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A PALE CELADON FIGURE OF A BOY WITH A HOBBY HORSE, 18TH CENTURY 十八世紀青白玉騎馬上任童子珮Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Carved as a striding boy holding the reins of the hobby horse with one hand, the other holding a leafy lotus stem. The translucent stone of a pale celadon color with faint russet patches and veins, and cloudy white inclusions.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear, minuscule nibbling to the base, the lotus flower with a small chip. The stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time.Weight: 74.0 g Dimensions: Height 65 cmExquisitely modeled in the round to depict a boy astride a hobby horse, the reins of which he lovingly clutches whilst slinging stems of lotus over his shoulder, this carving captures the playful ease and charm of the subject. Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasized by the lotus he carries which is a homophone of 'continuous' and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' means 'immediately'.Literature comparison:Compare a related carved jade figure of a boy, but holding a rattle instead of a lotus stem, in the collection of the Museum of East Asian Art, Bath, collection number BATEA 1218. Compare also a related jade figure of a boy holding a lantern on a pole, in the collection of the Metropolitan Museum of Art, accession number 2015.500.5.14.Auction result comparison:Type: Closely relatedAuction: Sotheby’s Hong Kong, 30 November 2016, lot 158Price: HKD 525,500 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A superb pale celadon jade ‘boy and hobby horse’ carving, Qing dynasty, 18th century十八世紀青白玉騎馬上任童子珮中國。圓雕一童子騎於玩具馬上，圓頭圓腦，頭頂髮髻，雙眼細瞇喜笑顏開。上衣及長褲衣紋褶皺自然，右手拿著一朵蓮花。馬顯得溫順可愛。青白玉細膩瑩潤。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損，底部有輕微的磕損，蓮花帶有小磕損。玉料具有天然缺陷和裂縫，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：74.0 克 尺寸：高65 厘米 通體琢刻細膩，匠心獨運，人物栩栩如生。男孩玩木馬是宋代流行的“嬰戲圖”和“百子圖”中的一部分。男童玩馬也取意即將出官入仕，平步青雲，玩趣十足。 文獻比較： 比較一件相近的騎馬上任童子玉珮，男童手上拿著蓮花，收藏於巴斯東亞藝術博物館，收藏編號BATEA 1218。比較一件相近的騎馬上任童子玉珮，男童手上拿著燈籠，收藏於大都會藝術博物館，編號2015.500.5.14。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年11月30日，lot 158 價格：HKD 525,500（相當於今日EUR 72,500） 描述：清十八世紀青白玉雕連生貴子把件

A WOMAN’S MIDNIGHT-BLUE-GROUND KESI SILK INFORMAL SURCOAT, CHANGPAO, CHINA, MID-19TH CENTURY 十九世紀中期石青地貴婦緙絲團花棉褂Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: The surcoats made for the highest-ranking female members of the Qing society were decorated by eight roundels above elaborate lishui borders at the hem, such as displayed on the present lot. See V. Garrett, Dragon Robes, Oxford, 1998, page 35, and J. Vollmer, Imperial Silks: Ch'ing Dynasty Textiles from the Minneapolis Institute of Arts, 2000, page 54.The front-opening surcoat finely woven on the front and back panels with eight symmetrically-placed roundels with birds in flight amid blossoming peony, lotus, prunus, and magnolia, borne on leafy vines above a vase, picked out in vibrant shades of salmon, blue, yellow, red, green, and gold against a midnight-blue ground. All above lishui stripe interspersed with Buddhist symbols, the cuffs similarly decorated with lishui, each sleeve further with three smaller, similarly decorated roundels. The collar with an original gilt-metal button.Provenance: An important private collection of an American connoisseur and collector of Chinese robes.Condition: Good condition with only minor wear, minuscule splits and losses, few minor old repairs, little soiling.Dimensions: Length 147 cm, Width 178 cm (across sleeves) Garments decorated with roundels originally signaled formality. This decorative scheme can be traced to the Tang dynasty and may have been influenced by Western Asian traditions; see Huang Nengfu and Chen Juanjuan, Origins of the Art of the Chinese National Costume, Beijing, 1994, p. 209; see also J. Watt and A. Wardwell, When Silk Was Gold: Central Asian and Chinese Textiles, New York, 1998, pp. 21-29.Medallions decorated with seasonal flowers, butterflies, cranes, and other auspicious imagery underscoring the wishes for good fortunes, wealth, happiness, typically indicated the informal nature of the occasions for which the surcoats were worn. Roundel schemes were particularly popular during the Ming dynasty for both Court and unofficial wear and the Manchu rulers of the Qing dynasty appear to have continued this tradition. By the eighteenth century, the formal design of a distinct wave border at the hem appears to have become the favored style.The kesi technique is a particularly intricate way of introducing pattern within the weave of the fabric: the various colors are woven on separate bobbins creating the 'cut' effect at the boundaries between the colors, hence the name kesi or 'cut silk'. The technique is extremely time-consuming and skilled, achieving a reverse that is often as well-presented as the front of the fabric.Literature comparison: Compare a closely related kesi silk midnight-blue-ground robe, 186.5 cm wide, dated to the mid-19th century, in the Minneapolis Institute of Art, accession number 42.8.88, illustrated in Robert D. Jacobsen, Imperial Silks: Ch'ing Dynasty Textiles in The Minneapolis Institute of Arts, 2000, vol. 1, p. 269. Compare also a related kesi silk medallion robe, 141 cm long, dated to the 19th century, Minneapolis Institute of Art, accession number 42.8.91.Auction result comparison:Type: Closely related Auction: Bonhams London, 2 November 2021, lot 278 Price: GBP 10,837.50 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A rare midnight-blue-ground silk embroidered 'butterfly and double-gourd' informal surcoat, changpao, early 19th centuryExpert remark: Compare the closely related roundel decoration and midnight-blue ground. Note the embroidery technique, while the present lot is woven in kesi, and the smaller size (141 cm).

AN ARCHAIC CEREMONIAL JADE BLADE, YUE, NEOLITHIC PERIOD TO SHANG DYNASTY 新石器時代至商代玉鉞 Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published:Henry Trubner and Tsugio Mikami, Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no. 108.Roger Keverne Ltd., Winter Exhibition, London, 2004, no. 86.China, c. 3500-1500 BC. The slender slab tapers toward the back where there is a small hole drilled from one side. One long edge and the cutting edge are beveled, and now slightly worn. A longitudinal rib made by the saw runs along one face. The translucent stone is a deep olive-green tone.Provenance: Idemitsu Museum, Tokyo, Japan, prior to 1989. Roger Keverne, London, United Kingdom, 2004. Private English collection, acquired from the above. The Idemitsu Museum of Arts was opened in 1966 as an exhibition hall for the private collection of Idemitsu Sazo. Idemitsu Sazo (1885-1981) was a Japanese businessman, founder of Idemitsu Kosan, a petroleum company, and an important art collector. He acquired his first work of art at the age of 20, which was a painting of the Chinese monk Putai by Sengai Gibon. In later years, his collection grew, culminating in a large number of Chinese ceramics, paintings, jades, and other works of art. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020.Condition: Excellent condition, commensurate with age. Ancient wear, minor signs of weathering and erosion, tiny nibbles. Minute chips to edges, one at the top has been smoothened probably millennia ago. The jade with natural fissures, some of which may have developed into small hairline cracks.Weight: 68.1 g Dimensions: Length 16.7 cm Literature comparison:Compare a related jade blade in The Hubei Provincial Institute of Cultural Relics and Archaeology, The Panlongcheng Site: Report of Archaeological Excavation from 1963-1994, pl. CXVII, fig. 6. Compare a related jade blade illustrated in Liu and Capon’s book Masks of Mystery: Ancient Chinese Bronzes from Sanxingdui, no. 36, p. 104. Compare a related jade blade excavated by the Institute of Archaeology, CASS, illustrated in Tomb of Lady Hao at Yinxu in Anyang, pl. 20, fig, 1. Compare a closely related jade blade, 19.5 cm long, dated to the Neolithic period, in the collection of the Harvard Art Museums, accession number 1943.50.113, illustrated in Ancient Chinese Jades from the Greenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, no. 1, pp. 4-5. Compare a related jade blade illustrated ibid., no. 202, pp. 159.Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 27 November 2019, lot 2717 Price: HKD 81,250 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A dark green jade axe, Neolithic period, circa 3500 BC Expert remark: Compare the closely related form and color as well as the similar wear. Note the larger size (28.8 cm).Auction result comparison: Type: Related Auction: Christie’s New York, 19 March 2015, lot 545 Price: USD 16,250 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A mottled, blackish-green opaque jade axe, late Neolithic period, 3rd-early 2nd millennium BC Expert remark: Compare the related form. Note the darker color and the larger size (23.8 cm).

A FINE WHITE GLAZED BEEHIVE WATER POT, TAIBAIZUN, LATE QING DYNASTY 清末白釉太白尊Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 19th century. Well potted with rounded sides rising to a short flaring rim, molded with three archaistic dragon roundels on the body, and covered with a translucent white glaze.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear and firing irregularities.Weight: 412.2 g Dimensions: Height 9.4 cm, Diameter 12.6 cmThe recessed base with an apocryphal six-character mark da Qing Kangxi nianzhi.Literature comparison:Compare a related waterpot illustrated by J. Ayers, Chinese Ceramics: The Koger Collection, p. 167, pl. 139, where the glaze is described as “moon-white” and the medallions are of “a dragon biting another creature, and a bat”.清末白釉太白尊中國，十九世紀。太白尊小口微撇，短頸，圓肩，豐底內凹。通體施白釉。外壁三組團螭紋。 來源：已故Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損和燒製不規則。 重量：412.2 克 尺寸：高 9.4 厘米，直徑 12.6 厘米 圈足内有“大清康熙年製”款。 文獻比較： 比較一件相近的太白尊，見J. Ayers，《Chinese Ceramics: The Koger Collection》，頁167，圖139。此件太白尊得釉色被描述為「月白色」，飾有「龍和蝙蝠紋」。

