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A ROSEWOOD BRUSH POT, BITONG China, late Qing to Republic period (1900-1950). Of cylindrical form with plain sides. The wood is of a red-brown tone with natural grain and some scattered ghost face striations. The central cavity to the top is 8.5 cm deep. Condition: Fine condition with some wear and traces of use, mostly to top rim. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 586 g Dimensions: Height 13.7 cm

A CARVED CHENXIANGMU LIBATION CUP AND ZITAN STAND China, 19th century. The chenxiangmu (agarwood) vessel elaborately carved with figures in sampans, on paths and before dwellings in a mountainous, tree-strewn landscape, the zitan stand carved in openwork with pine branches and craggy rockwork. (2) Condition: Excellent condition with minor wear and few small natural age cracks. Provenance: Chinese private collection. Weight: 391.3 g (total) Dimensions: Height 21.3 cm (incl. base) and 16 cm (excl. base) Auction result comparison: A closely related libation cup was sold by Bonham’s London in Asian Art on 5 November 2019, lot 584, for GBP £2,295.

A BURLWOOD CARVING OF LIU HAI, LATE MING TO EARLY QING China, 17th-18th century. Carved in a standing position, using the natural shape of the gnarled wood to depict the robe. Supporting a mythical three-legged toad on his right shoulder. Condition: Fine golden-brown patina. Some wear, minor losses, intrinsic age cracks. Scattered tiny wormholes. A superb naturally grown patina with a soft, unctuous finish. Provenance: The Oriental Art Collector. Quek Kiok Lee (1921-2018), acquired from the above on 15 December 1980. Singaporean businessman, banker and investor Quek Kiok Lee was the founder of the Southeast Asian Ceramic Society (SEACS) and Acquisitions Advisor on Chinese Antiquities for the National University of Singapore. Weight: 1,149 g Dimensions: Height 23.7 cm The story of Liu Hai is frequently told as “Liu Hai playing with the Golden Toad”. However, there is a hidden meaning here: The Chinese word for “toad” is chanchu. Sometimes, Chinese will only pronounce the first character chan. In some Chinese dialects, the character chan has a pronunciation very similar to qian which means “coin”. Therefore, a storyteller reciting “Liu Hai playing with the Golden Toad” could also be heard by listeners as “Liu Hai playing with the gold coins”. Later fitted stand. (2) Auction result comparison: Compare with a related burlwood carving of a luohan sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 27 September 2019, lot 101, for €2,000. 癭木雕劉海金蟾擺件，明末清初 中國，十七至十八世紀。立像，利用癭木自然紋理雕刻衣袍，一隻三足蟾蜍立於他的右肩処。 品相：金棕色包漿，一些磨損，輕微缺損，内在年代裂紋。散佈著微小的蟲洞，極好的自然包漿濃厚潤澤。 來源：東方藝術收藏家。郭克禮 (1921-2018)先生于1980年12月15日購於上述收藏。郭克禮先生是新加坡商人，銀行家和投資家。他曾是東南亞陶瓷協會創立人，並擔任新加坡國立大學中國古玩收藏顧問。 重量：1,149 克 尺寸：高23.7 厘米 拍賣結果比較：一件相似癭木雕劉海于2019年9月27日售于本藝廊，拍號101，成交價€2,000。

A DAMARU SKULL DRUM, QING DYNASTY Tibetan-Chinese, 18th – early 19th century. The waisted double-sided drum built from two halves of skull tops with green dyed leather coverings, the waist with an embossed and incised silver band to which the two drum sticks are attached, with finely embroidered banners bearing endless knots and shou characters. Overall a spectacular and rare ensemble. Condition: Excellent condition with minor wear and losses. Superb naturally grown patina. The textiles with loose threads, losses and slightly faded. Provenance: From a Hungarian private collection. By repute collected in Mongolia between 1950 and 1960. Weight: 116 g (the drum alone) Dimensions: Length including banners ca. 110 cm, diameter of drum 9.5 cm Auction result comparison: Compare with a closely related Damaru at Sotheby’s New York in Indian & Southeast Asian Art, 24 March 2004, lot 120, sold for USD $15,600. 達瑪茹阿姐鼓，清代 漢藏，十八至十九世紀初。阿姐鼓是由两半的头骨顶部和绿色皮革制成，腰部带有花紋银色带子，两个鼓棒均连接在腰鼓上，上面绣壽字紋和吉祥結紋。 品相：状况极佳，轻微磨损和缺损。天然生长的包漿。織物有脫綫、松线、缺损和轻微褪色。 來源：匈牙利私人收藏。據説1950 至1960之間購於蒙古。 重量：116克 （鼓） 尺寸：含帶長約110厘米，鼓直徑9.5厘米拍賣結果比較：一件相似達瑪茹鼓2004年3月24日于紐約蘇富比《印度和東南亞藝術》，拍號120，成交價USD $15,600。

A SINO-TIBETAN GLASS MEDICINE BOTTLE, QING Sino-Tibetan, 18th century. The bottle of square form with the sides tapering to the short cylindric neck, the sides incised with floral motifs, the shoulder with a lappet band, the glass stopper with a floral finial. Condition: Very good condition with minor wear, miniscule nibbling to the edges, occasional light scratches. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 114 g Dimensions: Height 7.8 cm

A RARE THANGKA WITH A MANDALA OF BUDDHA, TIBET 18TH CENTURY Very fine painting with distemper and gold on linen. Buddha is at the center, flanked by his disciples Sariputra and Maugdalyayana. Surrounding the trio, each set within a lotus petal, are 16 Indian Arhats. The four cardinal points are each guarded by a lokapala. Outside of the circle we eventually find the two Chinese arhats, Dharmatala and Hvashang. Fine old wood frame with the mandala nicely set between two layers of glass. Condition: Creases, pigment losses, stains. Overall good and absolutely original condition. Provenance: The Schulmann Collection, Paris, France. Acquired ca. 1960-1970. Josette and Théo Schulmann were passionate dealers of Asian Art and have donated several important works to the Cernuschi Museum. Old paper label from Claude de Muzac, Paris, on the backside. Dimensions: 35 x 35 cm (the painting) and 51 x 51 cm (the frame) 曼陀羅唐卡，西藏，十八世紀 非常細膩的繪畫，亞麻布面帶有彩繪和金彩。佛陀在中央，目犍连与舍利弗随侍在兩側。四周 三重環繞，第一重十六個印度羅漢分別坐在一個蓮花花瓣中。第二重四個正角分別由護世四天王保護。 在圈子外，有兩個中國羅漢，達摩多羅和摩诃衍尊者。 品相：摺痕、色彩損失、污漬。 總體來說很好而且絕對原始狀況 來源：法國巴黎Schulmann收藏。購於1960-1970年間。Josette與 Théo Schulmann曾是熱衷於亞洲藝術的商人，曾捐助過很多重要藝術品給Cernuschi 美術館。背面有巴Claude de Muzac的舊紙標簽。 尺寸：畫35 x 35 厘米，裝幀51 x 51 厘米

