly into the Chinese or Tibetan gilt bronze base, finely crafted in the form of overlapping lotus leaves on a stepped square plinth cast with lotus lappets and Buddhist lions.Provenance: The present sphere is from the Josette and Theo Schulmann Collection, Paris, France. Acquired c. 1960-1970. Josette and Theo Schulmann were passionate dealers of Asian Art and have donated several important works to the Cernuschi Museum.Condition: The sphere is in good condition with light scratches, few minor nicks, as well as natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The base is in excellent condition with old wear, small nicks and dents, some wear to gilt and a fine, naturally grown patina.Weight: 1,494 g (the sphere) and 636.4 g (the base)Dimensions: Diameter 10 cm (the sphere), Height 10.5 cm (the base) and 16.5 cm (the sphere and base)A near identical, but larger rock crystal sphere is in the University of Pennsylvania Museum of Archaeology and Anthropology (Penn Museum), object number C681A. It was purchased in 1927 from the Far East Shop of John Wanamaker's famous department store in Philadelphia in memory of George Byron Gordon, the recently deceased Director of the Penn Museum. In the booklet that accompanied its sale, the department store advanced an exciting tale of the sphere’s exotic origins, implying that it had once belonged to the Empress Dowager Cixi (1836-1908 AD) of China. No evidence has ever come to light that supports this or any other account of the sphere's origins. It is believed to be the third largest crystal sphere in the world, with a diameter of 25.4 cm.Empress Cixi (1835-1908) was a Chinese empress dowager and regent who was the de facto supreme ruler of China in the late Qing dynasty for 47 years, from 1861 until her death in 1908. Selected as a concubine of the Xianfeng Emperor in her adolescence, she gave birth to a son, Zaichun, in 1856. After the Xianfeng Emperor's death in 1861, the young boy became the Tongzhi Emperor, and she became the Empress Dowager. In 1872, the Tongzhi Emperor turned 17 and was married to the Jiashun Empress. The empress's grandfather, Prince Zheng, was one of the eight regents ousted from power in the Xinyou Coup of 1861 and was ordered to commit suicide after Cixi's victory. As a consequence, there were tensions between Cixi and the empress, and this was often a source of irritation for Cixi. Moreover, the empress's zodiac symbol of a tiger was perceived as life-threatening by the highly superstitious Cixi, whose own zodiac symbol was a goat. According to Cixi's belief, which she reputedly formed while looking into her crystal sphere, it was a warning from the gods that she would eventually fall prey to the empress.Auction result comparison: Compare with a related rock crystal sphere of slightly larger size (12.8 cm in diameter), together with a wood stand, at Sotheby’s New York in Fine Chinese Ceramics and Works of Art on 23 March 2011, lot 617, sold for USD 21,250.清代水晶球及銅鎏金蓮座 中國，1644-1912年。接近於完美球形的水晶，具有良好的清晰度，完美地與中國或西藏的鎏金銅蓮座融合。蓮座基底為方形，上面可見蓮蓬與佛獅。 來源： 法國巴黎Josette and Theo Schulmann 收藏。大約購於 1960-1970年間。Josette and Theo Schulmann 曾是熱情的亞洲藝術商與Cernuschi Museum 衆多重要藝術品的捐助者。 圖片：Josette Schulmann, Theo Schulmann 品相：該球體狀況良好，有輕度的划痕，極少的划痕以及自然的夾雜物和裂縫，隨著時間的推移，其中一些可能會發展成細小的裂縫。 底座狀況良好，有舊磨損，小刻痕和凹痕，有些鎏金磨損，還有自然生長的包漿。 重量：水晶球1,494 克，底座636.4 克 尺寸：水晶球直徑10 厘米, 底座高10.5 厘米，水晶球與底座一起16.5 厘米 拍賣結果比較：一件相似但尺寸較大水晶球及木製底座，售于紐約蘇富比Fine Chinese Ceramics and Works of Art 拍場2011年3月 23日，lot 617, 售價USD 21,250。

A WHITE AND RUSSET JADE SNUFF BOTTLE, QING DYNASTYChina, 1644-1912. Excellently hollowed through a small mouth and finely polished, the translucent stone of an attractive white tone with cloudy inclusions and rich russet veins. Of irregular form with indentations at the shoulder, neck, and foot, the rounded rectangular body rising from a slightly concave oval foot to a short broad cylindrical neck.Provenance: From a private collection in Chicago, Illinois, USA, and thence by descent.Condition: Excellent condition with minor wear and minuscule nibbling to mouth, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Japanese cinnabar lacquer with carved spoon Weight: 178.9 gDimensions: Height including stopper 74 mm. Diameter neck 23 mm and mouth 7 mmAuction result comparison: Compare with a related white and russet jade snuff bottle at Sotheby’s New York in Asian Art Featuring Chinese Art from The Metropolitan Museum of Art – The Florence and Herbert Irving Gift on 14 September 2019, lot 1260, sold for USD 37,500.清代籽料鼻烟壺 中國，1644-1912年。半透明的籽料經過出色打磨並精細拋光，具有迷人的白色調，並帶有絮狀内含物和豐富的赤褐色脈絡紋理。呈不規則形，在肩部、頸部和足部有凹痕，圓角的矩形主體從略凹的橢圓形底足上升到短而寬的圓柱形頸部。 來源：美國芝加哥私人收藏，保存至今。 品相：狀況極佳，輕微磨損，唇部微小的磕損，籽料中含有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 壺蓋：日本雕漆蓋，小壺匙 重量：178.9 克 尺寸：總高74 毫米，頸部直徑23 毫米，嘴部直徑7 毫米 拍賣結果比較：一件相近白色籽料鼻烟壺見紐約蘇富比Asian Art Featuring Chinese Art from The Metropolitan Museum of Art – The Florence and Herbert Irving Gift拍場，2019年9月14日 lot 1260, 售價USD 37,500.

AN INSIDE-PAINTED GLASS ‘BOYS’ SNUFF BOTTLE, MIDDLE SCHOOL, DATED 1945China. Painted to one side with four boys planting a tree in front of pine and craggy rockwork and to the other with three boys flying kites with a willow and pine in the background.Inscription: Upper left to one side, Yihuchun (‘spring in a bottle’), dated winter of yiyou (corresponding to 1945), one seal.Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.Condition: Minor wear, small hairline crack to base.Stopper: Metal with inlaid carnelian, malachite, and glassWeight: 89.0 gDimensions: Height including stopper 80 mm. Diameter neck 21 mm and mouth 9 mm内畫嬰戯圖鼻烟壺，1945年 中國。玻璃内畫嬰戯圖，四個孩童在松樹前植樹，另外三個孩童放風箏。 款識：乙酉孟冬，一壺春 來源：Ted Adameck收藏，自此保存在同一家族至今。Ted Adameck (1924-2019) 曾是日本根付傳奇般的收藏家，活躍了幾十年，在檀香山開設了兩家古董店，寫了無數有關該主題的文章和書籍，以及許多其他有關亞洲藝術和文化的文章。品相：輕微磨損，底座有小細裂紋 壺蓋：金屬，鑲嵌紅玉髓、孔雀石與玻璃 重量：89.0 克 尺寸：含蓋總高80 毫米，頸部直徑21 毫米，嘴部直徑9 毫米

AN AQUAMARINE GLASS ‘KUILONG’ SNUFF BOTTLE, QING DYNASTYChina, 18th – early 19th century. Each side carved in relief with a pair of confronting archaistic upright coiling kuilong, their bodies decorated with scrolls. The flattened ovoid body rising from an oval foot to a cylindrical neck with a remarkably wide mouth.Provenance: British private collection.Condition: Very good condition with minor wear, microscopic nibbling to mouth, and manufacturing flaws, such as cloudy white inclusions and bubbles.Stopper: Apple green jadeite cabochon with a particularly fine ivory spoon of attractive shape and honey-golden patina.Weight: 47.9 gDimensions: Height including stopper 85 mm. Diameter neck 16 mm and mouth 11 mmAuction result comparison: Compare with a related red glass snuff bottle with kuilong at Sotheby’s New York in Important Chinese Art on 13-14 September 2016, lot 217, sold for USD 5,000, and another at Sotheby’s New York in Asian Art on 18 March 2017, lot 1562, sold for USD 8,750.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 this item can only be shipped within the EU or picked up in our gallery in person. 清代寶藍色料夔龍紋鼻烟壺中國，十八至十九世紀。兩側浮雕相對的古老盤曲夔龍紋。扁平式，橢圓形底足，圓柱形的直頸，寬嘴。 來源：英國私人收藏 品相：有輕微磨損，細微磕損和製造缺陷例如渾濁的白色内含物和氣泡。 壺蓋：翡翠壺蓋，形狀優美的蜜金色包漿象牙小壺匙 重量：47.9 克 尺寸：總高85 毫米；頸部直徑16 毫米；嘴部直徑11 毫米 拍賣結果比較：一件紅料夔龍紋鼻烟壺見紐約蘇富比 Important Chinese Art 拍場2016年9月13-14日lot 217, 售價USD 5,000；另一件見紐約蘇富比 Asian Art 拍場2017年3月18日 lot 1562, 售價USD 8,750.

AN AMBER AND JADEITE COURT NECKLACE (CHAO ZHU), QING DYNASTYChina, 19th century. The 108 translucent golden-brown amber beads are divided by four pale green jadeite fotou (Buddha heads), one of them connected to a gourd-shaped fotouta (Buddha head stupa), supporting a silk cord tassel intersected by a flattened rectangular jadeite pendant, terminating to a filigree-mounted nephrite teardrop bead, enhanced by three jinnian strands each strung with ten crystal beads and teardrops of amethyst and tourmaline. Provenance: From the personal collection of Mrs. Savage, Houston, USA. Acquired in China ca. 1980 and thence by descent within the same family to the present owner. Condition: Excellent condition with old wear. The textile cords have dried and are a bit brittle and their colors have faded. The amber beads show many inclusions and the typical crazing, which identifies ancient amber. The hardstones with inherent inclusions and imperfections, some of which may have evolved into small cracks.Weight: 280 g Dimensions: Length 128 cm (from the top fotou all the way down the tassel) Auction result comparison: Compare with a closely related amber court necklace at Sotheby’s New York in Asian Art, March 18th, 2017, lot 1440, sold for USD 22,500.清代琥珀翡翠朝珠 中國，十九世紀。108顆半透明金棕色琥珀珠與四顆淡綠色翡翠佛頭間隔，其中一顆與葫蘆形的佛頭相連，尾端一條由扁平的長方形翡翠吊墜相交的絲綢流蘇， 一條由金銀絲鑲嵌的和田玉珠，三串水晶珠以及紫水晶和電氣石珠。 來源：美國休斯頓Mrs. Savage個人收藏，約于1980年代購於中國，自此保存於藏家家族之中直到流傳到現藏家手中 品相：狀況良好，有舊磨損。 紡織連線已經有點乾脆，褪色。 琥珀珠子内可見許多內沁物和典型的裂紋，表明了琥珀的年代。其他寶石内具有固有夾雜物和缺陷，其中一些可能已演變成小裂縫。 重量：280克 尺寸：長 128 厘米（從頂端佛頭到流蘇) 拍賣結果比較：一件相似琥珀朝珠售于紐約蘇富比Asian Art拍場，2017年3月18日，lot 1440, 售價USD 22,500.

A RHINOCEROS HORN SNUFF BOTTLE, QING DYNASTYChina, 1750-1850. Of flattened ovoid form with an oval foot and a tall cylindrical neck with a wide mouth, the material of an attractive golden honey-brown tone mottled with black veins and shadings.Provenance: French private collection. Condition: Very good condition with old wear, some traces of use and natural age cracks.Stopper: Amber cabochon and carved spoonWeight: 27.3 gDimensions: Height including stopper 64 mm. Diameter neck 18 mm and mouth 10 mmLiterature comparison: Compare with a closely related bottle, dated 18th-19th century, in T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p.247, no.185.Auction result comparison: Compare with another Rhinoceros horn snuff bottle at Bonhams Sydney in Fine Asian Art on 3 May 2016, lot 55, sold for AUD 12,200.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 this item can only be shipped within the EU or picked up in our gallery in person. 清代犀角鼻烟壺 中國，1750-1850年。扁平卵形，橢圓形底足，圓柱形直頸，大口，迷人的金色蜜棕色調，帶有黑色的紋理。 來源：法國私人收藏. 品相：狀況良好，有舊磨損，使用痕跡和自然裂縫。 壺蓋：琥珀壺蓋，小壺匙 重量：27.3 克 尺寸：總高64 毫米，頸部直徑18 毫米，嘴部直徑10 毫米 拍賣結果比較：另一件犀角鼻烟壺見悉尼邦翰斯Fine Asian Art 拍場，2016年5月3日lot 55, 售價AUD $12,200.

