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A GOLDEN AMBER CARVING OF A QILIN, QING DYNASTYChina, 1644-1912. Of compact shape with the head turning backwards, the hooves well positioned to the underside, the eyes inked black. The fine, barely translucent baltic amber of a superb golden color and a nice, naturally grown patina.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: Excellent condition with minor old wear. Two small holes to base for suspension like a Netsuke and two character-signature probably added later.Weight: 16.0 gDimensions: Length 4.6 cm清代琥珀麒麟 中國，1644-1912年。隨形而雕，麒麟頭向後轉，前蹄恰好位於下方，眼睛呈黑色。 精美、幾乎不透明的波羅的海琥珀，具有超凡的金色和漂亮的自然生長的包漿。 來源：Ted Adameck收藏, 自此同一家族世代相傳。Ted Adameck (1924-2019) 是Netsuke的傳奇收藏家，活躍了幾十年，在檀香山經營兩家古董店，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：狀況極佳，舊磨損少。 有兩個小孔可用於懸掛或用作Netsuke，底部可見兩個刻字，可能是後來加的。 重量：16.0 克 尺寸：長4.6 厘米

A CARVED TORTOISESHELL ‘FIGURAL’ SNUFF BOX AND COVER, QING DYNASTYChina, Canton, 19th century. Of circular shape with matching cover, the top delicately carved in deep and partially reticulated relief with elaborate figural scenes amid pavilions and garden courtyards, two people in a boat. Provenance: From a German private collection. Condition: Good condition with fine naturally grown patina, old wear and traces of use, few small losses here and there.Weight: 9 g Dimensions: Diameter 7 cm The base with a circumferential bamboo border. The sides of the box with further intricately carved designs, the base with a matching depiction in shallow relief. Auction result comparison: For a closely related box see Sotheby’s New York in Asian Art, 14 September 2019, lot 1297, sold for USD 7,500.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. 清代玳瑁雕人物故事鼻烟蓋盒 中國，廣東，十九世紀。圓形蓋盒，盒蓋表面浮雕花園中兩個人乘著小船的故事場景 來源：德國私人收藏 品相：狀況良好，自然包漿，舊時磨損和使用痕跡，局部有缺損。 重量：9 克 尺寸：直徑7厘米 盒子外壁四周雕刻精美的竹林庭院景觀。 拍賣結果比較：一件相近的蓋盒售于紐約蘇富比Asian Art拍場, 2019年9月14日，lot 1297, 售價USD 7,500。

A DARK GREEN JADE HOOF-SHAPED ORNAMENT, HONGSHAN CULTUREChina, 4700-2900 BC. Of hollow cylindrical form with an oblique and gently curved rim. The opaque stone of a dark green tone, appearing almost black, with pale green veins and cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades. Old inventory number ‘C.17.4’ to the interior, indicating a prior museum deaccession.Condition: Very good condition with old wear, signs of weathering, particularly to the interior, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Minor traces of erosion and shallow surface scratches.Weight: 136.2 gDimensions: Height 9.8 cmLiterature comparison: For a related jade, see the ornament unearthed at a Hongshan site at Niuheiliang, Jianping, Liaoning Province included in Xiaoneng Yang (ed.), The Golden Age of Chinese Archeology, Yale University Press, 1999, cat. no. 11, pp. 83-85.Auction result comparison: Compare with a related hoof-shaped jade ornament at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period on 27 November 2019, lot 2714, sold for HKD 112,500.紅山文化墨綠色馬蹄形玉件中國，公元前4700-2900 年。呈空心圓柱體，傾斜且柔和彎曲的邊緣。 深綠色調的不透明玉石，幾乎呈黑色，有淺綠色的脈絡和混濁的絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。内部有博物館收藏標簽“C.17.4”。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授圖片：内部博物館收藏標簽“C.17.4”品相：狀況良好，有舊磨損，風化，尤其是內部，石頭具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 輕微的腐蝕痕跡和表面淺划痕。重量：136.2 克尺寸：高 9.8 厘米拍賣結果比較：一件相近馬蹄形玉件，見香港佳士得 The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period 拍場，2019年11月27日，lot 2714, 售價HKD 112,500.

A THANGKA OF BUDDHA AMITABHA, 18TH CENTURYTibet. Distemper and gold on cloth. Amitabha seated in dhyanasana on a large pillow, a mandorla and a halo behind him, flanked by White and Blue Tara, with Padmasambhava below with a vajra, crescent knife, and staff.Provenance: Collection of Karl Ryberg, purchased in Stockholm between 1939 and 1944. Karl Ryberg was a Swedish painter and sculptor. He studied under Isaac Grünewald in Stockholm, and later at the Royal Danish Academy of Fine Arts as well as the Academie de la Grande Chaumière in Paris. His work includes both modern and Christian art.Condition: Good condition with some wear, minor soiling, small tears, minuscule losses.Dimensions: Size incl. frame 78 x 57.5 cm, Image size 52 x 36.5 cmFramed behind glass, with a black lacquered wood frame.Auction result comparison: Compare with a related Thangka, but of considerably larger size, at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 12 September 2018, lot 316, sold for USD 162,500.十八世紀阿彌陀佛唐卡 西藏。布面金彩膠畫。 阿彌陀佛結跏趺坐在寶座上，身後是曼陀羅和光背，旁邊是白度母和藍度母。其之下是手握金剛杵、月牙刀的蓮花生大士。 來源：Karl Ryberg收藏，1939年至1944年在斯德哥爾摩購買。Karl Ryberg是瑞典畫家和雕塑家。 他曾在斯德哥爾摩的Isaac Grünewald學習，後來在丹麥皇家美術學院以及巴黎大學院夏米埃學院（Academiede la Grande Chaumière）學習。 他的作品包括現代和基督教藝術。 品相：狀況良好，有一定的磨損，輕微的污跡，小水漬，小缺損。 尺寸：含框 78 x 57.5 厘米, 畫面52 x 36.5 厘米 玻璃面黑漆木框。拍賣結果比較：一件相似的唐卡但尺寸更大見紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art 拍場2018年9月12日 lot 316, 售價USD 162,500。

A DARK GREEN JADE OPENWORK ‘CLOUD-SCROLL’ PENDANT, GOUYUN, HONGSHAN CULTUREChina, c. 4500-3000 BC. The opaque stone of a dark green, almost black tone with paler green shadings as well as cloudy white and russet inclusions, the pendant with a prominent central scroll and protuberances at the corners reminiscent of phoenix heads. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades. Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 20, no. 18.Condition: Very good condition with old wear, signs of weathering, some nibbling to edges, minor traces of use and shallow surface scratches, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Weight: 117.1 gDimensions: Length 13.5 cmLiterature comparison: Compare with a related jade excavated at the Sudalei archaeological site in Bairin Right Banner and now in the Museum of Chifeng city, Inner Mongolia Autonomous Region.Auction result comparison: Compare with a related cloud-scroll ornament of a paler green color at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period on 27 November 2019, lot 2711, sold for HKD 175,000.紅山文化墨綠色玉勾云紋佩中國，公元前 4500-3000年。暗綠色的不透明玉石，幾乎呈黑色，帶有淡綠色的紋理，夾雜這白色和赤褐色。玉佩中央彎曲鏤空，在邊角處有突起，讓人聯想到鳳凰頭部。 穿孔懸掛。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 20, no. 18.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能發展成細小的裂縫。重量：117.1 克尺寸：長13.5 厘米拍賣結果比較：一件相近雲紋青玉佩見香港佳士得The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period 拍場2019年11月27日 lot 2711, 售價HKD 175,000.

A THANGKA OF VAJRAYOGINI, 19TH CENTURYTibet. Gold and distemper on cloth. The goddess standing naked but for white bone jewelry, hoop earrings, and a garland and crown of demonic skulls. Surrounded by a flaming mandorla, stepping to the left in the alidha posture, holding a flaying knife (kartika) in her right hand and drinking from a blood-filled skullcap (kapala) in her left.Provenance: Marcelle and Pierre Grossenbacher, acquired between 1989 and 1996 in Beijing and Chengdu.Condition: Good condition with wear, soiling, creasing.Dimensions: Size 99 x 74 cmA khatvanga staff with severed heads rests on her left shoulder. Two deities, Bhairava and Kalarati, are trampled underfoot, pinned to an oval lotus flower pedestal. The central depiction surrounded at the top by many lamas flanking a temple with Buddha Amitabha above three Chakrasamvaras in yab-yum, to the sides by two dakinis and eight wrathful deities, and below by various deities and bodhisattvas holding attributes and auspicious symbols, all above a mountain landscape with various depictions of different stages in the Buddha’s life.Vajrayogini, the archetypal female Buddha-deity and embodiment of Tibetan Buddhist wisdom, associated with the Chakrasamvara tantra cycle, appears here in a form particular to the Sakya school known as Kechara or ‘Sky Wanderer’, passed down through the lineage of the mahasiddha Naropa.Auction result comparison: Compare with a related thangka at Christie’s New York in Indian, Himalayan & Southeast Asian Works of Art on 11 September 2019, lot 391, sold for USD 25,000.十九世紀金剛瑜伽母唐卡西藏。布面金彩膠畫。女神裸身曲腿站立，身挂白骨長鏈，大耳環，頭戴花環與惡魔頭骨的冠冕。身後曼陀羅包，右手拿著一把匕首，左手拿著充滿血液的卡巴拉碗裏正準備喝。 來源：Marcelle 與Pierre Grossenbacher私人收藏，1989至1996年間購於北京與成都 圖片：Marcelle 與Pierre Grossenbacher 品相：狀況良好，有磨損，污漬和摺痕。 尺寸：99 x 74 厘米 拍賣結果比較：一件相近唐卡見紐約佳士得Indian, Himalayan & Southeast Asian Works of Art 拍場2019年9月11日 lot 391, 售價USD 25,000.

A VERY LARGE BLACK-GROUND THANGKA OF PANJARNATA MAHAKALA, 18TH CENTURYTibet. Distemper and gold on cloth. The wrathful protector standing atop a male figure on a lotus base, the fierce face with three large bulging eyes, a red mouth wide open and baring sharp teeth, and flaming hair, holding a crescent knife and skull cup filled with blood in his hands, an ornate staff resting on his forearms, wearing a skull crown, a scarf around the shoulders, and a tiger skin.Provenance: The Southern Alleghenies Museum of Art. Swiss private collection, acquired from the above. The Southern Alleghenies Museum of Art is a notable museum with five locations in southwestern Pennsylvania, USA. It is headquartered at Saint Francis University in Loretto, where it was founded in 1976. The museum is a repository for several distinctive special collections such as the Charles M. Schwab Collection of Presentation Silver and Other Memorabilia, the Colleen Browning Collection, and the Rezk Collection of Tibetan and Nepalese art.Published: Himalayan Art Resources, item no. 90546.Condition: Good condition with minor wear, soiling, small tears, minor losses to pigment and minuscule touchups.Dimensions: Size incl. mounting 165 x 125.5 cm, Image size 139.5 x 105.5 cmWith a good silk brocade frame.Three skullcups filled with offerings are placed in front of Mahakala. At the top center is Buddha Akshobhya, to the left Buddha Vajradhara and Chakrasamvara in Heruka form. On the right side are various deities, Vajrabhairava Heruka and lama figures. Descending at the sides are various wrathful figures specific to the retinue of Panjarnata and general wrathful protector deities of the Sakya School, including Ekajati, Chaturmukha, Magzor Gyalmo, and Vaishravana. Along the bottom are the five main attendants – the inner retinue – of Panjarnata, Kala Rakshasa, Kali Rakshasi and the three siblings.Panjaranata Mahakala is the protector for 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.Auction result comparison: Compare with a related but slightly earlier thangka at Sotheby’s New York in Indian, Himalayan & Southeast Asian Works of Art on 19 March 2014, lot 77, sold for USD 31,250.十八世紀大型寳帳大黑天黑唐卡 西藏。布面金彩膠畫。怒相守護神脚踩惡鬼身上，凶悍的臉龐上有三隻大而凸起的眼睛怒目而視，張開的紅色嘴巴露出鋒利的牙齒，還有如火焰般的頭髮，手裡拿著一個充滿了鮮血的新月形刀和頭骨杯，一把華麗的寳帳放在前臂上，戴著骷髏頭，肩膀上披著虎皮。 來源：The Southern Alleghenies Museum of Art；瑞士私人收藏，購於上述美術館。The Southern Alleghenies Museum of Art是在美國西南賓夕法尼亞州擁有五個分館的美術館。 它的總部位於Loretto成立於1976年的聖弗朗西斯大學。該美術館收藏了幾個特殊藏品，例如Charles M. Schwab收藏銀器和其他紀念品收藏，Colleen Browning Collection收藏和Rezk的尼泊爾藝術品收藏。 圖片：Southern Alleghenies Museum of Art 內部 出版: Himalayan Art Resources, 展品編號 90506 品相：狀況良好，輕微磨損，污跡，水漬，顔料和細微金彩輕微損失。 尺寸：含框165 x 125.5 厘米, 畫面139.5 x 105.5 厘米 絲綢裝裱在大黑天面前放置了三個裝滿祭品的頭骨杯。頂部中央是阿閦佛，左側是多傑羌佛和赫魯嘎形式的勝樂金剛。右邊是各種各樣的神靈，赫魯卡和喇嘛。 側面下方的是各種憤怒的人物，這些人物專門針對寳帳大黑天的的隨從和薩迦派的一般憤怒保護者神像，包括一髻佛母，勝樂金剛，吉祥天母和多聞天王。 底部是寶塔天王，寶帳大黑天眷屬，儸煞鬼和三個兄弟姐妹的五個主要隨從。寳帳大黑天是藏傳佛教的八大護法之一。 這些圖像和儀式可見於金剛密陀密宗的第18章，印度的梵文文字和赫瓦杰密宗本身的專有“密宗”。 正是從密宗的名稱中得知了大黑天的這種特定形式。拍賣結果比較：一件相近但更早期的唐卡見紐約蘇富比Indian, Himalayan & Southeast Asian Works of Art 拍場2014年3月 19日 lot 77, 售價USD 31,250。

A THANGKA OF CATURBHUJA MAHAKALA, 18TH- 19TH CENTURYTibetan-Chinese. Finely painted on a black ground with the four-armed blue Mahakala seated on a lotus throne, wearing a tiger-skin dhoti, a white ribbon decorated with lotus scrolls around his shoulders, snakes as bangles and a necklace, and a five-skull crown. Holding in his principal hands a crescent knife and a skullcap, the other hands holding a vajra-handled sword and a trident.Provenance: Schoettle Ostasiatica, Germany, c. 1990 (inventory stamp and number to back). Swiss private collection, acquired from the above, and thence by descent to the present owner. Koller, Zurich, 4 June 2019, lot 161, bought-in at an estimate of CHF 15,000-25,000, auction label to reverse.Published: D. I. Lauf, Eine Ikonographie des tibetischen Buddhismus, Graz 1979, p. 115, illustrated on the cover.Condition: Very good condition with some losses and creases, some with minor old touchups.Dimensions: Size incl. frame 80 x 60.4 cm, Image size 60 x 42 cmClose stylistic similarities between the present lot and the paintings in the Yuhuage, constructed between 1750 and c. 1776, suggest that this work is an imperial commission dating to the second half of the eighteenth century, made under the supervision of Rolpai Dorje, the master of esoteric Buddhist iconography.The wrathful deity shows a fierce expression with an urna, furrowed brows, and the mouth wide open revealing sharp teeth, and is surrounded by a flaming mandorla below Chakrasamvara in yab-yum with his consort. Surrounding the lotus throne are four wrathful bird-headed deities holding skullcaps and crescent knives as well as Palden Lhamo riding a mule and holding a sword and skullcap, flanked by two further wrathful gods, the lion-headed Dakini Simhamukha and a two-armed Mahakala.With a modern frame as well as a photograph showing the reverse of the thangka, with a signature and several collector’s inscriptions.Auction result comparison: Compare with a related thangka of larger size and depicting the goddess Carcika and consort, dated to the Qianlong period, at Sotheby’s New York in Indian, Himalayan and Southeast Asian Works of Art on 22 September 2020, lot 309, sold for USD 47,880. Compare also with a related thangka of considerably larger size at Christie’s New York in Indian & Southeast Asian Art on 1 April 2005, lot 84, sold for USD 31,200.十八至十九世紀四臂大黑天唐卡漢藏。黑地上精美彩繪，四臂的藍色大黑天坐在蓮花座上，身披虎皮，白色的緞帶上飾有蓮花紋，蛇紋手鐲和項鍊，還有骷髏頭冠 。他的手裏拿著月牙刀和一個頭骨杯，其他的手拿著金剛柄的劍和三叉戟。 來源：德國Schoettle Ostasiatica，1990年代(背部印章及標籤)。瑞士私人收藏，購於上述收藏，然後傳承至現任藏家。蘇黎世Koller拍賣行，2019年6月4日，lot 161, 估價CHF 15,000-25,000, 底座可見拍賣標簽。 出版：D. I. Lauf, Eine Ikonographie des tibetischen Buddhismus（藏傳佛教圖像學）, Graz 1979, p. 115, 封面。 品相：狀況非常好，有一些損失和摺痕，有的還有些舊時小修。 尺寸：縂80 x 60.4 厘米, 畫面60 x 42 厘米 現代裝裱，一張展示唐卡背面的照片，並帶有簽名和幾個藏家的題詞。 拍賣結果比較：一件相近但尺寸更大的乾隆時期Carcika及其佛母唐卡見紐約蘇富比 Indian, Himalayan and Southeast Asian Works of Art 拍場2020年9月22日lot 309, 售價USD 47,880. ；另一件尺寸更大的唐卡見紐約佳士得 Indian & Southeast Asian Art 拍場2005年4月1日 lot 84, 售價USD 31,200.