A JIZHOU PAPERCUT RESIST-DECORATED ‘PRUNUS’ BOWL, SOUTHERN SONG DYNASTY 南宋吉州貼花碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1127-1279. The rounded conical body detailed to the interior with twelve prunus blossoms arranged in two tiers around a single blossom in the center, all reserved in dark brown on the finely mottled buff and dark-brown ground, the exterior covered with a dark brown glaze that falls irregularly to the foot.Provenance: Yue Gu Zhai Antique Co., Hong Kong, 2001. A private collector in North Berwick, Scotland, who has been collecting Asian ceramics for 25 years, acquired from the above. Copies of the original receipt and a signed and sealed Certificate of Authenticity, both from Yue Gu Zhai Antique Co., dated 19 September 2001, and confirming the dating above, accompany this lot.Condition: Very good condition with expected old wear, weathering, and firing irregularities, small chips to the foot, minor fritting to the rim.Weight: 147.9 gDimensions: Diameter 10.2 cm Among the daring and innovative techniques the Jizhou kilns in Jiangxi province are most famous for is the technique of using paper cut-outs as stencils to create resist designs. Not only did the use of the papercut stencil facilitate the replication of individual motifs, it also permitted considerable variation in the interpretation of the standard design.Almost always arranged in two tiers, stylized plum blossoms appear as decoration both on conical bowls and yankou wan type bowls. Conical bowls generally support seventeen blossoms, including the one on the floor, however, numbers vary from bowl to bowl as do flower types.Literature comparison:Compare a related bowl from the Charles B. Hoyt Collection in the Museum of Fine Arts, Boston, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1980, vol. 10, no. 171, and another related bowl from the Avery Brundage Collection in the Asian Art Museum of San Francisco, illustrated by R. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown and Black-Glazed Ceramics, 400-1400, Cambridge, Massachusetts, 1996, pp. 250, no. 101. Also compare another related Jizhou paper-cut 'prunus' bowl, Southern Song dynasty, illustrated in Song Ceramics from the Kwan Collection, Hong Kong, 1994, p. 382, no. 173.Auction result comparison: Type: Closely relatedAuction: Christie’s New York, 14 September 2018, lot 1304Price: USD 11,250 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A Jizhou paper cut resist-decorated tea bowl, Southern Song dynasty, late 12th-13th centuryExpert remark: Compare the closely related form, decoration, and glaze. Note the size (12.1 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams London, 9 November 2017, lot 30Price: GBP 10,625 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare Jizhou paper-cut-out 'prunus-blossoms' bowl, Southern Song DynastyExpert remark: Compare the closely related form, decoration, and glaze. Note the size (12.3 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby’s Hong Kong, 3 December 2015, lot 205Price: HKD 118,750 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: A Jizhou ‘papercut’ 'prunus’ bowl, Southern Song DynastyExpert remark: Compare the closely related form, decoration, and glaze.

AN IRON-RED DECORATED SQUARE ‘LANDSCAPE’ BRUSHPOT, BITONG, QIANLONG MARK AND PERIOD 乾隆款及年代礬紅釉山水方筆筒Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1736-1795. Well potted, the exterior decorated with four rectangular panels, each enclosed by a gilt border, depicting incredibly fine mountainous river landscapes with towering trees, bridges, and thatched-roof huts. The rim is gilt, while the base and interior are glazed in bright turquoise. The base with an iron-red four-character mark Qianlong nianzhi and of the period.Provenance: Collection of Milton Drexel Rutherford (1894-1976), and thence by descent within the family. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city’s subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers.Condition: Very good condition with expected old wear and minor manufacturing irregularities. Rubbing and minor losses to iron-red and gilt.Weight: 186 g Dimensions: Height 8.2 cm Auction result comparison: Type: Closely related Auction: Christie’s New York, 18 September 2003, lot 375 Price: USD 19,120 or approx. EUR 29,000 converted and adjusted for inflation at the time of writing Description: An unusual small iron-red-decorated café-au-lait-ground brushpot, bitong, Qianlong iron-red seal mark and of the period Expert remark: Compare the closely related iron-red decoration, landscape painting, style, and reign mark, as well as the almost identical size (8.1 cm). Note the cylindrical form and café-au-lait ground. 乾隆款及年代礬紅釉山水方筆筒中國, 1736-1795年。瓷胎緊致，外壁四面鎏金邊框，描繪了精美山水景觀，其中亦有山林高聳、河邊小屋。 邊緣描金，底座和內部塗有明亮的綠松石色釉。底座有鐵紅色“乾隆年製”四字款。 來源：Milton Drexel Rutherford (1894-1976) 收藏，在中國購於1930至1940年間，在同一家族保存至今。盒子填充了當時俄羅斯和中國的剪報。Milton Drexel (Rex) Rutherford是一位美國退伍軍人和工程師。 他在芝加哥生活和工作，為該市的地鐵挖掘隧道。一位客戶送給他一件來自東亞的文物，激發了他對亞洲藝術品收藏的熱情，他的收藏中包括康熙陶瓷以及日本金屬製品和漆器。 品相：狀況極好，有磨損和輕微的製造缺陷，礬紅釉和鎏金處輕微缺損。 重量：186 克 尺寸：高 8.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2003年9月18日，lot 375 價格：USD 19,120（相當於今日EUR 29,000） 描述：乾隆款及年代咖啡色地礬紅釉筆筒 專家評論：比較非常相近的礬紅釉、山水圖、風格和年代款，幾乎相同的尺寸 (8.1 釐米)。請注意橢圓外形和咖啡色地。

A SILVER-INLAID BRONZE ‘BIRD’ FINIAL, EASTERN ZHOU DYNASTY 東周錯銀銅鳥形頂飾Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 4th-3rd century BC. Well cast and finely decorated with neatly applied silver inlays, the elegantly formed bird with a long curved neck and beak, finely incised wings, and fanned-out tail feathers, supported on a straight hollow tube.Provenance: London trade. Acquired from a private estate, where it was kept for a rather long period, according to family repute. Condition: Good condition, commensurate with age. Wear and corrosion, casting flaws, some losses, nicks, scratches. The bronze with a rich, naturally grown patina with cuprite and malachite encrustations.Dimensions: Height 5 cm Literature comparison:Compare a related later bronze bird finial, 7.4 cm high, dated to the Han Dynasty, in the National Museum of Asian Art, Smithsonian Institution, accession number F1916.337. Compare a related silver-inlaid bronze bird-shaped finial, 7.8 cm high, dated to the Eastern Zhou dynasty, 4th-3rd century BC, included in the exhibition Ancient Chinese and Ordos Bronzes, Hong Kong Museum of Art, 1990, cat. no. 81.Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 19 January 2023, lot 3037 Price: HKD 100,800 or approx. EUR 11,500 converted at the time of writing Description: A silver-inlaid bronze ‘bird’ staff finial, Eastern Zhou dynasty, Warring States period Expert remark: Compare the related form with similar hollow base and patina with cuprite encrustations. Note the size (6.5 cm). Auction result comparison: Type: Related Auction: Christie’s New York, 16 March 2017, lot 871 Price: USD 10,625 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A silver-inlaid bronze bird-form finial, Warring States period Expert remark: Compare the related modeling with a similar curved beak. Note the size (7 cm). 東周錯銀銅鳥形頂飾中國，西元前四至三世紀。這隻造型優雅的鳥，鑄材精良，裝飾精美，銀鑲嵌整齊，頸部和喙長且彎曲，精雕細琢的翅膀和張開的尾羽，腹部連接空心直管。來源：倫敦交易。根據家族聲譽，由私人遺產購得，在家族中保存了相當長的一段時間。品相：狀況良好，與年齡相稱。磨損和腐蝕，鑄造缺陷，一些損失，刻痕，劃痕。具有豐富的自然生長銅綠，帶有紅綠色結殼。尺寸：高5厘米文獻比較：比較一件相近的漢代青銅鳥形頂飾，收藏於史密森學會國家亞洲藝術博物館，高 7.4 厘米，館藏編號F1916.337。比較一個相近的西元前4-3世紀的東周時期銀鑲嵌青銅鳥形頂飾，高7.8厘米，收錄於展覽《中國古代和鄂爾多斯青銅器》，香港藝術館，1990年，圖錄編號81。拍賣結果比較：形制：相近拍賣：香港蘇富比，2023年1月19日，lot 3037價格：HKD100,800 （相當今日EUR11,500）描述：東周時期戰國時期銀鑲嵌青銅「鳥」杖頂端專家評論：比較相近的外形與類似的空心底座，以及銅綠與銅石結殼進行。注意尺寸 （6.5 厘米）。拍賣結果比較：形制：相近拍賣：紐約佳士得，2017年3月16日，lot 871價格：USD10,625 （相當今日EUR12,500）描述：戰國時期銀鑲嵌青銅鳥形頂端專家評論：比較相近的模型與類似的彎曲喙。注意尺寸 （7 厘米）。

A MASSIVE AND LARGE ARCHAISTIC BRONZE VASE AND COVER, FANGHU, MING DYNASTY 明代大型仿古方壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1368-1644. Heavily cast, of rounded square section, the baluster body supported on a tall spreading foot, the shoulder and neck applied with phoenix-form handles, the sides and edges with narrow flanges. The body decorated with taotie masks below a band of kui dragons, the shoulder with a band of pendent stiff leaves below further taotie masks to the neck, the foot with taotie masks flanked by ruyi-cross designs, all against diapered key-fret grounds. The similarly decorated cover surmounted by a large finial. Expert’s note: The present archaistic bronze vase is exceptional for its massive size, which makes it exceedingly rare.Provenance: From the estate of Anthony Powell, London, United Kingdom. Anthony Powell (1935-2021) was a British costume designer who brought deep research to his work in both theater and film. His costume designs for John Gielgud's production of The School for Scandal (1963) earned him a Tony Award. Powell collaborated on movies with Steven Spielberg and Roman Polanski and won three Academy Awards for Best Costume Design, including 1978’s Death on the Nile. He was an avid collector of fabrics and trimmings as well as Chinese, Indian, and Southeast Asian works of art. Condition: Good condition with expected old wear, traces of use, shallow surface scratches and casting flaws. Some nicks and dents, minor losses, the lower body on the backside with obvious cracks. Naturally grown dark patina overall.Weight: 20.4 kg Dimensions: Height 74 cmAuction result comparison: Type: Related Auction: Sotheby’s New York, 11 September 2019, lot 805 Price: USD 27,500 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A massive bronze beaker vase, Ming dynastyExpert remark: Compare the archaistic design and diapered key-fret grounds. Note the size (64.8 cm).明代大型仿古方壺中國，1368-1644年。壺身厚重，圓角方形截面，高足，肩部和頸部鳳凰形耳，側面和邊緣有窄凸緣。壺身夔龍帶下飾饕餮紋，肩飾蕉葉紋，下系饕餮紋至頸項，足部飾饕餮紋，兩側飾如意十字紋。壺蓋相同紋飾。 專家注釋：仿古青銅瓶體型碩大，極為難得。 來源：英國倫敦Anthony Powell收藏。Anthony Powell (1935-2021年) 是一位英國服裝設計師，他對戲劇和電影作品進行了深入研究。他為 John Gielgud 製作的The School for Scandal(醜聞學校 ,1963) 設計的服裝為他贏得了托尼獎。Powell與史蒂文斯皮爾伯格和羅曼波蘭斯基合作拍攝電影，並獲得三項奧斯卡最佳服裝設計獎，包括 1978 年的《尼羅河之死》。他熱衷於收藏織物和飾物以及中國、印度和東南亞的藝術品。 品相：狀況良好，有磨損、使用痕跡、表面劃痕和鑄造缺陷。一些劃痕和凹痕，輕微缺損，背面下半部有明顯裂紋。整體自然包漿。 重量：20.4 公斤 尺寸：高 74 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月11日，lot 805 價格：USD 27,500（相當於今日EUR 30,000） 描述：明銅舖首活環四方出戟大尊 專家評論：比較仿古設計和雷紋地。請注意尺寸 (64.8 厘米)。