A BRONZE STORAGE VESSEL AND COVER, FANGHU, HAN DYNASTYChina, 206 BC to AD 220. The faceted pear-shaped body, raised on a slightly spreading square foot, is applied to either side with a taotie mask handle suspending a loose ring, the square cover surmounted by four flat, S-shaped finials at the corners.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Very good condition commensurate with age, old wear. Fine malachite-green patina.Weight: 1,507 gDimensions: Height 32.2 cmLiterature comparison: Compare a similar bronze fanghu excavated at Shuihudi, Yunmeng, Hubei province, now in the Yunmeng County Museum, published in Zhongguo qingtongqi quanji (‘Complete collection of Chinese archaic bronzes’), vol. 12, Beijing, 1998, pl. 9; and another in the collection of the Fujii Yurinkan, Kyoto, illustrated in Sueji Umehara, Nihon shucho Shina kodo seikwa (‘Select Relics of Ancient Chinese Bronzes from Collections in Japan’), vol. 6, Osaka, 1964, pl. 471.Auction result comparison: Compare with a related fanghu of larger size at Christie’s New York in Fine Chinese Ceramics and Works of Art on 18-19 September 2014, lot 1008, sold for USD 9,375.漢代青銅饕餮紋方壺 中國，公元前206至公元220年。 壺身為扁方體，壺口稍寬，延長收束，腹部外鼓，圜底，下接高圈足。兩側饕餮紋，挂著圓環。來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。品相：狀況與年齡、舊磨損相稱。孔雀石綠色銅綠。 重量：1,507 克 尺寸：高32.2厘米 拍賣結果比較：比較一個尺寸較大的方壺，於2014年9月18日至19日紐約佳士得Fine Chinese Ceramics and Works of Art拍場，lot 1008，成交價USD 9,375。

A GILT-BRONZE BOMBE-FORM TRIPOD CENSER WITH MATCHING STAND, 17TH CENTURYChina, 17th century. Of compressed globular form, supported on three short tapering feet, with two raised opposing loop handles on the rim, the base cast with an apocryphal Xuande mark within a recessed rectangle. With a matching lobed floral stand in the form of overlapping petals supported on three feet.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Very good condition with minor wear, some light scratches and minuscule nicks, few microscopic losses to base, casting flaws as expected.Weight: 1,307 g (incl. stand)Dimensions: Height 12.9 cm (incl. stand), Width 15 cm (handle to handle)Literature comparison: It is rare to find a bronze censer with upright handles raised on a petal-form stand, however, a gilt-splashed example dated to the Kangxi-Qianlong’ period (1662-1795) was included in the exhibition, Later Chinese Bronzes: The Saint Louis Art Museum and Robert E. Kresko Collections, Saint Louis, 2008, p. 137, no. 28.Auction result comparison: A closely related censer and stand of slightly larger size was sold by Christie’s New York in Important Chinese Ceramics and Works of Art on 13 September 2019, lot 865, for USD 22,500. A related censer and stand, but with handles on the body, was sold at Christie’s New York in Marchant: Nine Decades in Chinese Art on 14 September 2017, lot 721, for USD 23,750.十七世紀銅鎏金橋耳三足爐 中國，十七世紀。圓口，束頸，扁圓鼓腹，底承三乳足，口沿飾有對稱橋耳，底部宣德款。相配的葵口三足雕花底座。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況極佳，有輕微磨損，一些輕微的划痕和微小的刻痕，底座有輕微磕損，預期的鑄造缺陷。 重量：含底座縂1,307 克 尺寸：含底座縂高 12.9 厘米，耳至耳寬15 厘米 拍賣結果比較：一件相近香爐及其底座，尺寸更大，購於紐約佳士得Important Chinese Ceramics and Works of Art拍場，2019年9月13日，lot 865, 售價USD 22,500；另一件 香爐及其底座，但雙耳在其身側，售于紐約佳士得Marchant: Nine Decades in Chinese Art 拍場，2017年9月14日，lot 721, 售價 USD 23,750。

A BRONZE LUDUAN-FORM CENSER AND COVER, 17TH CENTURYChina, 17th century. The beast standing foursquare with open jaws baring sharp fangs and teeth, the head forming a hinged cover to allow access to the interior, detailed with finely incised mane and tail above a stout body with stylized markings.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Fair condition with old wear, traces of use, some losses and cracks, minor iron-red and malachite-green encrustations to the feet.Weight: 984.8 gDimensions: Height 15.2 cmAuction result comparison: A related bronze luduan censer of considerably smaller size, bearing an Xuande mark, was sold by Sotheby’s London in Menagerie: An English Private Collection of Chinese Animal Carvings on 10 May 2017, lot 29, for GBP 13,125.十七世紀青銅甪端香爐 中國，十七世紀。神獸張嘴露出鋒利的獠牙，頭部作爲蓋子，刻畫入微地表現鬃毛和尾巴。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況良好，有舊磨損，使用痕跡，一些磕損和裂縫，輕微的鐵紅色和綠色結殼。 重量：984.8 克 尺寸：高 15.2 厘米拍賣結果比較：一個相近但較小的宣德款甪端青銅香爐，於2017年5月10日倫敦蘇富比Menagerie: An English Private Collection of Chinese Animal Carvings拍場，拍號29，售價GBP 13,125。

A ROCK CRYSTAL MASK OF A CROWNED BHAIRAVA, 18TH CENTURYNepal. The face with a fierce expression and large bulging eyes, flaming eyebrows below the third eye. The mouth open to reveal sharp fangs and teeth, all below a broad nose, flanked by long earlobes. Wearing a foliate tiara centered by a floral design.Provenance: The Josette and Theo Schulmann Collection, Paris, France. Acquired c. 1960-1970. Josette and Theo Schulmann were passionate dealers of Asian Art and have donated several important works to the Cernuschi Museum.Condition: Excellent condition with old wear, occasional light scratches, the stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Mounted on a modern plexiglass base. (2)Weight: 242.4 g (total)Dimensions: Height 13.2 cm (incl. base) and 7.5 cm (excl. base)十八世紀水晶加冕陪臚面具 尼泊爾，臉部表情凶悍，眼睛大鼓脹，天眼下方的眉毛成火焰狀，嘴巴張開，露出尖銳的獠牙，寬闊的鼻子，兩側是長耳垂。 佩戴以花卉紋為中心的葉狀頭飾。 來源： 法國巴黎Josette and Theo Schulmann 收藏。大約購於 1960-1970年間。Josette and Theo Schulmann 曾是熱情的亞洲藝術商與Cernuschi Museum 衆多重要藝術品的捐助者。 圖片: Josette Schulmann, Theo Schulmann 品相：狀況良好，有舊磨損，偶爾有輕微划痕，石料帶有天然內沁和裂縫，隨著時間的流逝，其中一些可能會發展成細小的裂縫。現代有機玻璃底座。 重量：縂242.4 克 尺寸：縂高 13.2 厘米，面具7.5 厘米

A MASSIVE AND FIERCE BRONZE MASK OF BHAIRAVA, 18TH CENTURY OR EARLIERNepal. The fierce manifestation of Shiva heavily cast with large bulging eyes beneath furled brows centered by the third eye visible on the forehead, the flaming hair with lotus decorations, wearing a necklace and earrings in the form of snakes.Provenance: British private collection. Condition: The bridge to the back of the mask with old repairs, the inlays are lost, otherwise in good condition with some wear, casting irregularities, and few minuscule nicks here and there. The patina has naturally grown into a deep brown, almost black color.Weight: 6.1 kg Dimensions: Height 34.5 cmNewari masks such as the present lot were also constructed in wood and terracotta. They were never actually worn but used during a special annual festival dedicated to Indra, the Indra Jatra. A pot of beer or spirits was placed behind each mask and the liquid then poured through the deity's open mouth. The consecrated beverage would then be consumed by participants of the festival with great enthusiasm. The custom of drinking as part of the Indra festival is peculiar to Nepal, and these large mask-like sculptures are unique to the country.Literature comparison: For further discussion on these masks, see Allsop, 1986, pp. 14-27. Also see Pal, 1991, no. 22 and Pal, 1997, no. 25.Auction result comparison: Compare with an earlier Bhairava mask of 89.5 cm at Sotheby’s New York, in Indian & Southeast Asian Art, 1 April 2005, lot 69, sold for USD 30,000.十八世紀或更早陪臚銅面具 尼泊爾，憤怒的濕婆眉毛下方鼓起的大眼睛，頭頂上的第三隻眼睛在中央，燃燒的頭髮裝飾這蓮花。陪臚戴著項鍊和蛇形耳環。 來源：英國私人收藏. 品相：面具背面的連接進行過舊的修補，鑲嵌物丟失了。狀況良好，有一些磨損，鑄造不規則現象，到處都是很少的微小刻痕。 銅綠自然地變成了深棕色黑色。 重量：6.1 公斤 尺寸：高34.5厘米 拍賣結果比較：於2005年4月1日在紐約蘇富比Indian & Southeast Asian Art 拍場，與一具89.5厘米的陪臚銅面具比較，lot 69， 成交價USD 30,000。

A CARVED OPENWORK ROCK CRYSTAL MASK OF BHAIRAVA, 18TH-19TH CENTURYNepal. The wrathful deity’s fierce face with round bulging eyes, thick furrowed brows below the third eye, a broad nose with prominent nostrils, and the mouth wide open baring sharp teeth. The stone of good quality with some natural inclusions.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Excellent condition with minor wear, few light scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small natural cracks over time.Weight: 397.3 g (the mask only)Dimensions: Size 11 x 9.3 cm (the mask only)With a modern stand. (2)十八至十九世紀水晶雕刻陪臚頭像 尼泊爾。怒相神眼睛圓鼓，天眼下眉毛濃密，鼻子寬闊，鼻孔突出，鋒利的牙齒。 具有一些天然内含物的透明水晶。來源：原 Zelnik István Southeast Asian Gold Museum收藏。比利時Institutional art collection 購於上述美術館。István Zelnik博士是匈牙利South and Southeast Asian Research Institute（東南亞）研究所主席主席，曾是匈牙利高級外交官，他在東南亞工作了幾十年，建立了歐洲最大的亞洲藝術品私人收藏。 圖片：István Zelnik 博士 品相：狀況極佳，磨損小，划痕微乎其微，水晶有自然裂縫，隨著時間的流逝，其中一些可能會演變成小的裂縫。 重量： 頭像397.3 尺寸：面具11 x 9.3 厘米 現代底座。(2)

A ROCK CRYSTAL CONCH SHELL, 17TH-18TH CENTURYTibetan-Chinese. The stone of a good quality with natural inclusions, carved as a conch with a distinct four-tiered spire and a massive shell. The conch is considered sacred in Buddhism and is one of the eight auspicious symbols.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Excellent condition with minor wear, few light scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small natural cracks over time.Weight: 1,063 gDimensions: Length 16.5 cmExpert’s note: The many inclusions and fissures to the stone, as well as the absence of any decoration whatsoever, clearly indicate a dating to the 17th / 18th century.Auction result comparison: Compare with a related but larger and later rock crystal conch, decorated with gilt bronze, at Christie’s London in Fine Chinese Ceramics and Works of Art on 15 May 2012, lot 288, sold for GBP 25,000.十七至十八世紀水晶海螺 漢藏。具有天然内含物的優質石材，雕刻成獨特的海螺。 海螺在佛教中被認為是神聖的，是佛教八寶之一。 來源：原 Zelnik István Southeast Asian Gold Museum收藏。比利時Institutional art collection 購於上述美術館。István Zelnik博士是匈牙利South and Southeast Asian Research Institute（東南亞）研究所主席主席，曾是匈牙利高級外交官，他在東南亞工作了幾十年，建立了歐洲最大的亞洲藝術品私人收藏。 圖片：István Zelnik 博士 品相：狀況極佳，磨損小，輕微划痕，石材具有自然裂縫，隨著時間的流逝，其中一些可能會演變成小的自然裂縫。 重量： 1,063 克 尺寸：長16.5 厘米 專家注釋：石頭内有許多內含物和裂縫以及沒有任何裝飾，清楚地表明可以追溯到17世紀十八世紀。 拍賣結果比較：一件相近但更大更晚期的水晶海螺可見倫敦佳士得 Fine Chinese Ceramics and Works of Art 拍場2012年5月15 日 lot 288, 售價GBP 25,000。

A SINO-TIBETAN BLACK STONE FIGURE OF PANJARANATA MAHAKALA, 17TH CENTURYStanding on the body of a male deity on a lotus throne, holding a crescent knife (Kartika) and skullcap (Kapala) in his hands, a trident secured in his left arm, wearing a tiger’s skin as well as a garland of severed heads around the shoulders.Provenance: German private collection, by repute acquired before 2005 and thence by descent in the same family to the present owner.Condition: Excellent condition with minor wear, traces of pigment, small nicks here and there.Weight: 4,299 g (incl. stand)Dimensions: Height 28.8 cm (incl. stand) and 26 cm (excl. stand)Mounted on a modern metal stand. (2)The face showing a fierce expression with large bulging eyes and furrowed brows under the urna, the flaming hair behind a foliate tiara.Panjaranata Mahakala is the protector of the Shri Hevajra cycle of Tantras. The iconography and rituals are found in the 18th chapter of the Vajra Panjara Tantra (canopy, or pavilion), a Sanskrit language text from India, and an exclusive 'explanatory tantra' to the Hevajra Tantra itself. It is from the name of this tantra that this specific form of Mahakala is known.Literature comparison: For a related figure, see Himalayan Art Resources item no. 13386.Auction result comparison: Compare with a very small (7 cm high) related figure at Christie’s Paris in Art d’Asie on 12 December 2018, lot 64, sold for EUR 10,625, and another smaller (11.1 cm high) related figure dated to the 14th century at Sotheby’s New York in Indian, Himalayan & Southeast Asian Works of Art, 15 March 2017, lot 207, bought-in at an estimate of USD 20,000-30,000.十七世紀漢藏黑石大黑天像 漢藏，十七世紀。大黑天站在蓮花寶座上，手裡拿著月牙刀和嘎巴拉碗，左臂環抱三叉戟，披著老虎膚，光背四周裝飾花卉紋。 來源：德國私人收藏，據説購於2005年之前，自此保存在同一家族直至現任藏家。 品相：狀況極佳，有輕微磨損，色素痕跡，到處有小刻痕。 重量：縂4,299 克 尺寸：縂高28.8厘米，不含底座26 厘米 現代金屬底座。 拍賣結果比較：一個相近但非常小（高僅7厘米）的雕像，於 2018年12月12日巴黎佳士得Art d’Asie拍賣會，拍號64，成交價EUR 10,625。另一個14世紀但尺寸較小（高11.1厘米）的雕像 ，於2017年3月15日在紐約蘇富比Indian, Himalayan & Southeast Asian Works of Art 拍賣會上，拍號207，估價USD 20,000-30,000。