Two boxes of Sworders and other auction catalogues, covering mostly Asian Art and silver

DOSAI: AN AMUSING IVORY NETSUKE OF A BOY WITH A BROKEN BASKET OF PERSIMMONS Japan, Meiji period (1868-1912) The boy finely carved, with a surprised expression as he is holding up the broken off rim of a basket, the rest of the basket having fallen and spilling persimmons all over the ground. Note the attention to detail in the carving. Signed DOSAI to the underside. HEIGHT 12 cm Condition: Good condition with only a couple of chips and few minor traces of wear. Provenance: British collection. Auction comparison: Compare with a closely related okimono by the same carver, sold by Bonhams, Fine Asian Works of Art, 21 November 2005, San Francisco, lot 9024 (sold for 3,525 USD).

GYOKUDO: AN IVORY OKIMONO OF A FAMER WITH BOY By Gyokudo, signed Gyokudo Japan, late 19th century, Meiji period (1868-1912) An ivory okimono of a farmer holding a bundle of flowers over his shoulder and standing next to a boy who is holding another bundle and has his hand stretched out to receive a flower from his father. The two figures are separately carved and inset into the base. The signature GYOKUDO is found on the underside. HEIGHT 14.5 cm Condition: Excellent condition with minor natural imperfections. Provenance: Austrian private collection. Auction comparison: Compare to another okimono by the artist sold at Bonhams, Asian Art including porcelain from The Fiorentini Collection, 2 July 2014, Edinburgh, lot 19.  

FUSHO: A BOXWOOD MANJU NETSUKE OF A COILED DRAGON Signed Fusho Japan, 19th century Finely carved as a sinuously coiled dragon with neatly incised scales grasping a tama (magical pearl) amid clouds. Natural himotoshi between the dragon and clouds. With a metal loop to the underside, possibly added later. Signed FUSHO within a rectangular reserve to the underside. DIAMETER 4.3 cm Condition: Very good condition with minor surface wear. Provenance: Ex-collection Jury Kolodotschko. Auction comparison: Compare with a similar netsuke by Fusho sold at Van Ham, Asian Art, 3 December 2015, Cologne, lot 2325 (sold for 2,451 EUR).

An assembled group of Asian works of art, 19th Century and later, including two carved bone gaming companions, a carved ivory snuff bottle, an Indian carved ivory figure of an elephant and cigarette box, a Persian miniature painting on bone, a Chinese hardstone seal and a small blue and white bottle vase.

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A fine example of an Indus Valley civilisation painted bowl with a hemispherical body and a ring foot. The interior features aa repeating brown painted ibex motif, which can be distinguished by its magnificent curved horns, framed by concentric circular registers and chevrons. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd Millennium BC. The ibex is an important motif in Indus valley art because of the animal’s reputation as a hardy survivor and fierce fighter. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:90mm / W:212mm ; 540g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A collection of five Indus valley ceramic vessels including (front, L-R): a jug with spout; a shallow bowl; and a jar with an out-turned rim and carinated body (back, L-R): a cylindrical bowl with slightly out-turned rim and ring foot; a globular jar with out-turned rim and tapering base. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic vessels belong, was in the 3rd Millennium BC. Good condition.Size: L:Set of 5: 21 - 82mm / W:61 - 92mm ; 445g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca.1700-1950 AD. Yemeni Tribal. Lot of five white metal Yemeni Tribal intaglio rings with turquoise, blue and red coloured stone itaglio settings some with intricate scroll work or incised decoration on the hoops and an elegant lapis lazuli necklace. Yemeni tribal rings were made by Jewish silversmiths between the 18th and the. first half of the 20th century, when the majority of Yemeni jews emigrated to Israel. Yemeni silver was traditionally given to brides as an emergency fund from her family, which she would cherish and care for throughout her entire life or otherwise sell if she was in financial need. These items may have belonged to either Yemeni brides orrepresent part of a silver merchant's stock. Excellent condition; wearable.Size: L:set of 6: necklace 220mm, rings average 7mm / W:Omm ; 155.6g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca.1700-1950 AD. Yemeni Tribal. Lot of five white metal Yemeni Tribal intaglio rings with turquoise and red coloured stone itaglio settings some with intricate scroll work or incised decoration on the hoops and an elegant lapis lazuli necklace. Yemeni tribal rings were made by Jewish silversmiths between the 18th and the. first half of the 20th century, when the majority of Yemeni jews emigrated to Israel. Yemeni silver was traditionally given to brides as an emergency fund from her family, which she would cherish and care for throughout her entire life or otherwise sell if she was in financial need. These items may have belonged to either Yemeni brides orrepresent part of a silver merchant's stock. Excellent condition; wearable.Size: L:set of 7: 220mm necklace, 7 1/2mm / W:Pmm ; 160g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca.1700-1950 AD. Yemeni Tribal. Lot of five white metal Yemeni Tribal intaglio rings with turquoise, blue and turquoise coloured stone itaglio settings some with intricate scroll work or incised decoration on the hoops and an elegant lapis lazuli necklace. Yemeni tribal rings were made by Jewish silversmiths between the 18th and the. first half of the 20th century, when the majority of Yemeni jews emigrated to Israel. Yemeni silver was traditionally given to brides as an emergency fund from her family, which she would cherish and care for throughout her entire life or otherwise sell if she was in financial need. These items may have belonged to either Yemeni brides orrepresent part of a silver merchant's stock. Excellent condition; wearable.Size: L:set of 6: 230mm necklace, 7-8mm / W:O-Qmm ; 159g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley Civilisation. A large painted bowl with a hemispherical body and ring foot. The bowl, in a terracotta-colour fabric, is covered in a reddish-brown slip with black painted details. On the exterior are three concentric rings and a vertical column formed from geometric shapes and on the interior are four concentric registers of abstract linear decoration. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Good condition; on a custom stand. Size: L:125mm / W:380mm ; 2.2kg; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