A GILT-DECORATED POWDER-BLUE-GROUND ‘THREE STAR GODS’ ROULEAU VASE, KANGXI PERIOD 康熙霽藍釉描金《福祿壽三星》棒槌瓶Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1662-1722. Masterfully painted in fine gilt depicting the Three Star Gods (sanxing) surrounded by smiling boys in a fenced garden with pine trees and rockwork as the moon shines in the sky above the pine branches where a single bat flies through the night sky. Shoulao is holding a long cane, suspending a double-gourd in one hand and a peach in the other, standing near two graceful deer and a crane, while Fu (Jupiter) stands beside him wearing a scholar-official’s garb and holding a scroll. The entourage of boys carry offerings toward the gods including a ruyi scepter and incense.Provenance: Collection of Milton Drexel Rutherford (1894-1976), and thence by descent within the family. Two old labels, ’59’ and ‘231,’ below the shoulder. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city’s subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers.Condition: Superb condition with only minor old wear and neglectable firing irregularities. Extremely rare in such a magnificent state of preservation. Especially the gold shows only little rubbing, and over the centuries it has acquired its typical patina, that is so highly desired among discerning collectors.Weight: 4,184 gDimensions: Height 47.6 cm The shoulder with a key-fret band below a band of ruyi heads, followed by two bands of geometric designs to the base of the neck, and a cash-coin band along the galleried rim. The neck of the vase painted with panels enclosing fish and birds as well as Shou characters against foliate grounds above lotus blooms.Literature comparison:Compare a related vase decorated with flowers, birds, and a poem, dated 1709 by inscription, 44.5 cm tall, in the Metropolitan Museum of Art, accension number 79.2.153, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1977, Vol. 12, fig. 141. Compare a related powder-blue vase in Hugo Munsterberg’s The Art of China, Vermont, 1972, fig. 100.Auction result comparison: Type: Closely relatedAuction: Christie’s New York, 19 March 2015, lot 457Price: USD 125,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writingDescription: A gilt-decorated powder-blue-ground rouleau vase, Qing dynasty, Kangxi periodExpert remark: Note the near-identical size (46.5 cm). 康熙霽藍釉描金《福祿壽三星》棒槌瓶中國，1662-1722年。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。通體施霽藍釉，描金錦地。腹部開光，描金繪製了福祿壽三星，四周富貴花卉、假山、樹與仙鹿，童子戲耍，空中蝙蝠飛翔，侍從手端吉果。頸部描金可見“壽”字，開光處描繪花鳥圖。壺口修飾錢幣紋，肩部飾如意紋與雷紋。畫面富貴華麗，細節生動。來源：Milton Drexel Rutherford (1894-1976) 收藏，在同一家族保存至今。瓶肩下貼著兩標籤個’59’ 與 ‘231’。 Milton Drexel (Rex) Rutherford是一位美國退伍軍人和工程師。 他在芝加哥生活和工作，為該市的地鐵挖掘隧道。一位客戶送給他一件來自東亞的文物，激發了他對亞洲藝術品收藏的熱情，他的收藏中包括康熙陶瓷以及日本金屬製品和漆器。 品相：狀況極佳，只有輕微的磨損和可忽略不計的燒製不規則現象。描金幾乎沒有磨損。外部有包漿。 重量：4,184 克 尺寸：高 47.6 釐米 文獻比較： 比較一件相近的1709年霽藍釉描金花鳥詩文棒槌瓶，高44.5 釐米，收藏於大都會藝術博物館，館藏編號79.2.153，見Oriental Ceramics，《The World's Great Collections》，東京，1977年，卷十二，圖141。比較一件相近的藍地瓶，見《Hugo Munsterberg’s The Art of China》，佛蒙特，1972年，圖100。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 457 價格：USD 125,000（相當於今日EUR 150,000） 描述：清康熙灑藍地描金開光山水圖棒槌瓶 專家評論：請注意幾乎相同的尺寸(46.5 厘米)。

A JADE ‘BIRD’ PENDANT, SHANG TO WESTERN ZHOU DYNASTY 商至西周鳥形玉飾Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 12th-11th century BC. Of flattened shape, finely carved in the form of a bird in profile with a short sharp beak, large round eyes, subtly incised wings, and a long curved tail. The translucent stone shows a fine polish and is of a pale green tone with creamy-white and dark-brown patches as well as icy veins and small areas of calcification. One minuscule hole for suspension.Provenance: Collection of Harry Geoffrey Beasley (1881-1939) and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite (1890-1964), acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate, as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley’s death, he acquired a number of objects from Irene Beasley, including the present lot. Condition: Very good condition with expected old wear, some weathering, soil residue, minuscule nibbles. The stone with natural fissures, some of which have developed into small hairline cracks. Weight: 11.7 gDimensions: Length 6.7 cm Literature comparison: Compare a related jade pendant in the form of a bird, dated ca. 1050-950 BC, 5.2 cm long, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.547.Auction result comparison: Type: Closely related Auction: Sotheby’s Hong Kong, 22 April 2021, lot 44 Price: HKD 441,000 or approx. EUR 54,500, converted and adjusted for inflation at the time of writing Description: A white jade ‘bird’ pendant, Late Shang - Western Zhou dynasty Expert remark: Compare the closely related form and subtle manner of carving with relatively few incisions. Note that the jade is of a slightly purer color with less fissures and inclusions. Note the size (5.6 cm).

A BRONZE ‘TIGER’ HALBERD BLADE, ZHONGHU GE, EASTERN ZHOU DYNASTY, WARRING STATES PERIOD 東周戰國虎紋中胡銅戈Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published: Religion and Ritual in Chinese Art, Michael B. Weisbrod, Inc., New York, USA, 8 December 1987, no. 12, page 40.China, 480-220 BC. Finely worked with an elongated triangular blade (yuan) flaring gently into the flat blade guard. Cast in relief with the profile of the ferocious feline with a gaping mouth, baring fangs, and an extended long curling tongue, all in high relief. The ears and forelimbs bent with the body incised on the shank. The end of the yuan pierced with two rectangular chuan (apertures), the tang (nei) with a circular chuan. A rectangular tang with foliate incisions projects from the guard ending in a double curve ‘E’-shaped edge.Provenance: Michael B. Weisbrod, New York, USA. The private collection of an American north-east collector, acquired from the above, c. 1987-1988. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod’s Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Very good condition, commensurate with age. Extensive wear, weathering and erosion, nicks and cracks, shallow surface scratches, possibly minor old fills. Fine, solid patina with distinct malachite and cuprite encrustations. Presenting remarkably well overall.Weight: 396.4 g (excl. stand)Dimensions: Length 27.4 cm With a modern stand. (2)The ge dagger-axe was found in burials from the early Shang through the Warring States period. It came to be a ritual object and a part of the requisite ceremonial paraphernalia of a courtier. According to James Menzies, by the early Western Zhou, “its inclusion in the attire of nobles and officials at all formal functions may be presumed”; and in addition to other Shang and Western Zhou rituals, it may have been used in ceremonial war dance, celebrating the Zhou conquest of the Shang (Menzies, the Shang Ko, pp. 314-316). The ge was also frequently pictured on bronze vessels possibly as a clan emblem.Although the tiger appears on blades of the late Shang and early Western Zhou periods, the feline and the shape of the tang on the present lot indicate a product of a different culture. Manufacture of ge with triangular blades discontinued in the Central Plains area of China by the middle Western Zhou period. The type seems to have persisted in the kingdoms of Ba and Shu in modern Sichuan province through the Warring States period. Many of these excavated ge from this area have E-shaped tang which did not appear among the Shang or Western Zhou blades. Tigers are frequently seen as motifs on the various types of ge and other weapons of the Ba-Shu area. This may be related to the legend that when Lin Jun, first ancestor of the Ba tribe, died, his soul was transformed into a white tiger.Literature comparison:Compare profile tigers similar to this lot which are reproduced in Tong Enzheng’s “Investigations of the bronze ge from Southwest China” (Kaogu Xuebao 1979, no. 4, pp. 442, fig. 1:6, pp. 447, fig. 3; see also Wenwu 1976 no. 3, p. 41 fig.2 and pl. I, no. 6; Wenwu 1976 no. 7, p. 82-85; Kaogu 1986 no. 11, pp. 986, fig. 6). Compare with a Zhonghu Ge with tiger pattern, China, unearthed at Dubaishu, Pixian County, Chengdu City, Warring States period, 475 - 221 BC, bronze Sichuan Provincial Museum Chengdu, China, accession number DSC04243.