A COPPER EWER AND COVER, QING DYNASTYTibetan-Chinese, 18th-19th century. The copper body embellished with a gilt bronze handle in the form of a makara, the elegantly curved spout with an inlaid turquoise on the silver end and issuing from a repousse lotus scroll application, the shoulder and neck with silver applications showing the bajixiang and phoenixes surrounded by scrolling vines.Provenance: English private collection. Condition: Excellent condition with minor wear and casting irregularities, occasional light scratches, and few minuscule nicks.Weight: 2,628 gDimensions: Height 29.6 cmThe stepped circular cover with a lotus bud finial above scrolling vines and a band of shiva lingams, all executed in the finest silver repousse.Auction result comparison: Compare with a related ewer and cover of slightly different form at Bonhams London in Fine Chinese Art on 10 November 2011, lot 528, bought-in at an estimate of GBP 3,000-5,000. Compare also with a related, but smaller ewer and cover at Koller Auctions in Zurich, Switzerland, in Asian Art: Himalaya, China (A195as), lot 238, sold for CHF 8,125.清代鑲銀銅蓋壺 漢藏，十八至十九世紀。銅壺，執柄鎏金成神獸摩迦儸形。優雅的弧形壺嘴，銀質嘴鑲嵌綠松石色，蓮葉紋。肩部和頸部鑲銀，八吉祥紋與鳳凰穿花紋。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損和鑄件不規則現象，局部有輕微刮擦，機輕微划痕。 重量：2,628 克 尺寸：高29.6 厘米 拍賣結果比較：一件相近但形狀不同的蓋壺見倫敦邦翰斯Fine Chinese Art 拍場，2011年11月10日 lot 528, 估價GBP 3,000-5,000。比較另一件相近但是較小的蓋壺，售於瑞士蘇黎世Koller拍賣行Asian Art: Himalaya, China (A195as)拍場，lot 238，售價CHF 8,125。

A GILT COPPER REPOUSSE PANEL OF MAITREYA, 14TH-16TH CENTURYNepal. Cast standing atop a lotus pedestal, the right hand held in abhyahamudra in front of the chest and the left lowered in varadamudra, richly adorned in jewelry and finely incised garments, a large lotus flower rising beside him. The serene face with heavy-lidded eyes centered by a rectangular urna above gently arched eyebrows, a broad nose, and full lips forming a subtle smile.Provenance: German private collection, by repute acquired at auction in Hamburg, Germany. Old collector’s label with illegible number to the back.Condition: Extensive wear, losses, tears, warping, dents, remnants of pigment, wear to gilt.Weight: 318.2 gDimensions: Height 31.3 cmLiterature comparison: For a related but larger panel, see Christie's, London, 18 July 1974, lot 107.Auction result comparison: Compare with a related but larger panel at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 22, bought-in at an estimate of USD 30,000-50,000.十四至十六世紀銅鎏金鎚疊彌勒佛飾板 尼泊爾。彌勒佛站在蓮花座上，右手施無畏印中，左手與愿印中，飾有精美的珠寶和華麗衣袍，旁邊有一朵大蓮花。 平靜的面容，低垂的雙眼，中央是長方形的鼻骨，上方是柔和的拱形眉毛，寬闊的鼻子和豐滿的雙唇，形成微妙的笑容。 來源：德國私人收藏，據説購於德國漢堡拍賣行。背面可見藏家標簽。 品相：大量磨損、缺損、撕裂、翹曲、凹痕、色素殘留與鎏金磨損。 重量：318.2 克 尺寸：高31.3 厘米 拍賣結果比較：一件更大的飾板見紐約邦翰斯Indian, Himalayan & Southeast Asian Art拍場，2016年3月14日lot 22, 估價USD 30,000-50,000.

A BRONZE AND IRON PHURBA, 17TH CENTURY OR EARLIERTibet. The pommel with three heads of wrathful protectors with fierce expressions, open mouths baring sharp teeth and tongue, a third eye, and wearing five-leaf crowns, with the outer leaves shared between adjacent heads, surmounted by a vajra. The stylized openwork handle with vajras and a makara base secured to the iron blade.Provenance: Swiss private collection. Condition: Good condition with old wear, minor nicks here and there, occasional light scratches, the blade with traces of gilt. Fine dark patina.Weight: 273.1 gDimensions: Length 27 cmAuction result comparison: Compare with a related but slightly longer and later phurba , dated to the 18th century, at Sotheby’s New York in Asian Art on 24 March 2018, lot 1634, sold for USD 7,500. Compare also with an earlier and slightly longer phurba, dated to the 14th-15th century, at Christie’s Paris in Art d’Asie on 15 December 2010, lot 331, sold for EUR 11,250.十七世紀或更早浦爾巴鉄銅合金金剛鐝西藏。金剛鐝頂端為三面像首神明，張嘴露牙，三隻眼，頭戴五葉冠。柄部中段由上下兩個鏤空鈕結夾合一個九股式金剛杵構成。有鐵作三棱式刃部。 來源：瑞士私人收藏. 品相：狀況良好，有舊磨損，到處有小刻痕，偶爾有輕微划痕，刀片有鎏金痕跡。 深色銅綠。 重量：273.1 克 尺寸：長27 厘米 拍賣結果比較：一件十八世紀的金剛鐝，更長些，見紐約蘇富比Asian Art 拍場，2018年3月 24日，lot 1634, 售價USD 7,500；一件更早期且更長的金剛鐝，十四至十五世紀，見巴黎佳士得 Art d’Asie 拍場，2010年12月15日，lot 331, 售價EUR 11,250.

A SILVER REPOUSSE BUTTER LAMP, 19TH CENTURYTibet. The stem bowl with deep sides incised and embossed with four lobed reserves enclosing the Eight Buddhist Emblems (bajixiang) surrounded by lotus scroll, raised on a tall hollow stem foot encircled by a band of out-turned narrow petals above a band of overlapping ruyi heads.Provenance: Austrian private collection. Condition: Good condition with minor wear, small nicks and dents, tilted, possibly a minor old repair to the shaft.Weight: 277.5 gDimensions: Height 15.3 cmAuction result comparison: Compare with a closely related but slightly smaller butter lamp at Koller Zurich in Asian Art on 22 September 2007, lot 167, sold for CHF 2,000.十九世紀鎚揲銀酥油燈 西藏。酥油燈碗深，外壁四個如意形開光可見佛教八吉祥，纏枝蓮紋環繞，燈腳分三層，兩層蓮花瓣，底足一圈如意紋。 來源：奧地利私人收藏. 品相：狀況良好，有輕微磨損，小刻痕和凹痕，傾斜，舊修理。 重量：277.5 克 尺寸：高15.3 厘米 拍賣結果比較：一件相近但稍小的酥油燈，見蘇黎世Koller拍賣行Asian Art 拍場，2007年9月22 日lot 167, 售價CHF 2,000.

A PARCEL-GILT AND SILVERED ‘AMITAYUS THANGKA’ VOTIVE PLAQUENepal, circa 1900. The copper alloy panel is finely inlaid in coral, turquoise, lapis lazuli, bone, and glass paste, with silvered and gilt wire filigree, crafted in the form of a thangka with distinct handles to the top and bottom.Provenance: British private collection. Condition: Very good condition with minor wear, losses, few cracks and nicks to inlays, some wear to gilt and silvering. Good natural patina overall.Weight: 9.3 kgDimensions: Height 63 cm, Width (max.) 60 cm, Width (min.) 39 cmDepicting Amitayus in the center seated on a three-tiered throne, holding a lotus stem in one hand, richly adorned in jewelry, and wearing a five-leaf crown, surrounded by further deities including Manjushri as well as wrathful protectors, mythical beings, and auspicious symbols.Literature comparison: A gilt-metal filigree and inset-stone votive plaque, Nepal, 19th century, similar to the present example but dedicated to the god Vishnu, is illustrated in the Art Institute of Chicago, Annual Report 1982-1983, Chicago, 1983, pp. 38-40. Another example in the Newark Museum, New Jersey, is illustrated by P. Pal, Where the Gods are Young, New York, 1975, pp. 113 and 132, no. 83. See also a related plaque in the Jacques Marchais Museum of Tibetan Art as published in Lipton & Ragnubs, Treasures of Tibetan Art, New York, 1996, p. 229, no. 121.Auction result comparison: Compare with a related but slightly larger votive panel at Bonhams London in Fine Chinese Art on 16 May 2019, lot 192, bought-in at an estimate of GBP 25,000-30,000, and another at Bonhams San Francisco in Fine Asian Works of Art on 26 June 2018, lot 19, sold for USD 40,000.銅鎏金虆絲嵌寶石阿彌陀佛挂屏 尼泊爾，約1900年。銅合金面板中精細地鑲嵌著珊瑚、綠松石、青金石、骨頭和玻璃中，銀色和鎏金虆絲，以唐卡的形式精製而成，頂部和底部各具特色。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損，缺損，寶石幾乎沒有裂紋和磕碰痕跡，鎏金和鎏銀有磨損。整體有良好的天然銅綠。 重量： 9.3 公斤 尺寸：高63 厘米, 寬 (最大処) 60 厘米, 寬 (最小処) 39 厘米 拍賣結果比較：一件相似但尺寸較大的挂屏，售于倫敦邦瀚斯Fine Chinese Art 拍場2019年5月16日lot 192, 估價 GBP 25,000-30,000；另一件相似挂屏售于舊金山邦瀚斯Fine Asian Works of Art 拍場2018年6月26日 lot 19, 售價USD 40,000.

A LARGE GILT-COPPER REPOUSSE RELIEF OF MAHAKALA, 18TH-19TH CENTURYTibet. Of rectangular form, finely executed in repousse with the wrathful protector Mahakala standing on a prone male figure on a lotus base, wearing a skull crown, garland of severed heads, and tiger’s skin, holding a crescent knife and skullcap in his hands and a large lotus staff against his chest.Provenance: Private estate in Porto, Portugal. New York private collection, acquired from the above.Condition: Good condition with old wear, minor losses, traces of pigment, wear to gilt, few small dents.Weight: 1,815 g Dimensions: Size 44.5 x 35.5The fierce face with flaming hair and eyebrows, large bulging eyes, an urna, and a pierced open mouth baring sharp teeth and tongue, surrounded by a flaming mandorla. Pierced to the four corners for wall attachment.Auction result comparison: Compare with a pair of related but considerably smaller gilt copper repousse plaques of Kurukulla and Vajravaraji at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 23 July 2020, lot 855, bought-in at an estimate of USD 10,000-15,000.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十八至十九世紀大型銅鎏鎚揲大黑天飾板 西藏。呈長方形狀，飾板上鎚揲蓮座上怒相神大黑天俯臥立像，脚踩惡鬼，頭戴著骷髏王冠，骷髏花環和著老虎皮，手裡拿著月牙刀和葛巴拉杯，蓮花杖靠在他的胸口。 來源：葡萄牙Porto私人收藏；紐約私人收藏從上述收藏購得。 品相：狀況良好，舊時磨損，少量缺耗，色素痕跡，鎏金磨損，少量小凹痕。 重量：1,815 克 尺寸：44.5 x 35.5 厘米 拍賣結果比較：一對相近但更小的鎏金智行佛母及金剛亥母飾板，見紐約邦翰思Indian, Himalayan & Southeast Asian Art 拍場，2020年7月23日lot 855, 估價USD 10,000-15,000.

