A LARGE GREEN AND BROWN CEREMONIAL JADE BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BC An amazing example of a long ceremonial blade, trapezoidal in shape, with slightly slanting short sides, faintly arched at the top edge, and with a straight cutting edge. The top pierced with three holes. The softly polished stone of an amazing, translucent blueish green tone and with large areas of darker, semi-translucent brown inclusions to the top and sides.According to the Cleveland Museum of Art, recent recoveries of similar blades from a pit of a Qijia cultural site located in northwest China reveal that they were originally standing on their edges and were arranged in parallel formations at the ritual ground. Condition: Very good condition with age-related wear, and tiny chips.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: 612 g Dimensions: Length 39 cmLITERATURE COMPARISON: Compare to closely related blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 134, 135, 136, pages: 114-117. Compare to a closely related Ceremonial Blade with Three Perforations (Dao), 2000-1700 BC, Northwest China, late Neolithic period to early Bronze Age, Qijia culture exhibited at Cleveland Museuam of Art, Severeance and Greta Milikin Colllection 2009.83.AUCTION RESULT COMPARISON: Type: Related Price: Sold at 30,000 GBP approx. 35,000 EUR Auction: Christie's, A Private English collection of White Jade Carvings and Fine Chinese Ceramics and Works of Art including Export Art, Lot 118, 4th of November 2008 Description: A greyish-green jade blade, Dao, Neolithic period, Qijia culture, circa 2050-1700 BC
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A FINE MOTTLED JADE DAO BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCA fine ceremonial blade, trapezoidal in shape, with slightly slanting short sides, faintly arched top edge, and curved cutting edge. The top pierced with three holes. The softly polished semi-translucent stone showing an intense color play of white, ochre, brown and black hues and whitish alterations.According to the Cleveland Museum of Art, recent recoveries of similar blades from a pit of a Qijia cultural site located in northwest China reveal that they were originally standing on their edges and were arranged in parallel formations at the ritual ground.Condition: Very good condition with age-related wear, calcification, and small chips.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: 331 g Dimensions: Length 31 cmLITERATURE COMPARISON: Compare to closely related DAO blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 134, 135, 136, pages: 114-117.
A JADE NOTCHED AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form with a long, straight cutting edge, well-carved from a beautiful, translucent celadon stone with delicate, brownish, grayish, and milky white inclusions, as well as russet spots and veins. Three circular hafting holes drilled from one side. The shorter sides flanked by notched grooves. Condition: Very good condition with wear and expected minor signs of weathering as well as nibbles to edges and a small chip to one notch.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: 552.3 gDimensions: Length 37 cm, Width 11.2 cmKnife- and axe-shaped blades made from stone were probably working tools in Neolithic societies. Jade is hard but brittle, so the blades made from this beautiful material are unlikely to have been put to practical use. Instead, they would have been held by chieftains as symbols of authority. Large quantities of jade blades have been excavated in different regions in China, indicating their widespread use over a span of more than 3,000 years.