700-1100 AD, Viking Age. Bronze ring with a circular hoop, and a lozenge shaped bezel onto which is mounted a dark round stone. This simple yet elegant ornament may have belonged to a Viking Warrior. Good condition.Size: D: 17.35mm / US: 7 / UK: O; 5.6g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley Civilisation. An ochre-coloured vessel with a globular body, flat base, and short outward curving rim. The exterior features painted decoration in black, red and green depicting two zebu bulls with characteristic hump and curving horns. They are separated by stylised geometric vegetation and framed by a simple lower linear border and an upper panel of waved motifs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition; Size: L:180mm / W:220mm ; 1.55g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A fine example of an polychrome Indus Valley civilisation pot, with globular body a flat, round ring base and a short, and a flat rim. This ochre-coloured vessel is decorated with a band of polychrome, curved vertical lines. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Superb condition. Size: L:100mm / W:160mm ; 750g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A fine example of an Indus Valley civilisation pot, with globular body a flat, round base and a short, slightly outward flaring rim. This ochre-coloured vessel is decorated with a series of black, stylised vertical and horizontal lines in a repeating pattern. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Superb condition.Size: L:75mm / W:120mm ; 590g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

2000-700 BC, Luristan culture. A cast bronze mace head with a tubular shape. The mace head is decorated with 11 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by two raised bands. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC when it was gradually replaced by iron. Swords, maceheads spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A macehead such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as maceheads were common votive offerings in shrines. Superb condition; beautiful patina; on a custom stand. Size: L:215mm / W:32mm ; 485g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

c. 2000-1000 BC, Amlash culture. Bronze age axe head with curved blade, wedge-shaped cheek, reinforced socket and dual ram heads, with stylised, curving horns on the butt. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, axe heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. An axe head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axe heads were common votive offerings in shrines. The Amlash culture refers to an assortment of historic materials and periods in Northern Iran, enduring for many centuries. Excellent condition; beautiful patina; on a custom stand. Size: L:63mm / W:164mm ; 435g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 2000-700 BC. Luristan culture. A bronze battle axe with a horizontal, wedge-shaped blade, and cylindrical haft. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, axes, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. An axe such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axes were common votive offerings in shrines. Excellent condition; beautiful patina; on a custom stand.Size: L:116mm / W:147mm ; 355g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 1600 – 1800 AD. Post-medieval. An iron Katar dagger or knuckleduster comprising a two-part, bulging grip with guard and leaf-shaped blade with a prominent central midrib. The katar or katara is characterized by its H-shaped horizontal hand grip which results in the blade sitting above the user's knuckles, allowing for maximal force to be applied through the point. Good condition ; Size: L:405mm / W:68mm ; 285g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 2000-700BC, Luristan culture. A Luristan cast bronze mace head with a tubular shape and a protruding, compressed spheroid midsection. The upper portion of mace head, just anterior to the spheroid section tapers into a neck before flaring outwards. The lower section of the mace head is ornamented with a three raised bands and a gently flaring lower rim. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC when it was gradually replaced by iron. Swords, maceheads spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A macehead such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as maceheads were common votive offerings in shrines. Superb condition, mounted on custom-made stand.Size: L:123mm / W:42mm ; 410g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

c. 2000-1000 BC, Amlash culture. A rare bronze age axe head with short, curved blade, arching cheek, round socket, elongated shoulder and spiked butt. The upper part of the shoulder is ornamented with two male faces, each featuring a prominent nose, wide eyes and a full-lipped mouth, while at the bottom, a series of four horizontal ribs provide additional grip. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, axe heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. An axe head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axe heads were common votive offerings in shrines. The Amlash culture refers to an assortment of historic materials and periods in Northern Iran, enduring for many centuries. Excellent condition; beautiful patina; on a custom stand. Size: L:133mm / W:253mm ; 710g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 2000-700 BC. Luristan culture. A huge bronze battle axe with a short, upward angled, slightly curved blade, wedge-shaped cheek, slightly bulging circular socket and hammerhead butt, allowing the user to deliver a powerful crushing attack. Ribbed decoration is visible on the side of the socket. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, axes, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. An axe such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axes were common votive offerings in shrines. Excellent condition; beautiful patina; on a custom stand.Size: L:69mm / W:299mm ; 1310g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured pottery ram figure with painted black details, curved horns strong, expressive facial features and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic figurine belongs, was in the 3rd millennium BC. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the ram’s importance in religious sacrifice. Excellent condition. Size: L:80mm / W:130mm; 760g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 2000-700 BC. Amlash culture. A bronze battle axe with a curved blade, tapering cheek, reinforced haft and circular socket. The upper and lower parts of haft are decorated with raised horizontal ribs. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, axes, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. An axe such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axes were common votive offerings in shrines. The Amlash culture refers to an assortment of historic materials and periods in Northern Iran, enduring for many centuries. Excellent condition; on a custom stand.Size: L:58mm / W:145mm ; 360g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 2000-700 BC, Luristan culture. A Luristan axe head with a short, curved, downwards facing blade, arched cheek, reinforced rounded poll with four spikes on the reverse which is fashioned into the shape of an animal, possibly a goat. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, axe heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Good condition with a beautiful patina; mounted on custom-made stand.Size: L:88mm / W:162mm ; 525g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

