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NO RESERVE Oriental Art.- Martinelli (Antonio) & George Michell. Palaces of Rajasthan, Mumbai, 2005 § Singh (Madanjeet) Ajanta, Lausanne, 1965 § Desai (K.) & Pratapaditya Pal. A Centennial Bouquet: The Khandalavala Collection of Indian Art..., Mumbai, 2004 § Wahid (Siddiq) Ladakhh: Between Earth and Sky, 1981 § Snellgrove (David) Angkor - Before and After: A Cultural History of the Khmers, Trumbull, Ct., 2004 § Lee (Sherman E.) A History of Far Eastern Art, revised edition, New York, n.d., illustrations, many colour, original cloth or boards with dust-jackets; and c.30 others on Indian and other Asian art, v.s. (c.35)

Vase Vase China, Song-Stil (wohl Ming) Keramik. Grün glasiert. Balusterform. Blütenstaudendekor in Braun. Min. best.. H. 27,5 cm. China, Keramik, Ostasiatische Kunst, Vasen Vase A vase China, Song style (probably Ming) Ceramic. Green glazed. Minor damage. Height 27.5 cm. China, Ceramics, East asian art, Vases

AGUILAR ALCUAZ, FEDERICO AGUILAR ALCUAZ, FEDERICO Manila/Philippinen 1932 - 2011 Titel: Stillleben mit Birnen. Datierung: 1958. Technik: Öl auf Leinwand. Maße: 65 x 81cm. Bezeichnung: Signiert und datiert unten links: Aguilar Alcuaz. Rahmen/Sockel: Modellrahmen. Provenienz: - Privatsammlung (direkt vom Künstler) - Privatsammlung Nordrhein-Westfalen (durch Schenkung innerhalb der Familie) - Privatsammlung Saarland. Erläuterungen zum Katalog Federico Aguilar Alcuaz Philippinen Figurative Kunst Asiatische Kunst Nachkriegskunst Unikate 1950er Stillleben Gemälde Öl Obst AGUILAR ALCUAZ, FEDERICO ALCUAZ, FREDERICO AGUILAR Manila 1932 - 2011 Title: Stillleben mit Birnen. Date: 1958. Technique: Oil on canvas. Measurement: 65 x 81cm. Notation: Signed and dated lower left: Aguilar Alcuaz. Frame/Pedestal: Craftman's frame. Provenance: - Private collection (directly from the artist) - Private collection North Rhine-Westphalia (by donation within the family) - Private collection Saarland. Explanations to the Catalogue Frederico Aguilar Alcuaz Philippines Figurative Art Asian Art Post-War Art Post War 1950s Still Life Painting Oil Fruits

LIN, RICHARD (LIN SHOW YU) LIN, RICHARD (LIN SHOW YU) Taichung/Taiwan 1933 - 2011 Titel: "Early Spring". Datierung: 1971. Technik: Öl auf Leinwand. Maße: 63,5 x 63,5cm. Bezeichnung: Signiert, betitelt, datiert sowie mit Angaben zum Werk auf der umgeschlagenen Leinwand verso: Richard LIN "EARLY SPRING" 1971 oil/canvas 25" x 25". Rahmen/Sockel: Rahmen. Die Echtheit dieses Werkes wurde vom Estate of Richard Lin Show Yu bestätigt. Es wird in das in Vorbereitung befindliche Werkverzeichnis des Künstlers aufgenommen. Wir danken dem Estate für die freundliche Unterstützung. Provenienz: - Marlborough Fine Art, London (Aufkleber) - Galerie Teufel, Köln (Stempel) - Privatsammlung Nordrhein-Westfalen Das Werk des in Taiwan geborenen Künstlers Richard Lin steht in einem Spannungsfeld zwischen fernöstlicher Tradition und den künstlerischen Strömungen Europas und Amerikas der 1960er und 1970er Jahre. So finden sich in seinen Gemälden oft nur wenige geometrische Formen, die meist auf einer weiß-grundierten Leinwand angeordnet sind. Diese reduzierte Formensprache, die seit den frühen 1960er Jahren in den USA entsteht und Ende der 1960er Jahre durch erste Ausstellungen auch in Europa immer bekannter wird, lässt durchaus eine Einordnung von Lins Arbeiten zum Minimalismus zu. Doch findet sich in den Gemälden Lins auch etwas Kontemplatives über die bloße Form Hinausgehendes. Betrachtet man unser Gemälde genauer, so sieht man, dass in der harmonischen Anordnung der Rechtecke eine subtile Tiefenwirkung erkennbar ist. Lins Bildtitel, wie bei unserem Werk "Early Spring", deuten darauf hin, dass der Künstler sich nicht nur mit der Form im Raum als Grundprinzip des Minimalismus auseinandersetzt, sondern dass sein Schaffen tief in seiner fernöstlichen Herkunft und Tradition verwurzelt ist. Die Ausbildung in Kalligraphie, die er als Kind erfährt, ist in der Präzision im Farbauftrag wiederzufinden, die fast keinen Pinselduktus erkennen lässt. Die Abstufung verschiedener Weiß-Töne sowie die Verwendung von Gelb in Verbindung mit Braun legen nah, dass der Künstler sich mit dem Wandel der Jahreszeiten, des Lichts und der Natur auseinandersetzt - es ist hier die Lehre des Taoismus, die sich mit dem Lauf der Welt und insbesondere der Natur, sowie der Wandlungsfähigkeit und der Harmonie beschäftigt, die den Künstler beeinflussen. Erläuterungen zum Katalog Richard (Lin Show Yu) Lin Großbritannien Minimal Art Asiatische Kunst Nachkriegskunst Unikate 1970er Abstrakt Malerei Öl LIN, RICHARD (LIN SHOW YU) LIN, RICHARD (LIN SHOW YU) Taichung/Taiwan 1933 - 2011 Title: "Early Spring". Date: 1971. Technique: Oil on canvas. Measurement: 63,5 x 63,5cm. Notation: Signed, titled, dated as well as with details about the work on the folded canvas verso: Richard LIN "EARLY SPRING" 1971 oil/canvas 25" x 25". Frame/Pedestal: Framed. The authenticity of this work has been confirmed by the estate of Richard Lin Show Yu. It will be included in the artist's catalogue raisonné which is currently being prepared. We thank the estate for their kind support. Provenance: - Marlborough Fine Art, London (label) - Galerie Teufel, Cologne (stamp) - Private collection North Rhine-Westphalia. Explanations to the Catalogue Richard (Lin Show Yu) Lin Great Britain Minimal Art Asian Art Post-War Art Post War 1970s Abstract Painting Oil

Four pieces of Asian Art, a model of a fish made out of horn on brass stand, Saigon 1943, three pieces of treen, Rickshaw, Man and Cart and Execution Scene, man being sawn in half vertically

17th century AD. A substantial bronze Buddha figure standing barefooted and wearing a long robe; hair dressed in tight curls and wrapped around ushnisha, lentoid eyes, broad nose, full lips, elongated earlobes, ornamentation worn at the neck, both hands forming mudras; integral round-section lug below, forming an arc between the feet. See Lutz, A. et al., The Return of the Buddha. The Qingzhou Discoveries, London, 2002, for discussion. 5.5kg, 46cm (18 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s. In Thailand statues of the Buddha can be found in a variety of poses, with those standing being particularly popular. The position of the hands relate to various episodes in the life of the Buddha and help the devotee in their mindful practice. Fine condition.

A group of Asian works of art, comprising; a Japanese Imari bottle vase, an Arita blue and white dish; a Chinese famille verte vase with fixed wood stand; two Japanese lacquer vases, ( 5). Condition Report The two lacquer vases have small chips to the lacquer, the Chinese famille verte vase with fixed wood stand is in good condition.