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

A THANGKA OF BUDDHA SHAKYAMUNI, 18TH-19TH CENTURYTibet. Distemper on cloth. The central figure seated in dhyanasana on a lotus pedestal with the right hand lowered in bhumisparsamudra and the left holding an alms bowl, surrounded by arhats and attendants to the sides, dharmapalas below, and Buddha Amitabha top center.Provenance: Schoettle Ostasiatica, Stuttgart, 1983. German private collection, acquired from the above. Austrian private collection, acquired from the above. Two old collector’s labels to the handles.Condition: Good original condition with wear, soiling, minor creases, small losses.Dimensions: Size incl. mounting 143 x 84.5 cm, Image size 92 x 59 cmThe serene face with downcast eyes and benevolent smile flanked by long earlobes, the hair in tight curls surmounted by an ushnisha. With a silk brocade frame and mounted as a hanging scroll with metal handles.Auction result comparison: Compare with a related thangka at Christie’s New York in Indian and Southeast Asian Art on 23 March 2010, lot 270, sold for USD 8,750.十八至十九世紀釋迦牟尼唐卡 西藏，布面膠畫。釋迦牟尼结跏趺坐坐於莲座上，右手施觸地印，左手拿着施舍缽，两面被罗汉和供奉者包围，下面是護法神，顶部是阿弥陀佛。 來源：斯圖加特Schoettle Ostasiatica古玩店，1983年。德國私人收藏，購於上述古玩店。奧地利私人收藏，購於上述收藏。執柄上有兩個藏家老標簽。 品相：原始状态良好，有磨损，污漬，小折痕，小缺损。尺寸：縂143 x 84.5 厘米, 畫面92 x 59 厘米 拍賣結果：一件相近唐卡見紐約蘇富比Indian and Southeast Asian Art 拍場2010年3月23日 lot 270, 售價USD 8,750.

A THANGKA DEPICTING SCENES FROM JATAKAS, 18TH-19TH CENTURYTibet. Distemper on cloth. The backside with a short inscription, probably an artist’s signature.This work belongs to a series of scenes from the Avadana Kalpalata or “108 deeds of the Lord Buddha narrated in the Jatakas”, which tell the stories of the previous lives of Shakyamuni leading to his enlightenment.Provenance: Marcelle and Pierre Grossenbacher, acquired between 1989 and 1996 in Beijing and Chengdu.Condition: Extensive wear, soiling, some pigment losses, creases and minor tears, some areas possibly with minuscule old touchups.Dimensions: Size 102 x 75 cmThe paintings of the miniature scenes are attributable to a school of painting devised by Situ Panchen, Chokyi Jungne (1700-1774), a lama of the Karmapa order in eastern Tibet who designed the composition of a similar series.Literature comparison: Compare the style with a similar set of paintings in Kreijger, 2001, pp. 35-37.Auction result comparison: Compare with a closely related work at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art, 15 March 2016, lot 216, sold for USD 18,750.十八至十九世紀釋迦牟尼本生故事唐卡西藏。布面膠畫。唐卡背面有一段小字，可能是藝術家簽名。這件作品屬於往生圖或釋迦牟尼108相中的一幅，描繪了佛陀的一生中的重要情節。 來源：Marcelle 與Pierre Grossenbacher私人收藏，1989至1996年間購於北京與成都 圖片：Marcelle 與Pierre Grossenbacher 品相：大量磨損，污漬，局部褪色，摺痕和輕微撕裂，有些區域有過小修。 尺寸：102 x 75 厘米 拍賣結果比較：一件相近作品見紐約佳士得Indian, Himalayan and Southeast Asian Works of Art拍場2016年3月15日lot 216, 售價USD $18,750.

A THANGKA OF BUDDHA SHAKYAMUNI, 18TH-19TH CENTURYTibet. Distemper and gold on cloth. The central Buddha seated in dhyanasana on a lotus throne supported by Buddhist lions and surrounded by mythical animals and deities as well as many Arhats and Buddhas, each with a gold inscription below.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: Good condition with wear, soiling, creases, small losses and few minuscule tears.Dimensions: Size 100.5 x 80 cmAuction result comparison: Compare with a related but smaller thangka at Christie’s Paris in Art d’Asie on 23 June 2020, lot 41, sold for EUR 5,250.十八至十九世紀釋迦牟尼唐卡 西藏。布面金彩膠畫。釋迦牟尼結跏趺坐坐於蓮座上，蓮座之下為白獅子，四周很多神獸、羅漢與佛陀。神像之下都有金彩書寫文字。 來源：巴黎The Josette 與Theo Schulmann 收藏，購於約1960-1970年間。Josette 與 Theo Schulmann是對亞洲藝術充滿熱情的商人，並向Cernuschi Museum博物館捐贈了幾件重要作品。 圖片：Josette Schulmann 圖片：Theo Schulmann 品相：狀況良好，有磨損，污漬，摺痕，小缺損和極少的水跡。 尺寸：100.5 x 80 厘米 拍賣結果比較：一件相近但更小的唐卡見巴黎佳士得Art d’Asie 拍場2020年6月23日 lot 41, 售價EUR 5,250.

A THANGKA OF EKADASHAMUKHA AVALOKITESHVARA, 19TH CENTURYTibet. Gold and distemper on cloth. The eleven-headed and eight-armed bodhisattva of compassion standing with the principal hands folded together at the heart, the other forming various mudras or holding attributes, including dharmachakra, rosary, lotus, and water vessel. Richly adorned in jewelry, wearing an elaborate crown, the lower part of his body covered in fine silks.Provenance: Collection of Raphaël Petrucci (1872-1917), and thence by descent in the same family. Raphaël Petrucci was a French art critic, who wrote a number of books on Asian art, including Les Peintres Chinois (1912), La philosophie de la nature dans l'art d'extrême-orient (1910), and Les caracteristiques de la peinture japonaise (1907). Inscribed in pencil to back, ‘Avalokitesvara’, ‘21234’, and ‘[…] Coll. R. Petrucci’.Condition: Extensive wear, soiling, and creasing, overall good condition.Dimensions: Size 51 x 36 cmAvalokiteshvara is flanked by two stupas, seated at the top center is Buddha Shakyamuni, flanked by Amitayus and Manjushri. At the bottom center are the wrathful deities Vajrapani and Mahakala. With a silk brocade frame and mounted on a stretcher.Auction result comparison: Compare with a related thangka, together with a thangka of Vajrapani, at Sotheby’s Hong Kong in Chinese Art on 1-2 June 2015, lot 620, sold for HKD 75,000.十九世紀十一面觀音唐卡西藏。布面金彩膠畫。十一面八臂的慈悲菩薩雙手合十站立，其餘手臂均在體側，手持法輪、念珠、蓮花和净水瓶等法器。雙耳垂花璫，佩戴瓔珞寶珠飾品，盡顯華麗之美。著天衣，披帛裹肩繞臂。 來源：Raphaël Petrucci（1872-1917）收藏，從那以後在同一個家族相傳。 Raphaël Petrucci是法國一位藝術評論家，他撰寫了許多有關亞洲藝術的書籍，其中包括Les Peintres Chinois (《中國畫家》1912年), La philosophie de la nature dans l'art d'extrême-orient (《遠東藝術中的自然哲學》191) 以及Les caracteristiques de la peinture japonaise (《日本畫的特徵》1907)。 背面有鉛筆書寫的 ‘Avalokitesvara’，‘21234’，與 ‘[…] Coll. R. Petrucci’。 圖片：Raphaël Petrucci, Les Peintres Chinois, 1912年第一版 品相：廣泛磨損，污漬和壓痕，總體狀況良好。 尺寸：51 x 36 厘米 拍賣結果比較：一件相近唐卡與一件金剛手菩薩唐卡見香港蘇富比Chinese Art拍場2015年6月 1-2 日 lot 620, 售價HKD 75,000.

A THANGKA OF MILAREPA, 18TH-19TH CENTURYTibet. Distemper on cloth. The famous yogi seated on a lotus throne, wearing long flowing robes and a beaded necklace, holding a vase with flowers in one hand and a lotus flower on a curved stem in the other, a halo behind his head, the Medicine Buddha above him in the clouds, fruit and Buddhist symbols below him.Provenance: Marcelle and Pierre Grossenbacher, acquired between 1989 and 1996 in Beijing and Chengdu.Condition: Good condition with wear, soiling, creasing.Dimensions: Size 32 x 22.2 cmAuction result comparison: Compare with a closely related thangka of Milarepa at Lempertz, Cologne, in Asian Art on 6-7 December 2019, lot 302, sold for EUR 5,704.十八至十九世紀密勒日巴唐卡 西藏。布面膠畫。著名的瑜伽士坐在蓮花座上，穿著長袍，戴著串珠項鍊，一隻手拿著一個花瓶，裏面插著花，另一隻手持蓮花，頭后一個光背，頭頂上方是藥師佛。 蓮座下方可見祥雲，水果和佛教吉祥物。來源：Marcelle 與Pierre Grossenbacher私人收藏，1989至1996年間購於北京與成都 圖片：Marcelle 與Pierre Grossenbacher 品相：狀況良好，有磨損，污漬和摺痕。尺寸：32 x 22.2 厘米 拍賣結果比較：一件相近密勒日巴唐卡見科隆Lempertz 的Asian Art拍場2019年12月 6-7日lot 302, 售價EUR 5,704

A THANGKA OF DUDUL DORJE (1733-1797), THE 13TH KARMAPA LAMATibet, 18th-19th century. Distemper and gold on cloth. Seated on an elaborate jeweled throne, various offerings placed before him, the hands held in dharmachakra mudra, wearing flowing monastic robes, the head adorned with a black vajra hat, a symbol of the Karmapa Lamas, a green halo behind his head.Provenance: The Southern Alleghenies Museum of Art. Swiss private collection, acquired from the above. The Southern Alleghenies Museum of Art is a museum with five locations in southwestern Pennsylvania, USA. It is headquartered at Saint Francis University in Loretto, where it was founded in 1976. The museum is a repository for several distinctive special collections such as the Charles M. Schwab Collection of Presentation Silver and Other Memorabilia, the Colleen Browning Collection, and the Rezk Collection of Tibetan and Nepalese art.Published: Himalayan Art Resources, item no. 90506Condition: Extensive wear, soiling, creasing, flaking to pigment, small tears and losses, minor touchups.Dimensions: 56 x 40 cmDudul Dorje (1733–1797) was the thirteenth Gyalwa Karmapa, head of the Kagyu School of Tibetan Buddhism. He was born in Champa Drongsar and recognized by Gyaltsab Rinpoche at the age of four. He received an education in the monastery from the age of eight by both the Kagyu and the Nyingma schools. Dudul Dorje became head of the school at the age of 31. He was known for his great love for animals.At the top center is Buddha Amitabha, on the left is Khasarpani Avalokiteshvara, and on the right is Padmasambhava. At the upper sides are two monastic figures attired with robes and red caps signifying a high position in the Kamtsangpa tradition. Below at the sides are similar figures, with the figure on the proper left wearing a lotus style hat of the Nyingma similar to those of the Shechen tradition. At the bottom center is the fierce protector, Black Cloak Mahakala, with one face and two hands holding upraised in the right a curved knife and a skullcup to the heart with the left, wearing flowing garments, surrounded by flames of pristine awareness. A skull cup is offered in front. On the right is the female wrathful protector, Shri Devi, with one face and four hands riding a mule. On the left is the worldly daemon, Oath Bound Blacksmith, with one face and two hands riding a brown goat. The background is sparse with rolling green hills and an open landscape extending to the fore.Auction result comparison: Compare with a related thangka of Dudul Dorje at Christie’s New York in Indian and Southeast Asian Art on 22 March 2011, lot 330, sold for USD 16,250.第十三世葛瑪巴敦都多傑唐卡 (1733-1797) 西藏，十八至十九世紀。布面金彩膠畫。敦都多傑坐於寶座上，面前的可見各種供品，雙手施説法印，僧袍綫條流暢飄揚，頭戴黑帽，象徵著黑帽係葛瑪巴，頭後是綠色光背。 來源：The Southern Alleghenies Museum of Art；瑞士私人收藏，購於上述美術館。The Southern Alleghenies Museum of Art是在美國西南賓夕法尼亞州擁有五個分館的美術館。 它的總部位於Loretto成立於1976年的聖弗朗西斯大學。該美術館收藏了幾個特殊藏品，例如Charles M. Schwab收藏銀器和其他紀念品收藏，Colleen Browning Collection收藏和Rezk的尼泊爾藝術品收藏。 圖片：Southern Alleghenies Museum of Art 內部 出版: Himalayan Art Resources, 展品編號90506 品相：大量磨損，污跡，起皺，顏料剝落，小水漬和缺損，輕微的修飾。 尺寸：56 x 40 厘米 拍賣結果比較：一件相近敦都多傑唐卡見紐約佳士得Indian and Southeast Asian Art 拍場2011年3月22日 lot 330, 售價USD 16,250.

A THANGKA OF PADMASAMBHAVA, 18TH-19TH CENTURYTibet. Distemper on cloth. The Indian saint seated on a lotus throne holding the vajra, the kapala, and khatvanga, wearing voluminous robes and an upturned Nyingmapa cap, his consorts Mandarava and Yeshe Tsogyal at his side, three protector deities riding on mules below.Provenance: French private collection. Condition: Fair condition with extensive wear, soiling, some losses of pigment, creasing, small tears and losses.Dimensions: Size incl. mounting 78 x 46 cm, Image size 48 x 39 cmWith a silk brocade frame, mounted as a hanging scroll with metal handles.Auction result comparison: Compare with a related thangka at Sotheby’s New York in Indian, Himalayan & Southeast Asian Art on 21 March 2019, lot 952, sold for USD 11,875.十八至十九世紀蓮花生大士 西藏，布面膠畫。印度高僧坐在蓮花寶座上，手拿金剛杵和嘎巴啦碗，三叉戟“卡杖嘎”靠在肩上，身穿長袍，頭戴蓮花冠，空行母耶喜措嘉和曼達拉瓦相伴其側，三個保護神靈并列在其下方。 來源：法國私人收藏 品相：狀況良好，有大量磨損，污跡，色彩損失，摺痕，小水漬和缺失。 尺寸：含裱褙78 x 46 厘米, 畫面 48 x 39 厘米 錦緞裝裱，立軸，帶有金屬手柄。 拍賣結果比較：一件相似的唐卡見紐約蘇富比Indian, Himalayan & Southeast Asian Art 拍場2019年3月21日 lot 952, 售價USD 11,875.