A JADE AXEChina, probably Qijia culture, c. 2200-1600 BC or later. The blade of irregular form with curved sides, well carved from a translucent dark gray and beige jade with russet inclusions and veins, as well as calcification to the blade. Five apertures to the blade, one C-shaped. Condition: Very good condition with wear and expected minor signs of weathering, natural fissures, one minor chip to the edge. 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: 500.8 gDimensions: Length 30.8 cm, Width 12.5 cm
A JADE CEREMONIAL AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. The blade with curved and slanted edges, well carved from a dark gray and beige jade with russet inclusions, as well as calcification. The blade broadens slightly towards the cutting edge opposite the hafting end with three circular apertures drilled from one side.Condition: Very good condition with wear and expected minor signs of weathering, fissures, and few chips and nibbles to the edges.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: 674.4 gDimensions: 33.7 cm, 14 cm
A JADE AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. The blade of irregular form with several curved notches and grooves, well carved from a translucent pale celadon jade with brown and milky white inclusions as well as dark spots and speckles. Two notches on the top and bottom further incised with angular lines. The well-polished surface smooth to touch.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.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: 642.2 gDimensions: Length 36.2 cm
A JADE CEREMONIAL AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of triangular form, the stone with gently curved sides and an opposing straight blade, well carved from a dark grayish-brown jade with patches and speckles of beige, as well as calcification. Five apertures incised in a series to the curved sides. Condition: Very good condition with wear and expected minor signs of weathering and nibbles to the edges. One side chipped. 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: 370 gDimensions: Length 35.6 cm, Width 9 cm
A JADE AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form with a curved edge, pierced with a circular aperture and carved with a notch to fit a handle. The smoothly polished stone of a dark gray tone with brown shadings, dark specks, and cloudy white inclusions. Condition: Very good condition with wear and expected minor signs of weathering, tiny nicks, small chips. 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: 120.4 gDimensions: Height 15.3 cm
A CEREMONIAL AXEChina, probably Qijia culture, c. 2200-1600 BC or later. The blade with one side curving to a sharp edge, the other serrated with wave-like teeth, well carved from a translucent celadon green stone with spinach green and milky white striations, as well as spots of brown. The hafting end with a small circular hole drilled from one side.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.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: 355.4 gDimensions: Length 31 cm, Width 9 cm
A JADE CEREMONIAL BLADE, GUI, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form, the long blade with a curved cutting edge and two circular apertures to the top. Well carved from a beautiful, celadon stone with brown shadings and milky white inclusions as well as dark speckles. Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.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: 381.5 gDimensions: Length 31.7 cm
A CEREMONIAL AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC or later. The blade of slightly tapering form with a concave blade, well carved from a translucent stone with dark green and russet striations as well as speckles and spots of spinach green. Two well hollowed apertures.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.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: 344.5 gDimensions: Length 24.5 cm, Width 8.6 cm
A JADE NOTCHED AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form, the long blade with a slanted cutting edge. A circular aperture is pierced to the top flanked by notches to the sides. The translucent stone of a celadon tone with cloudy white inclusions and russet veins.Condition: Very good condition with wear and expected minor signs of weathering, tiny nicks, few chips.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: 148.6 gDimensions: Height 18.7 cm
A JADE NOTCHED AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form, the long blade with a slanted cutting edge, a circular aperture pierced to the top flanked by notches to the sides. One side with a straight incision running from the top down the aperture. The translucent dark gray stone with brown, white, and dark-green inclusions and specks.Condition: Very good condition with wear and expected minor signs of weathering, tiny nicks, few nibbles.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: 510 gDimensions: Length 36.5 cm
A JADE CEREMONIAL BLADE, GUI, QIJIAChina, Qijia culture, c. 2200-1600 BC. Of tapering form, the long blade with a gently curved cutting edge, well carved from a beautiful, dark green celadon stone with milky white inclusions and russet veins. A circular aperture is pierced to the top flanked by notches to the sides. One side with a straight incision running from the top down the aperture.Condition: Very good condition with wear and expected minor signs of weathering and nibbles to the curved edge.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: 401.9 gDimensions: Length 31.2 cm
A JADE AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form, with a short slanting cutting edge, well carved from a translucent dark gray jade with milky-white inclusions and veins, as well as dark-gray striations. The hafting end with a small circular hole drilled from one side.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.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: 733 gDimensions: Length 31 cm
A JADE CEREMONIAL BLADE, GUI, QIJIA CULTUREChina, c. 2200-1600 BC. The skillfully shaped, short blade tapers to an arched cutting edge with rounded edges. The hafting bar is narrow and pierced with a round hole. A single, incised groove runs horizontally through the center of the blade and gently fades before reaching the cutting edge. Two pairs of four symmetrical notches carved on the sides. The partly translucent stone of a pale celadon hue with dark gray clouding, icy veining, and russet inclusions. Condition: Very good condition with expected wear, weathering, as well as tiny chips which have smoothened over time. Natural inclusions and fissures.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: 83.7 gDimensions: Length 16.7 cm Literature comparison: Compare related examples published in 4000 Years of Chinese Archaic Jades, Filippo Salviati, nos. 140 and 141, p. 122-123.