Percival David Foundation of Chinese Art, Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties, Percival David Foundation. 2002. ISBN: 0-7286-0339-X Lin Ying, Celestial Horses: The Apogee of Chinese Art and Civilisation, Foreign Languages Press. 2002. ISBN: 7-119-02999-1 Ann Paludan, Chinese Tomb Figurines, Oxford University Press. 1994. ISBN: 0-19-585817-4 William Watson, The Genius of China: an Exhibition of Finds of the PRC Held at the Royal Academy Lond 1973-74, Times Newspapers Ltd. 1973. ISBN: 0-7230-0107-3 Guo Ligu & Bo Wuyuan, Special Exhibition of Horse Paintings (Hua ma ming pin te zhan tu lu), Min Guo. 1990. ISBN: 957-562-018-6 Hugo Munsterberg, The Arts of China, Charles E Tuttle Company. 1989. ISBN: 0-8048-1624-7 Kentucky Horse Park, Imperial China The Art of the Horse in Chinese History, Kentucky Horse Park. 2000. ISBN: 1-56469-071-7 Michelle Morgan, 100 Treasures - The Museum of East Asian Art, The Museum of East Asian Art, Bath. 2000. ISBN: 1-89773-411-5 Albert E Dien, The Quest for Eternity: Chinese Ceramic Sculptures from the PRC, Thames and Hudson. 1987. ISBN: 0-500-27465-7 Robert Kleiner, Chinese Snuff Bottle, Oxford University Press. 1984. ISBN: 0-19-585756-9 Treasures from the Underground Palaces Treasures from Northern Song Pagodas, Dingzhou, Hebei Province, China, Idemitsu Museum of Arts Lisa Rotondo-McCord, Heaven and Earth Seen Withing Song Ceramics from the Robert Barron Collection, University Press of Mississippi. 2001. ISBN: 0-89494-077-5 Ancient Chinese Jade Gallery, Shanghai MuseumProvenance: The Professor Conrad Harris Collection

Southeast Asian Ceramic Society, Spirit of Han: Ceramics for the After-Life, Southeast Asian Ceramic Society, 1991. ISBN: 981-00-2961-6 He Li, Chinese Ceramics: The New Standard Guide, Gardners Books. 1996. ISBN: 0-500-23727-1 Rhonda Cooper, Masterpieces of Chinese Art, Tiger. 1998. ISBN: 1-85501-944-2 Jessica Rawson, Chinese Ornament: The Lotus and the Dragon, British Museum Press. 1984. ISBN: 0-7141-1431-6 May Holdsworth, Women of the Tang Dynasty, Pacific Century Publishers Ltd. 1999. ISBN: 962-217-460-4 China Institute in America, Ceramics in the Liao Dynasty Fung Ping Shan Museum, Green Wares from Zhejiang, University of Hong Kong. 1993. Jessica Rawson, Mysteries of Ancient China New Discoveries from the Early Dynasties, British Museum Press. 1996. ISBN: 0-7141-1472-3 Wu Hung, Between Han and Tang, Cultural Relics Publishing House Beijing. 2001. ISBN: 7-5010-1282-2/K.539 Suzanne G Valenstein, A Handbook of Chinese Ceramics, The Metropolitan Museum of Art. 1988. ISBN: 0-8109-1170-1 The J & J Collection, The Art of the Chinese Snuff Bottle (at the Percival David Foundation of Chinese Art 1997) Ancient Treasures from LuoyangProvenance: The Professor Conrad Harris Collection

William Watson (Thames & Hudson), Tang and Liao Ceramics, Thames and Hudson. 1984. ISBN: 0-500-23408-6 Shanghai Museum of Art, Treasures - 300 Best Exvacted Antiques from China, Art Media Resources Ltd. 2000. ISBN: 7-80635-587-1 Roger Keverne (Consultant Editor), Jade, Anness Publishing. 1991. ISBN: 1-85238-183-3 Roderick Whitfield and Anne Farrer, Caves of the Thousand Buddhas: Chinese art from the Silk Route, Braziller. 1990. ISBN: 0-7141-1447-2 Michael Teller, Celestial Horses, TK Asian Antiquities. 2002. ISBN: 0-98864-761-3 Stacey Pierson, Earth, Fire and Water: Chinese Ceramic Technology. A Handbook for non-Specialists, School of Oriental and African Studies University of London. 1996. ISBN: 0-7286-0265-2 Craig Clunas, Art in China, Oxford History of Art. 1997. ISBN:0-19-284207-2 The Cream of Henan Cultural Relics Collection, China Publishing. ISBN: 7-80537-791-X Stacey Pierson, Collecting Chinese Art: Interpretation and Display Colloquies on Art & Archaeology in Asian No. 20, Percival David Foundation of Chinese Art. 2000. ISBN: 0-72860-316-0 An Exhibition of Important Chinese Ceramics from the Robert Chang CollectionProvenance: The Professor Conrad Harris Collection

New York Arts of Pacific Asia Show, Arts of Pacific Asia New Arts of Pacific Asia Show, Arts of Pacific Asia The International Asian Art Fair, Asian Art Fair, 2004 The International Asian Art Fair, Asian Art Fair, 2003 Ben Janssens Oriental Art, Treasures from China's Golden Age 500-1000AD Baur Geneva, Collections Baur Geneva Bulletin 63. 2001 1er Salon International D'Art Asiatique. October 2001 Ikutaro Itoh, Masterpieces of Chinese Ceramics from the Percival David Collection, the Yomiuri Shimbun, Osaka, 1998 The International Ceramics Fair & Seminar London. 2001 Selected Chinese Art from the Oriental Museum,Durham, Phillips Auctioneers. 2000 Eldon Worrall, Precious Vessels 2000 years of Chinese Pottery, Merseyside County Council/Museum, 1980 Shanghai Museum, Shanghai Museum Shanghai Museum Ancient Chinese Ceramics Gallery, Shanghai Museum Chinese Ceramics and Works of Art, The Chinese Porcelain Co. Jades of the Qijia and Related Northwestern Cultures, Throckmorton Fine Art Ancient Chinese Tomb Sculpture, JJ Lally & Co. 2004 Chinese Archaic Bronzes, Sculpture & Works of Art, JJ Lally & Co. 1992Provenance: The Professor Conrad Harris Collection

Marc Standin Remnant I, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Marc Standing is an African/ British/Australian artist who was born and raised in Zimbabwe. He obtained his BAFA honors degree from the University of Cape Town in South Africa with distinctions in painting. After spending a decade in Australia and Hong Kong he now resides in London.   Standing has taken part in numerous group and solo exhibitions internationally and is represented by Art Labor in Shanghai and Afikaris in Paris. He has also been a finalist in many art prizes over the years, including the Sovereign Asian Art Prize and is part of The Groucho Club collection in London. Over the last three years Standing has been artist in residence at Amilla Fushi in the Maldives, and has taken part in residencies in the Philippines, Shanghai, and Mexico.   Standing's vibrant and inventive painting has developed along a complex path. Sublime in the originality and mastery of his brush stroke, they are informed by anthropology, biology and the complexities of existence, both physical and metaphysical.   "I am a London based Zimbabwean artist, who works predominantly in painting. Earlier in the year, during lockdown I was playing a lot with paper, collage and printing making. 'Remnant 1 & 2' , an allegory of a vanishing essence, a trace, a fossil, evolved from this mark making exploration."  

Marc Standing Remnant II, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Marc Standing is an African/ British/Australian artist who was born and raised in Zimbabwe. He obtained his BAFA honors degree from the University of Cape Town in South Africa with distinctions in painting. After spending a decade in Australia and Hong Kong he now resides in London.   Standing has taken part in numerous group and solo exhibitions internationally and is represented by Art Labor in Shanghai and Afikaris in Paris. He has also been a finalist in many art prizes over the years, including the Sovereign Asian Art Prize and is part of The Groucho Club collection in London. Over the last three years Standing has been artist in residence at Amilla Fushi in the Maldives, and has taken part in residencies in the Philippines, Shanghai, and Mexico.   Standing's vibrant and inventive painting has developed along a complex path. Sublime in the originality and mastery of his brush stroke, they are informed by anthropology, biology and the complexities of existence, both physical and metaphysical.   "I am a London based Zimbabwean artist, who works predominantly in painting. Earlier in the year, during lockdown I was playing a lot with paper, collage and printing making. 'Remnant 1 & 2' , an allegory of a vanishing essence, a trace, a fossil, evolved from this mark making exploration."  

Imam Raad Gaze (Zipolite), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City.   Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer.   Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement.   His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).  

Imam Raad Gaze (Nightfall), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City.   Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer.   Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement.   His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).

Imam Raad Gaze (Oranges on Turquoise Table), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City.   Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer.   Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement.   His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).

Gu Wenda United Nations-Gengzi's Necklace, 2020 Pen on print on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Gu moved to the U.S. in 1987. He currently lives and works in Shanghai and New York. The United Nations project (using human hair as material) the artist embarked in 1993, which has been included in various publications on world art history, addresses the notion of a single humanity. The postcards feature the most recent work of the project: Gengzi's necklace, completed in August 2020. The work was inspired by the recent global pandemic.   Gu has developed a personal vocabulary of invented Chinese characters by misplacing various aspects of existing characters to create new and meaningless words. This tactic among others is the artist's means to subvert tradition while using its formal attributes. "I used characters without any meaning and political icons taken from propaganda and inserted them into my ink painting," he explained. "For me, this was a kind of double power: these ink works were both scholarly and socialist." Born in 1955 in Shanghai, China, Gu was encouraged in pursuing a creative career from a young age by his family. However, this interest in culture led his grandparents to be taken away for re-education by Mao Zedong's regime. He went on to study traditional Chinese landscape painting under Lu Yanshao at the China Academy of Arts in Hangzhou.   In 1987, Wenda moved to the United States, where he began to employ materials related to human body. Intending to celebrate life and promote universal accord, Gu created his United Nations Project in 1993. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the National Museum of Art in Beijing, and the Asian Art Museum in San Francisco, among others.  