2000-700 BC, Luristan culture. A cast bronze mace head with a tubular shape. The mace head is decorated with 12 rows of raised chevrons framed above and below by three raised bands. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC when it was gradually replaced by iron. Swords, maceheads spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A macehead such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as maceheads were common votive offerings in shrines. Superb condition; beautiful patina; on a custom stand. Size: L:216mm / W:317mm ; 495g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley. A lovely buff-coloured handmade fertility idol of characteristically abstract form with delineated legs, curved arms outstretched, voluptuous breasts situated beneath an incised pectoral collar, and broad shoulders. The highly stylized face presents with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with a neatly arranged coiffure. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this idol belongs, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Excellent condition.Size: L:125mm / W:40mm ; 100g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley. A lovely buff-coloured handmade fertility idol of characteristically abstract form with delineated legs, curved arms outstretched, voluptuous breasts situated beneath an incised pectoral collar, and broad shoulders. The highly stylized face presents with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with a neatly arranged coiffure. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Good condition.Size: L:110mm / W:40mm ; 80g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 1600 – 1800 AD. Post-medieval. An iron Katar dagger or knuckleduster comprising a two-part, bulging grip with guard and leaf-shaped blade with a prominent central midrib the base of which is decorated with a raised geometric motif. The katar or katara is characterized by its H-shaped horizontal hand grip which results in the blade sitting above the user's knuckles, allowing for maximal force to be applied through the point. Good condition; Size: L:425mm / W:79mm ; 310g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

2000-700 BC, Luristan culture. Bronze macehead with spherical head, tapering shaft and flaring, circular aperture for the insertion of a wooden haft. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, maceheads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A macehead such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as maceheads were common votive offerings in shrines. Superb condition; beautiful patina; on a custom stand.Size: L:70mm / W:54mm ; 305g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca. 1368-1644 AD. Chinese Ming Dynasty. An elaborately crafted male attendant figure dressed a dark blue tunit with red side panels, light blue cuffs and a blue sash as well as black boots and a light coloured conical hat with a brim. The attendant holds an object, possibley a bottle or a scroll. During the Ming Dynasty the Chinese art industry flourished and the production of ceramic and porcelain pieces increased exponentially. Figures of this type were particularly popular during the Ming artistic revival which placed great importance on depicting aspects of Chinese political and social life including warriors, servants and ladies of high status. Excellent condition. Size: L:190mm / W:55mm; 275g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

ca. 1100 AD. Seljuk. This lot of beautiful medieval Islamic period glazed lamps were probably made under the Seljuk dynasty. Four of these lamps have a globular bodies, projecting spouts, and D-shaped handle with a thumb rest. The remainding lamp is an excellent example of a double spouted lamp with a globular body and a simple D-shaped handle. The Seljuks were a Turkic dynasty who swept out of Central Asia in the early 10th century and conquered an enormous expanse, covering most or all of present-day Turkmenistan, Iran, Iraq, Turkey and beyond. After inflicting crushing military defeats on a host of rivals, the most famous of which was perhaps that against the Byzantines at the Battle of Manzikert in 1071, the Seljuk sultans became major patrons of art and architecture. This lamp is a beautiful example of Seljuk art and reminds the viewer of Medieval Islamic folklore surrounding genies entrapped in lamps. Excellent condition.Size: L:Set of 5; 100mm / W:140mm ; 1.6kg; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca. 1000 BC. Luristani. A stunning bronze vessel with an out-turned rim, slightly tapering neck, truncated conical body and flat base. The exterior is decorated with extensive engraved motifs, including repeating chevron and wave designs. This gorgeous piece attests to the highly skilled craftsmanship of ancient Western Asia, where artisans worked to create intricate tablewares for use in elaborate banquets. Banqueting was a major part of aristocratic culture in antiquity and required a range of specialised utensils and vessels such as this one. Excellent condition; beautiful patina; on a custom stand.Size: L:118mm / W:130mm ; 450g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca.4000 BC. Western Asiatic. Attractive creme coloured stone Tell Brak Eye Idol consisting of a traingular and two circular eyes. Idols of this kind are common in Sumer, the earliest known civilization in Western Asia. Wide eyes are symbolic of piety to the gods in much of ancient Western Asiatic art. Excellent condition. Size: L:55mm / W:80mm ; 145g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

ca. 4000 BC. Bactrian. Large cream-coloured alabaster bowl with a round base and curved sides and a thick, rounded rim. This elegant object may have been used to carry out ceremonies or make religious offerings to the gods. The vessel was carved from a monolith of calcite (alabaster) that is similar in colour and appearance to the stone commonly used by Egyptian sculptors for luxury tableware in the late 4th millennium B.C. Excellent condition; on a custom-made stand.Size: L:105mm / W:155mm ; 1.2kg; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca.4000 BC. Western Asiatic. Attractive brown stone Tell Brak Eye Idol consisting of a square body with slight shoulders, a short neck and two circular eyes. Idols of this kind are common in Sumer, the earliest known civilization in Western Asia. Wide eyes are symbolic of piety to the gods in much of ancient Western Asiatic art. Excellent condition. Size: L:80mm / W:70mm ; 235g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca. 1400-1200 BC. Canaanite. An unusual bronze age Canaanite painted ceramic vessel in a terracotta fabric comprising an out-turned rim, constricted neck, flaring shoulder, globular body and round bottom. Two rings of black paint run around the lower part of the neck, while three concentric black circles on either side of the vessel create an ‘omphalos’ or navel pattern, usually associated with representations of the centre of the world in ancient art. Excellent condition; on a custom stand.Size: L:105mm / W:85mm ; 310g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. AD 618 and 907. Tang Dynasty. A pair of delicate Tang Dynasty dancers with long sleeves. Both dancers are wearing a long flowing gowns with overlength sleeves which hide their hands, and a shoulder sash which ties at the hip. The orange pigment of the ladies' bodices, the light green of their skirts and the dark green of their sashes are beautifully preserved as is the red pigment which highlights their lips and cheeks as well as the black pigment of their elaborate coiffure. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau (太樂署) was created as a means through with to train musicians and dancers for the imperial court. Good condition.Size: L:Set of 2; 245mm / W:110mm ; 1kg; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

An Art Deco Goldscheider figure of an Asian girl with a bowl, standing by a stool, by Julius Konrad, Hentschel, 36cms (14ins) high.Condition ReportHead broken and re-glued, otherwise good condition

Title: A mounted Asian elephant skull on a wooden Art Deco stand, ca. 1920Description: H 185,5 - L 58 - D 69 cmÊ Ê Lot subject to CITES-regulation. Accompanied by a certificate from an external appraiser, allowing a sale within the European Union. For export outside of the European Union, a CITES export permit must be obtained. Buyers are responsible for adhering to local import rules. This lot is not available for buyers in the USA or other countries that have banned import of ivory items.