A SET OF TWELVE JADE AND GILT-BRONZE ‘AUSPICIOUS BEASTS’ BELT PLAQUES, LIAO DYNASTY 遼代一組十二件鎏金銅神獸紋玉腰帶牌Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, c. 10th-12th century. Each jade belt plaque is carved in high relief with an animal or mythical beast, depicting a dragon, qilin, phoenixes, lion, tiger, bear, and cranes, and set within a bronze fitting. Each jade plaque and bronze fitting is pierced with a slit. The smoothly polished jades are of a celadon tone with russet inclusions. The bronze fittings are covered in a fine, naturally grown patina with malachite and cuprite encrustations.Provenance: From an old private collection in Vienna, Austria. Condition: Good condition, commensurate with age. Wear, traces of use, small losses, minor nicks here and there, signs of weathering and erosion, encrustations.Scientific Analysis Report: An examination of the bronze components of the present lot was conducted by the Curt-Engelhorn-Zentrum für Archäometrie using energy dispersive X-ray fluorescence analysis, micro energy dispersive X-Ray fluorescence analysis, and lead test analysis. These tests found that the bronze fitting of the largest belt plaque was made from a tin-lead-bronze alloy in which no modern components of any kind could be detected. Conversely, it was also found that the sample contains trace elements that are typical of ancient metal alloys. The report concludes that the tests found absolutely no evidence of modern manufacture of the present lot. A copy of the examination report, no. 16-024, dated 25 February 2016, accompanies this lot.Weight: 747 g (total) Dimensions: Size 8.5 x 4.2 cm (the largest) and 4 x 3 cm (the smallest) With a silk storage box. (13)Khotan in the Tarim basin had rich jade stores during the Tang dynasty. The jade was fashioned into ornaments such as women’s comb tops and decorative plaques for belts worn by senior officials. The use of such plaques had its origin in the Tang dynasty, when the emperor presented jade-decorated belts to the nobility and senior members of the government as part of their official costume. The jade plaques in this set are carved in high relief with images of animals and mythical beasts.Literature comparison: Compare a related set of ten decorative belt plaques, dated to the Tang dynasty, in the Metropolitan Museum of Art, accession number 1992.165.22a–j. Compare a related group of three gilt-bronze mounted jade belt fittings, two with similar slits as found on the present lot, dated to the Liao dynasty, in the Museum of East Asian Art, Bath, record number BATEA : 451. Compare a related celadon jade plaque carved with a crane, dated to the Western Liao dynasty (of the Qara Khitai based in Central Asia who were originally refugees from the Liao dynasty), circa 12th-13th century, in the British Museum, registration number 1880.3611.Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 1 June 2023, lot 319 Estimate: HKD 600,000 or approx. EUR 69,000 converted at the time of writing Description: A set of eleven white jade ‘musicians and dancers’ belt plaques, Tang dynasty Expert remark: Compare the related forms and manner of carving with similar high relief. Note that the lot comprises eleven white jade belt plaques (the largest 5.2 cm long), dated to the Tang dynasty.

A PAIR OF CYLINDRICAL ‘TAOTIE MASK’ JADE BEADS, SHANG DYNASTY 商代一對饕餮紋玉珠Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1600-1046 BC. Of tapering form, both are carved with a finely detailed taotie mask. Each has a small piercing drilled through the front, joining the main vertical tunnel, and the is back flattened. The opaque stone is covered extensively with milk-white calcification and some faint russet inclusions. (2)Provenance: Collection of Harry Geoffrey Beasley and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite, acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate, as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley’s death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Very good condition, commensurate with age, with expected old wear and minuscule, mostly smoothened nicks. The stone with natural inclusions and fissures which have developed into small hairline cracks over time.Weight: 2.7 g and 2.6 g Dimensions: Length 1.4 cm and 1.4 cmLiterature comparison:Compare a related tubular bead with taotie, 4 cm high, dated to the Shang dynasty, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.428.Auction result comparison: Type: Related Auction: Sotheby’s London, 8 December 2022, lot 154 Price: GBP 88,200 or approx. EUR 106,000 converted and adjusted for inflation at the time of writing Description: A mottled, pale-gray jade bead, Shang/Western Zhou dynasty Expert remark: Compare the similar form with a flattened reverse. Note the larger size (2.5 cm). 商代一對饕餮紋玉珠中國，西元前1600-1046年。玉珠呈錐形，雕刻饕餮面具。每個都在前面鑽有一個小穿孔，背面是平。不透明玉石大面積覆蓋著乳白色的鈣化物和黃褐色內沁。 (2) 來源：Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存。重量：分別為2.7與 2.6克 尺寸：各長 1.4 厘米 文獻比較: 比較一件相近的商代饕餮紋玉珠，高4 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S2012.9.428。 拍賣結果比較: 形制：相近 拍賣：倫敦蘇富比，2022年12月8日，lot 154 價格：GBP 88,200（相當於今日EUR 106,000） 描述：商/西周玉珠 專家評論：比較相似的形式但背面扁平。請注意尺寸較大 (2.5 厘米)。

A MOTTLED JADE CONG, LATE NEOLITHIC TO SHANG DYNASTY 新石器時代末至商代玉琮Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 2nd-1st millennium BC. With plain sides and narrow collars encircling the central aperture, the completely opaque stone of mottled gray, brown, and buff tones with dark veins.Provenance: Italian trade. Acquired from a private estate in northern Italy.Condition: Very good condition, commensurate with age, with several smoothened areas to the edges. The stone with natural inclusions and fissures, some of which have developed into larger cracks. Significant wear overall, mostly from centuries of worship within the culture, as well as distinct areas of weathering and erosion.Weight: 582.8 gDimensions: Width 9.3 cm The cong is one of the most enigmatic of all Chinese jade artifacts, used as a ritual utensil during sacrificial and burial ceremonies.Literature comparison: Compare a closely related mottled jade cong, dated to the late Neolithic period, circa 2250-1900 BC, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1917.4.Auction result comparison: Type: Closely relatedAuction: Christie’s New York, 16 March 2017, lot 801Price: USD 40,000 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A grayish-green and buff jade cong, 2nd-1st millennium BCExpert remark: Compare the closely related form and mottled color. Note the size (6.3 cm). 新石器時代末至商代玉琮中國，公元前2000年至1000年。完全不透明的玉琮，内圓外方。玉琮有著斑駁的灰色、棕色和淺黃色色調，帶有深色紋理。 來源：義大利古玩交易，據説購於義大利北部私人收藏。 品相：狀況極好，邊緣有幾個平滑的區域。玉石帶有天然内沁和裂隙，有的已發展成較大的裂紋。整體有明顯的磨損，以及風化和侵蝕區域。 重量：582.8 克 尺寸：寬 9.3 厘米 文獻比較： 比較一件非常相近的約西元前2250-1900年新石器時期末期玉琮，收藏於史密森學會國立藝術博物館，館藏編號F1917.4。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月16日，lot 801 價格：USD 40,000（相當於今日EUR 45,500） 描述：公元前二千至一千年玉琮 專家評論：比較非常相近外形和斑駁顏色。請注意尺寸 (6.3厘米)。

A PALE CELADON JADE SWORD POMMEL, WESTERN HAN DYNASTY 西漢青白玉劍首Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 206 BC-8 AD. Of circular form, finely carved in low relief with a central spiral design encircled by lappet motifs, all interspersed by neatly incised cross-hatched designs and curved lines. The back with a central circular aperture flanked by two small pierced holes. The stone of a pale celadon tone with dark gray and cloudy inclusions as well as areas of white calcification. Good polish and elegant luster.Provenance: Collection of Harry Geoffrey Beasley (1881-1939) and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite (1890-1964), acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley’s death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Good condition with minor old wear, minuscule nibbling, minor signs of weathering and erosion, and iron rust encrustations. The stone with natural fissures, some of which have developed into small hairline cracks over time.Weight: 21.3 gDimensions: Diameter 3.8 cm Literature comparison: Compare a related jade pommel, dated ca. 3rd-1st century BC, 4.6 cm diameter, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.599. Compare various other pommels excavated from the tomb of the King of Nanyue and illustrated in Jades from the Tomb of the King of Nanyue, pls. 204, 210, 211, and 212.Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 30 November 2021, lot 461 Price: HKD 176,400 or approx. EUR 21,000 converted at the time of writing Description: A jade sword pommel, Han dynasty Expert remark: Compare the related form and design. Note the size (5.7 cm).

A WHITE JADE FIGURE OF A PIG, HAN DYNASTY 漢代白玉豬Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 206 BC to 220 AD. Of elongated form, finely carved, detailing the recumbent pig with ears tucked back, a prominent snout, incised brows, and incised eyes outlined in red pigment. The opaque jade once of superb and pure color, now covered almost entirely in calcification, with several distinct areas of erosion.Expert’s note: Studying a well-documented ancient jade figure, with a bulletproof provenance such as the present lot, can be quite fascinating, especially when it exhibits distinct regions of natural erosion while also retaining some parts of the original jade in pristine condition, all within the same artifact. In the past, esteemed Chinese collectors of archaic jades used to keep multiple such study pieces as references.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Sirén, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musée Guimet and the Metropolitan Museum of Art.Condition: Some old wear, signs of weathering and erosion with associated losses, encrustations, few minor chips, all as can be expected from a jade with 2,000 years of age.Weight: 102.8 gDimensions: Length 11.5 cm The present jade carving, with its curved bodyline and shaped snout and tail, is more realistically represented than most jade pigs from the Han dynasty. A very similar jade pig dating to the late Eastern Han dynasty was unearthed from Tomb no. 1 in Dongyuancun in Haoxian, Anhui province, illustrated in Zhongguo meishu quanji, vol. 9, Jade, Beijing, 1986, pl. 195 (fig. 1). It was believed that jade pigs were placed for protection of the dead. This practice is connected with the Daoist belief, as stated in the 4th century text Baopuzi by Ge Hong, 'when gold and jade plug the nine orifices, man dies but his body does not decay'. Pairs of jade pigs were placed in the hands of the deceased. Funerary jade pigs from this period are often carved with a few deep calculated cuts, known as the Eight Cuts of Han.Literature comparison:Compare similarly carved jade pigs, Han dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade 4, Beijing, 2011, p.130, nos.152-153.Auction result comparison: Type: Closely relatedAuction: Sotheby’s Hong Kong, 8 April 2023, lot 3842Price: HKD 609,600 or approx. EUR 70,500 converted at the time of writingDescription: A calcified jade recumbent pig, Western Han dynastyExpert remark: Compare the closely related manner of carving, calcification, and size (11.9 cm).