Gu Wenda United Nations-Gengzi's Necklace, 2020 Pen on print on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Gu moved to the U.S. in 1987. He currently lives and works in Shanghai and New York. The United Nations project (using human hair as material) the artist embarked in 1993, which has been included in various publications on world art history, addresses the notion of a single humanity. The postcards feature the most recent work of the project: Gengzi's necklace, completed in August 2020. The work was inspired by the recent global pandemic.   Gu has developed a personal vocabulary of invented Chinese characters by misplacing various aspects of existing characters to create new and meaningless words. This tactic among others is the artist's means to subvert tradition while using its formal attributes. "I used characters without any meaning and political icons taken from propaganda and inserted them into my ink painting," he explained. "For me, this was a kind of double power: these ink works were both scholarly and socialist." Born in 1955 in Shanghai, China, Gu was encouraged in pursuing a creative career from a young age by his family. However, this interest in culture led his grandparents to be taken away for re-education by Mao Zedong's regime. He went on to study traditional Chinese landscape painting under Lu Yanshao at the China Academy of Arts in Hangzhou.   In 1987, Wenda moved to the United States, where he began to employ materials related to human body. Intending to celebrate life and promote universal accord, Gu created his United Nations Project in 1993. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the National Museum of Art in Beijing, and the Asian Art Museum in San Francisco, among others.      

Gu Wenda United Nations-Gengzi's Necklace, 2020 Pen on print on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Gu moved to the U.S. in 1987. He currently lives and works in Shanghai and New York. The United Nations project (using human hair as material) the artist embarked in 1993, which has been included in various publications on world art history, addresses the notion of a single humanity. The postcards feature the most recent work of the project: Gengzi's necklace, completed in August 2020. The work was inspired by the recent global pandemic.   Gu has developed a personal vocabulary of invented Chinese characters by misplacing various aspects of existing characters to create new and meaningless words. This tactic among others is the artist's means to subvert tradition while using its formal attributes. "I used characters without any meaning and political icons taken from propaganda and inserted them into my ink painting," he explained. "For me, this was a kind of double power: these ink works were both scholarly and socialist." Born in 1955 in Shanghai, China, Gu was encouraged in pursuing a creative career from a young age by his family. However, this interest in culture led his grandparents to be taken away for re-education by Mao Zedong's regime. He went on to study traditional Chinese landscape painting under Lu Yanshao at the China Academy of Arts in Hangzhou.   In 1987, Wenda moved to the United States, where he began to employ materials related to human body. Intending to celebrate life and promote universal accord, Gu created his United Nations Project in 1993. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the National Museum of Art in Beijing, and the Asian Art Museum in San Francisco, among others.

Gu Wenda United Nations-Gengzi's Necklace, 2020 Pen on print on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Gu moved to the U.S. in 1987. He currently lives and works in Shanghai and New York. The United Nations project (using human hair as material) the artist embarked in 1993, which has been included in various publications on world art history, addresses the notion of a single humanity. The postcards feature the most recent work of the project: Gengzi's necklace, completed in August 2020. The work was inspired by the recent global pandemic.   Gu has developed a personal vocabulary of invented Chinese characters by misplacing various aspects of existing characters to create new and meaningless words. This tactic among others is the artist's means to subvert tradition while using its formal attributes. "I used characters without any meaning and political icons taken from propaganda and inserted them into my ink painting," he explained. "For me, this was a kind of double power: these ink works were both scholarly and socialist." Born in 1955 in Shanghai, China, Gu was encouraged in pursuing a creative career from a young age by his family. However, this interest in culture led his grandparents to be taken away for re-education by Mao Zedong's regime. He went on to study traditional Chinese landscape painting under Lu Yanshao at the China Academy of Arts in Hangzhou.   In 1987, Wenda moved to the United States, where he began to employ materials related to human body. Intending to celebrate life and promote universal accord, Gu created his United Nations Project in 1993. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the National Museum of Art in Beijing, and the Asian Art Museum in San Francisco, among others.

ÜBERLEBENSGROßER BUDDHA-KOPF. ÜBERLEBENSGROßER BUDDHA-KOPF. Herkunft: Khmer. Dynastie: Bayon-Zeit (1180-1230). Technik: Rötlich-beige-farbener Sandstein, fein behauen und poliert. Beschreibung: Das Antlitz mit feinem Lächeln, die Augenbrauen als elegante Bögen über den gesenkten Augen geschwungen. Die Haare als kleine Erhebungen, die Spitze mit Flammen und Spirale. Maße: Höhe 34cm. Rahmen/Sockel: Auf einem Metallsockel montiert. Aufbewahrungskiste. Provenienz: Deutscher Privatsammler, erworben bei Kunsthandel Venzke, Berlin, 1996. Erläuterungen zum Katalog Asiatika - Südostasien Bayon-Zeit (1180-1230) Buddhistische Kunst Skulptur Khmer ÜBERLEBENSGROßER BUDDHA-KOPF. OVER LIFE-SIZE BUDDHA HEAD. Origin: Khmer. Dynasty: Bayon period (1180-1230). Technique: Reddish beige sandstone, finely carved and polished. Description: The face with a fine smile, the eyebrows curved as elegant arches over the lowered eyes. The hair as small elevations, the tip with flames and spiral. Measurement: Height 34cm. Frame/Pedestal: Mounted on a metal base. Storage case. Provenance: German private collection, acquired at Kunsthandel Venzke, Berlin, 1996. Explanations to the Catalogue Asian Art - Southeast Asia Bayon period (1180-1230) Buddhist art Sculpture Khmer

SELTENER SITZENDER BUDDHA. SELTENER SITZENDER BUDDHA. Herkunft: Ostindien. Dynastie: Pala-Zeit (710-1161). Datierung: 10. Jh. Technik: Grauer Basalt, fein geschnitzt und poliert. Beschreibung: Der fein ausgeführte Buddha aus grauem Basalt hat einen Kopfnimbus und sitzt in Meditationshaltung auf einem doppelten Lotosthron. Seine Hände ruhen in Meditationsgeste (dhyana mudra) im Schoss. In der Sockelzone sind ein Elefant und zwei Löwen dargestellt. Den Buddha flankieren zwei männliche Begleiter: Zur Rechten ein Fliegenwedelträger und zur Linken ein Girlandenträger. Die drei Äste, die die Spitze der Stele einnehmen, spielen auf Buddhas Erleuchtung unter dem Bodhi-Baum in Bodhgaya an. Über der Rückenlehne des Thrones schweben auf beiden Seiten zwei himmlische Wesen, von denen jedes der größeren eine Girlande darbringt, während die kleineren jeweils die Geste der Ehrerbietung (anjali mudra) vollziehen. Maße: Höhe 42cm, Breite 27cm, Tiefe 14cm. Rahmen/Sockel: Auf einem Metallsockel montiert. Provenienz: Europäische Privatsammlung. Erläuterungen zum Katalog Asiatika - Südostasien Pala-Dynastie (750-1161) Buddhistische Kunst Skulptur Indien SELTENER SITZENDER BUDDHA. RARE SEATED GREY BASALT BUDDHA. Origin: East India. Dynasty: Pala period (710-1161). Date: 10th c. Technique: Grey basalt, finely carved and polished. Description: The haloed Buddha sits in meditation posture atop of a double lotus throne, performing the meditation gesture (dhyana mudra). The base section contains an elephant and two lions. The Buddha is flanked by gracefully standing male attendants, namely a fly-whisk bearer on his right, and a garland bearer on his left. The three branches occupying the apex of the stele allude to Buddha's enlightenment under the Bodhi tree at Bodhgaya. Above the throne's backrest, two celestial beings hover on either side, each of the larger ones offering a garland, and each of the smaller ones performing the gesture of reverence (anjali mudra). Measurement: Height 42cm, width 27cm, depth 14cm. Frame/Pedestal: Mounted on a metal base. Provenance: European privte collection. Explanations to the Catalogue Asian Art - Southeast Asia Pala dynasty (750-1161) Buddhist art Sculpture India