Anonymer Maler . 19./20. Jh. Der große Kaiser des Östlichen Gipfels (Dongyue dadi) und fünf Höllenkönige. Tusche und Farben auf Papier. Aus der Hängerolle geschnitten und unter Glas gerahmt.Bei dieser Darstellung handelt es sich um die linke Rolle aus einem Diptychon, die zusammen die zehn Höllentribunale darstellen. Höllendarstellungen wurden bei Ritualen benutzt, die zum Totenkult gehörten. Das Konzept der Zehn Höllentribunale entstand, nachdem die chinesische Volksreligion vom Buddhismus beeinflusst wurde. Alle Verstorbenen werden auf ihrem Seelenweg ins Reich der Toten bzw. in die Unterwelt gehen, um dort die zehn Gerichtshöfe, die jeweils von einem Höllenkönig beaufsichtigt werden, zu durchlaufen. Der Zeitraum, den man dort verbringt, hängt von der Schwere der Sünden ab, die man begangen hat, und nachdem die gerechte Bestrafung erhalten wurde. 140 x 76,5 cmProvenienzSammlung Sauerbrey, WürzburgPrivatsammlung, NorddeutschlandAusstellungenAusgestellt in: Universitätsmuseum für Kunst und Kulturgeschichte, Marburg, 12.10.-23.11.1980, und im Museum für Ostasiatische Kunst, Köln, Frühjahr 1981LiteraturAbgebildet in: Jorinde Ebert, Barbara M. Kaulbach und Martin Kraatz, Religiöse Malerei aus Taiwan, Köln 1980, S.177-118, Tafel 50 Anonymous painter . 19./20. Jh. The Great Emperor of the Eastern Peak (Dongyue dadi) and five kings of hell. Ink and colour on paper. Framed and glazed.This representation is the left one of a pair, which together represent the Ten Hell Tribunals.Depictions of hell were and are used in rituals that were part of the cult of the dead.The concept of the Ten Courts of Hell was created after the Chinese folk religion was influenced by Buddhism.All the deceased will go to the realm of the dead or the underworld on their soul path, in order to go through the ten courts of justice, each of which is supervised by a hell king. The amount of time you spend there depends on the severity of the sins you committed and after the just punishment has been received.140 x 76.5 cmProvenanceCollection Sauerbrey, WürzburgPrivate collection, Northern GermanyExhibitionsExhibited in the Universitätsmuseum für Kunst und Kulturgeschichte, Marburg, 12.10.-23.11.1980, and in the Museum for East Asian Art, Cologne, spring 1981LiteratureIllustrated in: Jorinde Ebert, Barbara M. Kaulbach and Martin Kraatz, Religiöse Malerei aus Taiwan, Cologne 1980, p.177-118, plate 50

The Eighteen Arhats or Luo Han are the followers of the Buddha who have followed the Eightfold Path and attained the spiritual Enlightenment. They have reached the state of Nirvana and are free of worldly cravings. They are tasked to safeguard the Buddhist faith and to await on earth for the coming of Maitreya, a prophesied enlightened Buddha to arrive on earth many millennia after Gautama Buddha's death and nirvana. Their eternal status makes them akin to guardian angels, adept at warding off evil. Display them facing the main entrance to protect the house. The Brass 18 Arhats or Luohan can also form an invaluable part of your collection of Asian art. Let's get to know the 18 Arhats (The Eighteen Buddhist Monks) 1. Pindola the Bharadvaja (Deer Riding Arhat) - He was born in Brahman Nobility. He often returned to Jushemi City Palace riding a deer to persuade the king to be a monk. Finally the king was persuaded, giving his kingship to the crown prince and then becoming a monk. Therefore he was also called Deer-riding Luohan. 2. Kanaka the Vatsa (Happy or Joyous Arhat) - He was a disciple, who heard Buddha’s words himself, was an elocutionist in Ancient India. He thought that devotion to Buddha and considering Buddha in one’s heart could make one feel happy. Therefore he was also called Joyous Luohan. He decimates demons. 3. Kanaka the Bharadvaja (Bowl-lifting Arhat) - He always lifted his iron bowl to people when begging alms. Therefore he was also called Bowl-lifting Luohan. 4. Nandimitra (Pagoda Lifting Arhat) - He was the last disciple of Buddha. And he often prayed to Buddha holding a seven level pagoda or tower in his hand. Therefore he was also called Tower-holding Luohan. 5. Nakula (Meditating Arhat) - Once he was a brave warrior, and then he became a monk. Buddha asked him to sit quietly to give up the barbaric personality before. Therefore he was also called Quietly-sitting or meditation Luo Han. 6. Bodhidharma (Overseas Arhat) - He was a servant of Buddha. In legend he once went to East India Archipelago by boat to propagandize Buddhism. Therefore he was also called River-crossing or Overseas Luohan. 7. Kalika (Elephant Riding Arhat - He was once an elephant trainer. Elephant, with lots of strengths and tolerance and far-walking ability, is a symbol of Buddhism. Therefore he was also called Elephant-riding Lohan. 8. Vijraputra (Laughing Lion Arhat) - He was once a hunter. And he abstained from killing after becoming a monk. Two little lions often accompanied him to appreciating him dropping his bleeding sword. Therefore he was also called Smiling-lion Lohan. 9. Gobaka (Open Heart Arhat) - He was once the Mid-Indian crown prince, with whom his younger brother fought for the kingship and then rebelled. He said to his brother, “there is only Buddhism in my heart, no kingship”. Then he unclosed his clothes. Seeing a Buddha in his heart, his brother didn’t rebel any more. Therefore he was also called Heart-opening Luo Han. 10. Pantha the Elder (Raised Hand Arhat) - He was an illegitimate child. After becoming an arhat, he often used semi-sit-crosslegged method. When he finished za-zen, he rose up his hands and breathed out long. Therefore he was also called Hand-stretching or raised hand Luohan. 11. Rahula (Thinking Arhat) - He was the only child of Buddha Sakyamuni. Following his father, he became a monk, as one of the ten disciples of Buddha and the first of Mising. Mising means realising in meditation, and knowing what others don’t know in meditation. Therefore he was also called Meditative or Thinking Luo Han) 12. Nagasena (Scratch Ear Arhat) - He was a Buddhism theoretician, especially famous for the theory of ear root. Ear root is one of the six roots (eye, ear, nose, tongue, body and mind), which are the main sense organs for human beings to know the world. In Buddhism, it is said that the six roots are the vital roots to go beyond life and death, so it is necessary to clean the six roots. He was the expert to explain lustration of ear root, so he was also called Ear-picking Lohan. 13. Angida (Calico Bag Arhat) - As a snake hunter in Ancient India, he often climbed mountains to hunter snakes with a cloth bag lest passengers suffer snakebite. He seized a snake, pulled out its poison fangs, and freed it. Therefore he was also called Hop-pocket Lohan. 14. Vanavasa (Plantain Arhat) - When he was born, it rained a lot, raindrops hitting banana leaves to rustle. After becoming a monk, he always cultivated himself according to Buddhist doctrine under banana trees. Therefore he was also called Banana or Plantain Lo Han. 15. Asita (Long Eyebrow Arhat) - He had two long eyebrows congenitally. Therefore he was also called Long-eyebrow Lou Han. 16. Pantha the Younger (Doorman Arhat) - He was given a tin stick by Buddhism, and shook it at someone’s door when begging alms. Therefore he was also called Gate-keeping Luo Han. 17. Nantimitolo (Taming Dragon Arhat) - He vanquished the dragon king, retook the sutra hidden in the Dragon Palace, making a great contribution. Therefore he was also called Dragon-taming Lohan. 18. Pindola (Taming Tiger Arhat) - There were always tigers growling outside of a temple where he lived. Then he fed one of them with some of his own food. Time passing by, the tiger was tamed, accompanying him by his side. Therefore he was also called Tiger-taming Luo Han.