A THANGKA OF PEHAR, 19TH CENTURYTibet. Distemper and gold on cloth. The worldly protector riding a white Buddhist lion, wearing a tiger’s skin, with three three-eyed heads and six arms holding attributes, including a bow and arrow, a sword, and a knife.Provenance: Hungarian private collection. Condition: Good condition with wear, soiling, creasing, and few minuscule losses.Dimensions: Size incl. mounting 65 x 35 cm, Image size 35.5 x 24 cmThe deity surrounded below by two blue Pehar riding a white elephant and green lion, respectively, and above by three wrathful deities, two of them on horseback, all with flaming mandorlas. With a silk brocade frame, mounted as a hanging scroll.Auction result comparison: Compare with a related but larger and slightly earlier thangka at Christie’s Paris in Art d’Asie on 9 June 2015, lot 347, sold for EUR 12,500. Compare also with a related but slightly larger thangka at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 11 September 2012, lot 178, sold for USD 21,250.十九世紀白哈爾王唐卡西藏。布面金彩膠畫。保護神騎著白獅，身披虎皮，三首，六臂握著寶器，包括弓箭、劍和刀。 來源：匈牙利私人收藏 品相：狀況良好，輕微磨損，污漬，摺痕和小缺損。尺寸：縂65 x 35 厘米, 畫面35.5 x 24 厘米 拍賣結果比較：一件相近但更大且更早期的唐卡見巴黎佳士得Art d’Asie 拍場2015年6月9 日lot 347, 售價EUR 12,500.；一件相近但更大的唐卡見紐約邦瀚斯Indian, Himalayan & Southeast Asian Art 拍場2012年9月11日 lot 178, 售價USD 21,250.

A THANGKA OF USHNISHAVIJAYA, 19TH CENTURYTibet. Distemper and gold on cloth. The three-headed Goddess of Longevity seated in dhyanasana on a lotus throne with offerings placed before her. Below Amitayus and White Tara, a mandorla and a green halo behind her. The principal hands in dharmachakramudra and holding a vishvavajra, the other six forming various mudras or holding attributes including a bow and an arrow.Provenance: French private collection. Condition: Good condition with minor wear, soiling, creases, and small losses.Dimensions: Image size 40 x 28 cmWith a silk brocade frame and mounted as a hanging scroll with wood handles.Auction result comparison: Compare with a related but slightly earlier thangka at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 15 March 2016, lot 212, sold for USD 20,000.十九世紀尊勝菩薩唐卡西藏。布面金彩膠畫。三首長壽佛母結跏趺坐在蓮花座上，面前擺著祭品。 在阿彌陀佛和白度母下方，身後有曼陀羅和綠色光背。 手施説法印，持有金剛杵，其他手也各施不同手印或持有寶器，包括弓和箭。來源：法國私人收藏 品相：狀況良好，輕微磨損，污漬，摺痕和小缺損。尺寸：畫面 40 x 28 厘米絲綢裝裱，挂軸，木柄。 拍賣結果比較：一件相近但更早期的唐卡見紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art 拍場2016年3月15日lot 212, 售價USD 20,000.

A TIBETAN-CHINESE THANGKA OF AMOGHAPASHA, 19TH CENTURYTibetan-Chinese. Distemper and gold on cloth. The three-headed deity seated in dhyanasana on a lotus throne with offerings placed before him. Holding a trishula in the upper right hand. The upper left in varada mudra, a lotus in the lower right and a pasha in the lower left, wearing an elaborate crown surmounted by three small Budda Amitabhas.Provenance: Hungarian private collection. Condition: Very good condition with minor wear, little soiling, and minor creasing, small tears and losses to mounting only.Dimensions: Size incl. mounting 84.5 x 39.5 cm, Image size 37.5 x 28 cmWith a silk brocade frame, mounted as a hanging scroll.Auction result comparison: Compare with a related thangka, of arguably lesser quality, at Sotheby’s New York in Indian, Himalayan and Southeast Asian Works of Art Including Property from the Estate of Dr. Claus Virch on 17 March 2015, lot 1001, bought-in at an estimate of USD 5,000-7,000.十九世紀漢藏不空羂索觀音唐卡漢藏。布面金彩膠畫。三首觀音結跏趺坐坐於蓮座上，面前擺著祭品。 右邊一手持錫杖，一手持蓮；左邊一手施與愿印，一手持絹索，頭戴精巧的王冠，上面鑲有三個佛陀阿彌陀佛。 來源：匈牙利私人收藏 品相：狀況極佳，僅有少量磨損，污漬和輕微摺痕，很小的撕裂和裝裱時的缺失。 尺寸：縂84.5 x 39.5 厘米, 畫面37.5 x 28 厘米 絹本裝裱，挂軸。 拍賣結果比較：一件相近但質量稍差的唐卡見紐約蘇富比 Indian, Himalayan and Southeast Asian Works of Art Including Property from the Estate of Dr. Claus Virch 拍場2015年3月17 日 lot 1001, 估價USD 5,000-7,000.

A BLUE-GROUND KESI SEMIFORMAL DRAGON ROBE, JIFU, QING DYNASTYChina, 18th-19th century. Finely woven with eight gold-thread dragons chasing flaming pearls and surrounded by scrolling clouds, flying cranes and bats, and auspicious symbols above crashing waves and lishui stripe, repeated at the sleeves, with gilt metal buttons, gold-striped sleeve extensions, the matching black-ground collar and horse-hoof cuffs with gold-thread lotus scrolls.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades, one of their first works of Asian art being a painting of Guan Yu, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus.Condition: Extensive wear, several tears and losses, few loose threads, some soiling and creasing, minor repairs.Dimensions: Length 140 cmAuction result comparison: Compare with a closely related kesi dragon robe, dated to the Qianlong period, at Sotheby’s Hong Kong in Fine Chinese Ceramics & Works of Art on 8 October 2008, lot 2677, sold for HKD 150,000.清代藍地緙絲龍紋吉服 中國，十八至十九世紀。龍袍用五彩絲線共繡五爪正面金龍八條，周身點綴五彩流雲及萬字、蝙蝠、寳扇、如意、瓶、靈芝等雜寶紋。龍袍所繡花紋運用了等多種針法。海水層次豐富，帶有鍍金金屬鈕扣，金色條紋的袖子延長線， 黑色底領和馬蹄形袖口，配以金線荷葉卷。 來源：來自Ferdinand博士和Gudrun Thaler-Szulyovsky博士的收藏，自此在同一個家族世襲。 這對夫妻倆都一直在從事法律工作，由於對藝術的共同熱情在1967年相識。 數十年來他們共同建立了豐富多樣的藝術收藏，他們的第一批亞洲藝術作品是關於關羽的一幅畫，這是從著名Sigurd Reininghaus啤酒廠獲得的法律服務費用。 圖片：Ferdinand 與Gudrun Thaler-Szulyovszky 品相：大量磨損，幾處撕裂和缺損失，幾根絲綫鬆動，一些污跡和摺痕，有修補。 尺寸：長140 厘米 拍賣結果比較：一件相近的乾隆時期緙絲龍袍見香港蘇富比 Fine Chinese Ceramics & Works of Art 拍場2008年10月 8日 lot 2677, 售價HKD 150,000.

AN EXCEPTIONALLY LARGE PALE GREEN AND RUSSET JADE BI DISC, EARLY BRONZE AGEChina, c. 2200-1900 BC. Of somewhat irregular thickness and still retaining the cutting marks on the walls of the central hole drilled from both sides, the mostly translucent stone of variegated shades of green ranging from pale olive to sea-green with some russet-brown veining and shadings as well as cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple have been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.Condition: Excellent condition with old wear, signs of weathering, nibbling and some losses to edges, the stone with natural fissures, some of which have developed into larger hairline cracks over time. Some traces of use and shallow surface scratches.Weight: 3,814 gDimensions: Diameter 43.5 cmBi discs are a type of jade which continued to be crafted in numbers by cultures located in central and northwest China during the transitional period between the Neolithic and Bronze Age. The majority of these discs range in size between ten and twenty centimeters: large ones, such as the present lot, are rare. Their size and weight, requiring both hands to hold them, suggest that these imposing discs were displayed and used in a ritual context. The hole is usually drilled from one side only: on larger discs, it is smoothed down and the traces of the tool marks are almost invisible.The whitened areas are mostly limited to the edges. This alteration, which is often seen on excavated jades, was probably created by the action of alkaline body fluids on the nephrite.Literature comparison: A related green jade bi of smaller size (22 cm diameter) is illustrated by J. Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, 1995, p. 155, no. 7:6, where the author ascribes it to northwest China, c. 2000-1000 BC. One large disc which measures 32.5 cm in diameter is in the Victoria & Albert Museum, London, accession number A.42-1936.Auction result comparison: Compare with a related dark green jade bi, dated to circa 2000-1500 BC, of much smaller size (21.3 cm diameter), at Christie’s New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1449, sold for USD 40,000. Compare also with a related jade from the same period, but still of considerably smaller size (34.1 cm diameter), from the A.W. Bahr Collection, at Christie’s New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 277, sold for USD 194,500.青銅時代大型青玉璧中國，公元前2200-1900 年。厚度不規則，保留著切割痕跡，主體半透明，夾雜著不同深淺的綠色，從淺橄欖色到海綠色，帶有紅褐色的紋理，以及絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：3,814 克尺寸：直徑43.5 厘米拍賣結果比較：一件相近墨綠玉璧，公元前 2000-1500年, 尺寸更小 (直徑21.3 厘米), 見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2013年9月20 日 lot 1449, 售價USD 40,000. 一件來自同一時期但尺寸更小（直徑34.1 厘米）的玉璧，來自A.W. Bahr 收藏, 見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 拍場2009年3月18日 lot 277, 售價USD 194,500.

AN APRICOT-GROUND EMBROIDERED SILK ‘SQUIRRELS AND GRAPES’ ROBE, QING DYNASTYChina, 1644-1912. Finely woven with many bunches of grapes hanging from scrolling leafy vines growing around gnarled branches with many squirrels on top, often in pairs, some gnawing on grapes, the collar with a floral band.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades, one of their first works of Asian art being a painting of Guan Yu, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus.Condition: Good condition with wear, some tears and losses, soiling, and few loose threads, the apricot ground minimally faded. The velvet lining to the interior is of European origin.Squirrels are usually shown with grapes, as the former have great reproductive powers while the latter grow in clusters on the vines, implying a wish for ceaseless generations of sons and grandsons.Dimensions: Length 105.5 cm清代杏黃地綉松鼠葡萄女服 中國，1644-1912年。精美刺綉的葡萄串懸掛在葡萄藤上，葡萄藤上有許多松鼠，通常成對，有的正在摘葡萄。衣領処花卉紋。 來源：來自Ferdinand博士和Gudrun Thaler-Szulyovsky博士的收藏，自此在同一個家族世襲。 這對夫妻倆都一直在從事法律工作，由於對藝術的共同熱情在1967年相識。 數十年來他們共同建立了豐富多樣的藝術收藏，他們的第一批亞洲藝術作品是關於關羽的一幅畫，這是從著名Sigurd Reininghaus啤酒廠獲得的法律服務費用。 圖片：Ferdinand 與Gudrun Thaler-Szulyovszky 品相：大量磨損，幾處撕裂和缺損失，幾根絲綫鬆動，一些污跡和摺痕，有修補。內部的天鵝絨襯裡來自歐洲。 葡萄果實成串成簇，碩果累累，特別貼近人們祈盼子孫綿長，家庭興旺的願望。松鼠與葡萄的結合，寓有“多子多福”，“子孫萬代”的吉祥祈願，展現出富足豐盛的生活畫卷，寓意祥和福氣。 尺寸：長105.5 厘米

A RARE MILITARY OFFICIAL'S RANK BADGE OF A LION, BUZI, LATE MING DYNASTYChina, 17th century. Made for a second rank military official. Embroidered with a Buddhist lion seated atop a rocky outcrop over crashing waves with its expressive head turned to the side, the mouth open in a roar, revealing sharp fangs, amid lingzhi-shaped clouds and flames, all worked in vibrant shades of green, orange, blue, yellow. White couched silk floss and gold couched threads on an unusual twisted blue silk thread ground.Provenance: Cardinal Neri Maria Corsini (1685-1770). Collections of the Palazzo Corsini, Florence. Property of an English collector, acquired from the above, thence by descent in the same family. The Palazzo Corsini is a monumental late 17th century palace located on Via del Parione, with a facade towards the Arno River, in Florence, Italy. It is still owned by the Corsini family today, who have donated parts of their large art collections, initially gathered by cardinal Neri Maria Corsini (1685-1770), to the Galleria Nazionale d'Arte Antica di Palazzo Corsini in Rome.Condition: Fine condition with few loose threads, minor losses, fringing to edges. A fragment of another rank badge from the same group sewed on in the upper right corner. Superb colors!Dimensions: Size 37 x 37 cm Second rank military officers were assigned square lion badges which were applied to the chest and back of their official robes worn at the Ming dynasty court. This bold design with large lozenge-shaped clouds, prism-like rocks and rolling waves, reflects the aesthetic developments of the later Ming period. This badge was part of a group of over twenty similar badges once sewn into a large curtain or canopy reportedly from the collection of the Palazzo Corsini in Florence. This explains the fragment of another rank badge from the same group sewed on in the upper right corner. See C. Hall, “Chinese or Korean? The Palazzo Corsini Rank Badges”, Hali 104 (May-June 1999), pp. 66-8.Literature comparison: Lion badges from the same group have been published. One from the Jobrenco Limited Trustee Hall Collection Trust, C. Hall et al., Heaven’s Embroidered Cloths: One Thousand Years of Chinese Textiles, Hong Kong, Urban Council of Hong Kong, 1995, pp. 66-68, and one from a private European collection, J.E. Vollmer, Silks for Thrones and Altars: Chinese Costumes and Textiles from the Liao through the Qing dynasty, Paris, 2003, no. 12, pp. 36-37. See, also, the example illustrated by C. Hall et. al., Power Dressing: Textiles for Rulers and Priests from the Chris Hall Collection, Asian Civilizations Museum, Singapore, 2006, p. 240, no. 69.Auction result comparison: Compare with a closely related rank badge, also from the Palazzo Corsini, at Christie’s New York in The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection on 19 March 2008, lot 19, sold for USD 73,000.明末武官官服獅子補 中國，十七世紀。獅子補是二品武官官服所用。獅子表情極富表現力，頭轉向側面，嘴巴怒吼張開，露出尖銳的獠牙。四周祥雲圍繞，下方海浪。在如意祥雲中有各色火焰。 來源：紅衣主教Neri Maria Corsini（1685-1770）。佛羅倫薩科西尼宮的藏品。英國收藏家的財產，購於上述出處。自此在同一家族中世襲。Palazzo Corsini宮是一座巨大的17世紀晚期宮殿，位於意大利佛羅倫薩的Via Parione大街上，立面朝向阿爾諾河。 如今，它仍然歸科西尼家族所有，他們已將其大型藝術收藏的一部分捐贈給了羅馬的科西尼美術館，最初由紅衣主教Neri Maria Corsini（1685-1770））收集。圖片: Palazzo Corsini宮位於阿爾諾河的一側 圖片: 紅衣主教 Neri Maria Corsini (1685-1770) 品相：狀況良好，一些絲綫鬆動，缺損，邊緣有磨損。 右上角縫有同一組的另一個等級徽章的片段。 精湛的色彩！ 尺寸：37 x 37 厘米 拍賣結果比較：一件相近且同樣來自 Palazzo Corsini的官服獅子補，售于紐約佳士得The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection拍場，2008年3月19日， lot 19, 售價USD 73,000。