SEHR SELTENE FIGUR DES AVALOKITESHVARA. SEHR SELTENE FIGUR DES AVALOKITESHVARA. Herkunft: Ostindien, Orissa. Datierung: 11. Jh. Technik: Schwarzer Basalt, detailreich geschnitzt. Beschreibung: Der Bodhisattva des Mitgefühls, Avalokiteshvara, der in mehr als 30 verschiedenen ikonographischen Formen dargestellt werden kann, sitzt hier in einer vierarmigen Form in entspannter Haltung (lalitasana) auf einem hohen Doppellotusthron, der von großen profilierten Säulen getragen wird. Ein himmlischer Girlandenträger schwebt ehrfurchtsvoll auf jeder Seite seines Kopfes. Die Miniaturabbildung von Buddha Amitabha auf der Vorderseite der Haarkrone (jatamukuta) identifiziert die vorliegende Skulptur mit Heiligenschein eindeutig als Avalokiteshvara, gehörend zur von Buddha Amitabha geführten Lotos-Familie. Der Rosenkranz (mala) in seiner rechten oberen Hand und das Wassergefäß (kamandalu) in seiner linken unteren Hand sind typische Attribute. Die Tatsache, dass er zwei Attribute in seiner linken oberen Hand hält, ist ungewöhnlich, jedoch sind diese für Avalokiteshvara charakteristisch: Der Lotos (padma), das häufigste Attribut von Avalokiteshvara, und die Schlinge (pasha), die er benutzt, um Hindernisse auf dem Weg zur Erleuchtung zu beseitigen. Seine untere rechte Hand, in segensreicher Geste (varada mudra), zeigt auf einen schrecklichen Höllenbewohner (suchimukha), der im unteren Teil kauert und den Avalokiteshvara mit dem Nektar göttlicher Barmherzigkeit speist und damit sein grenzenloses Mitgefühl für alle Geschöpfe zum Ausdruck bringt. Die zentrale Figur wird von zwei kleinen, vierarmigen Bodhisattva mit Kopfnimbus flankiert, von denen jeder auf einem separaten Lotusthron sitzt. Im Sockelteil befinden sich Utensilien der religiösen Verehrung, nämlich eine Muscheltrompete, ein lotosförmiges Räuchergefäß und eine Öllampe. Maße: Höhe 58cm, Breite 37cm, Tiefe 13cm. Provenienz: Europäische Privatsammlung. Erläuterungen zum Katalog Asiatika - Südostasien 11. Jahrhundert Buddhistische Kunst Skulptur Indien SEHR SELTENE FIGUR DES AVALOKITESHVARA. VERY RARE BLACK SCHIST FIGURE OF AVALOKITESHVARA. Origin: East India, Orissa. Date: 11th c. Technique: Black schist, carved with detail. Description: The Bodhisattva of compassion, Avalokiteshvara, who can be depicted in more than 30 different iconographic forms, sits here in a four-armed form in relaxed posture (lalitasana) atop of a high double lotus throne supported by large profiled columns. A celestial garland bearer hovers reverentially on each side of his head. The miniature image of Buddha Amitabha on the front of the hair crown (jatamukuta) clearly identifies the present haloed sculpture as Avalokiteshvara, belonging to the Lotus Buddha family headed by Buddha Amitabha. The rosary (mala) in his upper right hand, and the water vessel (kamandalu) in his lower left hand are typical attributes. The fact that he holds two attributes in his upper left hand, is unusual, but they are both very distinctive for Avalokiteshvara: the lotus (padma), Avalokiteshvara`s most common attribute, and the noose (pasha), which he uses to remove impediments to enlightenment. His lower right hand, performing the boon-granting gesture (varada mudra) is pointing towards a hideous denizen of hell (suchimukha) cowering in the base section, whom Avalokiteshvara feeds with the nectar of divine mercy, thus expressing his boundless compassion for all creatures. The central figure is flanked by two small, four-armed haloed Bodhisattvas, each of them sitting on a separate lotus throne. The base section features utensils of religious worship, namely a conch trumpet, a lotus-shaped incense burner, and an oil lamp. Measurement: Height 58cm, width 37cm, depth 13cm. Provenance: European private collection. Explanations to the Catalogue Asian Art - Southeast Asia 11th century Buddhist art Sculpture India

SELTENER UND BEDEUTENDER SITZENDER BUDDHA. SELTENER UND BEDEUTENDER SITZENDER BUDDHA. Herkunft: Thailand. Dynastie: Dvaravati-Zeit (ca. 6.-11. Jh.). Datierung: 7.-9. Jh. Technik: Bronze mit grüner und rostbrauner Patina, teils Spuren von Oxidation. Beschreibung: Sitzend in padmasana mit den Händen in Lehrgeste (Vitarka Mudra) mit bei der rechten Hand zusammengelegtem Daumen und Zeigefinger. Das Antlitz ausdrucksstark gestaltet mit vollen Lippen und verbundenen, hoch geschwungenen Augenbrauenbögen über fast geschlossenen Augen. Die Ohren mit lang gezogenen Ohrläppchen, die Haare in ausgestalteten Locken und einer kugeligen Bekrönung. Unter dem dünnen Gewand, das nur in feinen Relieflinien auf Brust und über den Beinen angegeben ist, werden die Körperformen deutlich sichtbar. Über das linke Handgelenk ist der Saum des Gewandes in Falten gelegt. Die Figur steht auf drei kurzen Füßen, die vermutlich zur Verankerung in einem Sockel dienten. Auf dem Rücken eine Öse für den Baldachin bzw. die Mandorla. Maße: Höhe 33cm, Breite 24cm, Tiefe 14cm. Obwohl Figuren aus Bronze aus der Dvaravati-Zeit wesentlich seltener zu finden sind, als solche aus Stein, zeigt diese Figur doch eine große zurückhaltende Eleganz in der Gestaltung. Provenienz: Norddeutsche Privatsammlung. Seit ca. 30 Jahren im Familienbesitz. Erläuterungen zum Katalog Asiatika - Südostasien 7.-9. Jahrhundert Buddhistische Kunst Bronze Thailand SELTENER UND BEDEUTENDER SITZENDER BUDDHA. RARE AND IMPORTANT SITTING BUDDHA. Origin: Thailand. Dynasty: Dvaravati period (ca. 6th-11th c.). Date: 7th-9th c. Technique: Bronze with green and rust brown patina, partly with residue of oxidation. Description: Sitting in padmasana with the hands in teaching gesture (Vitarka Mudra) with thumb and index finger touching at the right hand. The face is expressively formed with full lips and connected, high arched eyebrows over almost closed eyes. The ears with elongated ear lobes, which have open slits, the hair in full curls with a spherical crowning. Beneath the thin robe, which is only indicated in fine relief lines on the chest and over the legs, the body features are clearly visible. Over the left wrist the hem of the garment is draped in folds. The figure sits on three short feet, which probably served to anchor it in a pedestal. On the back an eyelet for the canopy or mandorla. Measurement: Height 33cm, width 24cm, depth 14cm. Although figures made of bronze from the Dvaravati period are much rarer than those made of stone, this figure shows a great restrained elegance in its design. Provenance: North German privte collection. Family owned for about 30 years. Explanations to the Catalogue Asian Art - Southeast Asia Buddhist art Bronze Thailand

BEDEUTENDER UND GROßER BEKRÖNTER BUDDHA MAITREYA. BEDEUTENDER UND GROßER BEKRÖNTER BUDDHA MAITREYA. Datierung: 16.-17. Jh. Technik: Bronze, teils mit fein gravierten Mustern. Lackvergoldung und teils farbig mit Lack bemalt. Innen wie für solche alten Bronzen mit Mennige-Rot bestrichen. Beschreibung: Der auch als Budai oder Milefo bekannte Buddha sitzt in maharajalilasana auf einem Kissen, auf dem die Gürtelschnur mit Quasten plastisch dargestellt ist. Er ist mit einem leichten Lächeln auf den Lippen dargestellt, mit offenem Gewand über dem vollen Oberkörper. Das Kissen und die Gewandborten graviert mit feinen Lotosranken, die auf dem Gewand von Goldlack überdeckt sind. In der Rechten hält er eine Gebetskette, mit der Linken den offenen Schatzsack, aus dem Goldbarren und weitere Schätze hervorlugen. Von der Bügelkrone schwingen lange Bänder auf die Schultern, vorne sind in den Blättern kleine Darstellung der fünf transzendenten Tathagata-Buddha. Maße: Höhe 38,5cm, Breite 30,5cm, Tiefe 23,5cm. Provenienz: Rheinische Privatsammlung. Lt. Vorbesitzer in den 1970er Jahren bei Kunsthandel Klefisch in Köln erworben. Erläuterungen zum Katalog Asiatika - China Kunsthandwerk Ming-Dynastie (1368-1644) Buddhistische Kunst Bronze China BEDEUTENDER UND GROßER BEKRÖNTER BUDDHA MAITREYA. IMPORTANT AND LARGE CROWNED BRONZE BUDDHA MAITREYA. Date: 16th-17th c. Technique: Bronze, partly with finely engraved patterns. Lacquer gilt and partly painted with lacquer. Inside painted with minium red as typical for old bronzes. Description: The Buddha, also known as Budai or Milefo, sits in maharajalilasana on a cushion on which his belt cord with tassels is shown. He is depicted with a light smile on his lips, with an open garment over his full belly. The pillow and the robe borders are engraved with fine lotus tendrils, which are mostly covered by gold lacquer on the robe. In the right hand, he holds prayer beads; in his left hand, the open treasure bag, from which gold ingots and other precious objects are peeking out. Long ribbons swing from the bow crown to the shoulders, in the front of the leaves are small representations of the five transcendental Tathagata Buddha. Measurement: Height 38.5cm, width 30.5cm, depth 23.5cm. Provenance: Rhenish private collection. According to the previous owner, acquired in the 1970s from Kunsthandel Klefisch in Cologne. Explanations to the Catalogue Asian Art - Chinese Applied Arts Ming dynasty (1368-1644) Buddhist art Bronze China