A SAPPHIRE-BLUE GLASS OVERLAY ‘LOTUS POND’ SNUFF BOTTLE, ATTRIBUTED TO THE IMPERIAL GLASSWORKS, BEIJING, 1750-1790 1750-1790年涅白地套寶石藍荷塘紋鼻煙壺，或爲御製Please note this Lot is to be sold at No Reserve. 本拍品不設底價The baluster body supported on a short foot and rising to a rounded shoulder with tapered neck and thick everted rim. The exterior masterfully carved through the transparent sapphire-blue outer layer to the opaque milky-white ground with a single overlay of lotus growing in clumps of leaves, flowers, and buds from waves around the base. Provenance: Collection of John Gilmore Ford. The Albemarle Collection, acquired from the above. Robert Kleiner & Co. Ltd.. London, United Kingdom, 2004. A private collection in the United Kingdom, acquired from the above. A copy of the original invoice from Robert Kleiner & Co. Ltd., dated 30 September 2004, confirming the Imperial attribution and dating above, and stating a purchase price for the present lot of GBP 5,500 or approx. EUR 13,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. John Gilmore Ford, former president of the International Chinese Snuff Bottle Society, is a widely respected collector of Asian art, beginning his highly important collection already in his early twenties. He was strongly influenced by his godfather, Edward Choate O’Dell, the founder of the Chinese Snuff Bottle Society. Gary Vikan, director of the Walters Art Museum in Baltimore, has said that, “Ford, more than anyone, has assumed the mantle of the collector whose scope and ambition has a civic dimension.” Condition: Pristine condition with minor surface wear, and some manufacturing irregularities.Stopper: Gilt bronzeWeight: 39.9 gDimensions: Height incl. stopper 83 mm, Diameter neck 18mm and mouth 7 mmLiterature comparison:Compare a closely related snuff bottle with green overlay in the Marquess of Exeter’s Collection, illustrated by Robert Kleiner, Chinese Snuff Bottles from the Burghley House Collection, London, 1989, cat. no. 20.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 28 November 2011, lot 152 Price: HKD 300,000 or approx. EUR 48,500 converted and adjusted for inflation at the time of writing Description: A sapphire-blue glass overlay ‘floral’ snuff bottle, 1740-1780 Expert remark: Compare the closely related form, color, and manner of carving. Note the different floral decoration and the size (61 mm). Note further that this bottle is attributed to the Imperial glassworks in Beijing, exactly like the present lot. 1750-1790年涅白地套寶石藍荷塘紋鼻煙壺，或爲御製頸部上窄下寬，溜肩，壺體修長，圈足。外壁涅白地，套寶石藍色料，精心呈現荷塘風景。 來源：John Gilmore Ford收藏；Albemarle 收藏，購於上述收藏；英國倫敦Robert Kleiner & Co. Ltd.藝廊，2004年；英國私人收藏，購於上述藝廊。隨附一份Robert Kleiner & Co. Ltd.藝廊2004年9月30日出具的發票副本，上面確認拍品為御製與斷代 以及售價GBP 5,500 相當於 EUR 13,000 (根據通貨膨脹率)。John Gilmore Ford曾經是國際中國鼻煙壺協會前主席，是一位深受尊敬的亞洲藝術收藏家。他二十歲出頭就開始了非常重要的收藏。 他深受其教父、中國鼻煙壺協會創始人Edward Choate O’Dell的影響。巴爾的摩沃爾特斯藝術博物館館長Gary Vikan 表示：“Ford比任何人都更能承擔起收藏家的責任，他的視野具有大衆維度。” 品相：原始狀態，表面輕微磨損、鑄造不規則。 壺蓋：銅鎏金 重量：39.9 克 尺寸：總高83毫米，頸部直徑18毫米，壺口直徑 7 毫米文獻比較： 比較一件非常相近的綠色鼻煙壺，Exeter侯爵收藏，見Robert Kleiner，《Chinese Snuff Bottles from the Burghley House Collection》，倫敦，1989年，圖錄編號20。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2011年11月28日，lot 152 價格：HKD 300,000（相當於今日EUR 48,500） 描述：1740-1780年白套藍玻璃纏枝花卉紋鼻煙壺 專家評論：比較非常相近的外形、顏色和雕刻風格。請注意不同的花卉紋裝飾和尺寸 (61 毫米)。請注意此鼻煙壺可能是北京宮廷御製，和我們的鼻煙壺一樣。

AN IMPORTANT AND RARE JADE ‘MASK’ PENDANT, HUANG, LIANGZHU CULTURE 良渚文化罕見神面玉璜Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, circa 3300-2200 BC. Finely decorated to all sides and edges with neatly applied incision work depicting cosmic cloud scrolls, the present Huang has a prominently carved godhead mask located at the center of the front side, just beneath a zoomorphic bird head with a pointed beak at the top. Both wings are pierced with funneled apertures for suspension. The opaque stone is of a brown hue with beige clouding and dark brown inclusions.Provenance: From the Sir Percival David collection, according to an old paper label reading “The Percival Collection, of Chinese Jades” and manually inscribed “Zoomorphic Figure”. Collection of Harry Geoffrey Beasley, probably acquired from the above between 1923 and 1939, and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite, acquired from the above c. 1939 and thence by descent in the same family. Sir Percival David (1892-1964) was a Bombay-born British financier who is best known as a scholar and collector of Chinese ceramics, postal stamps, and jades. He became enamored with Chinese art after his visit to China in 1923 and started the Percival David Foundation to promote the research of Chinese art and culture. His collection grew to an astounding 1,700 pieces, which are now on display at the British Museum. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley’s death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Very good condition, commensurate with age. Extensive wear and weathering, as expected, with rubbing and abrasion to the fine incision work, and some nicks and chips which have smoothened over time. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Calcification throughout.Weight: 73.7 g Dimensions: Length 10.3 cm With an associated metal stand. (2)Huang were a part of the elite adornments during the Neolithic period, especially within Hongshan, Liangzhu, and Longshan cultures. These were worn along with headgear, knee decorations, elaborate beaded necklaces, and other body ornaments, all made primarily from jade. Dr. Elizabeth Childs-Johnson dubs these cultures a part of the ‘Jade Age’, a period during which an abundance of jade objects accompanied the elite burials for the first time. The imagery carved on these jade adornments was highly standardized, and the most prominent image, which appears on this lot, is that of the godhead (also called a spirit person, shenren, or an anthropomorphized deity). This image is flat, often covered in cosmic cloud scrolls, and has zoomorphic attributes combining bird and semi-human elements.Literature comparison:Compare a closely related but much smaller jade pendant with godhead incision work, 6.3 cm long, dated to the Neolithic period, Liangzhu culture, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.734. Compare also a related jade ornament with a mask godhead, 8.3 cm wide, dated to the Neolithic period, Liangzhu culture, in the Metropolitan Museum of Art, accession number 18.63.

AN INSCRIBED HALF OF A BRONZE TIGER TALLY, EASTERN HAN DYNASTY 東漢半片銅虎符Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: According to Ch'i-kuo k'ao, pp. 366-67 (Chapter 12, ‘The Penal Law of Wei’), “He who steals a tiger tally will be executed and his house and property confiscated.” The fact that only one half remains of this tiger tally, however, indicates that someone indeed once risked their life to snag this highly important object which could decide the fates of entire wars, possibly to disrupt the enemy’s chain of command.China, 25-220 AD. Cast in the form of a recumbent tiger with the mouth open, inscribed along the curvature of its neck and down its back, a single aperture for suspension in its twisting tail. The dynamic posture of the tiger, as if it were ready to pounce on its enemy, shows swirling indentations from casting, symbolizing its muscular legs.Inscription: To the tiger’s neck and back, ‘Si Gong […]’, likely referring to a government office.Provenance: A private collection in Vienna, Austria. Galerie Zacke, Vienna, before 1998. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original invoice from Galerie Zacke, addressed to the Nickls, dating the present lot to the Warring States period, and stating a purchase price for the present lot of ATS 14,500 (or approx. EUR 1,900 converted and adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna’s tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel (‘Roll of Honor’) of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition. As expected, typical wear and weathering commensurate with age, encrustations, nicks, scratches, minor casting flaws. Fine, dark, smooth, and naturally grown patina with malachite encrustations.Weight: 126 gDimensions: Length 9.4 cm The tally played a significant role in ancient warfare. The Historical Records by Sima Qian document a story that the state of Qin besieged Handan, the capital of the state of Zhao, in 257 BC, and Zhao requested aid from the neighboring state of Wei. The King of Wei asked the senior general Jin Bi to lead 100,000 soldiers to save Zhao. However, Jin was afraid of Qin's power and halted the offensive. Lord Xinling, son of the King of Wei, was determined to save Zhao and requested that Lady Ru, the king's concubine, steal the tiger-shaped tally from the king's bedroom. She succeeded. Seeing the tally, the soldiers obeyed orders and finally rescued Zhao.Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 22 March 2022, lot 49 Price: USD 50,400 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: An inscribed section of a bronze tiger tally (Hufu), Eastern Han dynasty Expert remark: This lot also comprises a tiger tally half. Note the size (7 cm).

A LARGE BRONZE MIRROR WITH A 37-CHARACTER INSCRIPTION, HAN DYNASTY, CHINA, 206 BC-220 AD 漢代長樂銘文銅鏡Please note this Lot is to be sold at No Reserve. 本拍品不設底價Inscription: ‘Yelian tonghua qing er ming, yi zhi weijing, yi wenzhang, changsheng yishou qu buxiang, yutian changjiu er riguang, qianwan sui xi leweiyang’ (The bronze mirror we made is clear and shiny. With such a mirror, you will be blessed with a long life, and it will ward off bad luck. We wish you a long life as long as heaven and earth, and eternal joy and happiness).Expert’s note: Inscribed bronze mirrors with bullet proof provenance, such and extensive and detailed inscription, and in such excellent condition overall, must be considered as exceedingly rare.The central knop rising from quatrefoil lotus petals, encircled by an eight-pointed star, surrounded by ancient cult symbols and decorated with an outer band holding the 37-character inscription in high relief, all within a sawtooth border on the rim. The circular bronze with a rich, naturally grown patina with malachite and cuprite encrustations.Provenance: Galerie Themis, Brussels, April 23, 1952 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. The obverse with two old labels, one reading ‘MBR no. 174 Epoque Han. 20630. Chine,’ and the accompanying display stand with two inscriptions on the reverse. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France’s post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven’s museum for an exhibition titled Oude kunst in Leuvens Privébezit (‘Old Art in Private Collections in Leuven’), and in 1967, they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen (‘Japanese Art in Belgian Private Collections’).Condition: Superb condition with only minor old wear and some weathering, encrustations, scratches to the rim, and nicks, all exactly as expected from an ancient bronze mirror. Magnificent, naturally grown patina with fine cuprite and malachite encrustations.Weight: 875.2 (excl. stand)Dimensions: Diameter 18.4 cmWith a fitted wooden display stand wrapped in fabric, dating to around 1952. (2)Literature comparison:Compare a closely related bronze mirror, 14 cm diameter, dated to 2nd-1st century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S 2012.9.1756. Compare a related bronze mirror, 13 cm diameter, dated 2nd-1st century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number 2012.9.2103. Compare a closely related bronze mirror, 18.8 cm diameter, dated to the Han dynasty, in the British Museum, registration number 1957,1119.1.Auction result comparison:Type: Closely relatedAuction: Christie’s New York, 20 March 2015, lot 718Price: USD 16,250 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A bronze circular mirror with inscription, late Western to early Eastern Han DynastyExpert remark: Note the near-identical size (18.9 cm) and design, showing a different inscription.Auction result comparison: Type: RelatedAuction: Christie’s New York, 22 March 2012, lot 1425Price: USD 122,500 or approx. EUR 152,000 converted and adjusted for inflation at the time of writingDescription: A silvery bronze circular mirror with inscription, Western Han dynastyExpert remark: Note the size (19 cm).