THE HOFSTÄTTER PALAIS CARPET, QING DYNASTYChina, 1644-1912. The wool carpet superbly knotted with a central foliate medallion enclosing a charming scene of a warrior showing a grim expression and chasing four boys, one holding a bow and arrow, four evenly spaced phoenixes around the panel against a leiwen ground, surrounded by borders of dots, archaistic chilong, Buddhist lions, and scrolling leafy vines.Provenance: The Reinhold Hofstätter Collection. Reinhold Hofstätter (1927-2013) was a legendary Viennese art dealer, specializing in European Gothic and Baroque art, and considered one of the most eminent experts in those fields worldwide. He built a substantial and varied collection in his lifetime, including old masters, decorative arts, and furniture, which was sold over several years in numerous auction houses, such as Lempertz and Dorotheum. His collection also included Chinese works of art, some notable examples of which have already been sold in these rooms.Condition: Good condition with extensive wear, minor soiling, minor losses, and repairs. For a more detailed condition report, please contact the department.Dimensions: Size 428 x 329 cmAs one of the largest known Qing carpets outside of China, the iconic Hofstätter Palais Carpet has long been admired by collectors and academics alike for its intrinsic beauty, remarkable condition, and illustrious provenance.China has a rich history of wool carpets inextricably linked with the traditions of the pastoral nomads of the Asian steppe. The Mongol Yuan court held carpets in great esteem and adapted their nomadic aesthetic into something unmistakably Chinese. During the Ming dynasty, the arts were highly developed in many areas, including the manufacture of knotted carpets reaching an artistic zenith under the Wanli Emperor (1573-1619). However, the practice continued well into the Qing dynasty and the present lot exemplifies the extremely high quality still achieved during this period.Auction result comparison: Compare with a related carpet of smaller size (361 x 300 cm) and arguably lesser quality at Christie’s New York in The Collection of A. Jerrold Perenchio | Chartwell: An Henri Samuel Commission on 1-16 September 2020, lot 35, sold for USD 47,500. For an example of a Ming carpet of exceptional quality, see the Tiffany Palace Carpet at Christie’s New York in The Exceptional Sale on 14 October 2020, lot 20, sold for USD 1,710,000.來自霍夫斯塔特宮的清代地毯中國，1644-1912年。長方羊毛毯錦地中央開光，一個大男孩追逐着四个男孩玩耍，一个拿着小弓箭。四支鳳凰飛舞，四條吉祥紋帶，可見螭龍、太狮和葡萄藤。 來源： Reinhold Hofstätter（莱因霍尔德·霍夫斯塔特，1927-2013年）是一位传奇的维也纳艺术品经销商，专门研究欧洲哥特式和巴洛克式艺术品，被认为是世界上該领域中最杰出的专家之一。 在他的一生中，他建立了丰富而多样的收藏品，包括歷代大師、装饰艺术和家具，并在许多拍卖行（如Lempertz和Dorotheum）中出售。 他的收藏还包括中国艺术品，其中一些出名的藏品已经在這幾家拍賣行出售。 圖片：Reinhold Hofstätter藝廊，坐落於維也納市中心 圖片：維也納Palais Strudelhof ，Reinhold Hofstätter的舊址，在英國使館旁 品相：状况良好，有大量磨损，少量污漬，少量缺損和小修。 如需要更详细的状况报告，请与部门联系。 尺寸：428 x 329 厘米 拍賣結果：一件相近但尺寸更小 (361 x 300 厘米) 且狀況稍差的地毯見紐約蘇富比The Collection of A. Jerrold Perenchio | Chartwell: An Henri Samuel Commission 拍場2020年9月1-16日 lot 35, 售價USD 47,500. ；一件高質量的蒂芬妮宮中明代地毯見紐約蘇富比The Exceptional Sale 拍場2020年10月14日 lot 20, 售價USD 1,710,000.

LU ZONGGUI, DATED 1229: AN IMPORTANT SONG DYNASTY ALBUMChina. Eight watercolors on thin silk. With two hardwood covers. Painted in classic Song dynasty style, each of the leaves shows superior artistic skill and inspiration. Only a few albums of comparable condition and caliber have been on the market during the last decades. This is one of the rare works of art where the quality entirely speaks for itself.Inscriptions: Made in the 5th month of the summer of the year yichou (corresponding to 1229), which is the second year of the Shaoding era, executed by the ‘painter in attendance’ of the imperial painting academy, Lu Zonggui.Provenance: The Winzinger Collection of Chinese Prints and Paintings, Germany. The Professor Walter Gebhardt Collection of Chinese Paintings, Bayreuth, Germany, acquired from the above. Private collection, Vienna, acquired from the above. Franz Winzinger (1910-1983) was a German painter, art historian, and important art collector. He published many works on other artists, including Albrecht Dürer, Katsushika Hokusai, and Toshusai Sharaku, and built one of the most important collections of East Asian graphic art in Germany.Condition: Good condition, especially given the age and the sensibility of the material, with only minor abrasions and fading, soiling, creasing and pinholes, browning.Dimensions: Image size 31 x 24 cm (each) wood cover 40 x 28.5 cmPublished: Chinesische Farbdrucke und Malereien der Sammlung Winzinger (Chinese Prints and Paintings from the Winzinger Collection), Ausstellung der Albrecht Duerer Gesellschaft im Germanischen Nationalmuseum Nuernberg (An Exhibition of the Albrecht Durer Society in the German National Museum Nuremberg), 1974, nos. 138-145, and illustrated on the title of the catalog. Chinesische Farbdrucke und Malereien der Sammlung Winzinger (Chinese Prints and Paintings from the Winzinger Collection), Graphische Sammlung Albertina Wien (The Albertina Collection Vienna), 1975, nos. 138-145, and illustrated on the title of the catalog. In these two publications, the album has been described as follows: “The eight sheets together build an album of Song dynasty paintings, predominantly painted in the style of Li Ti.” Originals of both exhibition catalogs accompany this lot. Each of the eight leaves is listed separately on the following catalog pages:138 - White bird on a blooming branch139 - Anemones (illustrated on the cover of both catalogs)140 - Blooming branch with large leaves141 - Roses and warbler142 - Bindweed branch with hazy blue blossoms143 - Wisteria and Mantis144 - Duck fledgling with orchis145 - Peonies, this leaf bearing the signature of Lu ZongguiLu Zonggui was originally from Chekiang. He is noted for his highly detailed and naturalistic depictions of flowers, bamboo, and animals. He was a member of the academy in Hangzhou from 1228-1233.The album also contains many Chinese collector’s seals, which indicate the high age and authenticity of this work. Similar paintings have been listed in the register of the ‘Ten Bamboo Hall’ as templates for their woodblock prints.Literature comparison: Osvald Siren II, page 37-70 and 63. Osvald Siren III, plates 244 and 245.魯宗貴，1229年：宋代重要花鳥冊頁中國。絹本設色。冊頁，木製封面。經典的宋朝風格繪畫，八幅冊頁中的每一幅都展現出卓越的藝術技巧和極大的靈感。在過去的幾十年裡，只有極少數畫冊具有可比作品在市場上出現。 落款：紹定二年(1229年)己丑嵗夏五月畫院待詔魯宗貴制來源：德國溫茨格Winzinger中國版畫與繪畫收藏；格哈德 Gebhardt教授中國繪畫收藏；維也納私人收藏。Franz Winzinger (1910-1983) 是一個德國畫家、藝術史學家以及重要的收藏家。他出版了許多其他藝術家的作品，包括Albrecht Dürer、Katsushika Hokusai和Toshusai Sharakuwas。他建立了德國最重要的東亞平面藝術收藏。品相：品相良好，相比材料的高年代和敏感性，整體只有輕微的擦傷和褪色，少量污漬，一些摺痕和小洞，一些褐變。尺寸：圖畫每張 31 x 24 厘米，木製封面 40 x 28.5 厘米。出版：《溫茨格收藏中的中國版畫與繪畫》 （Chinesische Farbdrucke und Malereien der Sammlung Winzinger ），紐倫堡日耳曼國家博物館阿爾布雷希特·丢勒協會展覽，1974，138-145號， 在展覽目錄中可見插圖；《溫茨格收藏中的中國版畫與繪畫》 （Chinesische Farbdrucke und Malereien der Sammlung Winzinger ），維也納阿爾貝蒂娜博物館版畫部， 1975, 138-145號, 在展覽目錄中可見插圖。在兩次展覽中，此冊頁曾被評論為： “這八幅畫一起重現了宋代繪畫，特別體現了李迪的風格"。隨附兩次展覽的原圖錄。每一頁如下：138 – 枝頭白鳥139 – 海葵 (目錄封面圖)140 – 花開枝頭141 – 玫瑰與鶯鳥142 – 藍色牽牛花143 – 紫藤螳螂144 – 蘭花幼鴨145 – 牡丹魯宗貴，來自浙江，以其花鳥動物院躰風格出名，曾1228-1233受職于杭州畫院。冊頁上可見衆多中國古代藏家鈴印，代表此冊頁的年代和真實性。類似畫作可見《十竹齋笺谱》。 文獻比較：Osvald Sirén II, 圖37-70 與 63。Osvald Sirén III，圖 244 與 245。

‘BIRDS IN SPRING’ BY HUA YAN (1682-1756)Ink on silk. Depicting two birds perched on a prunus branch below a hanging willow, the painting finely executed with skillful use of shading.Inscriptions: Lower left, ‘Liulü taohong (Green Weeping Willow, Red Peach Blossom)’ and signed ‘Xinluo Shanren’, two seals, ‘Hua Yan’ and ‘Qiugu’.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Old repairs, staining, losses, all well visible on images, no hidden damages.Dimensions: Size incl. frame 102.8 x 50.7 cm, Image size 80.3 x 29.5 cm. Matted and framed.Hua Yan (1682-1756), who often used different names including Xinluo Shanren, was a painter active during the earlier Qing dynasty. He was born in Shanghang, Fujian province, and lived in Yangzhou and later in Hangzhou. He was one of the Eight Eccentrics of Yangzhou, who were known in the Qing Dynasty for rejecting the orthodox ideas about painting in favor of a style deemed expressive and individualist.Auction result comparison: Compare with a related but slightly larger painting by the same artist at Christie’s Hong Kong in Fine Classical Paintings and Calligraphy on 27 November 2006, lot 690, sold for HKD 420,000.《桃紅柳綠》，華喦(1682-1756) 款中國，絹本水墨。兩隻燕子依偎在桃樹上，旁邊柳枝搖曳，描繪生動，春意盎然。款識：新羅山人；鈴印：華喦，秋穀 來源：Karl Zeilinger (1944-2014), 德國紐倫堡中國藝術及古董武器收藏家。自此保存在同一家族至今。品相：舊修，染色，缺損失，沒有隱藏的損壞 尺寸：縂102.8 x 50.7 厘米，畫面80.3 x 29.5 厘米；有鋪墊，裝裱拍賣結果比較：一件相近但更大的華喦畫作見香港佳士得Fine Classical Paintings and Calligraphy 拍場2006年11月 27日 lot 690, 售價HKD 420,000.

AN IMPERIAL ‘DOUBLE DRAGON’ SPINACH-GREEN JADE SEAL, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEChina, 18th century. Of large and massive square form, surmounted by a superbly articulated pair of addorsed dragons, each powerfully depicted with eyes bulging and nostrils flaring above curling whiskers and jaws bearing sharp fangs, the scales and flowing mane meticulously incised, the bodies tightly intertwined and crouching on the haunches.The seal face inscription: ‘Jiangning fudu Chenghuang zhi yin’ (‘The seal of Chenghuang in the Capital of Jiangning’), written in both Manchu and Chinese. Chenghuang, god of the boundaries, is an important deity in China who protects the local people and affairs of a village, town, or capital, both in life and death.The inscriptions incised to the sides, added in 1878: ‘Zhuchi Xianding li’ (consecrated by abbot Xianding), ‘Puren Juntong Ye Wenquan kan’ (amended by Ye Wenquan of Pu region) and ‘Guangxu san'nian zao’ (in the third year of the Guangxu reign). Ye Wenquan was an official during the Guangxu period, from Jiangsu province, who passed the imperial examination in 1890. Provenance: Nicholas Grindley, Inc., Asian Works of Art, New York, 28 September 1982 (label to side). The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Nicholas Grindley (born 1951) is a well-known dealer and scholar of Chinese art. Since 1998 he has published two catalogs a year, and exhibited in London, New York and Hong Kong. Many works from these exhibitions are in museums and important private collections throughout the world.Condition: Good condition with old wear, some nicks and nibbling to edges and corners, the stone with natural flaws, fissures and inclusions. Fine patina.Weight: 1,678 g Dimensions: Height 8.8 cm, Width 10.1 cmThe present seal illustrates the mastery of Imperial jade craftsmanship during the Qing Dynasty, and especially the Qianlong period. It appears to be one of the better-preserved examples of Imperial lapidary work from the 18th century and is notable for its high-quality jade of pure dark green color, vigorous rendering of the dragons, and inscriptions to the sides added during the Guangxu period. Large top-quality jade stones such as in the present example were not readily available during the later Qing dynasty. For this reason, seals inherited by emperors after 1850 were sometimes re-purposed and provided with additional inscriptions on various occasions. The fine material, the fullness of the crouching body, the three-dimensionality in the facial features, and the intricately carved scales set the present seal clearly apart from the characteristic stiffness of typical Guangxu seals (see literature comparison further down below for two such seals). It is therefore concluded that despite the incised inscriptions to the top sides being dated 1878, the seal itself is from an earlier date – the Qianlong period. As opposed to the present lot, Imperial seals belonging to the Guangxu court and related officials, carved at the time, typically are of a lesser material, already reflecting the financial constraints of the period. The limited availability of good-quality jade stone during these days is demonstrated by the use of serpentine and wood in the production of Imperial seals. Several 'double-dragon' seals belonging to the Dowager Empress Cixi and made of serpentine are known, see the example sold at Christie's Paris, 14 June 2006, lot 139 (see literature comparison further down below). The reign of the Guangxu Emperor was witness to one of the most disruptive periods in the 5000-year history of China, which eventually led to the demise of the entire Qing Dynasty Empire. Naturally, these hard times saw a significant decline in both the quality of artwork created and the quality of materials available to the workshops. Literature comparison: For typical seals carved during the Guangxu period, see a wooden double-dragon seal belonging to the Guangxu Emperor, sold at Sotheby's Paris, 11 June 2009, lot 233, and a green serpentine double-dragon seal belonging to the empress dowager Cixi, sold at Christies Paris, June 14 2006, lot 139. For a seal that is stylistically related to the present lot, but created for Emperor Qianlong’s eightieth birthday, see Sotheby’s London, 4 November 2009, lot 136.Auction result comparison: Compare the present seal with a related, but slightly larger double-dragon seal, also with an inscription in Manchu and Chinese, at Sotheby’s Hong Kong, Important Chinese Art, 7 October 2015, lot 3698, bought-in at an estimate of HKD 5,000,000-7,000,000. Also compare with a double-dragon seal from the 18th century, with the seal face re-carved during the Guangxu reign for the Empress Dowager Cixi, at Sotheby’s London, Fine Chinese Ceramics and Works of Art, 16 May 2012, lot 186, sold for GBP 313,250.御制碧玉滿漢文交龍鈕中國，十八世紀。印面呈方形，立體高浮雕交龍鈕，神龍挺胸，龍首微昂，圓目張吻，平視前方，豎角橫須，鬃發飛揚，凜然神威。龍身捲曲交纏而龍首相背，龍爪緊抓印面，龍脊微隆，軀幹遒勁，威猛張揚。龍身鱗片雕琢精細。印文：印文規整，刻工精湛，滿漢雙語，江寧福都城隍之印。款識：光緒三年造；主持賢定立 ；濮人俊同葉文銓刊。葉文銓，江蘇人， 1890年光緒時期進士。來源：紐約Nicholas Grindley 亞洲藝術藝廊，1982年9月28日 (可見標簽)。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。Nicholas Grindley 出生於1951，是知名中國藝術學者與商人。自1998 年起他出版了兩本畫冊並在倫敦、紐約和香港舉辦展覽。這個展覽裏的很多展品曾在全球重要博物館和私人收藏展出過。圖片：1950年James 與 Marilynn Alsdorf在邁阿密圖片：Nicholas Grindley品相：狀況良好，有舊磨損，輕微划痕，邊角磕損，玉石有天然裂縫和內含物。 良好的包漿。重量： 1,678 克尺寸：高8.8 厘米, 寬10.1 厘米這枚龍鈕碧玉章充分體現了清代對玉雕工藝的精通，並且似乎是該時期御用文物保存最完好的例子之一，純正的深綠色玉石，生動交龍紋以及兩側精湛的刻字。在本例子中，大型的優質玉石在19世紀後期並不容易獲得。 出於這個原因，有時會重新利用繼承的印章，並在各種場合增加額外的文字。 精美的材料，精湛的雕工，明顯不同於典型的光緒印章的特有硬度（請參閱下面的文獻比較，進一步了解這兩種印章 ）。 因此得出的結論是，儘管上面刻有切刻的銘文是1878年，但封印本身必須是較早的日期，乾隆時期。相反的是，光緒朝廷和官員的印章材料等級較次，反映了該時期的財務限制，因此優質玉石的供應有限。這可通過使用蛇紋石和木料來生產皇家印章的現象來佐證。 慈禧太后“雙龍”印章是眾所周知的，請參見巴黎佳士得於2006年6月14日139號拍出的示例（請參見下面的文獻比較）。文獻比較: 光緒時期的印章以光緒帝一件木製雙龍印售于巴黎蘇富比，2009年6月11日 lot 233；慈禧的蛇紋石雙龍印售于巴黎佳士得2006年6月14日 lot 139。一件乾隆八十歲閑章見倫敦蘇富比2009年11月 4日，lot 136。拍賣結果比較：一件相近但更大的滿漢文雙龍印見香港蘇富比 Important Chinese Art拍場2015年10月7日，lot 3698, 估價HKD 5,000,000-7,000,000。慈禧雙龍印見倫敦蘇富比 Fine Chinese Ceramics and Works of Art拍場2012年5月16日 lot 186, 售價GBP 313,250。