GROßER SITZENDER BUDDHA IN BHUMISPARSA MUDRA. GROßER SITZENDER BUDDHA IN BHUMISPARSA MUDRA. Technik: Bronze mit Vergoldung in verschiedenen Farben und mattiert. Beschreibung: Sein auffallend attraktiv geschnittenes Antlitz erinnert an die Figuren des Buddha des Pra Nakhon aus der Si Ayutthaya-Periode. Dies könnte ein Hinweis darauf sein, dass die Bronze in der kurzen Thonburi-Zeit oder zu Beginn der Rattanakosin-Zeit gegossen wurde. Maße: H.79cm, B.73cm, T.33cm. Provenienz: Norddeutsche Privatsammlung. Seit ca. 30 Jahren im Familienbesitz. Erläuterungen zum Katalog Asiatika - Südostasien Rattanakosin-Zeit (ab 1782) Buddhistische Kunst Bronze Thailand GROßER SITZENDER BUDDHA IN BHUMISPARSA MUDRA. LARGE BUDDHA SITTING IN BHUMISPARSA MUDRA. Date: 18th-19th c. Technique: Bronze, gilt in different colors and partly matted. Description: His strikingly handsome countenance is reminiscent of the figures of the Buddha of Pra Nakhon from the Si Ayutthaya period. This could indicate that the bronze was cast in the short Thonburi or beginning of the Rattanakosin period. Measurement: H.79cm, w.73cm, d.33cm. Provenance: North German privte collection. Family owned for about 30 years. Explanations to the Catalogue Asian Art - Southeast Asia Rattanakosin period (from 1782) Buddhist art Bronze Thailand

GLOCKE MIT TAOTIE-MASKEN. GLOCKE MIT TAOTIE-MASKEN. Herkunft: China. Datierung: 19.-20. Jh. Technik: Kupferbronze mit Cloisonné, teils vergoldet. Beschreibung: Die am gewellten Rand unten ausschwingende Glocke ist mit acht Taotie-Masken auf Leiwen und zwei Drachenpaaren zwischen Wolken verziert. Obenauf Wellen, unten Blütenbordüre und Ruyi-Formen. Die Aufhängung in Form eines zweiköpfigen Drachen. Maße: H.42cm. Rahmen/Sockel: Passendes Gestell aus dunklem Holz, geschnitzt mit einer großen Fledermaus, Ruyi und Shou-Zeichen H.79cm. Bronzehaken. Erläuterungen zum Katalog Asiatika - China Kunsthandwerk 19./20. Jahrhundert Cloisonné Metallarbeit China GLOCKE MIT TAOTIE-MASKEN. BELL WITH TAOTIE MASKS. Origin: China. Date: 19th-20th c. Technique: Copper bronze with cloisonné, partly gilt. Description: The bell swinging out at the undulating edge is decorated with eight taotie masks on leiwen background and two pairs of dragons between clouds. On the top waves, at the lower rim a flower border and Ruyi shapes. Suspension in the shape of a two-headed dragon. Measurement: H.42cm. Frame/Pedestal: Fitting frame from dark wood, carved with a large bat, Ruyi and a Shou sign. H.79cm. Hook from bronze. Explanations to the Catalogue Asian Art - Chinese Applied Arts 19th/20th century Cloisonné Metall Work China

BEDEUTENDE ROTE SCHNITZLACKDOSE. BEDEUTENDE ROTE SCHNITZLACKDOSE. Herkunft: China. Dynastie: Qing-Dynastie. Datierung: 18. Jh. Technik: Holzkern mit Papier. Roter Schnitzlack. Innen schwarz lackiert. Beschreibung: In abgeflacht runder Form. Auf dem Deckel in einer runden Kartusche eine Szene aus dem Roman "Die Räuber vom Liang-Shan-Moor" (Shui Hu Zhuan). Auf den Seiten jeweils vier schmale Kartuschen mit jeweils einem Gelehrten und einem Dienerknaben in einer Landschaft, dazwischen die Attribute der Acht Unsterblichen. Den Hintergrund füllt ein feines Rautenmuster mit Blüten. Maße: H.19cm, Ø 34cm. Provenienz: Privatsammlung Bergisches Land. 1975 in Saint-Tropez im Kunsthandel erworben. Seitdem im Privatbesitz. Erläuterungen zum Katalog Asiatika - China Kunsthandwerk 18. Jahrhundert Lack Kunsthandwerk China BEDEUTENDE ROTE SCHNITZLACKDOSE. IMPORTANT BOX WITH RED CARVED LACQUER. Origin: China. Dynasty: Qing dynasty. Date: 18th c. Technique: Wooden body with paper layer. Red carved lacquer. Inside lacquered black. Description: In flattened round form. On the lid in a round cartouche a scene from the story "Outlaws in the Marsh" (Shui Hu Zhuan). On each side four narrow cartouches with a scholar and a servant boy in a landscape, between them the attributes of the Eight Immortals. The background is filled with a fine diamond pattern with blossoms. Measurement: H.19cm, Ø 34cm. Provenance: Private collection Bergisches Land. Acquired 1975 in St. Tropez in the art trade. Since then in private property. Explanations to the Catalogue Asian Art - Chinese Applied Arts 18th century Lacquer Crafts China

PAAR GESTICKTE LANDSCHAFTSBILDER AUS EINEM STELLSCHIRM. PAAR GESTICKTE LANDSCHAFTSBILDER AUS EINEM STELLSCHIRM. China. Qing-Dynastie. Datierung: 18.-19. Jh. Technik: Seidenstickerei auf Satin. Auf modernem Seidengewebe aufgenäht. Beschreibung: Die beiden Stickereien zeigen Gebirgslandschaften mit Bogenbrücken, Pagode und Pavillons mit Gelehrten. Jeweils ein Titel mit vier Zeichen: "Im Frühling erwärmt sich das Wasser der Flüsse", "Dichten unter dem Mond im lichten Hain". Maße: Stickerei jeweils ca. 139x34cm. Marke: Auf einem kleinen Stoffstreifen an einem der Bilder: "Stellschirm mit Berg- und Wasserlandschaften". Hinter Glas in vergoldeten Rahmen (jeweils 164x50cm)China Erläuterungen zum Katalog Asiatika - China Kunsthandwerk 18./19. Jahrhundert Seide Textil China PAAR GESTICKTE LANDSCHAFTSBILDER AUS EINEM STELLSCHIRM. PAIR OF EMBROIDERED LANDSCAPE IMAGES FROM A FOLDING SCREEN. China. Qing dynasty. Date: 18th-19th c. Technique: Silk embroidery on satin. Sewn on modern silk fabric. Description: The two embroideries show mountain landscapes with arched bridges, a pagoda and pavilions with scholars. On each one a title with four characters: "In Spring the Water of the Rivers is Warming up", "Making Poems Beneath the Moon in a Light Grove". Measurement: Embroidery each ca. 139x34cm. Mark: On a small fabric stripe at one of the pictures: "Folding screen with mountain and water landscapes". Behind glass mounted in a gilt frame (each 164x50cm)China Explanations to the Catalogue Asian Art - Chinese Applied Arts 18th/19th century Silk Textile China

FOTOALBUM MIT PHOTOGRAFIEN EINER REISE NACH CHINA UND JAPAN. FOTOALBUM MIT PHOTOGRAFIEN EINER REISE NACH CHINA UND JAPAN. Datierung: 1939-1942. Technik: Ca. 198 Fotos und Postkarten in einem Album mit schwarzen Kartonseiten und einem Seideneinband. Beschreibung: Anreise mit dem Schlachtschiff "Gneisenau" im Jahr 1939. Die Fotos zeigen Sehenswürdigkeiten in und um Beijing, darunter die Verbotene Stadt, den Sommerpalast, verschiedene Tore und Tempel. Ein Foto zeigt auch den französischen Botschaftsrat Baron Fain mit seiner Gattin, die zu diesem Zeitpunkt (1942) in China weilten. Außerdem wurde ein Beerdigungszug aufgenommen, wie auch der Alltag der Personen. Ebenso einige Aufnahmen von Japan. Maße: Album 34x45cm. Provenienz: Aus dem Nachlass von Karl Wilhelm Hübsch (*23.2.1886), der als Korvettenkapitän zahlreiche Schiffreisen unternahm. Erläuterungen zum Katalog Asiatika - China Kunsthandwerk 1940er Landschaft Fotografie China FOTOALBUM MIT PHOTOGRAFIEN EINER REISE NACH CHINA UND JAPAN. PHOTO ALBUM FROM A TRAVEL TO CHINA AND JAPAN. Date: 1939-1942. Technique: Approx. 198 photographs and postcards in an album with black cardboards pages and covers from Chinese silk. Description: Arrival with the battleship "Gneisenau" in 1939. The photographs show sights in and around Beijing, including the Forbidden City, the Summer Palace, various gates and temples. One photograph also shows the French embassy counsellor Baron Fain with his wife, who was in China at that time (1942). In addition, a funeral procession was recorded, as well as the everyday life of the people. Also some photos of Japan. Measurement: Album 34x45cm. Provenance: From the estate of Karl Wilhelm Hübsch (*23.2.1886), a corvette capitan who traveled a lot. Explanations to the Catalogue Asian Art - Chinese Applied Arts 1940s Landscape Photography China