A CARVED AND GILT HARDWOOD MANUSCRIPT COVER, 14TH-15TH CENTURYTibet. Of rectangular form, finely and deeply carved with Buddha Shakyamuni on a throne in the center, flanked by two bodhisattvas, one striking a dynamic pose on a lotus pedestal and the other four-armed and seated in meditation, surrounded by foliate scrolls, a beaded frame, and a scroll border centered by a kirtimukha mask at the bottom.Provenance: Indian Heritage, Paris. LP Collection Paris, acquired from the above. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces with a focus on Himalayan masks. Remnants of an old export seal to reverse.Condition: Very good condition commensurate with age, extensive wear to gilt, minor nicks, scratches, and minuscule losses here and there.Weight: 2,850 gDimensions: Size 27 x 76 cmWith a sophisticated metal stand. (2)Auction result comparison: Compare with a related manuscript cover, dated to the 15th century, at Christie’s New York in Indian and Southeast Asian Art on 31 March 2005, lot 137, sold for USD 10,800, and another at Christie’s New York in Indian and Southeast Asian Art on 25 March 2004, lot 72, sold for USD 22,705. Compare also with a related gilt wood and polychrome manuscript cover of a prajnaparamita sutra at Sotheby’s New York in Indian, Himalayan & Southeast Asian Works of Art on 22 March 2018, lot 1060, sold for USD 9,375.十四至十五世紀木雕金漆經書封面西藏。矩形浮雕，中央佛祖釋迦牟尼坐蓮，兩側分別是一個神像，一個在蓮花座上擺出姿勢，另一個有四臂在冥想中。四周串珠環繞纏枝卷葉文，邊框更可見榮耀之臉獸頭。 來源：巴黎Indian Heritage古玩店。巴黎LP Collection 收藏，購於上述古玩店。Indian Heritage由Frederic Rond於2006年成立，是一家專門研究印度和喜馬拉雅藝術的藝廊。 它位於巴黎的聖日耳曼普雷斯（St Germain des Pres），以喜馬拉雅面具為重點，提供大量原始和古典作品。 封面背面上還可見舊時出口印章的剩餘。 圖片：Frederic Rond, Indian Heritage創始人，2014年6月在布魯塞爾亞洲藝術博覽會 品相：狀況與年齡相稱，金彩大量磨損，輕微的划痕，微小的缺損隨處可見。 重量：2,850 克 尺寸：27 x 76 厘米 金屬架 (2) 拍賣結果比較：一件相近的十五世紀封面見紐約佳士得 Indian and Southeast Asian Art 拍場2005年3月31日 lot 137, 售價USD 10,800, ；另一件見紐約佳士得Indian and Southeast Asian Art 拍場2004年3月25日 lot 72, 售價USD 22,705. ；一件鎏金木雕《般若經》封面見紐約蘇富比Indian, Himalayan & Southeast Asian Works of Art拍場2018年3月22日lot 1060, 售價USD 9,375.

A LARGE AND MASSIVE BRONZE TRIAD OF AVALOKITESHVARA AND TWO ACOLYTES, MING TO EARLY QINGChina, 16th-18th century. Cast seated in dhyanasana on a double lotus base, dressed in loose, flowing robes and elaborate beaded jewelry, the hands held in vitarka mudra, each holding a leafy stem rising to the shoulders and surmounted by a bird on one side and a vase on the other.Provenance: French private collection.Condition: Good condition with some expected surface wear and a few scattered minor dents or occasional light scratches, all consistent with age. There seems to be an old repair in the cast on the main figure's left billowing ribbon. The base is unsealed.Weight: 5.8 kgDimensions: Height 39.3 cmThe face shows a serene expression with downcast eyes, an urna above gently arched eyebrows, and slender lips forming a benevolent smile, flanked by long ear lobes with circular earrings. The hair is fashioned into a high chignon behind an elaborate five-pointed crown centered by a figure of Buddha Amitabha.The bodhisattva is flanked by two worshippers standing on lotus bases issuing from the base, the girl on the left holding a lotus bud and the boy on the right clasping his hands together in prayer, both with calm, smiling expressions.Auction result comparison: A related bronze, though slightly larger and without acolytes, was sold by Christie’s Paris in Art d’Asie on 10 June 2009, lot 223, for EUR 229,000. Another related bronze, without the acolytes and considerably smaller, was sold by Tajan in Asian Art on 21 July 2020, lot 76, for EUR 54,600.明末清初大型觀音菩薩坐像 中國，十六至十八世紀。觀音菩薩盤腿坐於雙層蓮花座上，穿著寬鬆，長袍飄逸，精美的串珠珠寶，一手持净瓶。 來源：法國私人收藏 品相：品相良好，表面有磨損和一些局部少量小凹痕和輕微划痕，均與年代相符。 左側飄帶上的鑄件似乎有舊修。 底座未密封。 重量：5.8 公斤 尺寸：高39.3 厘米 拍賣結果比較：一座相近觀音銅像，無左右尊者，曾售于巴黎佳士得《亞洲藝術》拍 場，2009年6月10日，lot 223，售價EUR 229,000。另一座相近銅像，無左右尊者， 稍小，曾售于Tajan《亞洲藝術》拍場，2020年7月21日，lot 76，售價EUR 54,600.

A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 15TH CENTURYTibet. Cast seated in dhyanasana with the hands lowered in dhyanamudra holding an alms bowl, wearing a pleated robe with finely incised scroll borders draped over the left shoulder. The serene face with an urna, downcast almond-shaped eyes beneath gently arched eyebrows, and slender lips forming a subtle smile, flanked by a pair of long pendulous ears.Provenance: Swiss private collection.Condition: Excellent condition commensurate with age, with minor wear, light surface scratches, expected wear to gilt, minuscule nicks and dents here and there, the original seal plate with two larger dents, some casting flaws.Weight: 1,607 gDimensions: Height 18.5 cmThe head and domed ushnisha covered with tight curls and surmounted by a bud-shaped jewel, all supported on a double lotus pedestal with beaded edges, the base sealed with a vishvavajra.Auction result comparison: Compare with two closely related but considerably smaller bronzes, one at Sotheby’s London in Important Chinese Art on 11 May 2016, lot 64, sold for GBP 18,125, and the other at Christie’s in Indian & Southeast Asian Art on 12 September 2012, lot 548, sold for USD 22,500. Compare also with a closely related but significantly larger bronze at Sotheby’s London in Important Chinese Art on 4 November 2020, lot 150, sold for GBP 69,300.十五世紀銅鎏金釋迦牟尼像 西藏。造像結跏趺坐，手結禪定印並持抱著一個施捨碗，穿著百褶長袍。 平靜的臉龐上有天眼，眉毛下杏仁狀的眼睛低垂，細長的嘴唇形成了微妙的笑容，兩側是一對長長的耳朵。 來源：瑞士私人收藏. 品相：狀況與年齡相稱，小磨損，表面輕微划痕，預期的鎏金磨損，到處都有微小的刻痕和凹痕，原始的密封板有兩個較大的凹痕，一些鑄造缺陷。 重量：1,607 克 尺寸：高18.5 厘米 拍賣結果比較：兩個相近但尺寸稍小的造像，一個可見倫敦蘇富比Important Chinese Art 拍場，2016年5月11日，lot 64, 售價GBP 18,125；另一件見佳士得Indian & Southeast Asian Art拍場，2012年9月12日lot 548, 售價USD 22,500. 一件相近但更大的造像見 倫敦蘇富比Important Chinese Art 拍場，2020年11月 4日 lot 150, 售價GBP 69,300.

A BRONZE PORTRAIT FIGURE OF A LAMA, 17TH-18TH CENTURYTibet. Seated in dhyanasana on an unsealed double-lotus base, the hands held in dharmachakramudra, wearing long flowing monastic robes with floral borders at the hems and collar, the benign face with heavy-lidded eyes and full, pursed lips forming a subtle smile, flanked by long pendulous earlobes, the plain hair with a distinct receding hairline.Provenance: Austrian private collection.Condition: Excellent condition with minor wear and firing flaws, light scratches, few minuscule nicks, dents, warping, remnants of old lacquer gilt and fine old polychrome pigment.Weight: 2,580 gDimensions: Height 20 cmAuction result comparison: Compare with a related but earlier bronze, dated to the 16th century, at Christie’s New York in Indian & Southeast Asian Art on 21 March 2008, lot 655, sold for USD 16,250. Compare also with a closely related gilt bronze figure of a lama, Qianlong mark and period, at Sotheby’s New York, September 11, 2019, lot 797, bought in at an estimate of USD $15.000-20.000.十七至十八世紀喇嘛銅像 西藏。喇嘛結跏趺坐在未密封雙層蓮座上，雙手施説法印，著袈裟，臉容祥和，雙眼微垂和豐滿的雙唇形成微妙的笑容，兩側是長長的耳垂。 來源：奧地利私人收藏. 品相：狀況極佳，有輕微的磨損和燒制缺陷，輕微的划痕，極少的凹痕，翹曲，舊漆金和舊彩色顏料殘留。 重量：2,580 克 尺寸：高20 厘米 拍賣結果比較：一件相近但十六世紀的銅像見紐約佳士得 Indian & Southeast Asian Art 拍場，2008年3月21日 lot 655, 售價USD 16,250.

A PORTRAIT BRONZE OF A MONK, COPPER- AND SILVER-INLAID, 16TH-18TH CENTURYTibet. Cast seated in dhyanasana on a sealed double-lotus base, his right hand resting on his knee and his left lowered in front, wearing a monk’s patchwork robe with copper-inlaid hems finely incised with floral bands, the benign face with silver-inlaid eyes and a distinctive hairline.Inscriptions: The frontal top of the base with a neatly incised donor’s dedication to a guru.Provenance: Australian private collection. Acquired by the collector’s father in the 1990s from a British gentleman who relocated to Western Australia in the 1960s.Condition: Two fingers on the right hand possibly reattached, an attribute possibly held in the other hand is lost, otherwise in good condition with minor wear, light scratches, and few minuscule nicks.Weight: 968.3 gDimensions: Height 17.8 cmAuction result comparison: Compare with a Tibetan-Chinese bronze of a monk holding a book, dated to the 18th century, at Christie’s New York in Indian And Southeast Asian Art on 21 September 2007, lot 195, sold for USD 9,375. Compare also with a Tibetan silver-inlaid brass alloy portrait figure of Zangpo Gyeltsen, dated to the 15th-16th century, at Bonhams Hong Kong in Images of Devotion on 5 October 2020, lot 32, sold for HKD 500,625.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十六至十八世紀鑲銀銅和尚銅像 西藏。大師結跏趺坐在密封的雙曾蓮花座上，右手放在膝蓋上，左手放低，身穿袈裟，銅質下擺精緻地刻有花卉飾帶，祥和的臉龐鑲有銀眼睛和獨特的髮際線。 款識：底座的正面前方刻字體現上師的奉獻精神。 來源：澳大利亞私人收藏。藏家的父親1990年代在一位1960年代定居澳大利亞西部的英國紳士購得。 品相：右手的兩個手指可能重新連接過，另一隻手可能失去一個寶器，除此之外狀況良好，輕微磨損，輕微划痕和很少的划痕。 重量：968.3 克 尺寸：高17.8 厘米 拍賣結果比較：十八世紀漢藏大師持經銅像見紐約佳士得Indian And Southeast Asian Art拍場，2007年9月21日 lot 195, 售價USD 9,375. 十五至十六世紀西藏鑲銀Zangpo Gyeltsen 大師銅像，見香港邦翰思 Images of Devotion 拍場，2020年10月5日 lot 32, 售價HKD 500,625.

AN ORIGINALLY SEALED GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SHADAKSHARI, 15TH-16TH CENTURYTibet. Cast seated in dhyanasana on a sealed double lotus base, the principal hands in anjalimudra in front of the chest, the other right hand in vitarkamudra and the other left hand holding a lotus blossom, wearing a luxurious dhoti neatly incised with floral patterns, and richly adorned in beaded jewelry inlaid with turquoises.Provenance: Galerie Peter Hardt, Radevormwald, Germany, 1 December 1994. A Hungarian private collection, acquired from the above. A copy of the original certificate for this piece from Galerie Peter Haardt, stating the origin as Tibet, but erroneously dating the piece to the 17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, occasional light scratches, traces of pigment, minor wear to gilt, some losses to inlays. Original sealing!Weight: 553.7 gDimensions: Height 16.1 cmThe face shows a serene expression below the urna with heavy-lidded eyes under gently arched eyebrows, and slender lips forming a subtle smile, flanked by long earlobes with lotus-form earrings. The hair is surmounted by an ushnisha with a finial in the form of the head of Buddha Amithaba, all behind an elaborate crown.Shadakshari Lokeshvara is the embodiment of the mystic Buddhist mantra, Ohm Mani Padme Hum. The six syllables are the seeds of the six realms in the great cosmic wheel. Om stands for the god realm, Ma for the demigod or asura realm, Ni for the human realm, Pad for the animal realms, Me for the hungry ghost realm, and Hum stands for the hell realm. Shadakshari Lokeshvara helps to bring all beings from the six realms into enlightenment. The present bronze therefore is a cheerful reminder of the spiritual quest for nirvana.The statue has extensively been screened with x-ray, revealing various contents, at least one being a consecrated miniature statue, probably made of gold. Several videos shot during the x-ray screening will be handed over to the winning bidder.Literature comparison: For an interesting article about Tibetan-Chinese gilt sculptures of the early Ming dynasty in the Museum Rietberg, particularly about CT (X-ray Computed Tomography) scans of the interior of such sculptures and their contents, see Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91).Auction result comparison: Compare with a related copper alloy figure, but without any contents, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 44, sold for USD 27,500.十五至十六世紀銅鎏金四臂觀音坐蓮像 西藏。觀音金剛坐姿坐於雙層蓮座上，前兩臂合掌當胸並持如意寶珠，後兩臂高舉至肩，左手持一白蓮。身著綢緞及纓絡，鑲嵌綠松石。 來源：德國Radevormwald 的Peter Hardt 藝廊。一個匈牙利私人收藏家于1994年12月1 日購買。一份藝廊出具的原始證書注明此造像來自西藏，但是證書上把時間錯誤寫成十七世紀。隨附證書原件。 品相：狀況極佳，有輕微磨損和鑄件不規則現象，到處都有微小的刻痕，偶爾有輕微的划痕，輕微的鎏金磨損，鑲嵌物有所損失。 原始密封！重量：553.7 克 尺寸：高 16.1 厘米 觀音低目慈視莊嚴，嘴角微露笑容，頭戴五葉寶冠，頭頂束高髮髻，餘發垂肩，頭頂上的五方佛冠代表五方的智慧。觀自在菩薩六字大明王陀羅尼，知名佛教普傳密咒漢語中又被寫作嗡，嘛，呢，唄，咩，吽，是觀世音菩薩的微妙本心，也被認為是四臂白觀音的心咒。六個音節是宇宙飛輪中六個領域的種子。 嗡代表天道，嘛代表阿修羅道，呢代表人間道，唄代表旁生道，咩代表餓鬼道，吽代表地獄道。 四臂觀音幫助將六個領域的眾生得到圓滿功德。觀音的慈悲與智慧能化現為不同形象，其中四臂觀音是常見且具代表性的種類之一，其心咒可助眾生脫離六道輪回的痛苦，培養幸福安樂。對該造像進行了X射線檢查，發現了造像内部還有其他內容，其中一個是奉獻的微型造像，可能是金制的。X射線檢查過程中拍攝的幾段視頻將在拍賣后交給中標人。文獻比較：一篇很有意思的關於一件Museum Rietberg裏明初漢藏銅鎏金造像通過X光照射檢查内部的文章可參考Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91). 拍賣結果比較：一個相似銅鎏金但沒有任何填充物的雕像，售于紐約邦瀚斯Indian, Himalayan & Southeast Asian Art 拍場，2016年3月14日，lot 44, 售價USD 27,500.