A LARGE AND IMPRESSIVE MOTTLED CELADON JADE ZHANG BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCStriking in its form, this long ZHANG blade boasts a curved cutting edge, thus creating a double-pointed form. The asymmetrical, inner curvature is typical for long ceremonial ZHANG blades. Two neatly carved flanges flank the tang pierced with one circular hole. A strong, perfectly straight line runs along the blade. The semi-translucent jade is of a celadon hue with cloudy inclusions of brownish colors, green spots, and darker veins.Condition: Very good condition with natural inclusions, calcification, and fissures. A small chip to the pointy edge of the blade. 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: 189 g Dimensions: Length 29 cmLITERATURE COMPARISON: Compare to closely related ZHANG blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 137, 138, 139, pages: 118-121 AUCTION RESULT COMPARISON:Type: Related Price: 32,500 USD approx. 30,000 EUR Auction: Christie's, Fine Chinese Art from the Arthur M. Sackler Collections, 18th of March 2009, Lot 289. Description: A blackish-green jade ceremonial blade, Zhang, Northwest China, Qijia culture, circa 1500 BC
A CELADON AND RUSSET QI JADE BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCA fine arched blade, with straight cutting edge and a triangularly tapered, narrow handle with one pierced hole. The sides are embellished with four symmetrical notches. The surface is neatly polished and almost lustrous. The celadon hue of the jade is enriched by russet and dark brown inclusions, as well as near black- and ivory-colored areas along the border of the cutting edge.Condition: Very good condition with expected traces of weathering, and tiny notches.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: 137 g Dimensions: Length 21.5 cmLITERATURE COMPARISON: Compare to closely related Bronze Age QI blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 140, 141, pages: 122-123
A LONG 'RIVER JADE' BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCAn elegant blade of remarkable size, skillfully worked from an opaque and mottled hardstone, incorporating various hues of green and light russet, reminiscent of a river stream. The blade is faintly thinning towards the sides, the cutting edge is slightly convex. The top section of the jade is pierced with one hole. The surface is exquisitely polished and smooth to the touch.Condition: Excellent condition with expected wear and natural fissures.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: 175 g Dimensions: Length 29 cmLITERATURE COMPARISON: Compare to closely related blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 132, 133 pages: 112-113AUCTION RESULT COMPARISON:Type: Related Price: 187,500 HKG, approx. 22,000 EUR Auction: Christie's, The Chang Wei-Hwa collection of Archaic Jades Part I - Neolithic Period, Lot 2741, 29th of November 2023 Description: A DARK GREEN STONE BLADE, NEOLITHIC PERIOD, CIRCA 2500-2000 BC
A CELADON JADE NOTCHED YUE AXE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BC Of tapering form with a wide and straight cutting edge, well-carved form a beautiful, translucent celadon stone with delicate, brownish, and milky white inclusions, as well as with miniature, spinach-green spots. A large, circular hole is pierced in the center and the sides are embellished with notches. The well-polished surface is perfectly smooth. Some areas of the edges calcified showing a milky beige hue.Condition: Very good condition with small notches to the edges and central hole, natural fissures.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: 142 g Dimensions: Height 10.1 cm, Length 11.5 cmLITERATURE COMPARISON: Compare to a closely related notched Bronze Age Yue axe, yet Erlitou to Shang, in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, No. 143, pages 124-125.
A JADE NOTCHED YUE AXE, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. Of tapering form with a wide and straight cutting edge, well-carved from a beautiful, translucent celadon stone with delicate, brownish, grayish, and milky white inclusions, as well as russet spots. A large, circular hole is pierced in the center topped by two smaller symmetrical holes and the sides are embellished with notches. The well-polished surface is perfectly smooth. Some areas of the edges calcified showing a milky beige hue.Condition: Very good condition with wear and expected minor signs of weathering and minor chips and nibbles to the edges.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: 210.6 gDimensions: Height 10.1 cm, Width 11.5 cmLiterature comparison: Compare a closely related notched bronze age yue axe, dated Erlitou to Shang, in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, No. 143, pages 124-125.