GROßE TIANGQIUPING-VASE MIT DEN ACHT BUDDHISTISCHEN KOSTBARKEITEN. GROßE TIANGQIUPING-VASE MIT DEN ACHT BUDDHISTISCHEN KOSTBARKEITEN. China. 19./20. Jh. Technik: Porzellan, unterglasurblau bemalt. Beschreibung: Die Vase bedecken dichte Lotosranken mit den Ashatamangala, auf der Schulter eine Wellenbordüre, an der Lippe Ruyi und am Fuß stilisierte Blätter und Ranken. Maße: H.52cm, B.35cm. China Provenienz: Privatsammlung Süddeutschland. Erworben 1972 in Hongkong. Erläuterungen zum Katalog Asiatika - China Porzellan, Keramik 19./20. Jahrhundert Vase Porzellan China GROßE TIANGQIUPING-VASE MIT DEN ACHT BUDDHISTISCHEN KOSTBARKEITEN. LARGE TIANQIUPING VASE WITH THE EIGHT BUDDHIST TREASURES. China. Technique: Porcelain, painted underglaze blue. Description: The vase covered with dense lotus scrolle and the Ashtamangala, at the shoulder a wave border, at the lip ruyi, at the foot stylized leafs and scrolls. Measurement: H.52cm, w.35cm. China Provenance: Private collection Southern Germany. Acquired 1972 in Hongkong. Explanations to the Catalogue Asian Art - Chinese Porcellain, Ceramics 19th/20th century Vase Porcelain China

PAAR TIEFE TELLER MIT UNSTERBLICHEM UND ZWEI JUNGEN BEGLEITERN. PAAR TIEFE TELLER MIT UNSTERBLICHEM UND ZWEI JUNGEN BEGLEITERN. Herkunft: China. Dynastie: 20. Jh. Technik: Dünnwandiges Porzellan, bemalt in famile rose mit Gold. Maße: H.4,1cm, Ø 21cm. Erläuterungen zum Katalog Asiatika - China Porzellan, Keramik 20. Jahrhundert Teller Porzellan China PAAR TIEFE TELLER MIT UNSTERBLICHEM UND ZWEI JUNGEN BEGLEITERN. A PAIR OF DISHES WITH IMMORTAL AND TWO YOUNG ATTENDANTS. Origin: China. Dynasty: 20th c. Technique: Thin walled porcelain painted in famile rose with gold. Measurement: H.4.1cm, Ø 21cm. Explanations to the Catalogue Asian Art - Chinese Porcellain, Ceramics 20th century Dish Porcelain China

AUßERGEWÖHNLICHE FIGUR EINES SOGDISCHEN PFERDEKNECHTS. AUßERGEWÖHNLICHE FIGUR EINES SOGDISCHEN PFERDEKNECHTS. Herkunft: China. Shaanxi oder Henan Provinz. Dynastie: Tang-Dynastie (618-907). Datierung: Datiert laut beiliegendem Oxford Thermolumineszens-Gutachten. Technik: Niedrig gebrannter, eisenhaltiger Ton mit grauem Schlicker, großteils erhaltener, kalter Pigmentbemalung und partieller Vergoldung. Beschreibung: Stehend in weitem Ausfallschritt hielt er ehemals in den Händen wohl die Zügel eines Tiers. Er ist in einen kurzen Kaftan über eng anliegenden Beinlingen gekleidet. Der weit aufgeschlagene Kragen bildet ein breites Revers auf dem noch Reste von einem gemalten Blütenmotiv zu finden sind. Seine Gesichtszüge sind deutlich individuell ausgebildet und bemalt mit einem kraftvoll-männlichen Ausdruck. Auf dem Kopf trägt er eine charakteristische, hohe Kopfbedeckung, die vorne mit Mustern bemalt und Blattgold verziert ist. Maße: Höhe 51cm, Breite ca. 25cm, Tiefe ca. 12cm. Provenienz: -1997 erworben bei Artcade Gallery, Van der Kindere, Brüssel. -Nachlass einer Rheinischen Privatsammlung. Gutachten: Thermolumineszens-Gutachten vom 29.3.1997: TL Oxford report 866e78. Erläuterungen zum Katalog Asiatika - China Porzellan, Keramik Tang-Dynastie (618-907) Skulptur Keramik China AUßERGEWÖHNLICHE FIGUR EINES SOGDISCHEN PFERDEKNECHTS. EXTRAORDINARY FIGURE OF A SOGDIAN HORSE GROOM. Origin: China. Shaanxi or Henan province. Dynasty: Tang dynasty (618-907). Date: Dated according to attached Oxford Thermoluminescense report. Technique: Low-fired, ferrous clay with grey slip, largely preserved, cold pigment painting and partial gilding. Description: Standing in wide sidestep with his right hand raised. With both hands, he probably held formerly the reins of the animal. He is dressed in a short caftan over tight-fitting leggins. The wide open collar forms a broad lapel, on which painted flower motifs are still preserved. His facial features are clearly individually formed and painted showing a powerful masculine expression. On the head, he wears a characteristic, high headgear, which is painted with patterns and decorated with gold leaf. Measurement: Height 51cm, width ca. 25cm, depth ca. 12cm. Provenance: -1997 acquired at Artcade Gallery, Van der Kindere, Brussels. -Estate of a Rhenish private collection. Expert report: Thermoluminescence report of 29.3.1997: TL Oxford report 866e78. Explanations to the Catalogue Asian Art - Chinese Porcellain, Ceramics Tang dynasty (618-907) sculpture Ceramic China

PAAR MUSCHEL-FÖRMIGE TELLER MIT WESTLICHEN BLÜTEN. PAAR MUSCHEL-FÖRMIGE TELLER MIT WESTLICHEN BLÜTEN. Herkunft: China. Dynastie: Qing-Dynastie. Datierung: Yongzheng-Zeit (1722-1735). Technik: Export-Porzellan, bemalt in famille rose und Gold. Maße: H.5cm, 23x23,5cm. Provenienz: Laut Besitzer aus einer Schweizer Privatsammlung. Erläuterungen zum Katalog Asiatika - China Porzellan, Keramik Yongzheng-Zeit (1722-1735) Teller Porzellan China PAAR MUSCHEL-FÖRMIGE TELLER MIT WESTLICHEN BLÜTEN. PAIR OF SHELL-SHAPED DISHES WITH WESTERN FLOWERS. Origin: China. Dynasty: Qing dynasty. Date: Yongzheng period (1722-1735). Technique: Export porcelain painted in famille rose. Measurement: H.5cm, 23x23.5cm. Provenance: According to owner from a Swiss private collection. Explanations to the Catalogue Asian Art - Chinese Porcellain, Ceramics Yongzheng period (1722-1735) Dish Porcelain China

MEIPING-VASE MIT DRACHEN IN WOLKEN. MEIPING-VASE MIT DRACHEN IN WOLKEN. Technik: Porzellan, bemalt mit Blau und Kupferrot unter einer transparenten Glasur. Grund in hell türkisgrüner Glasur. Beschreibung: Die Vase in Meiping-Form mit weitem Hals und leicht ausgestellter Mündung, auf hohem eingetieftem Standring. Die umlaufende Darstellung zeigt zwischen stilisierten Wolken einen steigenden und einen sinkenden Drachen um eine flammende Perle. Am Fußring spiralig eingerollte Wellen mit aufschäumender Gischt. Unter der Mündung ein Doppelring in Unterglasurblau. Maße: H.32,5cm, Ø 18cm. Provenienz: Laut Besitzer aus einer Schweizer Privatsammlung. Im Boden zwei Sammlungsaufkleber aus Papier, einer mit der Aufschrift: "Jan von Dyk 59", der andere: "Collection ??, B 1408 8/31". Erläuterungen zum Katalog Asiatika - China Porzellan, Keramik Vase Porzellan China MEIPING-VASE MIT DRACHEN IN WOLKEN. MEIPING VASE WITH DRAGONS IN CLOUDS. Technique: Porcelain painted with blue and copper red under a transparent glaze. Background with light turquoise green glaze. Description: The vase in meiping shape with wide neck and slightly flared mouth, on a high recessed base ring. The revolving representation shows a rising and a sinking dragon around a flaming pearl between stylized clouds. The foot ring is decorated with spiral waves with foaming spray. Beneath the mouth a double ring in underglaze blue. Measurement: H.32.5cm Ø 18cm. Provenance: According to owner from a Swiss private collection. Underneath two collection labels made of paper, one with the inscription: "Jan von Dyk 59", the other: "Collection ??, B 1408 8/31". Explanations to the Catalogue Asian Art - Chinese Porcellain, Ceramics Vase Porcelain China