‘GUAN YU READING THE SPRING AND AUTUMN ANNALS’, MING DYNASTYChina, 1368-1644. Ink and watercolors on paper. Signed upper left. Two seals. The famous general seated on an elaborately carved chair and wearing a long coat over a dragon robe as he reads from the Spring and Autumn annals. With a silk brocade frame and mounted as a hanging scroll.Provenance: Sigurd Reininghaus (1933-1981). From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, acquired from the above and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades. The present lot was one of their first works of Asian art, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus.Condition: Extensive wear, creases, small losses, minor tears, soiling, staining.Dimensions: Size incl. mounting 128 x 42 cm, Image size 55 x 31.5 cmThe present lot depicts the military hero and God of War Guan Yu (died 219), who became glorified in the Ming Dynasty (1368-1644) historical novel Romance of the Three Kingdoms, attributed to Luo Guanzhong. The subject represents an episode from Guan Yu's life when he memorized in only a few nights the Confucian Classics of The Spring and Autumn Annals and The Commentary of Zuo. His feat of memory made him an admirable model for the literati and, as well as becoming a God of War in 1615 with state backing, he also became a God of Literature.Auction result comparison: Compare with a considerably larger hanging scroll by Ding Yunpeng of the same subject and from roughly the same period, at Christie’s Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 25 November 2019, lot 966, sold for HKD 2,500,000.明代《關羽夜讀春秋》中國，1368-1644年。紙本設色，挂軸。左側上端落款，兩枚鈴印。著名的大將關羽坐在椅子上，著長袍，挑燈夜讀《春秋》。來源：Sigurd Reininghaus (1933-1981)。Ferdinand Thaler-Szulyovsky博士與Gudrun Thaler-Szulyovsky博士收藏，自此在同一個家庭世代相傳。這對夫妻一直從事法律工作，1967年因爲對藝術的共同熱情而相識。 數十年來，他們共同建立了豐富且龐大的藝術收藏。 圖片：Ferdinand 與 Gudrun Thaler-Szulyovszky 品相：廣泛磨損，摺痕，小缺損失，輕微的水漬，污跡。 尺寸：縂128 x 42 厘米, 畫面55 x 31.5 厘米 拍賣結果：一幅大型丁雲鵬《關於夜讀春秋》挂軸見香港佳士得Fine Chinese Classical Paintings and Calligraphy 拍場2019年11月25日lot 966, 售價HKD 2,500,000.

‘PARROTS AND CHRYSANTHEMUMS’ BY HAO ZHIYE, LATE QING DYNASTYInk and watercolors on a silk fan. Signed and inscribed to the left, dated to the year of Kuiwei (corresponding to 1823 or 1883). Two seals. Depicting two red parrots perched on a leafy branch and surrounded by chrysanthemum flowers.Provenance: British private collection.Condition: Minor losses, soiling, creases, overall in good condition.Dimensions: Size incl. frame 31.6 x 59.7 cm, Size 47 x 16.5 cmLaid down on paper, which in turn is laid down on silk. Framed behind glass, the gilt wood frame crafted by Yan Sang, Hong Kong (old label to reverse).Auction result comparison: Compare with a hanging scroll of a kingfisher at a lotus pond by the same artist at Sotheby’s New York in Asian Art on 19 September 2015, lot 835, sold for USD 3,000.清代郝植業《仿惲壽平花鳥》 扇面，絹本設色。落款“癸未”年，應爲1823 或1883。兩枚鈴印。描繪了兩隻紅色的鸚鵡棲息在多葉的樹枝上，四周菊花圍繞。 來源：英國私人收藏 品相：輕微缺損、污跡、摺痕，總體狀況良好。 尺寸：含框31.6 x 59.7 厘米，扇面47 x 16.5厘米 拍賣結果比較：比較一幅荷塘翠鳥掛圖售于紐約蘇富比 Asian Art拍場2015年9月19日，lot 835, 售價USD 3,000.

AN ALBUM OF TWELVE NON-EXPLICIT EROTIC PAINTINGS, QINGChina, 19th to early 20th century. Watercolors, gilt, and ink on silk. Depicting mostly non-explicit scenes, some of which are quite humorous, such as one of a woman trying to close a window curtain as a naked man embraces her from behind, with a second, rather bemused woman looking on from outside, or another showing a foreigner attempting to convince a woman to touch his member.Provenance: From a noted private collection of Chinese paintings.Condition: Good condition with some wear, creases, scattered stains, and few minuscule tears. All mounted to a scroll.Dimensions: Image size 19.9 x 15 cm (each)Note the many small details, such as the variety of vases, antiques and furniture as well as the different artworks shown in the background of the various scenes.Auction result comparison: Compare with a related set of eleven erotic album leaves at Sotheby’s New York, in The Hundred Antiques, on 24 June 2020, lot 989, sold for USD 12,500, and a set of sixteen erotic album leaves, similarly non-explicit as the present album, at Sotheby’s New York, in Asian Art on 14 September 2019, lot 1406, sold for USD 9,375.清代春宮圖 中國，十九世紀至二十世紀初。絹本設色，金彩。不同場景春宮圖，情趣盎然。來源：一個著名的中國繪畫私人收藏 品相：狀況良好，有一定的磨損，摺痕，零散的污漬和很少的水跡。 全部安裝到一個捲軸上。 尺寸：每幅畫面19.9 x 15 厘米 拍賣比較：一套相似十一张情趣相冊，售于紐約蘇富比The Hundred Antiques拍場，2020年6月 24日，lot 989, 售價USD 12,500；一套與本相冊相似的十六张情趣相冊，售于紐約蘇富比 Asian Art 拍場2019年9月14日，lot 1406, 售價USD 9,375.

A ‘CHAEKGORI’ SIX-PANEL SCREEN, JOSEON DYNASTY, WITH ‘HIDDEN’ ARTIST SEALKorea, 19th century. Ink and watercolors on paper. The six ‘Scholar’s Accouterments’ paintings mounted as a six-panel folding screen depicting an array of books, scrolls, and other items associated with a scholar's studio. With silk brocade mounting, hardwood frame, and metal fittings. The lower section of the first panel from the left, showing a variety of seals, is painted with a hidden artist signature in the form of a seal.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. Old inventory number ‘304’ to back. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art. The present screen will be featured in an upcoming book by Prof. Salviati about Korean art.Condition: Good original condition with extensive wear, tears, losses, indentations, the fittings also with wear and some dents, nicks, and scratches.Weight: 8.2 kgDimensions: Panel size 178.5 x 43.7 (each), Image size 139.5 x 37.5 cmThe Chinese-style books on screens of the present type are usually depicted closed, stacked in sets wrapped in slipcases. Joseon-dynasty scholars sat on thin cushions on the floor and worked at small, portable desks. Chaekgeori is a Confucian theme, directly related to the scholarly aspiration of the landed gentry, the scholar-officials of the Joseon-dynasty government. Yet, bookstack screens were popular in the homes of commoners, as well, symbolizing the Confucian ideals of education and self-improvement, and perhaps providing inspiration to the family's children. There is literary evidence that this subject became a status symbol after King Jeongjo (reigned 1776-1800) placed one behind his desk in the men's quarters of the palace.Expert’s note: Functioning the same way as a signature in Western art, a seal impression on a chaekgeori screen is sometimes included to reveal the painter’s identity. It is called a ‘hidden’ seal due to its discreet placement. Only about 12 works with such a ‘hidden’ seal are known today.Literature comparison: Compare with a closely related ten-panel folding screen, also signed with a hidden seal, in the collection of the Cleveland Museum of Art, accession number 2011.37. For a full discussion of Chaekgeori screens, see Kay E. Black and Edward W. Wagner, "Court style Ch'aekkori," in Hopes and Aspirations: Decorative Paintings of Korea, exhibition catalog (Asian Art Museum of San Francisco, 1998), 21-35, and also Black and Wagner, "Ch'aekkori Paintings: A Korean Jigsaw Puzzle," Archives of Asian Art 46 (1993), 63-75.Auction result comparison: Compare with a related but smaller (image size 67.3 x 41.6 cm) eight-panel folding screen at Bonhams New York in Fine Japanese and Korean Art on 22 July 2020, lot 1183, sold for USD 16,325, a closely related but smaller (image size 67.3 x 41.6 cm) eight-panel folding screen at Christie’s New York in Japanese & Korean Art Including Arts of the Meiji Period on 15 September 2010, lot 721, sold for USD 15,000, and a related but smaller (image size 60 x 35.6 cm) eight-panel screen at Christie’s New York in An Inquiring Mind: American Collecting of Japanese & Korean Art on 25 April 2017, lot 114, sold for USD 15,000.Note that none of these three lots carry a hidden seal.朝鮮王朝彩繪“文房清玩”六折屏風 韓國，十九世紀。紙本設色。六幅“文房清玩“繪畫被裝裱成六折屏風，描繪了一系列文人書房中的書籍、捲軸和其他清玩。採用絲綢錦緞裝幀，硬木框架和金屬配件。左側第一個面板的下方可見一系列印章，藝術家並以印章的形式留下自己的簽名。來源：意大利羅馬Filippo Salviati教授私人收藏。背面可見老收藏標簽號“ 304 ”。Filippo Salviati教授是羅馬大學東亞研究所考古係及藝術史係教授。Salviati教授對中國古代藝術進行了廣泛研究並出版了很多專著。此拍品將出版于Salviati 教授一本關於韓國藝術的書中。圖片：Filippo Salviati 教授 品相：原始狀態良好，有大量磨損、撕裂、損失和壓痕，配件也有磨損以及一些凹痕，缺口和划痕。 重量：8.2 公斤 尺寸：屏風每幅178.5 x 43.7 厘米，畫面每幅139.5 x 37.5 厘米 專家注釋：與西方藝術中的印章功能相同，“文房清玩”屏風中的印章有時也會揭示畫家的身份。由於其謹慎的位置，它被稱為“隱藏”印章。如今，已知作品中大約只有12件帶有這種“隱藏”印章。 拍賣結果比較：一件相近但更小 (畫面67.3 x 41.6 厘米)的八折屏風見紐約邦瀚斯 Fine Japanese and Korean Art 拍賣2020年7月22日 lot 1183, 售價USD 16,325, ；一件相近但更小 (畫面 67.3 x 41.6 厘米) 的八折屏風見紐約佳士得 Japanese & Korean Art Including Arts of the Meiji Period 拍場2010年9月15日 lot 721, 售價USD 15,000, ；一件相近但更小 (畫面 60 x 35.6 厘米) 的八折屏風見紐約佳士得 An Inquiring Mind: American Collecting of Japanese & Korean Art 拍場2017年4月25日 lot 114, 售價USD 15,000. 請注意這三個拍品都沒有一個“隱藏”的印章。

A PALE CELADON, GRAY AND RUSSET JADE FIGURE OF DONGFANG SHUO, QING DYNASTYChina, 18th-19th century. The immortal carved standing with a double gourd on the ground before him, holding a peach on a leafy stem in one hand and a lingzhi sprig raised in the other, wearing a long flowing robe and hat, the face with a benevolent expression. The stone of a translucent pale celadon tone with opaque shadings of gray and russet. With a matching wood base. (2)Provenance: French private collection.Condition: Good condition with some wear, a small chip to the brim of the hat, microscopic nibbles here and there.Weight: 109.7 gDimensions: Height 7.8 cmDongfang Shuo (c. 160-93 BC) was a Han Dynasty scholar-official, fangshi (‘master of esoterica’), author, and court jester to Emperor Wu (reigned 141-87 BC). In Chinese mythology, Dongfang is considered a Daoist xian (immortal) and the spirit of Venus who incarnated as a series of ancient ministers including Laozi.The legend of Dongfang Shuo has him attempting to steal one of the famous 'peaches of longevity' from the orchard of Xi Wangmu, the Queen Mother of the West, whose palace was believed to be in the Kunlun Mountains. The peaches were believed to ripen only once in 3,000 years and to confer immortality on anyone who ate them.Literature comparison: Compare a celadon jade figure of Dongfang Shuo, attributed to the 18th-19th century, in the collection of the Victoria & Albert Museum, London, acc. no. 1633&A-1882. Another, attributed to the late Ming/early Qing period, is illustrated in Chinese Jades from Han to Ching, Asia Society, New York, 1980, pl. 101. See also a white jade figure attributed to the late Ming period illustrated in Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 101. For a late Qing example, see one in the collection of the Asian Art Museum, San Francisco, included in Michael Knight, He Li, and Terese Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century, San Francisco, 2007, pl. 324.Auction result comparison: Compare with a related celadon jade figure of Dongfang Shuo, but of considerably larger size, at Sotheby’s New York in Junkunc: Chinese Jade Carvings on 22 September 2020, lot 236, sold for USD 30,240. Compare also with a related but much larger and earlier chicken bone jade of the same immortal, dated to the 16th/17th century, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 September 2008, lot 294, sold for USD 10,000. For a similar jade figure of a gentleman, dated to the 19th/20th century, see Christie’s London in Chinese Ceramics, Works of Art and Textiles on 16 May 2014, lot 1075, sold for GBP 7,500.清代青白玉帶皮東方朔中國，十八至十九世紀。東方朔身前有一個大葫蘆，他一隻手拿著桃子，另一隻手舉著一隻靈芝，頭戴長袍和帽子，表情慈祥。玉石為半透明的淡青色，帶有不透明的灰色和赤褐色紋理。 相配的木底座。 來源：法國私人收藏 品相：狀況良好，有些磨損，帽子邊緣有小磨損，局部有細微的磕損。 重量：109.7 克 尺寸：高7.8 厘米 拍賣結果比較：一件相近青玉東方朔但尺寸更大，見紐約蘇富比Junkunc: Chinese Jade Carvings 拍場2020年9月22日 lot 236, 售價USD 30,240. ；一件相近但尺寸更大更早的雞骨玉東方朔，十六至十七世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2008年9月17日lot 294, 售價USD 10,000. ；一件相似人像，十九至二十世紀，見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2014年5月16日 lot 1075, 售價GBP 7,500.

A LARGE GRAY SCHIST HAND OF BUDDHA, GANDHARAAncient region of Gandhara, Kushan period, c. 2nd-5th century. The fragment finely carved as the right hand of Buddha, likely once forming the abhayamudra. The large size of the hand indicates that it belonged to a monumental statue of around two meters in height.Provenance: Finch & Co Antiques & Works of Art, London, 17 May 2010. The late Richard Nathanson, acquired from the above. Richard Nathanson began his career as a porter at Sotheby's in 1966 and subsequently joined the Impressionist department. He left in 1970 to set up as an independent art advisor and had a particular involvement with Sisley, Modigliani, Rouault, Renoir and Bonnard. He produced BBC documentaries and publications on several of these artists. A copy of the invoice, with a short description of the piece and dating it the 2nd-5th century AD, accompanies this lot.Condition: Good condition commensurate with age, with extensive wear and losses.Weight: 2,697 gDimensions: Length 25.5 cm, Width 15 cm, Depth 8 cmExpert’s note: Behrendt has argued that, in line with an increasing magnitude in Kushan architecture, monumental Gandharan sculptures more likely date more toward the latter part of the Kushan era in the 4th/5th centuries (Behrendt, The Art of Gandhara, New York, 2007, p.72). However, the naturalism and exceptional quality of the carving suggest an earlier dating.Auction result comparison: Compare with a related schist hand of Buddha, of slightly larger size, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 19 March 2018, lot 3079, sold for USD 28,750.健陀羅大型石灰岩佛手健陀羅，貴霜帝國，二至五世紀。佛陀的右手，很可能曾經是施無畏印。手掌很大，按比例它可能屬於大約兩米高的造像。 來源：倫敦Finch & Co Antiques & Works of Art藝廊，2010年5月17日。 已故的Richard Nathanson購於上述藝廊。 Richard Nathanson從1966年開始在蘇富比擔任搬運工，隨後加入印象派部門。 他於1970年離開公司，成立了獨立藝術顧問，並與Sisley、Modigliani、Rouault、Renoir和Bonnard有著特殊的關係。 他為其中幾位藝術家製作了BBC紀錄片和出版物。 隨貨附有發票副本，簡短說明斷代為公元2-5世紀。 圖片：Richard Nathanson (左) 與他的女兒Susannah。 品相：狀況與年齡相符，大量磨損和缺損。 重量： 2,697 克 尺寸：長25.5 厘米, 寬15 厘米, 深 8 厘米專家注釋：Behrendt認為，隨著貴霜建築規模的不斷擴大，具有紀念意義的健陀羅造像可追溯到4至5世紀的貴霜帝國後期（Behrendt，《 健陀羅藝術》，紐約，2007年，第 72頁）。 但是，此造像自然造型和出眾的品質暗示了它可能來自更早的時期。 拍賣結果比較：相近的一隻佛手，尺寸稍大，見紐約邦翰斯Indian, Himalayan & Southeast Asian Art 拍場2018年3月 19日 lot 3079, 售價USD 28,750.