AN AQUAMARINE GREEN GLASS BI DISK, HAN DYNASTYChina, 202 BC to 220 AD. Of circular form, the glass of a deep turquoise to aquamarine green tone.Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance, signed by Dr. István Zelnik, will be handed to the winning bidder). The István Zelnik Southeast Asian Gold Museum, acquired from the above. An institutional art collection in Belgium, acquired from the above. Bao Dai was the 13th and final Emperor of the Nguyen dynasty, the last Imperial dynasty of Vietnam. From 1926 to 1945, he was Emperor of Annam. After his abdication in 1945, he remained an important advisor to the new government under Ho Chi Minh but left for France in 1946, until he was persuaded by the French to return as head of state in 1949. He moved back to France in 1954 after the peace deal between the French and the Viet Minh, appointing Ngo Dinh Diem as his prime minister. After being removed from power by Diem in a referendum in 1955, he spent the remainder of his life in exile in France.Condition: Good condition commensurate with age, with extensive wear, several small chips and fine cracks, some open bubbles and pitting.Weight: 322.6 g (excl. stand)Dimensions: Diameter 14.3 cmWith a modern stand and an old velvet box. (3)Literature comparison: Compare with a related glass disk in the collection of the Metropolitan Museum of Art, accession number 2006.404.漢代玻璃璧 中國，公元前202 BC 至公元 220 年。呈圓形，玻璃深綠色漸進到翠綠色。來源：原越南阮朝最後一位皇帝阮福永瑞收藏 (根據來源信件，由 Dr. István Zelnik簽名，將會交給獲得此藏品的藏家) 。The István Zelnik Southeast Asian Gold Museum, 購於上述收藏。一個比利時藝術收藏機構購於上述美術館。阮福永瑞，即保大帝，是越南最後的皇朝阮朝第十三位也是最後一位皇帝。從1926年到1945年，他是安南皇帝。 自1945年退位後，他一直是胡志明領導下的新政府的重要顧問，但於1946年前往法國，直到法國說服他在1949年返回越南成爲臨時國家元首。1954年，他移居法國。1955年，在首相吳廷琰私下操縱的公民投票中，越南的君主制被廢除，保大帝隨後流亡法國直至逝世。圖片：保大帝 (1913-1997) 品相：良好的狀態與年齡相稱，大面積磨損，一些小碎屑和細裂紋，一些開放的氣泡和點蝕。重量：322.6 克 (不含底座) 尺寸：直徑14.3 厘米 現代底座和舊絲絨盒

A LARGE GILT-BRONZE FIGURE OF A LAMA, 16TH-17TH CENTURYTibet. Massively cast seated in dhyanasana on a sealed double-lotus base with beaded rims, the hands in bhumisparsa mudra. The face shows a meditative expression with heavy-lidded eyes under thick, gently arched eyebrows, full lips forming a subtle smile, and a distinctive beard, flanked by large ears with sharp elongated lobes.Provenance: Collection of Cheng Huan, a well-known barrister and writer in Hong Kong. While studying at Cambridge University he became close friends with Tenzing Namgyal, the then Crown Prince of Sikkim. Two visits to that remote mountain kingdom inspired him with a passion for Tibetan Buddhism. His collection was acquired over decades wherever he was traveling but mostly from the London dealership Spink & Son and from his good friend Susan Chen in Hong Kong.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, little wear to gilt.Weight: 3,494 gDimensions: Height 25 cmThis beautiful portrait of a Tibetan teacher represents the centuries-old tradition of producing Buddhist effigies of important and beloved historical figures. A superb example of bronze work from the sixteenth/seventeenth century, special attention has been paid to the figure's intricately incised robes, which convey an ornately patterned textile.Auction result comparison: Compare with a related figure of smaller size at Christie’s New York, in Indian, Himalayan and Southeast Asian Works of Art, 18 March 2015, lot 4019, sold for USD 37,500, and another at Christie’s New York, in Indian and Southeast Asian Art, 13 September 2011, lot 363, sold for USD 98,500.十六至十七世紀銅鎏金喇嘛像 西藏。喇嘛手結觸地印，結迦趺坐坐在密封的雙層蓮座上，邊緣飾有串珠。 面部表情沉思，濃密且拱形的眉毛下沉重的雙眼，豐滿的嘴唇形成淡淡的微笑，耳朵大，耳垂長。來源：清洪收藏。香港著名律師及專欄作家。他在劍橋讀書時，與錫金（1975年併入印度）時任儲君丹增南嘉結為好友，對藏傳佛教興趣更是濃厚，時常往西藏及錫金朝聖。他的收藏品不少來自他的旅行，但不少都購自倫敦名古董商Spink & Son和他的香港好友Susan Chen処. 圖片：清洪 品相：狀況極佳，有輕微磨損和鑄件不規則現象，偶有輕度刮擦，局部有很小的刻痕，鎏金幾乎沒有磨損。 重量：3,494 克 尺寸：高25 厘米 拍賣結果比較：一件相近但尺寸小些的造像售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art拍場，2015年3月 18日，lot 4019, 售價USD 37,500, 另一件紐約佳士得Indian and Southeast Asian Art拍場 2011年9月13日，lot 363, 售價USD 98,500。

A BRONZE FRAGMENT OF RATNASAMBHAVA, 14th CENTURYWestern Tibet. Richly adorned in jewelry, the face showing a serene expression with full lips forming a subtle smile, a straight nose, and heavy-lidded almond-shaped eyes centered by a raised urna. Flanked by large hoop earrings, the wavy locks of hair pulled into a high chignon and secured with a tall tiara, several plaid locks elegantly falling over the shoulders.Provenance: French private collection.Condition: Good condition commensurate with age, extensive wear and losses, some minor scratching and small nicks here and there.Weight: 513.1 g (excl. stand)Dimensions: Height 17.5 cm (excl. stand)Ratnasambhava, literally the Jewel-Born, is one of the Five Dhyani Buddhas, also known as the Buddhas of the Five Directions. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality. In Vajrayana Buddhist thought, he is associated with the attempt to destroy greed and pride. His consort is Mamaki and his mount is a horse or a pair of lions.With a modern stand. (2)Auction result comparison: Compare with a related but complete bronze figure of Ratnasambhava, sold by Christie’s New York in Indian and Southeast Asian Art on 23 March 2010, lot 222, for USD 56,250.十四世紀寶生佛銅像碎片 西藏。飾有華麗珠寶，面部表情寧靜，豐滿的嘴唇形成微妙的笑容，筆直的鼻子，濃密的杏仁狀眼睛，高挺的鼻子居中。大圈形耳環，波浪形的捲髮，用高高的頭飾固定，優雅地落在肩上。 來源：法國私人收藏. 品相：狀況良好，大面積磨損和缺損，一些輕微的刮擦和局部小缺口相稱。 重量：不含底座513.1 克 尺寸：不含底座高 17.5 厘米 現代底座。 拍賣結果比較：比較一件相近但完整的寶生佛銅像，於紐約佳士得2010年3月23日Indian and Southeast Asian Art拍場，拍號222, 售價 USD 56,250。

A TIBETAN GILT-BRONZE FIGURE OF A LAMA, 13TH-14TH CENTURYTibet. Gautama Buddha’s historic moment of enlightenment, when the earth shook beneath his fingertips in recognition of his achievement, is evoked by this rare figure of a lama. Seated upon a double-lotus base with a vajra placed just in front of his meditative posture, the figure portrayed is evidently a highly esteemed lama of an early period.Provenance: From a Hungarian private collection.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, some wear to gilt.Weight: 783.7 gDimensions: Height 12.8 cmThe curved edges of the shirt worn by the lama beneath his robe are telling of the period of origin, as square-edged shirts become the standard from the 14th century on. The quality of this casting is especially evident in the beaded and incised hems of his patchwork robe and shirt along with the floral meditation cape and the rope that falls at its center.Auction result comparison: Compare with a closely related figure at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 12 September 2018, lot 359, sold for USD 15,000.十三至十四世紀西藏銅鎏金喇嘛像 西藏。釋迦修成佛道之前，以右手指觸地，令大地為證，於是地神出來證明，終於使魔王懼伏。喇嘛結觸地印，以冥想姿勢坐在雙層蓮花座上，顯然是早期受尊敬的喇嘛。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄件不規則現象，局部有輕度刮擦，局部有微小的刻痕，鎏金磨損。 重量：783.7 克 尺寸：高12.8 厘米 拍賣結果比較：一件相似的造像售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art 拍場，2018年9月12日，lot 359, 售價USD 15,000。

A NEPALESE COPPER FIGURE OF INDRANepal, 15th-17th century. Cast seated in elegant maharajalilasana, the right hand resting on the raised knee, the other holding a lotus stem surmounted by a vajra, richly adorned in jewelry with inlays of ruby and turquoise glass paste.Provenance: French private collection.Condition: Good condition with minor wear and casting flaws, losses, small nicks here and there, light scratches.Weight: 1,255 g (incl. base)Dimensions: Height 17.5 cm (incl. base)The face showing a serene expression with heavy-lidded eyes and slender lips, flanked by lotus-form earrings, the hair surmounted by an ushnisha behind the large and distinctive crown. With a temple tang at the back and mounted on an associated Chinese zitan wood lotus base from the Qing dynasty. (2)The combination of the maharajalila asana and the mitre-like tall crown are iconic elements seen only in Nepalese depictions of the god Indra. The figure is cast in copper and adorned with the distinctive combination of ruby and turquoise colored settings typical of Kathmandu Valley metal sculpture. Indra’s characteristic seated position, asana, evoking luxurious royal ease, embodies the sensuous quality of Nepalese sculpture in one of the most elegant iconographic postures in all Himalayan art.Indra is worshiped in Nepal by Hindus and Buddhists alike. In the Hindu tradition the god is often referred to by his epithet Sahasraksha, meaning ‘The One with a Thousand Eyes’. In Buddhist mythology Indra is regarded as devaraja, the king of the gods. Indra Jatra, a pageant in honor of the god, takes place in Kathmandu each year in one of the most important religious festivals of the Newar community.Literature comparison: Compare to another bronze of Indra from the Nasli and Alice Heeramaneck Collection, in P. Pal, Art of Nepal, 1985, p.119, cat. no. S42. Compare the asana and crown style of a fifteenth century gilt copper Nepalese Indra from the Duke of Northumberland’s collection, Sotheby’s New York, 17 September, 2014, lot 442, and a thirteenth century example in the Norton Simon Museum, Pratapaditya Pal, Art of the Himalayas and China, New Haven and London, 2003, p. 85, cat. 52.Auction result comparison: Compare with a closely related but larger and slightly older copper figure of Indra at Christie’s New York in Indian and Southeast Asian Art on 14 September 2010, lot 75, sold for USD 122,500.尼泊爾帝釋天銅像 尼泊爾，十五至十七世紀。帝釋天優雅地坐於蓮座上，右手放在抬高的膝蓋上，左手握著一個由金剛杵頂著的蓮花莖，上面飾有紅寶石和綠松石玻璃鑲嵌的珠寶。 來源：法國私人收藏 品相：狀況良好，有輕微磨損和鑄造缺陷，缺損失，局部有小刻痕，輕微划痕。 重量：含底座1,255 克 尺寸：縂高17.5 厘米 拍賣結果比較：一件十分相近但更早的帝釋天銅像售于紐約佳士得Indian and Southeast Asian Art 拍場，2010年9月14日, lot 75, 售價USD 122,500