SELTENER UND FEINER STEHENDER BODHISATTVA. SELTENER UND FEINER STEHENDER BODHISATTVA. Herkunft: Gandhara. Datierung: 3. Jh. n. Chr. Technik: Hellgrauer Schiefer. Beschreibung: Da die Attribute nicht erhalten sind, kann dieser majestätische, sehr fein gearbeitete Bodhisattva mit Mandorla nicht eindeutig identifiziert werden. Aufgrund seines kunstvollen Turban kann man davon ausgehen, dass die Skulptur Bodhisattva Avalokiteshvara oder Bodhisattva Siddhartha Gautama, also Prinz Siddhartha vor Erlangung der Buddhaschaft, darstellt. Die beschädigte linke Schulter seines kräftigen nackten Oberkörpers war mit einem Gewand (sanghati) im hellenistischen oder provinzialrömischen Stil bedeckt. Die feinen Falten seines Dhotis fallen rhythmisch auf seine Knöchel, und er trägt Sandalen. Die schweren Ohrringe und Armbänder (hier ist nur eine Armband erhalten), mehrere Halsketten und die Gebetskette mit Amulettbehältern sind charakteristische Merkmale von Bodhisattva-Skulpturen aus Gandhara. Sein spirituelles und sehr subtil gestaltetes Gesicht, das tiefste Ruhe und Versenkung ausstrahlt, steht in einem schönen Kontrast zu seinem athletischen Körper. Maße: Höhe 61cm, Breite 20cm, Tiefe 9cm. Rahmen/Sockel: Montiert auf einem Metallsockel. Provenienz: Europäische Privatsammlung. Literatur: Christies New York: Devotion in Stone, 23. Sept. 2020, Lot 613, vgl. für ein größeres Beispiel. Erläuterungen zum Katalog Asiatika - Südostasien 3. Jahrhundert Buddhistische Kunst Skulptur Gandhâra SELTENER UND FEINER STEHENDER BODHISATTVA. RARE AND FINE STANDING LIGHT GREY SCHIST BODHISATTVA. Origin: Gandhara. Date: 3rd c. A.D. Technique: Light grey schist. Description: Because the attributes are not preserved, this majestic, very finely carved haloed Bodhisattva can not be conclusively identified. Due to its elaborate turban, one can assume that the sculpture represents Bodhisattva Avalokiteshvara, or Bodhisattva Siddhartha Gautama, that is prince Siddhartha before attaining Buddhahood. The damaged left shoulder of his powerful naked torso was covered with a robe (sanghati) in Hellenistic or provincial Roman style. The finely carved folds of his dhoti fall rhythmically to his ankles, and he his wearing sandals. The heavy earrings and armbands (only one armband is preserved here), multiple necklaces, and prayer chain with amulet containers are signature features of Gandharan Bodhisattva sculptures. His spiritual and very subtle face, radiating deepest calmness and immersion, contrasts beautifully with his athletic body. Measurement: Height 61cm, width 20cm, depth 9cm. Frame/Pedestal: Mounted on a metal base. Provenance: European privat collection. Literature: Christies New York: Devotion in Stone, 23rd Sept. 2020, Lot 613, compare for a larger example. Explanations to the Catalogue Asian Art - Southeast Asia 3rd century Buddhist art Sculpture Gandhâra

HOLZSCHNITT TRIPTYCHON: DAS RIESENSKELETT ERSCHEINT VOR MITSUKUNI. HOLZSCHNITT TRIPTYCHON: DAS RIESENSKELETT ERSCHEINT VOR MITSUKUNI. Utagawa, Kuniyoshi. 1798 - 1861. Datierung: Watari, 1845/46. Meister/Entwerfer: Nishiki-e. Beschreibung: Szene aus dem Buch "Uto Yasukata chugi-den" (Geschichte über die Treue von Uto Yasukata) von Santô Kyôden (1761-1816). Prinzessin Takayashi, die Tochter des Rebellen Taira no Masakado, beschwört im alten Palast der Soma den Geist Nikushisen in From eines riesigen Skelettes. Dieser sollte ihr und ihrem Stiefbruder bei der Rebellion helfen. Ein Gefolgsmann von Minamoto Yorinobu, Oya Taro Mitsukuni, entdeckte jedoch den Plan und besiegt schließlich die Prinzessin und ihren Stiefbruder im Palast. Maße: Ôban-Triptychon, je ca. 36,5 x 24,7 cmcm. Marke: Ichiyusai Kuniyoshi. Provenienz: -Christie's London, Auktion 7432, Los 586, 7. November 2007. Ex. B.W. Robinson Collection. -Sammlung Prof. Thomas Olbricht. Literatur: B.W.Robinson: "Kuniyoshi, The Warrior Prints", Oxford, 1982, Abb. 52. Erläuterungen zum Katalog Kuniyoshi Utagawa Japan 19.Jh. Asiatika - Japan / Korea Malerei, Holzschnitte Edo-Zeit (1603-1868) Ukiyo-e Druckgrafik Japan HOLZSCHNITT TRIPTYCHON: DAS RIESENSKELETT ERSCHEINT VOR MITSUKUNI. WOODBLOCK TRIPTYCH: THE GIANT SKELETON APPEARS IN FRONT OF MITSUKUNI. Utagawa, Kuniyoshi. 1798 - 1861. Date: Watari, 1845/46. Maker/Designer: Nishiki-e. Description: Scene from the book "Uto Yasukata chugi-den" (Story about the loyalty of Uto Yasukata) by Santô Kyôden (1761-1816). Princess Takayashi, the daughter of the rebel Taira no Masakado, conjures the spirit Nikushisen in the old palace of the Soma in the shape of a huge skeleton. This should help her and her stepbrother in the rebellion. A henchman of Minamoto Yorinobu, Oya Taro Mitsukuni, discovered the plan and finally defeated the princess and her stepbrother in the palace. Measurement: Ôban-Triptych, each ca. 36.5 x 24.7 cmcm. Mark: Ichiyusai Kuniyoshi. Provenance: -Christie's London, sale 7432, lot 586, Nov. 7, 2007. Ex. B.W. Robinson Collection. -Collection Prof. Thomas Olbricht. Literature: B.W.Robinson: "Kuniyoshi, The Warrior Prints", Oxford, 1982, ill. 52. Explanations to the Catalogue Kuniyoshi Utagawa Japan 19th C. Asian Art - Japan / Korean Paintings, Woodblock Prints Edo-Period (1603-1868) Ukiyo-e Print Japan

c. 475 BC – 221 BC. Warring States Period. Bronze spear with pointed, triangular head, elongated shank, projecting hammer-head cross-guard and circular socket. The exterior of the piece is extensively ornamented with incised decoration and moulded animal reliefs. The Warring States Period was an era of Chinese history characterised by extensive and ongoing conflict between a multitude of statelets and kingdoms which ultimately culminated in the Qin state’s victory and the first unification of China into a single empire. Excellent condition; on a custom-made stand.Size: L:305mm / W:90mm ; 430g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

c. 475 BC – 221 BC. Warring States Period. Bronze spearhead with leaf-shaped, lentoid-section blade and central midrib. The lower part of the spearhead comprises a circular socket; the sides of the socket are decorated with geometric patterns and a projecting bull’s head projection. The Warring States Period was an era of Chinese history characterised by extensive and ongoing conflict between a multitude of statelets and kingdoms which ultimately culminated in the Qin state’s victory and the first unification of China into a single empire. Excellent condition with a beautiful patina; on a custom-made stand; Size: L:292mm / W:42mm ; 330g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

c. 475 BC – 221 BC. Warring States Period. Bronze spearhead with leaf-shaped, lentoid-section blade and central midrib. The guard comprises an openwork figure-of-eight motif, connecting a rectangular handle; a figure figure-of-eight motif makes up the pommel; these features, which are covered in scale-like details, may be intended to recall the nostrils or wings of a dragon. The handle is covered with intricate incised motifs. The Warring States Period was an era of Chinese history characterised by extensive and ongoing conflict between a multitude of statelets and kingdoms which ultimately culminated in the Qin state’s victory and the first unification of China into a single empire. Excellent condition with a beautiful patina; on a custom-made stand.Size: L:332mm / W:45mm ; 325g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Keymi / Stephan Raymond (French, b.1973) 64, two interlocking puzzle pieces partially revealing the face of comic book / graphic novel character; a 1950s lady, spray paint and resin over polystyrene, 36 x 30 cm, number 52 from a limited series of 100 original puzzle works With original Urbane Gallery certificates Keymi is a French painter and graffiti artist. His alias is a fusion of American and Asian cultures, blending hip-hop and Manga comics with Pop Art. His unfinished puzzle pieces are a social / psychological statement on popular culture, and represent the essential elements that connect for good mental health.

Keymi / Stephan Raymond (French, b.1973) 52, two interlocking puzzle pieces partially revealing the green face of comic book / graphic novel character, spray paint and resin over polystyrene, 36 x 30 cm, number 52 from a limited series of 100 original puzzle works With original Urbane Gallery certificates Keymi is a French painter and graffiti artist. His alias is a fusion of American and Asian cultures, blending hip-hop and Manga comics with Pop Art. His unfinished puzzle pieces are a social / psychological statement on popular culture, and represent the essential elements that connect for good mental health.