A RARE WHITE MARBLE CARVING OF A PHALLUS, WESTERN HAN DYNASTY 西漢漢白玉玉勢 Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 206 BC-8 AD. The realistically carved elongated phallus is decorated with rings along the shaft and with a cross-hatched decorative band at the base. The base has a domed recess inside that is pierced horizontally for suspension. This recess has a second aperture that extends to the tip of the phallus.Provenance: Bonhams, Hong Kong, December 16th, 2022, lot 351. Note that Bonham’s experts originally dated this lot to the Tang dynasty.Condition: Good condition commensurate with age. Signs of wear, weathering, and erosion. Minor nicks and losses. Soil encrustations overall, issuing from an extended period of burial. These encrustations cannot be easily removed, and they have left distinct marks to the mineral. The stone with natural inclusions and fissures, some of which have developed into hairline cracks. Fine, naturally grown golden-brown patina overall.Weight: 431.7 g Dimensions: Length 18.9 cm Expert’s note: Similar to the few known phallus sculptures from ancient China, the heavy encrustation from extensive burial is evidence of its (eventual) use as a grave good. The elaborate carving with great attention to detail and the two apertures, one for suspension and one for added realism, suggest the elite status of the person with which this was buried. Phallic objects carved from stone, or cast from metal or terracotta, are common subjects of any major ancient culture. Throughout time, the phallus was seen as an emblem of life and procreation. Not only did it have the power to induce fertility, but it also had an equally important role as an auspicious emblem which would ward off diseases. The practice of castration and the employment of court eunuchs, likely established in China during the Sui dynasty, added a secondary role of model phalli: the restoration of manhood after death (court eunuchs would be buried with their detached genitalia). However, this multifaceted subject remains somewhat of a taboo, which has contributed to relatively scarce publications about ancient Chinese erotic sculpture.Phalluses of various materials, believed to be associated with fertility rites, have been made in various prehistoric cultures in the Yellow River basin. Later in the Shang dynasty, when pictographic language emerged, the character zu (ancestor) closely resembled the male sexual organ, indicating the significance of the male role in ancient Chinese ancestry.Literature comparison: Compare two similar bronze phallus excavated from a tomb in the Dayun Mountain, Xuyi, Jiangsu, dated to the Western Han dynasty, in the Nanjin Museum, included in the exhibition Tomb Treasures: New Discoveries from China’s Han Dynasty, Asian Art Museum, San Francisco, 17 February-28 May 2017. Compare two bronze V-shaped double-phalli, excavated in the tomb of Prince Zhongshan (Liu Sheng), dated to the Han dynasty, published in Mancheng Han mu Fajue Baogao (Excavation Report of the Han Dynasty tomb at Mancheng), Beijing, 1980, vol. 1, pp. 100. The former was unearthed together with a pair of matching stone pebbles, illustrated ibid., vol. 2, pl. LXI, fig. 2.Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 29 April 2022, lot 3670 Estimate: HKD 140,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A bronze phallus, Han dynasty Expert remark: Note the similar wrinkle-like rings at the top of the shaft. Note the size (17.2 cm).

A JADE ‘MUSICIAN’ BELT PLAQUE, TANG DYNASTY 唐代樂俑紋玉帶牌Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 618-907. Of square form with slightly tapered sides, the top finely carved in relief with a musician of Central Asian origin seated on a mat and playing percussion instruments held in each hand. His robe neatly incised with folds, his boots with decorative designs, a scarf swirling around him. The back is pierced for attachment. The partly translucent stone of a white tone with extensive opaque calcification, showing a good surface polish and beautiful luster.Provenance: Collection of Harry Geoffrey Beasley (1881-1939) and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite (1890-1964), acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley’s death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Very good condition with expected old wear, tiny nicks and minuscule chips to edges which have smoothened over time. The pierced apertures with remnants of corrosion from ancient metal fittings. Some malachite and cuprite encrustations to the stone in these areas.Weight: 30.5 gDimensions: Size 3.7 x 3.8 cm Plaques such as the present example were produced from the early Tang dynasty in sets to adorn belts, with each plaque variously carved with musicians playing different instruments or as servers bearing tribute. Many of the figures are dressed in Central Asian style, in keeping with the fashion seen on foreigners in the Tang dynasty capital.Literature comparison: Compare two related jade belt plaques decorated with foreign figures playing musical instruments, illustrated in Jadeware (II) - The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pls. 22 and 23. Compare a set of ten belt plaques of this type in the Metropolitan Museum of Art, accession number 1992.165.22a–j, described as depicting dancers and musicians of Central Asian origin, probably of Kizil ethnicity.Auction result comparison: Type: Closely related Auction: Bonhams London, 12 May 2022, lot 16 Price: GBP 63,300 or approx. EUR 81,500 converted and adjusted for inflation at the time of writing Description: Two very pale green jade square belt plaques, Tang dynasty Expert remark: Compare the closely related form and design. Note that this lot comprises two belt plaques. Note the smaller size (3.9 cm).

A 20thC. folk art carved wood & hand painted Asian gentleman seated playing a sitar, 305mm tall

Set of three oil paintings on canvas, measurements with frame: 90 x 37 cm. Rein de Lege began his studies at the Rijks-academie Amsterdam, School of Art (1971-1975). He followed the classical education of drawing and painting with special attention to drawing from models. In 1977, he moved to the Minerva Academy in Groningen (1977-1980) where he continued his studies. In addition to drawing and painting, he focuses on graphic arts: engraving and lithography. After visiting Barcelona on vacation in 1978, Rein de Lege is so fascinated by life on the streets and bars of "Chinatown" (in reality, this area is not inhabited by an Asian population...). visits throughout the years when he decided to settle permanently in the capital of Catalonia (1988) where he continues to live there to this day. The drawings of the bustling old town have always been very inspiring and are still echoed in his current works.

A BRONZE ASIAN ART DISH, DIAMETER 12CM

An Art Nouveau pewter tray Tudric 0547, 23cm long and 13cm wide. (1)

A COLLECTION OF THIRTY-ONE AUCTION CATALOGUES ON CHINESE AND ASIAN ART (2013-2023), to include: Christies - 'Legacy of the YC Chen Collection', 'The Yiqingge Collection of Chinese Ceramics', 'European Noble & Private Collections'; 'Sotheby's - 'Sakamoto Goro - Asian lacquer', 'Fine Chinese Ceramics and Works of Art', 'Important Chinese Art'; Bonhams - 'The Alan and Simone Hartman Collection', 'Chinese Ceramics, Works of Art and Paintings'; Woolley & Wallis - 'Twelve Years, Twelve Treasures'; Dreweatts; Sworders and others (31)Overall good condition.

SIXTEEN AUCTION CATALOGUES ON ASIAN AND EUROPEAN ART, MOSTLY CHINESE (1981-2010), to include: Christie's - 'Chinese Ceramic and Works of Art', 'The Nieboer Collection', 'Collection of Theodore-Aubanel', 'The Longridge Collection'; Sotheby's - 'The C.C. Wang Family Collection', 'The Edward T. Chow Collection', Chinese Porcelain from the Collection of the British Rail Pension Fund'; Bonhams - 'European Works of Art and Sculpture, including the Avery Collection', and others (16)Odour of cigarette smoke and in used condition.

Jugendstil-Blumenständer. 20. Jh. Nussbaum massiv und lackiert. Ca. 124 x 30 x 29 cm. Asiatisch anmutendes, trapezförmiges Postament mit 3 Ablagen, auf 4 Beinen, dekoriert mit Messingbeschlägen. Restauriert, Trockenrisse, Deckplatte etwas verzogen. Versand auf Anfrage.Aufrufzeit 22. | Feb 2024 | voraussichtlich 19:48 Uhr (CET)Art Nouveau flower stand. 20th century Solid walnut and lacquered. Approx. 124 x 30 x 29 cm. Asian-style, trapezoidal pedestal with 3 shelves, on 4 legs, decorated with brass fittings. Restored, dry cracks, top plate somewhat warped. Shipping on request.Aufrufzeit 22. | Feb 2024 | voraussichtlich 19:48 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

34 Originalabzüge der Fotografin Lotte Laska. Mitte 20. Jh. Teils mit Bleistiftsignatur. LASKA, Lotte(1927 - 2009) Silbergelatineabzüge. Mappe ca. 51 x 42 cm. 34 lose, verschieden große Fotografien mit unterschiedlichen Sujets, darunter der Zyklus "In der Töpferklasse der Kölner Werkschule", Damenporträts, Blick in ein Museum für Asiatische Kunst (Köln ?), Architekturmotive, Pflanzenaufnahmen und Szenen des täglichen Lebens; teils auf Pappe aufgezogen, in grüner Klappmappe mit Stempel "Lotte Laska". Alters-/Gebrauchsspuren, teils kratzspurig. Aufrufzeit 24. | Feb 2024 | voraussichtlich 10:55 Uhr (CET)34 original prints by the photographer Lotte Laska. Mid 20th century Partly with pencil signature. LASKA, Lotte(1927 - 2009) Silver gelatin prints. Portfolio approx. 51 x 42 cm. 34 loose, variously sized photographs with different subjects, including the cycle "In der Töpferklasse der Kölner Werkschule", portraits of ladies, a view of a museum of Asian art (Cologne ?), architectural motifs, photographs of plants and scenes of everyday life; some mounted on card, in a green folder with stamp "Lotte Laska". Marks of age/use, some scratches. Call time 24 | Feb 2024 | probably 10:55 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A lot of Asian art, including carved wooden sculptures and Japanese woodcuts, up to. 3x.