An Asian art centrepiece, jade grapes and carved soapstone vine leaves with carved wooden base, 39cm

K.R.H. (d.i. Kurt R. Hoffmann) Sonderborg 1923 Sønderborg (Dänemark) - 2008 Hamburg Ohne Titel. 1971. Öl auf Leinwand. Rechts unten signiert und datiert. 130 x 81 cm (51,1 x 31,8 in). [CH]. • K. R. H. Sonderborg verwendet in seinem malerischen wie auch grafischen Œuvre fast ausschließlich die 'Nicht-Farben' Schwarz und Weiß. • Seine Werke gehören zu den markantesten Beispielen des deutschen Informel. • Dem so charakteristischen Stil seiner gestisch-abstrakten Arbeiten liegen unter anderem Einflüsse aus der asiatischen Kalligrafie, dem amerikanischen abstrakten Expressionismus und der künstlerischen Methode des Automatismus zu Grunde. • 1959 und 1964 nimmt Sonderborg an der Documenta II und III teil, 1964 und 1970 an der Biennale in Venedig. PROVENIENZ: Privatsammlung Baden-Württemberg (seit 2005). LITERATUR: Van Ham Kunstauktionen, Köln, Moderne und Zeitgenössische Kunst, 1.12.2005, Lot 571 (mit ganzseitiger Abb.). Aufrufzeit: 11.12.2020 - ca. 14.51 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONK.R.H. (d.i. Kurt R. Hoffmann) Sonderborg 1923 Sønderborg (Dänemark) - 2008 Hamburg Ohne Titel. 1971. Oil on canvas. Lower right signed and dated. 130 x 81 cm (51.1 x 31.8 in). [CH]. • K. R. H. Sonderborg uses the 'non-colors' black and white almost exclusively in his painterly and graphic oeuvre. • His works are among the most striking examples of German Informalism. • The characteristic style of his gestural-abstract work is based on influences from Asian calligraphy, American Abstract Expressionism and the artistic method of automatism. • In 1959 and 1964 Sonderborg took part in Documenta II and III, in 1964 and in the Venice Biennial in 1970. PROVENANCE: Private collection Baden-Württemberg (since 2005). LITERATURE: Van Ham Kunstauktionen, Cologne, Modern and Contemporary Art, December 1, 2005, lot 571 (with full-page illu.). Called up: December 11, 2020 - ca. 14.51 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

The Sir Ernest and Lady Wilton Archive contained in Lady Wilton's suitcase marked 'V.Wilton', including: Statute Book of The Most Distinguished Order of St. Michael and St. George/Dated 27-1-1923'; Royal Geographical Society Gill Memorial Certificate to Mr E.C. Wilton 'For his geographical work in south-western China' [April 1917]; Bestowal Certificate as His Majesty's Envoy to Estonia and Latvia with accompanying Foreign Office Letter [1921]; a signed photograph of Sir Francis Younghusband; signed photograph of Lord Curzon, KG [1859-1925]; photograph of Sir Ernest Wilton by Bertram Park/43 Dover Street; photograph of Sir Ernest wearing two medals; Bestowal Certificate as Consul for the Consular District of Changsha [1908]; Certificate as Consul for the Consular District of Nanking [1913]; letters , photographs and newspaper cuttings kept by Sir Ernest and Lady Wilton regarding Sir Ernest's appointment in the Saar Territories; a Book by Juliet Bredon entitled 'Peking/A Historical and Intimate Description of its Chief Places of Interest [published 1922]; Certificate of KCMG; and a number of photographs relevant to the early history of Soviet Russia, including: 'Zinoviev addressing a meeting in Baku'/'Zinovieff. The Commissar in charge of The Petrograd District'/'Podvoyski. Head of The Military Cheka'/'The aged white haired women standing in the center of this group is Clara Zetkin. The Famous German Communist.' [lot]Provenance: The Property of a Lady and Gentleman. From a Private UK Collection. By Direct Family Descent from Sir Ernest Wilton KCMG [1870-1952]. For Ernest Wilton's Tibet 1903-04 Medal, see DNW Medal Auction 18th and 19th September 2014 [Lot 1493], and for his Collection of Chinese Art see the Ewbank's Asian sale of November 12th, 2020.