[INDIAN & SOUTHEAST ASIAN ART]. A group of 8 works in 10 volumes, including:  DOHRING, Karl Von. Buddhistische Templanlagen in Siam. Bangkok, Siam: Asia Publishing House, 1920. -- GROSLIER, George. La Sculpture Khmere Ancienne. Paris: Les Editions G. Cres & Co., 1925. -- INDIA HOUSE. A Descriptive Catalogue of the Marine Collection to be found at India House. New York: The Sign of the Gosden Head 1935. LIMITED EDITION, number 667 of 1,000 copies. --ROWLAND, Benjamin. Wall-Paintings of India Central Asia & Ceylon. Boston: The Merrymount Press, 1938. Limited Edition, number 405 of 500 copies. -- Broderies Hindoues. Paris: Ernst Henri, editeur, n.d. -- And 3 others. Together, 8 works in 10 volumes, large folio or 4to, most first editions, all in cloth or cloth-backed boards, condition generally good, complete list available on request. Property from a Prominent Chicago CollectionFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

QUANTITY OF ASIAN ART CATALOGUES AND REFERENCE BOOKS

LARGE COLLECTION OF ASIAN ART AUCTION CATALOGUES mostly Sotheby's and Christie's, Japanese, Islamic and Korean art

AN INTERESTING COLLECTION OF OLD ASIAN ART AUCTION CATALOGUES mostly Sotheby's and Christie's Chinese export catalogues 

LARGE COLLECTION OF ASIAN ART AUCTION CATALOGUES mostly Sotheby's, Christie's and Bonham's Chinese art

LARGE COLLECTION OF ASIAN ART AUCTION CATALOGUES mostly Sotheby's, Christies and Bonham's Chinese art

AN INTERESTING COLLECTION OF OLD ASIAN ART AUCTION CATALOGUES mostly Sotheby's and Christie's dating from the 1960's to the late 1980's 

BLUE AND WHITE PEAR-SHAPED EWER, WANLI SIX CHARACTER MARK AND OF THE PERIOD in the early 15th Century style, the body decorated with lotus flowers and leafy tendrils above a ruyi-scroll band, the flame-decorated S-shaped spout issuing from an ogee panel body, Height: 12.5cm. Provenance: Anthony Du Boulay; Christie's, New York, 2nd December 1989, lot 284. Sotheby's New York, 19th March 1997, lot 232. Exhibited: porcelain for Emperor's, The London Asian Art Fair, June 2003, no. 20

549 - 577 AD. Northern Qi Dynasty. Cream-coloured stone torso of a standing Buddha, without hands or head which would probably have originally been in precious metals. The torso stands upright, wears a light, billowing robe draped from his right shoulder and knotted around the navel. The folds of the robe had been elegantly moulded to create a sense of motion. One arm is slightly raised above the other. Comparable pieces are known in the Royal Ontario Museum, see Homage to Heaven, Homage to Earth, 1992, p.163, pl.92 and in the Eskenzi exhibtion (Sculpture and ornament in early Chinese art, London, 11 June-13 July 1996, no. 31). A similar item was recently sold at Christies €101,575, see https://www.christies.com/lotfinder/lot/a-chinese-stone-torso-of-buddha-northern-4285175-details.aspx?from=searchresults&intObjectID=4285175 Excellent condition; on a custom stand.Size: L:900mm / W:320mm (w/o stand); 78kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.

C. AD 618-907. Tang Dynasty. Stone head of Buddha with characteristic elaborate coiffured, two-tiered black “snail-shell” hair curls ornamented with a red spiralling jewel. The Buddha’s full face is gilded with a red painted urna in the centre of the forehead, and large pendant ears hang from the sides. The lightly closed eyes and small hooked nose complement the thick, rich red lips and modest chin. This beautiful piece may originally have formed part of a larger statue or statuette. Buddhism entered China as early as the Han Dynasty (late 3rd century BC-early 3rd century AD), and has played an important part in shaping the country’s art, politics, literature and philosophy. This beautiful stone head embodies the importance of Buddha to Chinese culture and reflects the enormous amount of work invested by Tang craftsmen. It would make a stunning centrepiece to any modern collection. Good condition; on a custom stand. Size: L:530mm / W:380mm (w/o stand); 73kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.

ca. 1100 AD. Seljuk. Bronze jug with flaring mouth, upward-angled spout, cylindrical neck, globular body, pronounced foot and strap handle connecting to the lower part of the body and to the rim. The body is ornamented with repousse ribbing, while extensive incised geometric motifs cover the spout and some of the ribs on the body. The Seljuks were a Turkic dynasty who swept out of Central Asia in the early 10th century and conquered an enormous expanse, covering most or all of present-day Turkmenistan, Iran, Iraq, Turkey and beyond. After inflicting crushing military defeats on a host of rivals, the most famous of which was perhaps that against the Byzantines at the Battle of Manzikert in 1071, the Seljuk sultans became major patrons of art and architecture. Excellent condition; beautiful patina. Size: L:220mm / W:145mm ; 825g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

c. 475 BC – 221 BC. Warring States Period. Bronze pole weapon featuring an L-shaped blade, terminating in a point at one end. A secondary, oblong blade is attached to the rear of the weapon. A rectangular tang between these two blades would have allowed for the attachment of a wooden handle. Carefully incised net decoration covers much of the faces of both blades. Weapons such as this would have permitted infantry to fight at arm’s length and disrupt the formations of opposing armies. The Warring States Period was an era of Chinese history characterised by extensive and ongoing conflict between a multitude of statelets and kingdoms which ultimately culminated in the Qin state’s victory and the first unification of China into a single empire. Excellent condition; on a custom-made stand. Size: L:195mm / W:270mm ; 485g. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley Civilisation. Buff-coloured pottery vessel with red, green and yellow painted decoration depicting a walking bull on one side and a cow on the other. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:142mm / W:135mm ; 490g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured vessel with a curving shoulder, and carinated body. The exterior features painted decoration in black, red and green depicting a sitting lion on one side and a zebu bull with characteristic hump and curving horns on the other. They are separated by stylised geometric vegetation and framed by a simple upper and lower linear border. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:83mm / W:143mm ; 385g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured vessel with a short, straight neck, flattened shoulder and cylindrical body. The shoulder displays a repeating painted motif of three black fish, while the body features painted decoration in black, red and green depicting a walking lion on one side and a zebu bull with characteristic hump and curving horns on the other. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:84mm / W:170mm ; 715g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured vessel with a short, straight neck, carinated body and flattened base. The exterior features painted designs in black, red and green depicting a sitting lion, a grazing antelope and a bird pecking the earth. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:110mm / W:145mm ; 490g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

1100-900 BC. Early Western Zhou Dynasty. Bronze cast vessel Gui comprising a broad shelf-like lip, hemispherical bowl, wide loop handles topped with moulded dragons, and a cylindrical base. Just below the rim is a horizontal frieze showing a stylised dragon. At the part of the frieze which lays midway between the two handles is a projecting dragon’s head. The guy is a classic vessel shape in Chinese bronzewares, which originated in the Shang dynasty in the 16th century BC but continued to be made for many centuries thereafter. Dragons, the fifth animal of the Chinese zodiac are a symbol of power, strength and good fortune in Chinese art, and this beautiful object may have once been used during rituals or for dining. A similar item was recently sold at Christies for $100,000, see https://www.christies.com/lotfinder/lot/a-bronze-ritual-food-vessel-gui-early-6276466-details.aspx?from=searchresults&intObjectID=6276466 Excellent condition; beautiful patina; expertly cleaned and conserved. The artefact is fully authenticated with an XRF analysis by an independent Belgian laboratory. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina. Size: L:150mm / W:360mm ; 1.8kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.

1300-1200 BC. Shang dynasty. A beautiful bronze jia tripod vessel comprising a flaring rim, inward sloping neck, flaring shoulder and flat bottom supported by three wedge-shaped legs. A single strap handle is attached to one side of the vessel and two posts with conical casts rise from the rim, perhaps in imitation of mushrooms. A decorative frieze runs around the neck of the vessel, just above the shoulder, and depicts stylised taotie masks. The taotie are mythological creatures commonly appearing in ancient Chinese art, where they are commonly associated with the Four Evils of the World, a motif fitting for a vessel that would have been used for holding food on ritual or ceremonial occasions. Jia with this form and decoration are typical of the Anyang period (1300-1030 BC) and a comparable example can be seen in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp. 152-7, no. 9. A similar, less well-preserved object was recently sold at Christies for $137,500, see https://www.christies.com/lotfinder/lot/a-bronze-ritual-tripod-wine-vessel-jia-6276463-details.aspx?from=salesummery&intobjectid=6276463 Excellent condition; beautiful patina; expertly cleaned and conserved. The artefact is fully authenticated with XRF analysis by an independent Belgian laboratory. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina.Size: L:250mm / W:220mm ; 1.5kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.