After Xu Beihong (1895-1953) Running Horse, wood block, 47cm x 24cm;  coloured photograph of Trans Siberian Express, Mongolia;   Chinese Imperial Patronage: Treasures from Temples and Palaces VOL.I & II - Bruckner, Christopher - Published by Asian Art Gallery, London; etc

Pacita Abad (1946–2004) was a pioneering Filipino artist known for her vibrant and colorful mixed-media works. Here are key points about Pacita Abad:1. **Early Life:** Pacita Abad was born on October 5, 1946, in Basco, Batanes, Philippines. She initially studied law at the University of the Philippines but later decided to pursue art.2. **Art Education:** Abad received her Bachelor of Fine Arts from the University of the Philippines College of Fine Arts. She continued her studies in the United States, earning a master's degree in Asian Studies from the University of the Philippines and a Master of Fine Arts from The Catholic University of America in Washington, D.C.3. **Migration Series:** Abad moved to the United States in the 1970s and began her career as an artist. One of her notable early works is the "Migration Series," inspired by her experiences as an immigrant in the U.S.4. **Trapunto Paintings:** Abad developed a unique technique called "trapunto" painting, involving the layering of fabrics and materials on the canvas to create a textured and three-dimensional effect. This technique became a signature element of her work.5. **Global Artistic Practice:** Abad's art was deeply influenced by her extensive travels. She lived and worked in various countries, including the Philippines, India, Bangladesh, Sudan, Mexico, and the United States. Her art reflects a global perspective and a commitment to social issues.6. **Social and Political Themes:** Abad's work often addressed social and political themes, including human rights, cultural identity, and environmental concerns. She used her art as a platform for advocacy and raising awareness.7. **Painted Bridge Project:** One of Abad's notable projects was the "Painted Bridge," where she collaborated with over a thousand children to paint colorful and imaginative designs on a bridge in Singapore. This project aimed to promote community engagement and creativity.8. **Sari Series:** Abad's "Sari Series" is a collection of paintings featuring the traditional saris of Indian women. These works celebrate the diversity and beauty of Indian textiles.9. **Awards and Recognition:** Pacita Abad received various awards for her contributions to the arts, including the Ten Outstanding Young Men (TOYM) award in the Philippines.10. **Death:** Pacita Abad passed away on December 7, 2004, at the age of 58, due to complications from lung cancer. Her legacy continues through her innovative artistic practice and the impact of her socially engaged artworks.11. **Legacy:** Pacita Abad's legacy is marked by her pioneering spirit as a female artist from Southeast Asia, her experimentation with materials and techniques, and her commitment to using art as a means of cultural exchange and social commentary. Her works are part of major collections and exhibitions worldwide.Measures 29.75 x 40.

San Francisco is a vibrant and culturally diverse city located on the west coast of the United States in the state of California. Known for its iconic landmarks, diverse neighborhoods, and progressive values, San Francisco is one of the most popular and visited cities in the country. Here are key aspects of San Francisco:1. **Golden Gate Bridge:** Perhaps the most iconic symbol of the city, the Golden Gate Bridge spans the entrance to San Francisco Bay and is renowned for its stunning views and distinctive orange color.2. **Alcatraz Island:** Located in San Francisco Bay, Alcatraz Island was a former federal prison and is now a popular tourist attraction. The prison housed notorious criminals, and tours offer insights into its history.3. **Cable Cars:** San Francisco is famous for its historic cable cars, a unique and charming form of public transportation. Visitors often enjoy riding the cable cars to experience the city's hills and take in scenic views.4. **Chinatown:** San Francisco's Chinatown is one of the oldest and largest in North America. It features vibrant streets filled with shops, restaurants, and cultural attractions.5. **Fisherman's Wharf:** A bustling waterfront area, Fisherman's Wharf is known for its seafood restaurants, street performers, and attractions like Pier 39, which features shops and the popular sea lion colony.6. **Hilly Terrain:** San Francisco is characterized by its steep hills, which provide unique and picturesque views of the city. Lombard Street is famous for being the "crookedest" street in the world.7. **Tech Hub:** The city is a major center for technology and innovation, with Silicon Valley located nearby. Companies such as Apple, Google, and Facebook have a significant presence in the region.8. **Cultural Diversity:** San Francisco is known for its diverse population and inclusive culture. The city has been at the forefront of LGBTQ+ rights and is home to the historic Castro district.9. **Parks and Green Spaces:** Golden Gate Park, one of the largest urban parks in the world, offers a variety of attractions, including the California Academy of Sciences and the Japanese Tea Garden. The city is also known for its numerous smaller parks.10. **Art and Culture:** San Francisco has a rich cultural scene with numerous museums, theaters, and galleries. The San Francisco Museum of Modern Art (SFMOMA), the de Young Museum, and the Asian Art Museum are among the notable cultural institutions.11. **Bay Area:** The city is part of the larger San Francisco Bay Area, which includes neighboring cities like Oakland, Berkeley, and San Jose. The Bay Area is known for its economic vitality, cultural diversity, and natural beauty.12. **Progressive Values:** San Francisco has a reputation for being socially and politically progressive, advocating for environmental sustainability, social justice, and inclusivity.San Francisco's unique blend of natural beauty, cultural richness, and innovation make it a dynamic and distinctive city on the global stage. It continues to attract residents, visitors, and businesses from around the world.Measures 24 x 36.Backed by linen.

A Selection of Asian Works of Art: Buddha, Two Cast Metal Figures, Two Chinese Ginger Jars, Shiva and A 19th century floral beaker

Gang Chen -  Untitled Acrylic on paper Chinese artist. With invoice of sale. 40cm x 49cm. Framed and glazed.  About: Born in Nanjing, China. Education: 1978-82: Jiangxi Art College, 1983-84 Nanjing Art Academy. 1990-91 Chelsea College of Art, London. Solo Exhibitions: 1992 - Pilgrims Way, Drew Gallery, Canterbury and Conques, France, 1993: Union Street Gallery, London.  This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A Chinese 'Canton' famille rose tureen, cover, and standQing dynasty, 18th/19th centuryFinely enamelled and gilt with domestic scenes reserved on busy floral grounds, the cover with iron red and gilt floral finial, the tureen with moulded iron red and gilt faux woven handles, 20cm wide across the handles.Provenance: Polly Latham Asian Art (label).清十八/十九世紀 廣彩描金繪人物故事圖紋湯蓋盌來源：Polly Latham亞洲藝術（標籤）。Condition Report: Expected firing imperfections including pitting and short firing cracks, expected surface wear with some rubbing to gilt and red enamels, otherwise generally good.

A quantity of 20th century Beatrice D'Este Milano reproduction prints on silk and canvas of Asian art, Impressionist paintings, Classical paintings and naturalist studies, approx. 50 in total

Japanese Imari bowl and porcelain vase (2) (displayed in Asian art section on gallery)

Made from a single piece of hand-carved bamboo, an old Spanish private collection. Provenance: Bonhams, London, "Asian Art" auction, May 10, 2021, lot 275. Measurements: 10 cm high x 2.5 wide. Provenance: property of an Asian Art Collector, Barcelona.

Asian art: approximately forty-five reference works,including M Beurdeley and G Raindre, 'Qing Porcelain: Famille Vert, Famille Rose', 1987, and R Krahl, 'Chinese Ceramics in the Topkapi Saray Museum', 2001, three volumes, boxed (qty.)Condition ReportThe three volumes of R Krahl appear to be in good order with minimal signs of use. Please see the additional images.

Cartier, a superb Art Deco diamond bracelet, 1920s, designed as a strap, composed of articulated panels of subtle Indo-Persian inspiration, pavé-set with circular- and single-cut diamonds, each centring on an Asscher-cut diamond, weighing approximately 1.25, 1.66, 1.80, 1.65 and 1.45 carats, spaced by open links pavé-set with single-cut diamonds, and pairs of domed links set with single-cut and baguette diamonds, mounted in platinum, total approximate diamond weight 20.00 carats, length 18cm, signed Cartier LondonThe signature on this extraordinary bracelet proudly reads ‘Cartier London’, and exemplifies the superb workmanship produced above the firm’s New Bond Street premises in the interwar period. Cartier London was the firm’s first permanent foreign branch, founded in 1902, in response to demand from members of the British aristocracy, who inundated the Paris branch with commissions in preparation for the upcoming coronation of Edward VII. Edward was himself a key client of Cartier Paris, famously describing them as ‘jeweller of kings and King of Jewellers’, and supposedly personally persuading Cartier to set up a permanent base closer to him in London. Initially, the London branch was established at 4 New Burlington Street, and in 1909 it moved to 175/6 New Bond Street, where it remains to this day, managed from 1906 by Jacques Cartier, one of the three sons of Alfred Cartier. Dividing the world between them, the other two brothers managed the branches in Paris and New York respectively. For the first two decades of its existence, Cartier London was essentially an importer of jewels made by Cartier Paris, but in 1921 this changed. Cartier London brought their manufacturing in house, hiring and rigorously training a team of predominantly British master craftsmen, and establishing the atelier English Art Works Ltd above their store at 175/6 New Bond Street. The late 1920s and 1930s were a highpoint for the London branch, which produced an array of jewels in a self-assured, mature Art Deco style, which retained traces of the firm’s scholarly, colourful exoticism of the 1920s, while moving forwards into the bolder, simpler aesthetic of the new decade, silently glittering with white diamonds. This bracelet shows Cartier’s genius for softening the simple geometry of the Art Deco style with subtle nods to Southern and East Asian decorative arts. The larger links are cut out on each side, and the curving outline created by this negative space ingeniously follows the distinctive stylised floral outline, borrowed from decorative motifs across Mughal, Persian and Chinese decorative arts, that formed a key element of Cartier’s style vocabulary in the Art Deco era. The principal stones of this bracelet would have also been especially sought after at the time: a distinctive 58-facet square emerald cut is known as the ‘Asscher’ cut. It was named after its creator Joseph Asscher, who famously cleaved the Cullinan diamond. With its geometric facet pattern, it was hugely ahead of its time when it became the first patented diamond cut in 1902, the same year that the Cartier family made their groundbreaking decision to found their London branch, and their key London patron was crowned King. Cf.: Judy Rudoe, Cartier: 1900-1939, British Museum, 1997, p. 270, no, 206, for examples of Cartier’s use of these floral motifs, see a pair of earrings made by Cartier London for Viscountess Harcourt in 1924, and nos. 208 and 209 for examples made by Cartier Paris in 1926.