A GRAY SCHIST FIGURE OF BUDDHA, GANDHARA, 2ND-3RD CENTURYFinely carved standing, wearing a loose robe cascading in voluminous folds, his right arm lowered and his left raised, the serene face with almond-shaped eyes centered by an urna, a broad nose, and full lips forming a subtle smile, the hair in wavy locks and tied over the ushnisha, backed by a characteristically fractured halo.Provenance: Old French private collection.Condition: Good condition commensurate with age, extensive wear and losses, nicks, few structural cracks.Weight: 12.9 kgDimensions: Height 43.5 cm (excl. base)Mounted on an associated metal base. (2)Auction result comparison: Compare with a closely related but slightly larger (58.4 cm high) gray schist Buddha at Christie’s New York in Indian and Southeast Asian Art on 19 March 2013, lot 236, sold for USD 60,000.二至三世紀健陀羅灰片岩佛像精細雕刻的佛像，佛陀身著寬鬆的長袍，褶皺層層疊疊，右臂降低而左手舉起。寧靜的臉，杏仁形的眼睛，以白毫為中心，筆挺的鼻子，豐滿的嘴唇露出微妙的微笑，頭髮呈波浪形，梳成肉髻。背後有光背。 來源：法國私人老收藏 品相：良好，與其年代相符，大量磨損和缺損，缺口和很少的結構裂縫。 重量：12.9 公斤 尺寸：高43.5 厘米 (不含底座) 金屬底座。 拍賣結果比較：一件很相似但更大 (高58.4 厘米)的灰色片岩佛像見紐約佳士得Indian and Southeast Asian Art 拍場2013年3月19日 lot 236, 售價USD 60,000.

A GRAY SCHIST FIGURE OF A SEATED BUDDHA, GANDHARA, 2ND-3RD CENTURYSeated in dhyanasana with his hands folded in his lap, wearing a loose-fitting monastic robe cascading in voluminous folds, the serene face with gently arched eyebrows above heavy-lidded downcast eyes centered by an urna, the full lips pursed, the hair in wavy locks and tied over the ushnisha, backed by remnants of a halo.Provenance: The private collection of Alain Kotlar, Paris, acquired in 1970. LP Collection, Paris, acquired from the above in 2016 (see image).Condition: Good condition commensurate with age, extensive wear and losses, nicks, few structural cracks.Weight: 17.2 kg (total)Dimensions: Height 50 cm (excl. base)Mounted on an associated metal base. (2)Auction result comparison: Compare with a related but larger (69.9 cm high) figure of a seated Buddha at Christie’s New York in Indian and Southeast Asian Art on 19 March 2013, lot 215, sold for USD 75,000.二至三世紀灰片岩坐佛像釋迦牟尼呈跏趺坐，手擱在膝蓋上，穿著寬鬆的長袍，衣褶繁複，面部表情慈祥，雙眼之間有白毫，嘴唇豐滿，頭髮成肉髻，背後光背。 來源：巴黎Alain Kotlar私人收藏，購於1970年。巴黎LP Collection收藏，2016年購於上述收藏。(見附圖) 品相：良好的狀態與其年代相符，大量磨損和缺損，缺口，很少的結構裂縫。 重量：縂17.2 公斤 尺寸：高50 厘米 (不含底座) 金屬底座。 拍賣結果比較：一件相近但更大 (高69.9 厘米) 的坐佛見紐約佳士得Indian and Southeast Asian Art 拍場2013年3月 19日 lot 215, 售價USD 75,000.

A TERRACOTTA HEAD OF MAITREYAAncient region of Gandhara, 4th-5th century. The head modeled with finely curled hair and wearing an elaborately adorned tiara centered by a stylized flower, the face with elegant features, such as the finely incised arched eyebrows, almond-shaped eyes, aquiline nose, gentle smile, and long earlobes with circular earrings.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture, some firing flaws and material loss to exposed areas, hardly noticeable due to a light-colored varnish coating which was applied a long time ago.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n11, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 3.2 kg (total)Dimensions: Height 23 cm (the head) and 37 cm (incl. base)Mounted on an associated base. (2)According to Buddhist tradition, Maitreya is a bodhisattva who will appear on Earth in the future, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor to the present Buddha. The prophecy of the arrival of Maitreya refers to a time in the future when the dharma will have been forgotten by most on the terrestrial world. In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya was the most popular figure to be represented along with Gautama Buddha.Auction result comparison: Compare with a closely related terracotta head of Maitreya at Christie’s New York in Indian and Southeast Asian Art on 31 March 2005, sold for USD 20,400.陶土彌勒頭像健陀羅, 四至五世紀。頭部造型細緻，捲曲的頭髮，飾有精美花卉紋頭飾。臉部輪廓優雅，弓形眉，杏仁形的眼睛，筆挺的鼻子，慈祥的笑容以及帶有圓形耳環的長耳垂 。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況極佳，非常獨特，與雕塑的年齡相符，存在一些燒製瑕疵，裸露區域材料缺失，多年前的淺色清漆塗層已經幾乎看不出。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n11，2016年10月18日，與目前斷代一致。重量：縂3.2 公斤尺寸：頭高23 厘米；縂 37 厘米底座。拍賣結果比較：一件相近陶土彌勒佛頭像見紐約佳士得 Indian and Southeast Asian Art拍場2005年3月31日售價USD 20,400.

A TERRACOTTA HEAD OF A BODHISATTVA, 3RD-5TH CENTURYAncient region of Gandhara. Skillfully modeled, the bodhisattva wears a prominent moustache, his hair running in wavy patterns across his forehead and down his shoulders, with a high tapering tiara embellished with pearls and lotus flowers, the ears adorned by foliate earrings.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent condition, fully consistent with the age of the sculpture, some firing flaws and material loss to exposed areas.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n16, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 1,157 g (total)Dimensions: Height 17 cmMounted on an associated base. (2)Literature comparison: The style and arrangement of the turban suggest this would have been a donor figure. For a related terracotta head from the Robert Ellsworth collection see Deborah E. Klimburg-Salter, Buddha in Indien, Vienna: Kunsthistorisches Museum Wien, 1995, fig. 199. For a terracotta Bodhisattva head with repousse plaques, see Treasures from the Silk Road: Devotion, Conquest and Trade along Asia's highways, Spink, London, 1999, no. 15.Auction result comparison: For a closely related terracotta head of a bodhisattva see Bonhams New York in Indian, Himalayan and Southeast Asian Works of Art on 11 September 2012, lot 33, sold for USD 13,750.三至五世紀陶土菩薩頭像健陀羅。菩薩造型精巧，留著小鬍子，頭髮在額頭和肩膀上呈波浪狀排列，頭飾有珍珠和蓮花的高錐形頭飾，耳朵上飾有葉狀耳環。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況極佳，與雕塑的年代相符，存在一些燒制缺陷，裸露區域有缺損。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n16，2016年10月18日，與目前斷代一致。重量：縂1,157 克尺寸：高17 厘米底座。(2)拍賣結果比較：一件陶土菩薩頭像見紐約邦瀚斯Indian, Himalayan and Southeast Asian Works of Art拍場2012年9月11日 lot 33, 售價USD $13,750.

A RARE AND IMPORTANT TERRACOTTA HEAD OF BUDDHA SHAKYAMUNIAncient region of Gandhara, 4th century. The large head is superbly modeled with a serene and meditative expression, almond-shaped eyes beneath finely arched brows, distinct urna, aquiline nose, and full lips forming a gentle, benevolent smile. The hair is in tight curls with a dome-shaped ushnisha on top.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Some firing flaws, minor nicks and dents, material loss to exposed areas, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago. Overall, fully consistent with the age of this sculpture.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n6, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 8.7 kg (total)Dimensions: Height 35 cm (the head) and 49.5 cm (incl. base)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.The masterfully carved head of Buddha is a fine example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE and embodies an idealized, transcendent male form of an earthly prince. Based on Greco-Roman prototypes, his elegant neck is slightly elongated, and his heavy eyelids frame a pair of almond-shaped eyes, his forehead remaining perfectly uncreased, and there is no tension in his rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility.The sculptor has also skillfully referenced Buddha’s earlier history as Prince Siddhartha by carving openings in the elongated earlobes where, as a prince, he would have worn heavy jewelry. This detail reminds the viewer that, while the Prince’s past was centered on excess, the absence of material goods – jewelry and fine clothing – emphasizes the Buddha’s renunciation of worldly attachments.Compare the face of this Buddha with that of another in the Peshawar Museum (see H. Ingholt, Gandharan Art in Pakistan, 1957, p.113, fig.223). In both examples, the artist has skillfully carved and polished the face to transform it into human skin. While the face of the published image has been carved in a rather formulaic manner, the present work has been carved by a master of naturalism. The softly rounded cheeks give way to hollows on either side of the skin, the upper and lower lids are nearly spherical to emphasize the eyes, and the pupils are not carved. The quiet contours and gentle shadows model the flawless structure of the face, encapsulating the eternal youthfulness of the Buddha. Almost androgynous in appearance, the Buddha transcends gender, embodying the perfect balance of masculinity and femininity.This head has a high aesthetic value, illustrious provenance, and is in a beautifully preserved condition. It is an important and rare masterpiece of Gandharan art.Mounted on an associated wood base. (2)Auction result comparison: Compare with a related but smaller (28 cm) terracotta head of a Bodhisattva at Christie’s New York, Indian and Southeast Asian Art, 19 March 2013, lot 212, sold for USD 75,000, and a related but much smaller (20.3 cm) terracotta head of a Buddha at Sotheby’s New York, Images Of Enlightenment: Devotional Works Of Art And Paintings, 17 September 2014, lot 410, sold for USD 62,500.罕見重要陶土釋迦牟尼頭像健陀羅，四世紀。大型佛頭造型優美，沉靜冥思，眉毛下方拱形杏仁狀眼睛，眉間白毫，豐滿的鼻子，溫柔仁慈的笑容。 頭髮緊卷，呈螺髻。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況很好，尤其是考慮到這件作品的年代。一些燒製缺陷，輕微的刻痕和凹痕，裸露區域有材料缺損。表面的清漆應爲很久之前所塗，所以現在已經基本看不出來了。總體而言，狀況與該雕塑的年代相符。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n6，2016年10月18日，與目前斷代一致。重量：縂8.7 公斤尺寸：頭高35 厘米 ；縂49.5 厘米 這件頭像有很高的美學價值，出眾的外觀，並且保存完好，堪稱是健陀羅藝術裏的重要且罕見的傑作。底座。拍賣結果比較：一件相近但稍小 (28 厘米) 陶土菩薩頭像見紐約佳士得Indian and Southeast Asian Art拍場2013年3月19日 lot 212, 售價USD 75,000, ；一件相近但更小 (20.3 厘米) 的佛陀陶土頭像見紐約蘇富比Images Of Enlightenment: Devotional Works Of Art And Paintings拍場2014年9月17日 lot 410, 售價USD 62,500.

A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled with a stern expression, framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing moustache and full beard. The furrowed brow, indication of age, and piercing gaze reflect an ancient yet astonishingly present taste for naturalism.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture, some firing flaws and material loss to exposed areas, hardly noticeable due to a light-colored varnish coating which was applied a long time ago.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n15, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 8.3 kg (total)Dimensions: Height 29.5 cm (the head) and 42.5 cm (incl. base)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture. However, his heavily moustached face belongs to the Indian world, while the naturalistic face is reminiscent of Greco-Roman sculpture.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to the 6th centuries. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.Mounted on an associated base. (2)Literature Comparison: Compare with a terracotta head of Dionysos (The God of Wine and Divine Intoxication), 4th–5th century, strongly resembling the present lot, in the collection of the Metropolitan Museum of Art, New York (accession no. 1979.507.2).Auction result comparison: Compare with a closely related terracotta statue of Vajrapani in the form of Hercules at Sotheby’s Hong Kong in Curiosity V, 02 April 2019, lot 3105, bought in at an estimate of HKD 1,500,000-1,800,000. Also compare with a closely related head of Vajrapani in the form of Heracles, sold in these rooms on 25 April 2020, lot 427, for EUR 45,500.陶土執金剛神頭像呈赫拉克勒斯形象健陀羅，四至五世紀。表情嚴肅，濃密的鬍鬚，長捲髮。 眉頭緊皺，年齡的顯示和尖利的目光反映出古老而又令人驚訝的自然主義品味。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況極佳，非常獨特，與雕塑的年齡相符，存在一些燒製瑕疵，裸露區域材料缺失，多年前的淺色清漆塗層已經幾乎看不出。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n15，2016年10月18日，與目前斷代一致。重量：縂8.3 公斤尺寸：頭高29.5 厘米，總 42.5厘米底座。拍賣結果比較：一件相近頭像見香港蘇富比Curiosity V拍場2019年4月2日lot 3105, 估價HKD 1,500,000-1,800,000. ；另一件十分相似的頭像在此拍賣行2020年4月25日lot 427, 售價 EUR 45,500.

A HIGHLY IMPORTANT AND LARGE SCHIST STATUE OF HARITI, GANDHARA, 2ND-3RD CENTURYDepicted seated in European fashion with each foot on a small lotus pedestal, one hand holding a child on her lap motioning towards her breast, the other hand holding a bunch of grapes, richly adorned in beaded jewelry, wearing a loose robe with voluminous folds, the face with a softly smiling expression and almond shaped eyes, her hair arranged into an elaborate chignon with a scaled headdress, a second child standing by her side.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Un Gandhara en schiste – dit: Hariti – Haut: 95,5 cm.” (A schist Gandhara – called: Hariti – Height: 95.5 cm). A copy of the inventory list and cover page are accompanying this lot.Condition: Extensive weathering and wear. Few structural cracks with associated old repairs. Some breaks, losses, nicks, dents and erosions. Remnants of old varnish coating above remnants natural soiling from excavation.French Export License: Certificat d’exportation pour un bien culturel Nr. 185430 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 90 kg (total)Dimensions: Height 95.5 cm (excl. base)With an associated wood base. (2)Hariti was the principal female Buddhist deity of ancient Gandhara with widespread popularity throughout Central Asia and China for at least the first three quarters of the first millennium CE. When the Chinese pilgrim, Yi Jing, visited Gandhara in 671, he saw sculptures of Hariti commonly installed near the dining halls of Buddhist monasteries (see Takakusu (trans.), Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896). Yet only about a half dozen large sculptures of Hariti have survived to this day. Among these, the present sculpture is one of the best carved examples in private hands.The story of Hariti’s conversion to Buddhism survives in many ancient Indian and Chinese sources. Despite being a mother to 10,000 children, the ogress Hariti routinely terrorized the Northern Indian city of Rajagrha, devouring its children. After failing to appease, Rajagrha's inhabitants beseeched the Buddha to pacify her. Underneath his alms bowl, Buddha hides Hariti's most beloved child from her. This sends Hariti into a frenzy, searching for her missing son. When Buddha finally returns her child, he prompts Hariti to consider the pain she has caused other mothers. Struck by empathy, Hariti converts to Buddhism and, in exchange for food offerings, promises to protect its monastic communities and Rajagrha's children.Auction result comparison: Compare with a closely related schist Hariti at Bonhams London in Islamic and Indian Art including Modern and Contemporary South Asian Art on 22 October 2019, lot 144, sold for GBP 187,562.二至三世紀健陀羅重要大型片岩鬼子母像鬼子母神以歐洲風格坐在蓮座上，一隻手抱著個孩子擱在膝蓋上似乎正往胸前送，另一隻手拿著一串葡萄。她佩戴著精美珠寶，穿著寬鬆的長跑，綫條流暢，表情溫柔，杏仁狀眼睛，高髻。一側站著另一個孩子。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在此目錄裏，對本拍品有如下描述：片岩健陀羅鬼子母 高95，5厘米）。隨附目錄與其封面。品相：廣泛的風化和磨損。些微裂縫與舊修補。一些斷裂、缺損、划痕、凹痕和腐蝕。還保留著舊時的清漆塗層。 法國出口證書：隨附2017年7月3日出具的Certificat d’exportation pour un bien culturel 出口證書，編號 185430 。重量：總重 90 公斤 尺寸：高95.5 厘米 (不含底座) 木底座。 鬼子母神是古健陀羅地區主要佛教女護法神。當年，來自大唐的求法高僧義净671年來到健陀羅時，在寺院食堂附近發現了鬼子母雕塑 (見高楠順次郎的 Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896)。到目前爲止，只發現了六件鬼子母神像。其中，這件雕塑是私人收藏中雕刻得最好的作品之一。在佛教故事裏都記載了關於鬼子母的傳説。據説夜叉鬼子母有一萬個孩子。爲了養育他們，她不停的去印度拉價格哈吞噬其他孩子。居民們不勝其擾，請釋迦牟尼來收服她。釋迦牟尼把她最寵愛的一個孩子藏在了他的食缽中。鬼子母找不到自己的孩子，只好找釋迦牟尼求助。佛陀說她現在也體會到了失去孩子的痛苦。於是，鬼子母收到慈悲的教化，成爲護法神之一。而與此同時，佛教僧人開始養育其孩子。 拍賣結果比較：一件相近片岩鬼子母像見倫敦邦瀚斯Islamic and Indian Art including Modern and Contemporary South Asian Art 拍場2019年10月22日lot 144, 售價GBP 187,562.