André Masson (French, 1896-1987)Visages dans la nuit des fleurs, 1959 signed André Masson (lower right); signed and dated André Masson 1959 (on the reverse)oil and sand on canvas40 x 79.8 cm.15 3/4 x 31 7/16 in.Footnotes:The authenticity of this work has kindly been confirmed by the Comité Masson.ProvenanceGalerie Louise Leiris, ParisPrivate Collection, EuropeSale: Kunsthaus Lempertz, Cologne, Moderne Kunst, 29 May 2003, lot 791Collection Armin Hundertmark, CologneSale: Artcurial, Paris, Art Moderne II, 8 June 2006, lot 175Acquired directly from the above by the present owner'[Masson] remained an unusual element, unclassifiable, a type of quiver which traversed through the entire painting... Masson's world is not a world of shapes, like that of the Cubists, but a world of forces.'- Daniel-Henry Kahnweiler(Typescript slipped into a letter from Daniel-Henry Kahnweiler to Curt Valentin, 10 December 1941, Paris, Archives Masson. Quoted in C. Morando, André Masson Biography 1896-1941, 2010, p. 39). André Masson was an artist who defied categorisation. His technical versatility, experimental spirit and lifelong preoccupation with metamorphosis engendered a long and storied career, spanning Cubism, Surrealism and Abstract Expressionism. By the age of 11, he was a student at the Académie Royale des Beaux-Arts et l'Ecole des Arts Décoratifs in Brussels. At 16, he was awarded the Grand Prix de l'Académie for painting, and commenced his training at the École Nationale Supérieure des Beaux-Arts in Paris. His experiments with automatic drawing – the process of freely moving materials without planning or conscious thought – attracted the attention of André Breton, Surrealism's principal theorist, in mid-1920s Paris. After he relocated to New York City in the early 1940s to escape the Nazi occupation of Paris, Masson's spontaneous and emotive approach to painting influenced Jackson Pollock's development of his quintessential action paintings. A hallucinatory vision of cosmic clusters and fantastical syllabary, Visages dans la nuit des fleurs, 1959, synthesises Masson's Surrealist roots and his later Abstract Expressionism. Using his characteristic colle ensable ('sandy glue') technique, Masson threw an admixture of sand and glue onto the stretched canvas, then formed his painterly composition around the resulting three-dimensional islands. Writing to his friend and art dealer Daniel-Henry Kahnweiler at this time, Masson exulted in this 'extreme spontaneity... having only rhythm and the fire of inspiration as my starting point.' (Letter from Masson to Kahnweiler, 15 July 1955, quoted in Donation Louise et Michel Leiris: Collection Kahnweiler-Leiris, exh. cat., Paris, 1984, p. 144). Incorporating natural phenomena into his work, in imagery and in technique, was a constant motive. During his time in the United States, Masson became fascinated with the indigenous Iroquois culture, for whom the natural world is sacred and the night sky is rich in stories and deities. In Visages dans la nuit des fleurs, abstracted, face-like symbols appear to dance across the celestial scenery like omnipotent beings. The ebb and flow of sandy rivulets forms a rhythmic backdrop, punctuated by short, staccato strokes resembling comets. The resulting effect is a transcendental crescendo, a frenzied ritual of light, colour and dance. Visages dans la nuit des fleurs was produced during Masson's 1950s période asiatique, within which he incorporated the philosophies and calligraphic forms of Zen Buddhism. Masson was first introduced to the school of thought by the Japanese writer Kino Matsuo in Paris in 1930. After studying the East Asian collections of the Museum of Modern Art and the Boston Museum of Fine Arts in the 1940s, he began experimenting with ideograms – characters encapsulating the idea of a thing, without indicating the sounds used to say it. In Visages dans la nuit des fleurs, Masson morphs these characters into a nebulous syllabary. As explained by Carolyn Lanchner, 'a great attraction of Zen for Masson was its emphasis on the immediate mystical experience as the way to ultimate truth... In practice, conjuring the void brought forth in his painting a spontaneous effusion of his own past art whose tides were stemmed or redirected by the formal concerns of the sophisticated European artist.' (Carolyn Lanchner, 'André Masson: Origins and Development,' in André Masson, exh. cat., New York, 1976, p. 186). The explosions of bold colour across a starry sky also allude to Masson's personal traumas, which ignited his long-running fixation with destiny and the ambiguity of the human condition. After suffering a grave chest wound as a French infantry soldier in World War I, Masson was confined to a series of hospitals and one psychiatric ward. Recalling the battle of Chemin des Dames in April of 1917, during which he was immobilised and left lying helpless throughout the tumult of battle, Masson recalled, 'The indescribable night of the battlefield, streaked in every direction by bright red and green rockets, striped by the wake and the flashes of the projectiles and rockets – all this fairytale-like enchantment was orchestrated by the explosions of shells which literally encircled me and sprinkled me with earth and shrapnel' (Masson, quoted in exh. cat., W. Rubin & C. Lanchner, André Masson, New York, 1976, p. 30).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

the arched eyebrows framing the urna, the waved hair revealing the usnisa, with vestiges of paint, 20cm highFootnote: Provenance: Acquired from C. P. Ching, Hong Kong, 15 April 1994 Exhibited: London, Oriental Arts Ltd, Chinese Buddhist Sculpture, 18-27 March 2001, no. 16 Literature: For similar examples see Diana d'Argence, Rene-Yvon Lefebvre, Chinese Korean and Japanese Sculpture in The Avery Brundage Collection, Asian Art Museum, 1974, no. 104. The Chinese Buddhist statuary and associated collection was acquired by C Roger Moss OBE in Hong Kong during the period 1980 to 2003. All items were officially exported from Hong Kong by shippers and handlers recommended and approved by the Mass Transit Railway Corporation of Hong Kong on 10th May 2003, with full documentation. Itemised inspection certificates - dated 24th February, 16th and 23rd April and 7th May 2003 (report No 0254/03) by J & H Surveying Co Ltd, Marine Surveyors - number and detail the items exported. A copy is available at Cheffins’ offices. The shipment arrived in Felixstowe, UK on 29th May 2003 and was received for transhipment by Redfern International Logistics of Leeds, recorded in their sales invoice no. IDSI2926, which details fees paid for the appropriate Sea Import Customs and Sea Import Documentation. The dating of Chinese sculpture is notoriously difficult and all such references in this catalogue are based entirely upon style and should not be relied on as a statement of fact. Regarding the stone carvings in the Moss Collection, these lots may only be bought and sold within the UK/EU. Buyers wishing to export items should make the appropriate checks before bidding. The auctioneers cannot be held responsible for any future liabilities associated with authentication or for export outside of the UK/EU 1980年至2003年期间，C Roger Moss OBE在香港购买了中国佛教佛像及相关藏品。所有物品均由香港地下铁路公司于2003年5月10日推荐并批准的托运和装卸机构从香港正式出口，并附有完整的单据。逐项检验证书-由海洋测量师J＆H Surveying Co Ltd于2003年2月24日，4月16日，23日和5月7日签发（报告号0254/03），对出口的物品进行编号和详细说明。您可以在Cheffins拍卖行获取一份副本。这批货物于2003年5月29日到达英国费利克斯托，并被利兹的Redfern International Logistics转运，记录在其销售发票中- IDSI2926，其中详细囊括了这次海关进口细节和相关文件的支付费用。众所周知，我们很难判定中国雕塑的历史时期，本目录中的所有相关参考文献均取决于它们的风格，因此买家不应作为事实陈述。 关于这次Moss Collection中的石雕，这批拍品只允许在英国/欧盟境内被出售或购买。 买家需要在投标前自行进行相关的出口检查与认证。 Cheffins概不承担任何法律责任或提供英国/欧盟地区以外的出口认证。