A JADE NOTCHED DISC, LATE NEOLITHIC PERIOD TO SHANG DYNASTYChina, Qijia culture, c. 2200-1050 BC. Of circular form, the jade is pierced with a wide central aperture and the outer edge is carved with three pronounced notches forming three arcs. The stone of dark green tone with patches and spots of dark gray. Condition: Very good condition with wear and expected minor signs of weathering.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: 246.9 gDimensions: Length 14.5 cmAuction result comparison: Compare a related jade notched disc, 16 cm diameter, at Sotheby's Hong Kong, 9 October 2022, lot 119 (sold for HKD 327,600).
A JADE TWO SECTION DISC, QIJIA CULTUREChina, Qijia culture, c. 2200-1600 BC. The mottled celadon jade disc showing numerous striations, dots, and large patches of different nuances of color ranging from green, to light and dark brown, russet, and black. The circumference is slightly irregular, as is the central hole, thus giving the ring an uneven width.Condition: Very good condition with wear and expected minor signs of weathering, tiny nicks, few chips.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: 173.2 gDimensions: Diameter 13.8 cm
A SEA-GREEN THREE SECTION JADE BI DISC, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BC All three flat arc-shaped sections are carved from the same piece of semi-translucent, sea-green jade varied by large, milky-white and brownish inclusions. Each section is fashioned with rounded edges and conical holes pierced at each end for the three parts to be attached to each other. The surface is carefully polished and smooth to the touch.Condition: Good condition with some material loss to the outer edges, and small chips. 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: 231 g Dimensions: Diameter 15.7 cmLITERATURE COMPARISON: Compare to closely related three-section jade discs in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 121, 122, 123, pages: 102-103.AUCTION RESULT COMPARISON: Type: Related Price: Sold at 75,000 HKD, approx. 9,000 EUR Auction: Christie's, Chinese Archaic Jades from The Yangdetang Collection, lot 2711, 29th of November 2017 Description: A White Jade „Triple Huang“ BI Disc, Qijia culture, circa 2300-1500 BC
A MOTTLED CELADON JADE BI DISC, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BC The disc of circular form with a large, tubular aperture gets thinner toward one side. The stone is translucent and of a beautiful celadon tone, with cloudy inclusions and mottled with darker spots.Condition: Very good condition with some natural fissures and signs of weathering.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: 116 g Dimensions: Diameter 11.4 cmLITERATURE COMPARISON: Compare to closely related Bronze Age jade BI discs in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 115, 116, 117, 118, 119, pages: 98-101.AUCTION RESULT COMPARISON: Type: Related Price: Sold at 187,500 HKD, approx. 22,000 EUR Auction: Christie's, Chinese Archaic Jades from The Yangdetang Collection Part II, lot 2710, 28th of November 2018 Description: A Celadon Jade Disc, BI
A CELADON AND RUSSET JADE FIGURE OF A CAT, MID-QING 清代中期青玉留皮雕臥貓擺件China, late 17th to 18th century. The recumbent cat carved with its head turned to the rear, the two front paws stretched forward and placed together, thus forming an aperture to serve as a pendant, the tail curling behind. The translucent stone of an elegant celadon tone with patches of russet and dark brown hues.Provenance: The Private Collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Condition: Very good condition with minor wear, few minuscule nicks, the stone with natural fissures, some of which have developed into small hairline cracks over time.Weight: 47.6 gDimensions: Length 5.7 cmAuction result comparison: Compare a closely related pale celadon jade cat, dated to the Qianlong period, at Christie's London in Chinese Ceramics, Works of Art and Textiles on 18 May 2012, lot 1132, sold for GBP 10,000. 清代中期青玉留皮雕臥貓擺件 中國，十七世紀末至十八世紀。臥貓頭轉向後方，兩隻前爪向前伸展並合，形成一個孔，可以作為挂件，尾巴向後捲曲。淺浮雕眼部，刻劃簡練卻異常生動。青色調的半透明石料，帶有赤褐色和深棕色脈絡。 來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 品相：品相極好，輕微磨損，些微划痕，帶有天然紋理的石頭，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：47.6 克 尺寸：長 5.7 厘米 拍賣結果比較：一件相近的青玉臥貓，乾隆時期，見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 2012年5月18日 lot 1132, 售價GBP 10,000。