A SCHIST FIGURE OF A YAKSHI, GANDHARA, 2ND-3RD CENTURYStanding with legs crossed on a square base carved with rosettes, her left hand supporting her waist, wearing a pleated sari held together by an elaborate belt, richly adorned in beaded jewelry, the serene face with almond-shaped eyes, aquiline nose, and full lips, flanked by elongated earlobes with floral earrings, the wavy hair with a tiara.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as part of a group of Gandhara stones as follows: “Seconde pièce cave- 32 pierres similaires Gandhara emballes- Bouddha et divers. (Voir suite)” (second room basement: 32 similar Gandhara stones wrapped- Buddhas and various. (see follow up). A copy of the inventory list and cover page are accompanying this lot.Condition: Extensive weathering and wear. Few structural cracks. Some breaks, losses and erosions. Remnants of an old varnish above remnants of soiling from excavation.French Export License: Certificat d’exportation pour un bien culturel Nr. 185465 dated 30 June 2017 has been granted and is accompanying this lot.Weight: 49 kg (total) Dimensions: Height 79 cm (excl. base)With an associated wood base. (2)Auction result comparison: Compare with a closely related schist yakshi at Christie’s Amsterdam in Indian, Himalayan and Southeast Asian Art on 21 November 2001, lot 21, sold for EUR 25,850.公元二至三世紀健陀羅片岩藥叉女藥叉女雙腿交叉站立在刻有玫瑰花紋的方形底座上，左手支撐腰部，穿著精緻的百褶紗麗，綴有串珠，寧靜的臉龐，杏仁狀的眼睛，豐滿的嘴唇 ，臉部兩側為戴著花朵耳環的細長耳垂，卷髮。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。 品相：廣泛的風化和磨損。 一些裂縫。 一些斷裂、缺損和侵蝕。舊清漆餘留，還有一些可能是出土時帶有的污漬。 法國出口證書：隨附2017年6月30日出具的Certificat d’exportation pour un bien culturel 證書，編號 185465。 重量：總重49公斤 尺寸：高79 厘米 (不含底座) 木底座。 拍賣結果比較：一件相近片岩藥叉女見阿姆斯特丹佳士得 Indian, Himalayan and Southeast Asian Art 拍場2001年11月21日 lot 21, 售價EUR 25,850.

AN IMPORTANT STONE STELE OF PARVATI WITH HER SONS GANESHA AND SKANDALate Kushan Empire, 4th-5th century. The finely carved relief panel shows three main figures, each standing on a double lotus base, with Parvati in a formal position holding floral attributes in her four hands, accompanied by her sons, the elephant-headed Ganesha and the god of war Skanda, also known as Karttikeya, all on a rectangular pedestal bearing a distinct circular lotus frieze.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as part of a group of Gandhara stones as follows: “Seconde pièce cave- 32 pierres similaires Gandhara emballes- Bouddha et divers. (Voir suite)” (second room basement: 32 similar Gandhara stones wrapped- Buddhas and various. (see followup). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent condition, fully consistent with the age of the sculpture. Some loss to exposed areas, smaller dents and nicks, structural cracks, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago.On a wooden base. (2)Weight: 65 kgDimensions: Height 76 cm (excl. base) and 95 cm (incl. base)Parvati is the perfection of beauty. In the present statue, she is shown with a benign facial expression, large eyes, round breasts and a narrow waist, wearing a diaphanous dhoti with schematized folds at the lower part. She is richly bejeweled, wearing her hair in an elaborate coiffure. Parvati is the daughter of Himavat, the embodiment of the Himalayan Mountains, and the consort of Shiva, one of Hinduism's most important gods. Her name means “Daughter of the Mountain.” Figuratively and literally, she is born from the stone itself and flanked by her two sons, the elephant-headed Ganesha on her right, and Karttikeya (also known as Skanda) on her left. In her four hands she holds various flowers as attributes. Some regard Kali as Parvati’s fearsome aspect while others consider Durga to be the manifestation that the goddess assumes to fight evil. In some ways Parvati can be regarded as the embodiment of the divine feminine, “The Great Goddess.”The present stele is carved from buff stone and undoubtedly was once positioned in a niche within a temple and served as a focus of worship.Literature comparison: Compare with a stone panel of Parvati and her sons in the collection of the Asian Art Museum, San Francisco, USA, object no. B64S6, showing the same compositional concept and iconography, but dating from the Pala empire, 8th-12th century.Auction comparison: Compare with a green stone relief of Shiva and Parvati from the 12th century at Christie’s New York in Indian & Southeast Asian Art on 21 March 2008, lot 746, sold for USD 79,000.

A LARGE WESTERN ASIATIC CHLORITE BOWL, 3RD MILLENNIUM BCThe deep rounded sides rising from the flat base to the slightly incurved rim, the interior finely carved in relief with three registers, the upper and lower depicting confronting horses with a tall, flame-like flower in between, the central register with several hounds attacking an antelope.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Scratches, nicks, losses, cracks, erosion, encrustations. Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184685 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 2,509 g Dimensions: Diameter 29.5 cmAuction result comparison: Compare with a related but earlier Western Asiatic bronze bowl, dated c. 8th-6th century BC, at Christie’s London in Antiquities on 30 April 2008, lot 24, sold for GBP 11,250.公元前三千年大型西亞綠泥石碗深圓的側面，平底，邊緣略微彎曲，碗內精細浮雕圍獵場景，馬群、獵犬和羚羊，以及一朵大蓮花。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮到它的年代時。 划痕、缺口、缺損、裂縫、腐蝕和結殼。舊時清漆殘留。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號 184685 。 重量：2,509 克 尺寸：直徑 29.5 厘米 拍賣結果比較：一件相近但公元前八至六世紀西亞銅碗見倫敦佳士得Antiquities 拍場2008年4月 30日 lot 24, 售價GBP 11,250.

A WESTERN ASIATIC CHLORITE ‘SNAKE’ VESSEL, 3RD MILLENNIUM BCWith a slightly domed base and tapering sides rising to a flat everted rim, carved in relief to either side with a large, archaic snake coiled around a bull with an elongated body and large oval eyes, divided by incised palm leaves, the beasts‘ eyes neatly inlaid in bone, the snake with many circular recesses to take inlays.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Scratches, nicks, losses, minor fills, encrustations, most inlays lost (except for the animals’ eyes). Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184684 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 3,644 g Dimensions: Height 16 cm, Diameter 30 cmLiterature comparison: A related chlorite vessel with two zebu, of smaller size, dated 2600-2350 BC and attributed to Al-Rafiah, on the east coast of the island of Tarut, is in the collection of the Metropolitan Museum of Art, accession number 2014.717.Auction result comparison: Compare with a related but considerably larger chlorite vessel, dated c. 2500-2600 BC, at Christie’s New York in Antiquities on 8 June 2001, lot 332, sold for USD 58,750.公元前三千年西亞綠泥石蛇紋罐平底略凸，側面逐漸變細，罐表面浮雕纏繞著公牛的大蛇，細長的身體和橢圓形的大眼睛，間隔蕉葉紋，獸眼鑲嵌著骨珠，蛇身帶有許多圓形凹槽，曾經有鑲嵌。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮它的年代時。 划痕、缺口、缺損、小修和結垢，大部分鑲嵌物丟失（動物的眼睛除外）。 舊清漆餘留。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號. 184684。 重量：3,644 克 尺寸：高16 厘米, 直徑30 厘米 拍賣結果比較：一件相近但更大的公元前2500-2600年的綠泥石罐見紐約佳士得Antiquities 拍場2001年6月 8日 lot 332, 售價USD 58,750.

A LARGE AND HEAVY WESTERN ASIATIC CHLORITE ‘SCORPION’ JAR, 3RD MILLENNIUM BCWith a slightly domed circular base, the sides with two semicircular handles and tapering toward the flat everted rim, finely carved with female figures with bone-inlaid eyes holding vertically hanging scorpions by the tail in each hand, below a band of horizontally positioned scorpions, the circular and oval tail segments with deep recesses to take inlays.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Good condition, especially when considering the dating of this piece. Scratches, nicks, small losses, encrustations, cracks, minor old fills, most inlays lost (except for the figures’ eyes). Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184681 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 11.9 kg Dimensions: Height 22.5 cmAuction result comparison: Compare with a related chlorite jar from the same period, decorated with hybrid scorpion-men, with similar recesses for inlays, but of much smaller size (7.3 cm high), at Christie’s London in Antiquities on 15 May 2002, lot 265, sold for GBP 19,975.公元前三千年大型西亞綠泥石蠍子紋罐圓底微凸，肩部側面雙耳。罐子裝飾著女性人物，雙手提著蠍子的尾巴。頸部蠍子紋飾帶有著圓形和橢圓形深凹口可以鑲嵌寶石。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮到這件拍品的年代。 划痕、缺口、小缺損、結垢和裂縫，小修，大部分鑲嵌物丟失（人物的眼睛除外）。殘留的舊清漆。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號 184681 。 重量：11.9 公斤 尺寸：高22.5 厘米 拍賣結果比較：一件同一年代的綠泥石罐，蠍子紋，相似鑲嵌物，但尺寸更小 (高7.3 厘米), 見倫敦佳士得Antiquities 拍品2002年5月15日 lot 265, 售價GBP 19,975.

A SANDSTONE TORSO OF A FOUR-ARMED DEITY, ANGKOR PERIODKhmer Empire, 12th-13th century. Very finely carved with a graceful outline and gently fluted legs, wearing a short sampot incised with parallel pleats and a butterfly tie at the back, and secured with a sash incised with geometric designs and hanging in a double anchor fold at the front.Provenance: LP Collection, Paris.Condition: Good condition, commensurate with age, extensive wear, losses, signs of erosion, nicks, scratches.Weight: 20.0 kg (total)Dimensions: Height 45 cm (excl. base)Mounted on a modern metal base. (2)Expert’s note: Many four-armed male figures from the Angkor Wat period depict the Hindu god Vishnu. Towards the end of the twelfth century, however, images of Lokeshvara and other Buddhist deities began to proliferate in almost stylistically indistinguishable fashion, as King Jayavarman VII (reigned 1181-1218) adopted Mahayana Buddhism as the official state religion, replacing the cult of Vishnu which had predominated the Khmer empire for previous centuries. The identity of this deity hence is almost impossible to discern without its iconographic features which would normally appear on the chignon, or as objects held by one of the missing hands.Literature comparison: The treatment of the sampot with folded-over top is executed with great clarity. In a slightly later example at the Musee Guimet, style of Khleang, additional pleats spring from the fastening at the back of the sampot, anticipating the Baphuon style - see H. Jessup and T. Zephir (editors), Sculpture of Angkor and Ancient Cambodia, Millennium of Glory, 1997, cat. no. 57, p. 239.Auction result comparison: Compare with a closely related torso of slightly larger size (57.5 cm high) at Bonhams Sydney in Asian Art on 4 November 2020, lot 82, sold for AUD 28,060.

A LARGE AND IMPORTANT BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR WAT PERIODKhmer Empire, 12th century. Standing in samapada, holding a lotus bud and a book in his hands, wearing a short pleated sampot, tucked around the belt, the end forming a 'fishtail' at the hem, the serene face with urna, almond-shaped eyes, and full lips, the hair surmounted by a stupa-like ushnisha.Provenance: From an old French-Cambodian collection, acquired in the 1990s.Condition: Areas of minor losses with old fillings, extensive patina with malachite-green encrustations, overall superb condition with wear and casting flaws.Weight: 2,756 g (the figure only)Dimensions: Height 40.5 cm (excl. base and foot pegs) and 43.5 cm (excl. base)The figure is richly adorned in jewelry, including a large circular diadem, a necklace with a central floral motif, armbands, bracelets, anklets, and earrings in the form of lotus buds.With a modern base. (2)Auction result comparison: Compare with a related but smaller figure of a four-armed Avalokiteshvara at Sotheby’s New York in Indian and Southeast Asian Works of Art on 19 March 2008, lot 243, sold for USD 73,000.