A GILT COPPER-ALLOY FIGURE OF A CROWNED BUDDHA, MALLA, 14TH - 15TH CENTURYNepal, early Malla period, c. 1380-1480. Shakyamuni is cast seated in dhyanasana on a sealed double-lotus base, a vajra before him. The hands in bhumisparsa mudra, wearing a diaphanous robe with a pearled hemline and an elaborate coral-inlaid crown. The serene face with heavy-lidded almond-shaped eyes, a pearl-inlaid urna, gently arched eyebrows, a hooked nose, and bow-shaped lips forming a subtle smile.Provenance: A Swiss private collection. Koller, Zurich, 8th-9th May 2012, lot 112. A private collection in New York, USA, acquired from the above.Published: Himalayan Art Resources, item no. 8035.Condition: Excellent condition with traces of use, casting flaws, occasional light scratches, few nicks and losses, minuscule cracks, some wear to gilt. Original sealing. Superb natural patina.Weight: 3,792 gDimensions: Height 27.5 cmThis magnificent sculpture elegantly depicts the moment in which Buddha Shakyamuni achieves enlightenment. Seated in meditation under the Bodhi tree, Buddha maintains his deep introspective state despite Mara’s attempts to frighten and distract him. Having overcome all of Mara’s threats, Buddha presses a single finger to the Earth to witness his enlightenment.The Nepalese artists of the early Malla period were revered for creating sculpture with “a subtle balance between ornamentation and form.” The present work embodies the “finesse in the handling of detail with remarkable mastery of sculptural form demonstrating the extraordinary virtuosity of Nepalese artists” (J. Casey, Divine Presence: Art of the Himalayas, Barcelona, 2003, p.44).The square face is reminiscent of Pala period prototypes, whereas the finely detailed crown and delicately beaded hem of the robe are hallmarks of the Malla period. The thick, lustrous gilding reveals areas of the rich copper surface beneath, a characteristic revered by connoisseurs of Nepalese bronze sculpture.Malla was the ruling dynasty of the Kathmandu Valley in Nepal from 1201 to 1779. The term "malla" means "wrestler" in Sanskrit. The first of the Malla kings came to power in 1200. The period was a golden one that stretched over almost 600 years, though it was peppered with fighting over the valuable trade routes to Tibet.Auction result comparison: Compare with a closely related figure at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 13 September 2016, lot 217, sold for USD 161,000, and another, dated to the 14th century, at Christie’s New York in Indian and Southeast Asian Art on 19 March 2014, lot 1010, sold for USD 509,000.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十四至十五世紀馬拉王朝鎏金銅釋迦牟尼坐蓮像 尼泊爾，馬拉王朝早期，約1380-1480年。釋迦牟尼結跏趺坐坐於雙層蓮座上，身前放著金剛杵，手施觸地印，穿著透明的長袍，施有連珠紋，五葉冠鑲嵌著精美的珊瑚。 寧靜的臉龐，白毫鑲嵌珍珠，雙眉弧線輕挑，雙目低垂，處在禪定狀態中，鼻樑修直，雙唇微抿含笑。 來源：瑞士私人收藏 。蘇黎世Koller拍賣行，2012年5月8-9日，lot 112. 紐約私人收藏購於上述拍賣。 出版：Himalayan Art Resources, item no. 8035. 品相：狀況極佳，有使用痕跡，鑄件瑕疵，局部輕微划痕，很少的划痕和缺失，微小的裂紋，有些磨損。 原始密封。天然包漿。 重量： 3,792 克 尺寸：高27.5 厘米 這座宏偉的雕塑細膩地描繪了釋迦牟尼佛證悟的那一刻。佛陀坐在菩提樹下沉思，天魔曾經企圖阻止釋迦牟尼佛修行證悟，但佛陀仍然保持著內省的狀態，以右手觸地並說：“大地可以為我作證！”，證明他已經成就佛道，魔王才退去。馬拉王朝早期的尼泊爾藝術家因創作雕塑“在裝飾和形式之間達到微妙的平衡”而備受推崇。本作品體現了“在處理細節方面的精湛技藝，精湛的造像形式表現出尼泊爾藝術家非凡的技藝”（J. Casey，《神聖的存在：喜馬拉雅山的藝術》，巴塞羅那，2003年，第44頁）。方形臉使人聯想到帕拉時代的原型，而精美的五葉冠和精緻的連珠紋則是馬拉時代的標誌。厚而光澤的鍍金層露出下方豐富的銅表面區域，鑑賞家尤其推崇尼泊爾的青銅造像這一特徵。馬拉是1201年至1779年尼泊爾加德滿都谷地的統治王朝。“馬拉”一詞在梵語中的意思是“摔跤手”。首位馬拉國王於1200年上台執政。這段長達600年的時期是馬拉王朝的黃金時期，儘管它與通往西藏的寶貴貿易路線作鬥爭。拍賣結果比較：一件相似雕像，售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art拍場2016年9月13日 lot 217, 售價USD 161,000；另一件十四世紀的雕像，售于紐約佳士得 Indian and Southeast Asian Art 拍場2014年3月19日 lot 1010, 售價USD 509,000.

AN IMPORTANT WHITE MARBLE STELE OF BUDDHA, MAUDGALYAYANA AND SARIPUTRA, NORTHERN QIChina, 550-577. Carved from a single piece of marble, the central figure of Buddha is seated in dhyanasana on a throne supported on two chilong, his left hand held in abhayamudra, the face in a serene, meditative expression with downcast eyes and a benign smile.Provenance: Collection of Colonel Paul Kuhlo (1866-1943) and thence by descent in the same family. A noted German private collection, acquired from the above. Colonel Paul Kuhlo was the Commander of the Imperial German East Asian Marine Detachment and a Japanese prisoner of war from 1914 to 1919. During the sunset of his life, he collected Chinese and Japanese stamps, Asian antiques, and transcribed parts of his hand-written diary.Condition: Good condition commensurate with age, extensive wear, weathering, age cracks, losses, one horizontal crack with old filling.Dimensions: Height 62 cm, Width 42 cm, Depth 11 cmWith a modern display stand. (2)Buddha is flanked by two Avalokiteshvara, followed by his two main disciples, Maudgalyayana and Sariputra, and two Guanyin, the latter four standing on lotus pedestals borne on vines issuing from the chilongs’ mouths. The upper section is carved with two bodhi trees, while the lower section shows a boshan lu (hill censer) flanked by two Buddhist lions.The Northern Qi dynasty (550-577) was one of the most vibrant periods in the history of Chinese art, both religious and secular, as its openness towards foreigners, their ideas, beliefs, and goods immensely enriched the local cultural climate. It was within this cosmopolitan climate that Buddhist sculpture experienced perhaps its most glorious moment. While in the Northern Wei dynasty (386-534), manners of depiction were adapted from traditional South and Central Asian prototypes, in the Northern Qi they had matured and developed into distinctive native styles. However, they still emanate the seriousness of strong religious beliefs, which were rooted in the political instability of the mid-sixth century and had not yet moved towards the pleasant and more decorative imagery of the Tang dynasty (618-907).The present stele is carved in the simplified style of carving in white marble found in Quyang, Hebei province, and is particularly notable for the sensitively carved face of the main figure. The disciples and bodhisattvas are carved in shallower relief and with even more restraint in detailing, creating a sense of harmony and veneration.The Palace Museum, Beijing, holds 251 pieces of similarly carved sculpture from Xiude Temple in Quyang which was excavated in 1953-54. Of these Xiude Temple figures, more than 100 are inscribed with Northern Qi reign names, but not all of them.Auction result comparison: Compare with a considerably smaller stele dated by inscription to the year 540 at Christie’s New York in Treasures of the Noble Path: Early Buddhist Art from Japanese Collections on 14 September 2017, lot 806, sold for USD 68,750, and a considerably larger stele dated to the Tang dynasty at Christie’s London in Fine Chinese Ceramics and Works of Art on 55 November 2013, lot 386, sold for GBP 98,500.北齊重要大理石雕釋迦佛目犍連與舍利弗 中國, 550-577年。釋迦佛由一塊大理石雕刻而成，他成迦趺座坐在寶座上，手施無畏印，臉部表情沉靜，雙目低垂，微笑著。 來源： Paul Kuhlo上校（1866-1943）藏品，在同一個家庭世代相傳。 一個著名的德國私人收藏，從上述收藏獲得。 Paul Kuhlo上校是德意志帝國東亞海軍陸戰隊司令官，1914至1919年成爲日本戰俘。他在日本時，收集了中國和日本郵票，亞洲古董，並抄寫了部分手寫日記。圖片：保羅·庫洛上校（1866-1943）品相：自然老化的狀況與年齡相稱，廣泛的磨損，自然裂縫，風化，一條橫向裂縫，有舊時填充物修補。 尺寸：高 62 厘米, 寬42 厘米, 深 11 厘米 現代底座。 釋迦佛四周可見兩位觀音和目犍連與舍利弗。蓮座上纏枝環繞，上半部分雕刻有兩棵菩提樹，下半部分顯示了兩頭佛教獅子以及兩側的博山爐。 北齊（550-577）是中國藝術史上最活躍的時期之一，無論是宗教的還是世俗的，因為它對外國人的思想、信仰和商品的開放極大地豐富了當地的文化氣候。 正是在這種國際化的氣候中，佛教雕塑經歷了最輝煌的時刻。 在北魏時期（386-534），其描繪方式是根據傳統的南亞和中亞原型改編而成的，而在北齊時期，它們已經成熟並發展成為獨特的本土風格。 然而，他們仍然散發出強烈的宗教信仰的嚴肅性，這些宗教信仰植根於六世紀中葉的政治動盪，尚未走向唐朝（618-907）令人愉悅和更具裝飾性的形象。這座佛碑與在河北省曲陽市發現的漢白玉佛像雕刻風格極爲相似，尤其是面孔雕刻細節部分。 門徒和菩薩刻有淺淺的浮雕，在細節上有更多的體現，營造出一種和諧和崇高的感覺。北京故宮博物院保存著251件來自曲陽修德寺的雕塑，這些雕塑是在1953-54年間發掘的。 在這些修德寺人物中，有100多個都刻有北齊王朝的名字，但並非全部。 拍賣結果比較： 一件尺寸較小，年代刻540年的石雕，售于紐約佳士得Treasures of the Noble Path: Early Buddhist Art from Japanese Collections 拍場，2017年9月 14 日, lot 806, 售價USD 68,750, ；一件尺寸較大唐代石碑售于倫敦佳士得 Fine Chinese Ceramics and Works of Art 拍場，2013年11月5日，lot 386, 售價GBP 98,500.

A STONE STELE OF BUDDHA SHAKYAMUNI, NORTHERN QIChina, 550-577. Depicted with an alluringly peaceful countenance, downcast eyes and a benevolent smile. The figure outstretches now-lost hands over which drape the billowing sleeves of his monastic robes, covering both shoulders and rendered simply in descending rows of graceful W-shaped folds. Surrounded by a radiating aureole formed of gently curving vertical lines and surmounted by a halo of lotus petals.Provenance: From a French private estate. Condition: Extensive weathering, erosion, losses including both hands, pitting, remnants of polychrome pigments and ancient gilt, small old fills. Two sections of the lower border of the stele have been re-attached a long time ago. Good natural grown patina.Dimensions: Height 78 cm (incl. base) and 67 cm (excl. base)Mounted on a modern base. (2)The iconography of this stele was quite prevalent during the Northern Dynasties period and can be seen in a number of comparable stele including one in the Detroit Institute of Arts, illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture, National Palace Museum, Taipei, 1990, p. 67, no. 62, where it is dated Sui dynasty; and two others dated Eastern Wei, illustrated by S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Buddhist Sculpture), vol. 1, Early Six Dynasties, Tokyo, 1995, pl. 286 a and b. The sculptures discovered in a large cache at the Longxing Temple, Qingzhou, Shandong, in 1996, also included stele of Northern Wei to Northern Qi date that have the same iconography. See, Masterpieces of Buddhist Statuary from Qingzhou City, The National Museum of Chinese History, Qingzhou Municipal Museum, Beijing, 1999, pp. 56-73. In all of these, Buddha Shakyamuni is shown standing on a small plinth flanked by two bodhisattvas, most likely Avalokitesvara and Samantabhadra, the two most closely associated with Shakyamuni.The present figure shows the more rounded face and the simply defined, light, clinging robe of the Northern Qi style, which was influenced by Gupta sculpture. For a detailed discussion of the drastic change in artistic style between the preceding Northern Wei dynasty (386-535CE) and the Northern Qi characteristics of the present lot, see Angela Falco Howard et al., Chinese Sculpture (New York: Yale University Press and Foreign Languages Press, 2006), 274: “Under the influence of the Gupta style (300-600) of India ... lotus-like eyes and voluptuous lips gracing elegant, sensitively modeled torsos became an alternative to the prevailing aesthetic... [exhibiting] more naturalistic and fuller body forms, embellished with unobtrusive and elegant surface patterns.”Literature comparison: Other examples which share these characteristically Northern Qi rounded and full features and the very simply rendered, water-like flowing attire of the present lot are published in Matsubara Saburo, Chugoku Bukkyo Chokoku Shiron (Tokyo: Yoshikawa Kobunkan, 1995); specifically: the figure of an arhat in the collection of the Cleveland Museum, 450; the figure of a standing Buddha in the Nezu Museum, 493; and the figure of the seated Buddha in the Victoria and Albert Museum, 490. For a closely related stone stele of Buddha Shakyamuni, see Imperial China - The living past, p.95, no. 72.Auction result comparison: Compare with a related but larger figure at Bonhams San Francisco in Fine Asian Works of Art and Paintings on 19 December 2016, lot 8198, sold for USD 47,500. Compare also with a related stele, of smaller size but with the flanking bodhisattvas still preserved, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 13-14 September 2018, lot 1133, sold for USD 62,500.北齊釋迦牟尼石碑 中國，550-577年。釋迦面相豐潤，雙眼低斂，稍稍內收的唇角，蘊含著親切的笑意。石像圓肩寬胸，雙手丟失，衣裙覆蓋雙肩，刻劃洗鍊流暢。背光的雕飾富麗精美，疏朗的火焰紋和花瓣紋相結合，由柔和的垂直線彎曲而成，極具裝飾之美。 來源：法國私人收藏 品相：大面積風化、侵蝕，包括雙手的損失，多色顏料和古代金彩的殘物，小的舊時填料。石碑下邊界的兩個部分很久以前已經重新安裝。 良好的自然生長的包漿。 尺寸：含底座高78 厘米，不含底座厘米 現代底座。 拍賣結果比較：一件相似但更大的石像見舊金山邦瀚斯Fine Asian Works of Art and Paintings 拍場2016年12月19日lot 8198, 售價USD 47,500； 另一尊稍小但菩薩相伴的石像見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2018年9月13-14日，lot 1133, 售價USD 62,500。