Art reference books Painters & Paintings: Asian & Oriental Robinson, Andrew: The Art of Rabindranath Tagore Venniyoor, E.M.J.: Raja Ravi Varma Chanda, R: Medieval Indian Sculpture in the British Museum Berk, Nouroullah: La peinture Turque,  Avec une Preface de Tahsin Oz Archer, W. G.: Kalighat Paintings Baghli, Sid Ahmed: Un Maitre de la Peinture Algerienne, Nasreddine Dinet, 3e edition Dadha, M. Maher: Views of India, Connoissiers Compendium Art of the British Raj Renda, Gunsel/Erol, Turan/Turani, Adnan/Ozsezgin, Kaya/Aslier, Mustafa:  A History of Turkish Painting Binzagr, Safeya: Saudi Arabia, An Artist's View of the Past Mode, Heinz: Rabindranath Tagore. Aquarelle, Gouchen, Zeichnungen. (10)

A collection of largely Christie's and Sotheby's catalogues relating to Japanese art, design and arms and armour including Christie's London, Arts of the Samurai and Japanese Art Design, 6-7 June 2000, Christie's London, The Lundgren Collection, 18 November 1997, Sotheby's London, Japanese Prints, Paintings and Works of Art, 13 - 14 November 1996, Christie's New York, Japanese Swords and Sword Fittings from the Collection of Walter A Compton (Part II) 22 October 1992, Christie's New York, Japanese and Korean Art, 22 March 2004, Bonhams, Fine Japanese Art, 6 November 2012, Christie's New York, Japanese and Korean Art, 17 March 2009, Christie's London, Japanese Art and Design, 12-13 July 2005, Bonhams, Fine Japanese Art, 11 May 2010, Christie's New York, Fine Japanese Works of Art, 6 Volumes, 21 March 1985, Christie's South Kensington, Asian Art, 12 May 2005, Christie's London, Japanese Art and Design 12-13 July 2006, Sotheby's London, Japanese Prints, Paintings, Screens and Works of Art, 16-17 November 1995, Sotheby's London Japanese Works of Art, 13 March 1986, Christie's London, Japanese Works of Art, 11 November 1991, Christie's London, Japanese Works of Art, 18 & 20 November 1987, Christie's South Kensington, Oriental Ceramics and Works of Art, 28 September 2000, Christie's London, A European Collection of Japanese Prints, 13 July 2005, Christie's South Kensington, Asian Art, 23 June 2005, Christie's New York, Japanese Swords and Sword Fittings from the Collection of Walter A Compton, Part III, 17 December 1992, Christie's London, The Arts of the Samurai, 15 June 1998, Christie's London, Japanese Art and Design, 11 November 2008, Christie's London, Japanese Art and Design, 13 November 2002, Christie's London, Japanese Works of Art, 20 June 1994, Christie's London, A Fine Collection of Japanese Sword Fittings, 10 November 2004, Christie's London, Important Swords from the Museum of Japanese Sword Fittings, 10 November 2004, Sotheby's London, Japanese Works of Art, 10 April 1997, Christie's London, The Duncan Beresford -Jones Collection, 7 June 2000, Christie's New York, Arts of the Samurai. 22 October 2009. (qty).

Asian Decorative Object Assortment Over (15) items including cloisonne, pottery and porcelain, in various shapes, sizes, patterns and materials, including (2) lamps and tri-glaze horse; together with Mexican Tomala clay figures and (2) puppets and a jointed cat attributed to Steiff, some having marks on underside Property from: an Estate, Chicago (Hyde Park), Illinois Height: 11 inches, Width: 13 inches, Depth: 3 1/2 inches (largest) Condition: overall light to moderate wear consistent with normal use, some may have minor chips scuffs, nicks, Steiff having worn areas, lights working when tested Disclaimers: surface and production inconsistencies typical of this form of art, not all items individually examined Category: Asian Arts > Asian Arts Estimated Sale Time: 2:03 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1

AN IRON TEAPOT DEPICTING SHOULAO AND CHILDREN, QING DYNASTYChina, Qing dynasty (1644-1912). The globular body supported on a short foot and set with a curved spout, the handle attached to crane-form rings, the body cast in relief to each side with a decorative scene of Shoulao riding a stag accompanied by three children amid swirling clouds, below an incised band of key-fret at the shoulder, the domed cover similarly decorated with bats holding cash coins and surmounted by a qilin-shaped finial.Condition: Wear, signs of weathering and erosions, encrustations, casting flaws, nicks, and the spout cracked.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 2,045 gDimensions: Length 22.9 cm

A GILT-BRONZE FIGURE OF MANJUSHRI, LATE QING TO REPUBLICTibetan-Chinese, first half of the 20th century. Finely cast seated in dhyanasana atop a lotus base, holding aloft a flaming sword and a lotus stem in his left hand coming to full bloom at his shoulder and supporting a sutra. He is clad in a voluminous dhoti and adorned with sashes and jewelry inlaid with gemstones. The face is serene in expression and surmounted by a foliate tiara in front of the braided chignon. The base is sealed.Condition: Good condition with wear, casting flaws, minor rubbing to gilding, small dents, light nicks and scratches, and few losses to inlays.Provenance: Galerie Zacke, Vienna, 1990s. 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, 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.Weight: 1,553 gDimensions: Height 20.6 cm

A SILVER MOUNTED YAK POWDER HORN, 18TH TO 19TH CENTURYTibet or Nepal. The yak horn is fitted with finely chased silver mountings to either end, inlaid with turquoise and coral, and decorated with animals including rams, birds, and yaks, the horn further applied with beasts, blossoms, and a cloud. Both ends connected with a braided leather strap.Condition: Good condition with minor wear, small nicks, dents, light scratches, and age cracks.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 781 gDimensions: 41 cm

A CEREMONIAL SILVER-MOUNTED DRINKING HORN, 19th CENTURYTibet or Nepal, 19th century. The large horn fitted with silver mounts to the center and both ends, with a domed cover surmounted by a lotus bud finial, all linked by a chain. The silver mounts themselves are adorned with intricate embossed designs featuring auspicious symbols, foliage, and rows of tiny skulls.Condition: Very good condition with minor wear, small nicks, and surface scratches here and there.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 513 g Dimensions: Length 25 cm

A TIBETAN 'CHUNG DZI' BANDED AGATE BEAD, 500-1000 CEHimalayan region, presumably Tibet, around 500-1000 CE or later. The translucent agate bead of a pale grey color with ochre and milky white bands, as well as few brown inclusions. Well-polished and with central drilling showing ancient toolmarks.Chung dzi' beads are believed to have been created in ancient times by bead makers from agate or chalcedony and were worn as protective amulets. The prefix chung in this instance refers to a specific type of stone material that has unique healing properties.Condition: Good condition with some wear and a tiny chip to one end. The stone with natural imperfections and fissures, which may have developed into thin hairline cracks over time.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 14.5 gDimensions: Length 4.6 cm

A TUBULAR TIBETAN BANDED AGATE BEAD, c. 500-1000 CEHimalayan region, presumably Tibet or India, around 500-1000 CE or later. The long tubular bead carved from semi-translucent agate, brilliantly polished, of a fine black color with milky white, grey, and clear bands. Drilling through the sides.Condition: Good condition with some surface wear, few notches and nicks.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 14.2 gDimensions: Length 6.4 cm

AN OLD 'CHUNG DZI' BANDED AGATE BEAD c. 500-1000 CEHimalayan region, presumably Tibet, around 500-1000 CE or later. The cylindrical bead carved from semi-translucent agate, of a dak brown color with light grey and ochre inclusions. Central drilling showing ancient toolmarks.Condition: Good condition commensurate with age, wear, and signs of weathering. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 18.3 gDimensions: Length 6.6 cm

A CYLINDRICAL HIMALAYAN BANDED AGATE BEAD, c. 500-1000 CEHimalayan region, around 500-1000 CE or later. Of cylindrical form flaring at both ends, carved from opaque agate, well- polished, of dark brown color with milky white bands and light brown patches. Drilling through the sides.Condition: Good condition with expected age-related wear. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 23.7 gDimensions: Length 7.9 cm

AN OLD 'CHUNG DZI' BANDED AGATE BEAD c. 500-1000 CEHimalayan region, presumably Tibet, around 500-1000 CE or later. The bow-shaped bead, carved from opaque agate of a dark brown color, with beautiful milky-white and grayish-brown stripes and shades. Well-polished and with central drilling showing ancient toolmarks.Condition: Good condition with minor weathering commensurate with age and small notches. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 27.7 gDimensions: Length 6.4 cm

A GROUP OF THREE CARNELIAN DZI BEADS, 18TH CENTURY OR EARLIERHimalayan region. Of tubular form, etched with lines and other geometric patterns. The translucent stones of reddish amber tones with bands of light gray.Condition: Good condition commensurate with age, with some nibbling to ends.Provenance: Estate of Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born Paolo Bertuzzi as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 26.3 g in totalDimensions: Length 2.8 - 3.4 cm

A TIBETAN BANDED AGATE 'CHUNG DZI' BEAD, 19th CENTURYTibet, 19th century or earlier. Bow-shaped, carved from semi-translucent banded agate of red tones with orange and creamy bands, etched with four white stripes. Central drilling allowing for suspension as a pendant.'Chung dzi' beads are believed to have been created in ancient times by bead makers from agate or chalcedony and were worn as protective amulets. The prefix chung in this instance refers to a specific type of stone material that has unique healing properties.Condition: Good condition with minor wear. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 36.8 g Dimensions: Length 6.6 cm

A DECORATED TIBETAN AGATE 'CHUNG DZI' BEAD, 19th CENTURYTibet, 19th century or earlier. The long cylindrical bead made from opaque agate and etched with wavy stripes. Central drilling allowing for suspension as a pendant.'Chung dzi' beads are believed to have been created in ancient times by bead makers from agate or chalcedony and were worn as protective amulets. The prefix chung in this instance refers to a specific type of stone material that has unique healing properties.Condition: Good condition with minor wear. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 16.5 gDimensions: Length 5.7 cm

A TIBETAN AGATE 'CHUNG DZI' BEAD, 19th CENTURYTibet, 19th century or earlier. The cylindrical bead made from opaque agate and etched with wavy stripes. Central drilling allowing for suspension as a pendant.'Chung dzi' beads are believed to have been created in ancient times by bead makers from agate or chalcedony and were worn as protective amulets. The prefix chung in this instance refers to a specific type of stone material that has unique healing properties.Condition: Good condition with some wear. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 13.2 g Dimensions: Length 4.6 cm

A HIMALAYAN BANDED AGATE BEAD, 19TH CENTURY OR EARLIERHimalayan region, presumably Tibet, 19th century or earlier. The thin tubular bead carved from opaque agate of a black color with milky-white and pale grey bands. Central drilling.Condition: With wear, one hairline crack, and small notches. Otherwise good condition.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 6 gDimensions: Length 6 cm

A RARE TIBETAN GLASS BEAD, 19TH CENTURY OR EARLIERHimalayan region, presumably Tibet, 19th century or earlier. The cylindrical bead made from glass in imitation of agate, the translucent glass showing variegated tones of yellow and orange with milky white, dark brown, yellow and crystalline inclusions. Central drilling showing ancient toolmarks and allowing for suspension as a pendant.Condition: Good condition with minor traces of wear and age.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 17.9 gDimensions: Length 7.3 cm