A SPINACH-GREEN JADE RUYI SCEPTER, MID-QINGChina, 18th century. Carved in the form of a lingzhi fungus, with a bat perched on the head and a chilong clambering up the stem amidst smaller lingzhi shoots. The stone is of a deep spinach-green tone with some darker speckles.Provenance: Roger Keverne, London, 2012. The Lenora and Walter F. Brown Collection, San Antonio, Texas, acquired from the above and thence by descent in the same family. Walter F. Brown (1930-2014) was an independent oil and gas producer. He founded Delray Oil Inc. and W. F. Brown Exploration Ltd. of Canada. The Browns began donating their collection of Asian works of Art to the San Antonio Museum of Art in the 1980s. In 2005, the museum honored the couple for their ongoing commitment by naming their new expansion the ‘Lenora and Walter F. Brown Asian Wing’.Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84.Condition: Excellent condition with minor wear, some minuscule nicks, one crack with an old repair (invisible to the naked eye but inspected under strong blue light). The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 345.8 gDimensions: Length 36.2 cmWith an old Chinese silk stand. (2)As Roger Keverne explains, the present scepter relates closely to one presented by the Qianlong Emperor to Sir George Staunton in 1793, now in the collection of the Victoria and Albert Museum. Sir George Staunton (1737-1801) was Minister Plenipotentiary to the 1792 Macartney Embassy to Beijing. The Staunton ruyi scepter is illustrated in “Encounters: The Meeting of Asia and Europe 1500 -1800” by Jackson and Jaffer, fig. 7.2, page 94. William Alexander accompanied Lord Macartney on the mission and his drawing of the Staunton scepter is illustrated in “Image of China: William Alexander” by Legouix, pl. 44, page 62. It is noted there that the scepter was one of three presented by the Emperor Qianlong. The other two were given to Lord Macartney, one for himself and the second for King George III. The drawing is in the collection of the British Museum, registration number 1865,0520.272. It is therefore possible that the present scepter is the one that was presented by Emperor Qianlong to Lord Macartney, while the third scepter most likely remains in the Imperial household and collections, handed down from George III, who was King of England from 1760-1801.Literature comparison: For other similar examples, see Auspicious Ju-i Scepters of China, no. 17, p. 90, in the collection of the National Palace Museum, Taipei; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; and Palace Museum, Compendium of Collections in the Palace Museum: Jade, vol. 8, no. 73, p. 102.Auction result comparison: Compare with a related spinach-green jade ruyi scepter at Christie’s in Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco on 18 March 2009, lot 412, sold for USD 25,000.清代中期碧玉靈芝如意 中國，十八世紀。如意首作鏤雕靈芝形，內雕一蝙蝠，柄作靈芝莖狀，上雕小靈芝數朵與螭龍。如意、靈芝與蝙蝠相伴出現有福壽雙全的寓意。玉石成深綠色的菠菜色，有深色斑點。此如意玉質細膩溫潤，整器以靈芝造型，浮雕與局部鏤雕手法相結合，如意首部琢一大靈芝頭，長柄靈芝枝葉纏繞，多處鏤空，甚為玲瓏，表現出靈芝的肌理質感，更顯古樸自然。 來源：倫敦Roger Keverne, 2012。德克薩斯州聖安東尼奧市Lenora and Walter F. Brown收藏，從上述收藏獲得併自此保存在同一家族中的。Walter F. Brown（1930-2014）是一家獨立的石油和天然氣生產商。 他創立了Delray Oil Inc.和加拿大W. F. Brown Exploration Ltd.。 Brown一家在1980年代開始將其亞洲藝術品收藏捐贈給San Antonio Museum of Art博物館。 2005年，博物館將新展館名字命名為“ Lenora and Walter F. Brown Asian Wing”，以表彰這對夫婦的不懈努力。圖片：Walter F. Brown (1930-2014) 出版：Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84. 品相：狀況極佳，輕微磨損，一些微小的刻痕，一條裂縫舊時已修復（肉眼看不見，但在強烈的藍光下檢查過）。具有天然裂縫的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：345.8 克 尺寸：長36.2 厘米 配置中國絲質底座。 正如Roger Keverne所説，本如意與乾隆皇帝於1793年贈予Sir George Staunton（現由維多利亞和阿爾伯特博物館收藏）密切相關。Sir George Staunton（1737-1801）是1792年馬卡特尼（Macartney）駐北京大使館的全權代表。Sir George Staunton 的如意可見Jackson和Jaffer 所著的“Encounters: The Meeting of Asia and Europe 1500 -1800”，參見圖7.2頁，第94頁。William Alexander陪同 Macartney勳爵，他曾繪製了Sir George Staunton如意，見Legouix 所著的“Image of China: William Alexander”，圖44，第62頁。在那裡提到，此如意是乾隆皇帝所贈三件如意中的一件，另外兩件分別送給了Macartney勳爵，另一件給了喬治三世國王。該圖在大英博物館收藏，編號1865,0520.272。因此，現在的如意很可能是乾隆皇帝送給馬卡特尼勳爵的，而第三只很可能仍留在皇室和收藏中，由1760-1801年的英格蘭國王喬治三世傳世。 文獻比較: 一件相似如意可見於 Auspicious Ju-i Scepters of China, no. 17, p. 90, 臺北故宮博物院收藏; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; 北京故宮博物院: Jade, vol. 8, no. 73, p. 102. 拍賣結果比較：一件相近碧玉如意售于佳士得Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco 拍場，2009年3月18日，拍號412, 售價USD 25,000。

A KHMER SANDSTONE TORSO OF A MALE DEITY, BAKHENG STYLE, ANGKOR PERIOD9th-10th century. Powerfully and naturalistically modeled with an elegant hourglass torso above a sampot secured by a flat belt, the garment with a double-anchor fold and a pouch across the left thigh.Provenance: Private Japanese collection, 1980s. DG Art Gallery, Beirut, Lebanon, acquired from the above. A reputed French private collection, acquired from the above (invoice not available). A copy of a catalog entry from DG Art Gallery with the present lot, confirming the dating and description above, accompanies this lot.Condition: Good condition, commensurate with age, extensive wear, losses, signs of erosion, nicks, scratches.Weight: 35.6 kg (total)Dimensions: Height 79 cm (excl. base)With an associated metal base. (2)Literature comparison: For the type, see Helen Ibbitson Jessup ed, Millennium of Glory: Sculpture of Angkor and Ancient Cambodia, Washington, 1997, fig. 2.Auction result comparison: Compare with a related but much smaller (34.3 cm high) sandstone torso at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 11 September 2012, lot 8, sold for USD 16,250. Compare also with a related but smaller (59.7 cm high) sandstone torso at Christie’s New York in The Doris Wiener Collection on 20 March 2012, lot 172, sold for USD 25,000.

A SANDSTONE TORSO OF UMA, ANGKOR WAT PERIOD, BAPHUON STYLEKhmer Empire, 11th century. Standing in samabhanga, her young unadorned body with small, high breasts and her belly naturalistically and beautifully rounded, wearing a long, pleated sarong tied at the front, the long central fold elegantly culminating in a 'fishtail' shape at the hem, held together at the hips with a patterned belt fastened at the front with a knot. Mounted to an associated metal base. (2)Provenance: From an old Belgian private collection.Condition: Fine condition, commensurate with age, extensive wear and losses, nicks, structural cracks. The upper section of the torso has come apart just above the chest and was reattached some time ago.Weight: 17.3 kgDimensions: Height 52 cmThis piece exemplifies the style of Baphuon female figures with the frontal stance, the ovoid skirt wide at the hips and narrowing around the knees, the sarong positioned high at the back and curving down to below the navel and the elegant central pleat. According to Boisselier, the highly decorative style of Banteay Srei inspired the development of Baphuon period sculpture, a manner which became more embellished with decorative elements as it continued into and reached a zenith during the Angkor Wat period a century later (see Helen Ibbitson Jessup and Thierry Zephir, editors, Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Washington 1997, page 255). The modeling of the torso, the curled end of the sarong above the belt and a long central fold certainly recalls Banteay Srei sculpture (see Emma C. Bunker and Douglas Latchford, Adoration and Glory - The Golden Age of Khmer Art, Chicago, 2004, page 175, fig. 8.6).The decorative nature and style of the central pleat on the sarong can be compared to a 12th century example published P. Pal, A Collecting Odyssey: Indian, Himalayan and Southeast Asian Art from the James and Marilynn Alsdorf Collection, Thames and Hudson, 1997, page 195, cat. 255. However, all other elements are characteristic of the Baphuon style.Auction result comparison: Compare with a closely related sandstone torso, though once multi-armed and of slightly larger size (63.5 cm high), at Christie’s New York in Indian and Southeast Asian Art on 22 March 2011, lot 477, sold for USD 56,250.

A KHMER SANDSTONE FRAGMENT OF TWO NAGAS, BAYON STYLEKhmer Empire, 12th-13th century. This expressively carved and incised fragment was once part of a very large Buddha Muchalinda statue, depicting a naga head with a smaller naga flanking it.Provenance: Belgian private collection. Condition: Good condition commensurate with age, extensive wear, losses, small nicks here and there.Weight: 4.9 kg (incl. stand)Dimensions: Height 30 cm (incl. stand) and 20 cm (excl. stand)In Buddhism the Naga are divine, half-human half-serpent beings that reside in the netherworld (Patala) and can occasionally take human form. They are depicted either as wholly human with snakes on their heads and necks, or as common serpents, or as half-human half-snake beings. A female Naga is called Nagini. Nagaraja is the king of all Nagas and Naginis. Nagas hold considerable cultural significance in the mythological traditions of most Southeast Asian cultures.Mounted on a modern metal stand. (2)Literature comparison: For a large Buddha Muchalinda from the 12th century, missing the top naga head, see Zacke, Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 437.

A GRAY SANDSTONE FIGURE OF UMA, ANGKOR PERIODKhmer Empire, 12th century. Standing in samabhanga, wearing a vertically striated sampot folded in a fishtail at the front and secured by a belt incised with floral decorations, the bare and unadorned chest with ripe swollen breasts, the face with a ridged brow above almond-shaped eyes with incised pupils and full lips forming a benevolent smile, the hair incised in locks emerging from the headdress in front of a stupa-like chignon.Provenance: From an old Belgian private collection. Condition: Condition overall commensurate with age, extensive wear and losses, nicks, structural cracks. The head has come apart and was remounted to the torso some time ago, enforced by a solid metal peg.Weight: 19.3 kg (total) Dimensions: Height 72 cm (excl. base)Auction result comparison: Compare with a related sandstone Uma of smaller size (50.8 cm high) at Christie’s New York in Indian, Himalayan & Southeast Asian Works of Art on 24 September 2020, lot 706, sold for USD 32,500, and another (64.5 cm high), also with a previously detached head, at Christie’s Paris in Art d’Asie on 7 June 2011, lot 386, sold for EUR 22,500.

A SANDSTONE FIGURE OF UMA, ANGKOR PERIOD, BAPHUON STYLEKhmer Empire, 11th-12th century. The voluptuously carved female deity depicted with ripe swollen breasts, slender body, and a long pleated sampot neatly tied at the waist and folded in a fishtail at the front. Her face with a benign expression with heavy-lidded eyes beneath a ridged brow and full lips forming a subtle smile, the hair arranged into a conical headdress secured with a crown incised with a geometric floral pattern.Provenance: Belgian private collection. Condition: Good condition, commensurate with age, extensive wear and losses, minor nicks, scratches.Weight: 8,628 gDimensions: Height 59.5 cmMounted on an associated metal base. (2)Auction result comparison: Compare with a related but slightly larger figure of a four-armed Uma at Christie’s New York in Indian and South East Asian Art on 21 March 2007, lot 270, sold for USD 66,000.

A TERRACOTTA HEAD OF A DEITY, MAJAPAHITJava, 13th-15th century. Modeled with full lips, a broad nose below heavy-lidded eyes, and gently arching brows, the raised coiffure smooth above the ears with floral earrings.Provenance: Agostino Recalbuto, L’Asia del Sud Est, Vicenza, Italy. Italian private collection, acquired from the above.Condition: Good condition, commensurate with age, extensive wear and losses, fine copper-red encrustations.Weight: 3,005 g (the head)Dimensions: Height 29 cmWith an associated metal base. (2)Auction result comparison: Compare with a related but considerably smaller (16.4 cm) head at Bonhams San Francisco; in Fine Asian Works of Art on 10 December 2012, lot 5367, sold for USD 4,000.

A TERRACOTTA FIGURE OF A FEMALE DEITY, MAJAPAHITJava, 13th-15th century. Standing in samapada on a stepped rectangular base, the ornately incised dhoti secured with several florally decorated belts, the floral motifs repeated on the necklace, earrings, and headdress, the serene face with downcast eyes and full lips, the long pleated hair falling neatly behind her shoulders.Provenance: La Datina, Florence, Italy, 2000. Italian private collection, acquired from the above.Condition: Extensive wear, losses, pitting, encrustations. The statue was broken into several pieces and reassembled after excavation.Weight: 3,627 g Dimensions: Height 56.7 cmLiterature comparison: Compare with a related carved stone figure of Parvati, dated to the 15th century, in the collection of the Victoria & Albert Museum, museum number IM.147-1921.Auction result comparison: Compare with a Majapahit stone fragment of an ancestor figure, dated to the 14th-15th century, at Bonhams San Francisco in Fine Works of Asian Art on 18 June 2007, lot 6166, sold for USD 7,200.

A MASSIVE AND RARE EAST JAVANESE TERRACOTTA FIGURE OF A BOAR, MAJAPAHITEast Java, 15th-16th century. Standing foursquare and wearing a collar incised with geometric motifs and suspending a large spherical bell, the face with a wrinkled snout, upward curving tusks, bushy eyebrows, and large bulging eyes, the spiral tail in relief over the right rear haunch.Provenance: Sotheby’s New York, Indian and Southeast Asian Art, 20 March 1997, lot 139. 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. The original Sotheby’s receipt, the catalog page, and a large photograph of the boar on Kodak paper, originally sent by Sotheby’s to the Applebys, accompany this lot.Condition: Superb condition with old wear, minimal structural cracks, some chipping to the hoofs, light scratches.Weight: 14.9 kgDimensions: Length 53.5 cmLiterature comparison: Compare with a related but smaller boar in bronze in the collection of the Metropolitan Museum of Art, accession number 1987.142.259.

A JAVANESE BRONZE FIGURE OF AVALOKITESHVARA, 9TH-10TH CENTURYJava. Cast standing on a circular lotus base, the left hand held in karanamudra and the right holding a lotus stem extending along the arm and terminating in a bud to the shoulder. Wearing a dhoti and richly adorned in beaded jewelry, the hair with a stupa-like headdress behind the five-leaf crown. The serene face with an urna, downcast eyes below gently arched brows, and full lips forming a subtle smile.Provenance: The private collection of Haji Daeng Iskandar. A New York, USA, private collection, acquired from the above. Haji Daeng Iskandar was a notable art dealer in Bali, Indonesia, specializing in Indonesian primitive and tribal art.Condition: Very good condition commensurate with age. Extensive old wear, traces of gilt, encrustations, small losses, dents and nicks here and there. Overall with a fine, malachite-green patina.Weight: 1,392 gDimensions: Height 28.5 cmLiterature comparison: Compare with two closely related examples in the Metropolitan Museum of Art including a Vishnu that shares the same iconographic program and a Garuda projecting from the base, accession number 1987.142.15, see Lener and Kossak, The Lotus Transcendent, New York, p.188, no.146, and a standing Manjushri, accession number 2001.758.2, in a flexed pose.Auction result comparison: Compare with a related figure of Vishnu at Bonhams Hong Kong, in Fine Southeast Asian Arts, 29 March 2018, lot 11, sold for HKD 375,000.

A BRONZE FIGURE OF UMA, LOPBURI STYLE, 13TH-15TH CENTURYThailand. Cast standing in samabhanga, holding a lotus bud in her right hand, wearing a checkered dhoti with an elaborate fishtail hem, multiple armlets, a torque and earrings. The braided hair drawn up into a conical chignon and secured with a tiara.Provenance: From an American private estate. By repute acquired in Asia c. 1965-1970 and thence by descent within the same family.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, and occasional light scratches. Fine, naturally grown patina.Weight: 658.7 g (incl. base)Dimensions: Height 23.2 cmMounted on an associated wood base. (2)Auction result comparison: Compare with a closely related bronze at Christie’s New York in Indian and Southeast Asian Art on 19 March 2014, lot 1129, sold for USD 10,000.

A KHMER BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR PERIODKhmer Empire, 12th century. The bodhisattva standing in samapada on a square base, four-armed, holding a lotus bud, a water vessel, a scroll, and a rosary. Wearing a short pleated sampot, tucked around the striated belt, which is decorated with pendants. Richly adorned in jewelry, the hair arranged in a high topknot with a small Buddha Amitabha behind the circular diadem.Provenance: Art of the Past, New York, 3 December 2002, old label with number to base. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, stating the land of origin as Cambodia and dating the piece to the 12th century, accompanies this lot.Condition: Excellent condition commensurate with age, old wear, minuscule nicks here and there. Fine malachite-green patina.Weight: 297.8 gDimensions: Height 15 cmAuction result comparison: Compare with a closely related copper alloy figure of Avalokiteshvara (height 34 cm) at Sotheby’s New York, in Indian and Southeast Asian Works of Art, 19 March 2008, lot 243, sold for USD 73,000.

A KHMER BRONZE FIGURE OF VISHNU STANDING ON GARUDA, ANGKOR PERIODKhmer Empire, 12th century. The four-armed deity standing on Garuda's shoulders and holding the disk and conch in his uppermost hands, wearing a sampot and richly adorned in jewelry. The mythical bird standing on a square base with arms and wings outstretched as if flying through the air. Both with benign expressions.Provenance: Art of the Past, New York, 21 May 2003, old label with serial number to base. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, at a price of USD 7,500, stating the land of origin as Cambodia and dating the piece to the 12th century, as well as a description of the piece attached to the invoice, accompany this lot. The letter states, “This particular example of this motif is superbly conceived. Every detail is finely articulated. The dark patina of the bronze is also smooth and without flaw. It is possibly one of the finer examples of its type.”Condition: Excellent condition commensurate with age, old wear, minuscule nicks here and there, fine natural patina with malachite-green encrustations.Weight: 649.0 gDimensions: Height 20.7 cmLiterature comparison: Compare to a similar figure published Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Thailand, 2004, pp. 350-351, fig. 125. Compare also with a near-identical bronze at Christie’s Amsterdam in Indian Himalayan and Southeast Asian Art on 16 December 2003.