A MONUMENTAL GILT BRONZE SHRINE DEPICTING SAMANTABHADRA AND CONSORT, 17TH – 18TH CENTURYTibet. Heavily cast seated in vajraparyankasana on a double lotus base with a beaded upper edge, the lower part of the unsealed base cast separately, the hands lowered in dhyanasana holding the consort Samantabhadri in miniature form, both naked, his serene face with heavy-lidded almond-shaped eyes centered by an urna and flanked by long earlobes, each with an oval piercing.Provenance: The private collection of Paul R. Wedendal (1924-2010), Djursholm, Sweden. Bukowskis, Stockholm, Sweden, Dec 6, 2017, lot 474 (erroneously described as Nepalese Buddha and erroneously dated 18th – 19th century). An important Dutch collection, acquired from the above. Paul Wedendal was a Swedish dentist in Djursholm and a notable collector of Asian art.Condition: Good original condition with traces of use, occasional light scratches, some dents and nicks, minor warping, few losses, remnants of old pigment, wear to gilt overall. The shrine most likely was once a Shakyamuni triad with two smaller figures of Buddha and Manjusri missing.Weight: 7.0 kg (the figure and base), 19.3 kg (the throne)Dimensions: Height 65 cm (incl. throne) and 33 cm (the figure and base only)The base supported on a large and elaborate stepped throne cast in openwork, with Buddhist lions, a carved image of Ganesha, lotus lappets, and ruyi heads, surmounted by a mandorla of leafy peach branches with many buds towering above the figure.In the Tibetan Buddhist tradition, the Samantabhadra Buddha arises from the early Nyingma Tantric literature of the Guhyagarbha Tantra. He is typically depicted naked, with a Buddha appearance, hands in meditation gesture, legs in vajra posture, embracing the consort Samantabhadri, their union representing the blissful essence of the Truth Body of all Buddhas.Together with Gautama Buddha and the bodhisattva Manjusri, Samantabhadra forms the Shakyamuni Triad in Buddhism. He is the patron of the Lotus Sutra and, according to the Avatamsaka Sutra, made the ten great vows which are the basis of a bodhisattva.In Chinese Buddhism, Samantabhadra is known as Puxian and is associated with action, whereas Manjusri is associated with prajna (transcendent wisdom). In Japan, this bodhisattva is known as Fugen, and is often venerated in Tendai and Shingon Buddhism, and as the protector of the Lotus Sutra by Nichiren Buddhism. In the Nyingma school of Tibetan Buddhism, Samantabhadra is also the name of the Adi-Buddha, often portrayed in indivisible union (yab-yum) with his consort, Samantabhadri.Expert’s note: Unlike his more popular counterpart Manjusri, Samantabhadra is almost never depicted alone and usually found in a trinity. In the present shrine the two missing figures are Buddha and Manjusri, which are both quite common and therefore - with some patience – can be found and put back in place again.Literature comparison: For a thangka depicting Samantabhadra and Samantabhadri, see Marylin M. Rhie and Robert A. F. Thurman, The Sacred Art of Tibet, London, 1991, pl. 430, no. 51A. For two related figures, see Arts of Asia, Treasures of Himalayan Art, Zhiguan Museum of Fine Art, November - December 2020, p.49, no. 24 and 25.Auction result comparison: Compare with a related gilt bronze depicting Samantabhadra in union with his consort, dated to the 18th-19th century, at Sotheby’s Hong Kong in Chinese Art on 30 November to 1 December 2017, lot 451, the figure alone sold for HKD 187,500.十七至十八世紀銅鎏金普賢如來像西藏。普賢結金剛座坐于雙層蓮座上，蓮座上邊緣飾有珠紋，第二層蓮座和第一層并不為一體，底部未密封。普賢雙手施禪定印擱在足部，握住微型小佛母，兩人都赤裸著身體。他沉著的臉與沈低垂的雙眼，雙眼之間有天眼，兩側長耳垂，每個耳垂都有橢圓形的耳洞。 來源：瑞典Djursholm Paul R. Wedendal (1924-2010)私人收藏。 瑞典斯德哥爾摩Bukowskis，2017年12月6日lot 474 (錯誤地描述爲尼泊爾佛像以及錯誤地斷代為18至19世紀)。一個重要荷蘭收藏，購於上述拍賣。Paul Wedendal 曾是Djursholm 的一位牙醫，他是知名的亞洲藝術收藏家。 圖片：Paul R. Wedendal (1924-2010) 品相：良好的原始狀態，使用痕跡，局部輕度划痕，一些凹痕和缺口，輕微的翹曲，輕微缺損，舊顏料殘留，整體鎏金磨損。神龕上極有可能曾經是釋迦牟尼與佛陀以及文殊菩薩三聖。 重量：7.0 公斤 (佛像與蓮座), 19.3 公斤 (底座) 尺寸：縂高65 厘米 ，33 厘米 (佛像與蓮座) 底座鏤空鑄造，可見佛獅、大象神、蓮花瓣紋和如意紋，有很多花朵的卷葉曼陀羅。 在藏傳佛教傳統中，普賢菩薩源於早期的寧伽密宗文獻。 他通常赤裸，雙手禪定印，雙腿以金剛姿勢，擁抱佛母，他們的結合代表了所有佛陀真身幸福本質。 喬達摩佛和菩薩文殊以及普賢一起構成了佛教的華嚴三聖。 喬達摩佛弘揚《妙法蓮華經》，《華嚴經》中有十地菩薩贊釋迦牟尼佛偈。 在中國佛教中，普賢菩薩即普賢，是象徵理德、行德的菩薩，與文殊菩薩的智德、正德相對應。在日本，這位菩薩被稱為附言，通常在天台宗和真言宗佛教中受到崇敬，並且被日蓮佛教徒作為《妙法蓮華經》的保護者。 在藏傳佛教寧瑪派中，普賢菩薩也是普賢王如來的名字，通常與他的佛母象徵智慧與慈悲的結合。 專家注釋：不像文殊菩薩，普賢菩薩幾乎從來沒有被單獨描繪過，通常出現在三聖中。 在目前的蓮座上，失踪的兩個人物是佛陀和文殊菩薩，它們都很常見，因此可以耐心地找到並重新放置。 文獻比較: 唐卡普賢王及其佛母可見Marylin M. Rhie and Robert A. F. Thurman, The Sacred Art of Tibet, London, 1991, pl. 430, no. 51A. 拍賣結果比較：一件十八至十九世紀的銅鎏金普賢王與其佛母見香港蘇富比Chinese Art拍場2017年11月 30日至12月1日lot 451售價HKD 187,500.

A GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA PADMAPANI, 17TH CENTURYNepal. Standing atop a lotus base, his right hand in varadamudra and the left holding the stem of a full lotus blossoming at his shoulder, the body finely modeled and clad in a closely fitting dhoti with neatly incised floral design and pendant sash, an upavita encircling the torso, richly adorned in beaded jewelry.Provenance: Swiss private collection.Condition: Good condition with old wear and casting flaws, dents, small nicks and losses, the right thumb with an old repair.Weight: 813.2 gDimensions: Height 21.8 cmThe hair piled in a looped chignon crowned with a broad tiara centered by a small and finely cast Buddha Amitabha, an aureole behind the head, the face with finely delineated features in a gentle expression, the base sealed with a vishvavajra.Auction result comparison: Compare with a closely related gilt bronze figure at Christie’s New York in Indian and Southeast Asian Art on 22 March 2011, lot 285, sold for USD 22,500.十七世紀銅鎏金蓮華手觀音立像 尼泊爾。觀音站在蓮花座上，右手施與愿印，左肩上一朵盛開的蓮花，身體造型精美，穿著緊密配合的多提，刻有精美的花卉圖案和吊墜，飄帶環繞著身體，飾有瓔珞珠寶。 來源：瑞士私人收藏. 品相：狀況良好，有舊磨損和鑄件缺陷，凹痕，小缺口和缺損失，右手拇指舊時修復。 重量：813.2 克 尺寸：高21.8 厘米 拍賣結果比較：一件相近的造像見紐約佳士得Indian and Southeast Asian Art拍場，2011年3月22日，lot 285, 售價USD 22,500.

A GILT COPPER FIGURE OF AVALOKITESHVARA PADMAPANI, MALLA PERIODNepal, 14th-15th century. Cast seated in royal ease, holding lotus stems in his hands, coming to full blossom at the shoulders, richly adorned in beaded jewelry, the hair piled in a looped chignon crowned with a broad tiara centered by a rosette, the serene face with heavy-lidded downcast eyes and full lips, flanked by long pendulous earlobes with floral earrings, a mandorla behind his head.Provenance: Collection of a member of the Swedish diplomatic corps, stationed in Asia during the 1960s, and thence by descent within the same family to the present owner.Condition: Good original condition with extensive wear, minor nicks, dents, losses and scratches here and there, malachite-green encrustations.Weight: 464.7 gDimensions: Height 11.3 cmAuction result comparison: Compare with a related standing figure of Maitreya, but of much larger size, at Bonhams New York in The Maitri Collection of Indian, Himalayan & Southeast Asian Art on 20 March 2018, lot 3205, sold for USD 468,500, and a related standing gilt bronze figure of Avalokiteshvara Padmapani of larger size, dated to the 17th century, at Christie’s New York in Indian and Southeast Asian Art on 22 March 2011, lot 285, sold for USD 22,500.馬拉朝銅鎏金蓮花手觀音像尼泊爾, 十四至十五世紀，御坐姿，手握蓮花莖，花朵在肩膀上盛放。觀音身上以瓔珞串珠點綴，頭戴寳冠，冠上飾有華貴頭飾，寧靜的臉龐，雙目低垂，嘴唇豐滿，面部兩側是長耳垂，佩戴耳環。背後光背。 來源：私人收藏，曾是1960年代在亞洲駐紮的瑞典外交使團的一名成員，自此保存于同一家族至今。 品相：原始狀態良好，有大量磨損，少量缺口，凹痕，局部有缺損和划痕，孔雀石綠色結殼。 重量：464.7 克 尺寸：高11.3 厘米 拍賣結果比較：一件彌勒佛立像，尺寸更大，見紐約邦瀚斯The Maitri Collection of Indian, Himalayan & Southeast Asian Art2018年3月20日 lot 3205, 售價USD 468,500, ；一件尺寸更大的十七世紀銅鎏金蓮華手觀音見紐約佳士得 Indian and Southeast Asian Art 拍場2011年3月22日 lot 285, 售價USD 22,500.

A GILT-BRONZE FIGURE OF EKADASHAMUKHA AVALOKITESHVARA, 18TH CENTURYTibetan-Chinese. The eleven-headed and eight-armed bodhisattva of compassion standing in samapada on a separately cast oval lotus base with the principal hands in anjali mudra and the other hands radiating and forming various mudras, wearing long flowing robes and five-leaf crowns, richly adorned in beaded jewelry with turquoise inlays.Provenance: From a private estate in the USA. A Belgian collector, acquired from the above. Condition: Very good condition with minor wear and casting flaws, light scratches, minuscule nicks, some wear to gilt, traces of pigment. The base and the statue are separately cast.Weight: 164.0 gDimensions: Height 10.3 cmAuction result comparison: Compare with a related figure at Christie’s New York in Himalayan, Indian and Southeast Asian Art on 15 March 2017, lot 201, sold for USD 8,750.十八世紀銅鎏金十一面觀音漢藏。十一面八臂菩薩立於分開鑄造的蓮座上，中央的雙手合十，其他的手臂分別施不同手印。觀音身著長袍，頭戴五葉冠，佩戴鑲嵌綠松石的瓔珞。來源：美國私人遺產；比利時收藏家購於上述收藏。 品相：狀況極佳，有輕微的磨損和鑄件缺陷，輕微的划痕，微小的刻痕，有些燙金、顏料痕跡。 底座和雕像分開鑄造。重量：164.0 克 尺寸：高10.3 厘米拍賣結果比較：一件相近觀音像見紐約佳士得Himalayan, Indian and Southeast Asian Art 拍場2017年3月15日, lot 201, 售價USD 8,750.