A SRI LANKAN PAINTED SANDALWOOD FIGURE OF BUDDHA MID 18TH CENTURY Carved seated upon a lotus throne, he holds his hands in dhyana mudra upon his crossed legs, his skin and robes brightly painted in yellow and orange, with his downcast eyes set beneath black arched eyebrows, 39.5cm. Provenance: from a deceased estate, Hampshire, purchased from Jonathan Tucker Antonia Tozer Asian Art.

SEVEN SMALL CHINESE MONOCHROME ITEMS QING DYNASTY Comprising: a ge-type bottle vase, a small fanghu with a four character Chenghua mark to the base, a baluster-shaped vase decorated with a mottled dark blue glaze, a bottle vase with a crackled turquoise glaze, a langyao dan ping, a small indigo glazed jar with a metal cover, and a celadon glazed pouring vessel, 24.6cm max. (8) Provenance: from the collection of Professor Ronald N Arnold (1908-1963) and thence by descent. Professor Arnold was Regius Professor of Engineering at Edinburgh University from 1947 until his death. Following ill health, in 1953 he began to collect Chinese porcelain in his free time, buying most of his pieces from small antique shops and auctioneers in Edinburgh and London. Through the art historian David Talbot-Rice, Professor Arnold became acquainted with several experts in the field of East Asian ceramics, including Sir Harry Garner and Soame Jenyns.

A CHINESE LONGQUAN CELADON VASE MING DYNASTY The tall ovoid body supported on a gently spreading foot, surmounted by a short cylindrical neck with a raised lip to the rim, carved to the exterior with two large stylised flowerheads growing amongst leafy branches between floral bands, all decorated with a tranquil sage green glaze, 37cm. Provenance: from the collection of Professor Ronald N Arnold (1908-1963) and thence by descent. Professor Arnold was Regius Professor of Engineering at Edinburgh University from 1947 until his death. Following ill health, in 1953 he began to collect Chinese porcelain in his free time, buying most of his pieces from small antique shops and auctioneers in Edinburgh and London. Through the art historian David Talbot-Rice, Professor Arnold became acquainted with several experts in the field of East Asian ceramics, including Sir Harry Garner and Soame Jenyns.

A CHINESE BLUE AND WHITE TRANSITIONAL STYLE SLEEVE VASE 19TH OR 20TH CENTURY The tall cylindrical body surmounted by a short waisted neck, painted to the exterior with figures welcoming a deity and her attendants as they arrive on a phoenix, all in a rocky wooded landscape, with wispy clouds to the reverse, the scene contained within incised floral and geometric bands, 43.8cm. Provenance: from the collection of Professor Ronald N Arnold (1908-1963) and thence by descent. Professor Arnold was Regius Professor of Engineering at Edinburgh University from 1947 until his death. Following ill health, in 1953 he began to collect Chinese porcelain in his free time, buying most of his pieces from small antique shops and auctioneers in Edinburgh and London. Through the art historian David Talbot-Rice, Professor Arnold became acquainted with several experts in the field of East Asian ceramics, including Sir Harry Garner and Soame Jenyns.

A CHINESE SHIWAN WARE FIGURE OF SHOULAO AND A BRONZE INCENSE BURNER AND COVER QING DYNASTY The God of Longevity depicted holding his staff and a peach, with a vibrant purple glaze with lavender streaks decorating his robe, his head and hands left unglazed, the incense burner shaped as a water buffalo, the cover formed as a seated boy playing the flute, his hair tied in two buns, 27.8cm and 20.5cm, the incense burner and cover 1kg. (3) Provenance: from the collection of Professor Ronald N Arnold (1908-1963) and thence by descent. Professor Arnold was Regius Professor of Engineering at Edinburgh University from 1947 until his death. Following ill health, in 1953 he began to collect Chinese porcelain in his free time, buying most of his pieces from small antique shops and auctioneers in Edinburgh and London. Through the art historian David Talbot-Rice, Professor Arnold became acquainted with several experts in the field of East Asian ceramics, including Sir Harry Garner and Soame Jenyns.

LITERATURE A COLLECTION OF REFERENCE BOOKS AND AUCTION CATALOGUES Mostly relating to Buddhist, Himalayan, Indian and Southeast Asian art, the auction catalogues predominantly from Sotheby's and Christie's. (138)

FOUR CHINESE BLUE AND WHITE VASES AND A TEA BOWL AND SAUCER 18TH AND 19TH CENTURY Comprising: a tea bowl and saucer decorated with birds and blossoming leafy branches, a near pair of small vases painted with stylised sprigs, a moulded vase with panels of flowers growing amidst rockwork, and a fourth vase decorated with peony sprays between lappets and pendant leaves, 18cm max. (6) Provenance: from the collection of Professor Ronald N Arnold (1908-1963) and thence by descent. Professor Arnold was Regius Professor of Engineering at Edinburgh University from 1947 until his death. Following ill health, in 1953 he began to collect Chinese porcelain in his free time, buying most of his pieces from small antique shops and auctioneers in Edinburgh and London. Through the art historian David Talbot-Rice, Professor Arnold became acquainted with several experts in the field of East Asian ceramics, including Sir Harry Garner and Soame Jenyns.