A CARVED HUANGHUALI ‘FLORAL’ BOX AND COVER, QINGChina, 18th-19th century. Of rectangular form, the top of the hinged cover carved with flowers and blossoms on gnarled leafy branches within a central rectangular reserve, the box with a keylock.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Very good condition with minor wear, few small natural age cracks, minuscule nicks here and there, the key is lost. Weight: 1,180 g Dimensions: Size 12 x 23 x 14.8 cmAuction result comparison: A larger huanghuali box and cover with related floral carving to the cover but of different form was sold by Bonhams in Chinese, Indian and Southeast Asian Art on 28 June 2016, lot 8174, for USD 12,500.清代黃花梨雕花樹紋蓋盒中國，十八至十九世紀。呈矩形，帶鑰匙孔，蓋頂部中央矩形區內雕刻樹幹以及枝葉和花朵。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今 品相：狀況極佳，磨損很小，輕微自然年齡裂縫，局部有微小的刻痕，鑰匙已丟失。 重量：1,180 克 尺寸：12 x 23 x 14.8 厘米 拍賣結果比較：一個大型黃花梨蓋盒有相近雕花售于邦翰思Chinese, Indian and Southeast Asian Art拍場，2016年6月 28日，lot 8174, 售價 USD 12,500。

A BROWN JADE CONG, LIANGZHU CULTUREChina, Late Neolithic, c. 3300-2200 BC. Of cylindrical form with square projections on four corners, each corner carved with two different registers of stylized masks, one comprising twin bands of narrow parallel grooves above incised circular ‘eyes’ and a short raised band with rounded ends for the ‘nose’, and the other with larger eyes and without the parallel bands.Provenance: Myrna Myers, Paris, 1987, by repute. English private collection in Bournemouth, acquired from the above and thence by descent in the same family. When Sam Myers was sent to Paris by his law firm in the mid-1960s, he and his wife Myrna became so enamored with the city that they decided to make it their home. There, over the course of 50 years, they built an extraordinary art collection, and in 1976, Myrna opened a gallery in Paris specializing in Asian art.Condition: Good condition commensurate with age, some nicks and nibbling to the edges, the stone with natural fissures, some of which may have developed into minor cracks over time.Weight: 439.5 gDimensions: Height 5.9 cm, Diameter 7.6 cmLiterature comparison: For several examples of two-tiered Cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53 and 54.良渚文化玉琮 中國，新石器時代末期，公元前約 3300-2200 年。内圓外方，四角各有不同人面紋。 來源：一個英國Bournemouth私人收藏據説1987年購於巴黎Myrna Myer，自此保存在同一家族至今。1960年代中期，Sam Myers被他的律師事務所派往巴黎，他和妻子Myrna對這座城市非常著迷，以至於他們決定將其作為自己的家。 在之後的50年的時間裡，他們在那裡建立了非凡的藝術收藏。1976年，Myrna在巴黎開設了一家專門從事亞洲藝術的藝廊。圖片：Myrna 與 Sam Myers 品相：良好的狀態與年齡相稱，有一些缺口和邊緣磨損，玉石有天然裂縫，隨著時間的流逝，其中一些可能會發展成細微的裂縫。 重量：439.5 克 尺寸：高5.9 厘米, 直徑7.6 厘米

A CARVED BOXWOOD ‘MOUNTAIN LANDSCAPE’ BRUSH REST, LATE QING TO REPUBLICChina, 1820-1940. Carved as a mountainous landscape with craggy rockwork, pine trees, houses, and two figures, one on a boat. The wood of fine grain, smooth natural patina, and warm honey-brown color.Provenance: Old French private collection. Piasa, Paris, 11 May 2001. French private collection, acquired from the above. A copy of the invoice accompanies this lot.Condition: Excellent condition with minor wear.Weight: 149.5 gDimensions: Length 19.8 cmAuction result comparison: Compare with a Qing-dynasty boxwood brush rest in the form of a gnarled prunus trunk, sold by Bonhams London in Asian Art on 2 November 2020, lot 429, for GBP 2,805.清末民初黃楊木雕山水筆山 中國，1820-1940年。筆山雕刻成群山形狀，山間可見松樹、房屋和人物，一個在船上。木材質地細密，光滑的天然包漿和溫暖的棕褐色。 來源：法國巴黎Piasa私人老收藏，2001年5月11日，法國私人收藏，購於上述收藏。隨附發票複印件。 品相：狀況極好，輕微磨損。 重量：149.5 克 尺寸：長19.8 厘米拍賣結果比較：比較一個清代黃楊木筆山，於2020年11月2號邦瀚斯Asian Art拍場，拍號429，售價GBP 2,805。

A HUANGHUALI ‘LOTUS’ BRUSH POT, BITONG, MID-QINGChina, 18th-19th century. The naturalistic vessel deftly rendered with tall and gently curved walls depicted as overlapping lotus petals, the exterior superbly carved in relief with lotus leaves, flowers, pods, and buds. The wood of a warm dark-honey tone.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Excellent condition with old wear, some light scratches and minuscule nicks mostly to bases.Weight: 731.7 gDimensions: Height 13 cmLiterature comparison: Compare with a similar zitan brushpot with magnolia design, late Ming dynasty and with a signature of Wen Fu, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, no.23.Auction result comparison: A related huanghuali brush pot with magnolia design was sold by Bonhams London in Fine Chinese Art on 5 November 2020, lot 94, for GBP 10,062.明代中期黃花梨雕蓮池筆筒 中國，十八至十九世紀。筆筒圓滑的弧形筒壁，精美浮雕成蓮池中重疊蓮花、蓮葉、蓮蓬與花苞。溫暖的深蜜色木料。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況極佳，有舊磨損，一些輕微的划痕，大部分在底部。 重量：731.7 克 尺寸：高 13 厘米 拍賣結果比較：一件相近的黃花梨木蘭筆筒售于倫敦邦翰思Fine Chinese Art 拍場，2020年11月5日, lot 94, 售價 GBP 10,062.

A MOTHER-OF-PEARL-INLAID BLACK LACQUER RECTANGULAR TRAY, JOSEON DYNASTYKorea, 16th-17th century. With a wide flaring rim, superbly decorated with stylized lotus flowers on scrolling vines, to the interior with stylized auspicious symbols topping each flower, the base lacquered cinnabar red.Provenance: Gerard Hawthorn LTD Oriental Art, London, UK, 24 April 2008. A noted private collection in Abcoude, Netherlands, acquired from the above. A copy of the invoice, erroneously describing the piece as Chinese and from the Ming dynasty, accompanies this lot.Condition: Excellent condition commensurate with age, old wear, crackling, a small loss to one corner with associated touchup, the interior with four and the exterior with two replaced inlays (inspected under strong blue light) out of more than 200 inlays in total.Weight: 639 gDimensions: Size 4.3 x 31.7 x 19.2 cmAlthough they superficially resemble and, indeed, are often incorrectly termed as orchids, or even peony blossoms, the flowers depicted on this tray actually are stylized lotus blossoms, as indicated by the appearance of the associated buds. The stylized blossoms, which are known as byeonryeon in Korean, likely first appeared in the silk textiles of China’s Song dynasty (960– 1279). Popularized in Chinese porcelains of the Yuan (1279–1368) and Ming (1368–1644) dynasties, the foreign lotus design, or fanlianwen, spread to Korea early in the Joseon dynasty (1392–1910) and was incorporated into the decorative schemes of Korean blue-and-white porcelain, buncheong ware, and inlaid lacquers.Though little is known of the earliest history of lacquer-making in Korea, archaeological evidence indicates that Korean craftsmen were making lacquered objects at least two thousand years ago, in the late Neolithic and early historic periods. By the Goryeo dynasty (918–1392) Koreans were producing elegant lacquer vessels and sutra-storage chests in black lacquer embellished with small floral designs inlaid in mother of pearl, the designs occasionally augmented with small, twisted, metal wires inset as borders and as the stems in floral arabesques. The tradition of inlaid lacquers continued into the succeeding Joseon dynasty (1392–1910), usually in black lacquer with bold floral designs inlaid in mother of pearl.Auction result comparison: Compare with a related foliate-shaped tray, of larger size and dated to the 17th-18th century at Christie’s New York in Japanese and Korean Art on 18 April 2018, lot 141, sold for USD 137,500. Compare also with a related but larger stationery box at Christie’s New York in Japanese and Korean Art on 22 September 2020, lot 252, sold for USD 81,250, and another at Sotheby’s Hong Kong in Asian Lacquer on 27 May 2014, lot 902, sold for HKD 750,000.朝鮮王朝黑漆髹螺鈿托盤韓國，十六至十七世紀。托盤敞口，邊緣外翻。纏枝卷葉花卉紋以及吉祥符號。底部朱紅漆。 來源：倫敦Gerard Hawthorn LTD 東方藝術藝廊, 2008年4月24日。荷蘭Abcoude 知名私人收藏，購於上述藝廊。隨附發票複印件（錯誤描述該拍品來自中國明代）。 品相：良好的狀態與年齡相符，舊磨損，開裂，一角有小修，一共200多個鑲嵌螺鈿只有內部有四処以及外部有兩処螺鈿經過替換（在強藍光下檢查）。 重量：639 克 尺寸：4.3 x 31.7 x 19.2 厘米 拍賣結果比較：一件葉狀托盤，更大尺寸，十七至十八世紀，見紐約佳士得Japanese and Korean Art 拍場2018年4月18日 lot 141, 售價USD 137,500. ；一件更大尺寸的文具盒見紐約佳士得Japanese and Korean Art 拍場2020年9月on 22日 lot 252, 售價USD 81,250, ；還有一件見香港蘇富比Asian Lacquer 拍場2014年5月27日 lot 902, 售價HKD 750,000.

A HUANGHUALI WEIQI BOX AND COVER, QING DYNASTYChina, 1644-1912. The compressed globular body supported on three shallow legs and carved in deep relief with two vases, one decorated with a dragon and the other with an ice-crack glaze, magnolias, peonies, hibiscuses, and chrysanthemums, as well as a handled woven basket with pomegranates. The domed circular cover with lotuses and a butterfly.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Very good condition with minor wear, natural age cracks, few minuscule nicks, occasional light scratches, and traces of giltWeight: 2,994 gDimensions: Height 19 cmLiterature comparison: A similar pair of weiqi boxes made from huanghuali wood is illustrated in S. Handler, Austere Luminosity of Chinese Furniture, California, 2001, p. 200. Another pair, lacking the finely carved decoration seen on the present piece, was included in the exhibition The Imperial Packing Art of the Qing Dynasty, Beijing, 1999, cat.no. 122, and a further pair in Qing Legacies - the Sumptuous Art of Imperial Packaging, Macau, 2000, cat.no. 94.Auction result comparison: Compare with a related but smaller zitan weiqi box and cover at Sotheby’s Hong Kong in Chinese Art on 3-4 December 2015, lot 319, sold for HKD 81,250.清代黃花梨花卉紋圍棋蓋盒 中國，1644-1912年。球形圓盒，三個淺腿。盒身雕刻兩個花瓶，一個花瓶上裝飾著一條龍，另一個花瓶上裝飾著冰裂的釉面，四周裝飾玉蘭、牡丹、芙蓉和菊花，還有一個帶石榴編織提籃。圓盒蓋上雕刻著蓮花和蝴蝶。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況極佳，有輕微磨損，自然老化裂紋，極少的微小划痕，偶有的輕微划痕和鎏金痕跡。 重量：2,994 克 尺寸：高19厘米 拍賣結果比較：於2015年12月3日至4日在香港蘇富比Chinese Art拍場上，與一個較小的紫檀圍棋蓋盒比較，lot 319，成交價HKD 81,250.。

A MONUMENTAL BURLWOOD SCHOLAR’S ROCK, LATE QING TO REPUBLICChina, 1860-1940. Of a unique gigantic size, well carved in the round as a pierced rock formation, skillfully utilizing the uneven surface with its angular areas and projections, the undulating surface simulating a scholar’s rock.Provenance: From a notable New York private collection. Condition: Excellent condition with minor wear, traces of use and natural weathering and erosion.Weight: 16.9 kg Dimensions: Height 116 cm (incl. base)With a naturalistically carved, modern wood base. (2)Auction result comparison: Compare with a similar burlwood scholar’s rock but of much smaller size (25 cm high) at Sotheby’s London in Important Chinese Art on 11 November 2015, lot 166, sold for GBP 6,250, another of much smaller size (34 cm high), dated to the 18th/19th century, at Christie’s New York, in Fine Chinese Ceramics & Works of Art, on 16 October 2001, lot 232, sold for USD 23,500, and a root wood sculpture of a scholar’s rock, again of much smaller size (56 cm high), at Christie’s Hong Kong, in a Private Asian Collection of Bamboo and Wood Carvings, 3 October 2016, lot 34, sold for HKD 62,500.清末民初癭木山子 中國，1860-1940年。木山子，取癭瘤而成，棕紅色，皮殼老辣，包漿瑩潤。上方有孔，頗為險峻。下方細，靈動堅强。下承木座，小矮足。來源：紐約著名私人收藏 品相：狀況極佳，有輕微磨損，使用痕跡以及自然風化和腐蝕。重量：16.9 公斤 尺寸：含底座高116 厘米現代天然小木座。拍賣結果比較：一件癭木山子，尺寸較小（25厘米高），於2015年11月11日在倫敦蘇富比Important Chinese Art拍場售出，拍號166，售價GBP 6,250。另一件但尺寸更小（34厘米），斷代為十八至十九世紀，售于紐約佳士得 Fine Chinese Ceramics & Works of Art拍場，2001年10月16日，拍號232，售價USD 23,500。在香港佳士得拍賣行於2016年10月3日舉行的Private Asian Collection of Bamboo and Wood Carvings拍場，一件尺寸更小的（高56厘米）根雕木山子，拍號34，售價HKD 62,500。