A CELADON AND RUSSET JADE `BIXIE´, QINGChina, Qing Dynasty (1644-1912). Boldly cast as a crouching bixie with bifurcated tail, scrolling wings, central horn, and sharp claws, the face detailed with large bulging eyes below curled eyebrows and a broad ruyi-shaped nose, the mouth revealing a pair of sharp fangs. On its spine lies a small sinuous chilong dragon. The semi translucent stone of a celadon tone with russet patches and veins as well as cloudy white inclusions.Condition: Very good condition, the stone with minor nicks to edges, natural inclusions, and few fissures. Provenance: Previously in the collection of the late Michael Sherrard QC CBE (1928-2012), acquired prior to 2000. 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. Weight: 668 g Dimensions: Length 14 cm
A PALE CELADON JADE 'ELEPHANT' SEAL, QING DYNASTYChina, Qing dynasty (1644-1912). The rectangular seal surmounted by a finial finely carved as an elephant standing foursquare, the head gently turned to the right, incised with narrow eyes, a long curling trunk, and curved tusks. The translucent stone of a pale celadon color with a russet streak and icy inclusions. The seal face is carved with four characters, two reading 'Wen Xiang'. Condition: Very good condition with minor wear, the seal with minor smoothened chips, the stone with natural inclusions and fissures.Provenance: Collection of Stephen Poulin, Toronto, acquired in 1990 from Shakris Fine Asian Works of Art, San Francisco. Mr. Poulin is a renowned professional in the art conservation industry who has been an avid collector of archaic jades for over 40 years.Weight: 160.8 gDimensions: Height 5.4 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A GROUP OF THREE JADE PENDANTS AND FIGURES, 19TH CENTURYChina, late Qing Dynasty (1644-1912). One depicting the Chinese poet Li Bai, carved reclining, supporting himself in a wine jar, and wearing voluminous robes, the stone of a pale gray tone with icy inclusions and minor black veining; another carved in the round as a monkey crouching, holding his coiled tail, executed in openwork for suspension as a pendant, the semi-translucent stone of an amber-orange color; a third pendant carved as boy holding a lotus spring, the translucent stone of a pale celadon tone with few icy inclusions, finely polished and with an unctuous feel overall, with several holes through the stem for suspension as a pendant.Condition: Good condition with some surface wear, light scratches and little nibbling to edges, the stones with natural fissures and inclusions.Provenance: French private collection. The Li Bai figure was formerly in the collection of the late Michael Sherrard CBE, QC, who had acquired it before 2000. 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.Weight: 186.7 g in total Dimensions: Length 4.6 cm - 11.9 cmLi Bai (701-762), was a Chinese poet acclaimed from his own day to the present as a genius and a romantic figure who took traditional poetic forms to new heights. His life has taken on a legendary aspect, including tales of drunkenness, chivalry, and the well-known fable that Li drowned when he reached from his boat to grasp the moon's reflection in the river while drunk.
A MASSIVE JADE FIGURE OF A CAPARISONED HORSE, REPUBLIC PERIODChina, Republic period (1912-1949). Standing foursquare on a rectangular base with arched neck and agape mouth revealing a row of teeth, richly caparisoned with a saddle above a cloth and a chest strap incised and inked with rhomboids. The stone of a rich celadon tone with white inclusions.Condition: Good condition with some wear and few small chips along the saddle, the stone with natural fissures and encrustations.Provenance: The collection of Ted Adameck, USA, and thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Japanese Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.Weight: 10.9 kgDimensions: Height 34 cm, Length 42 cm
A SERPENTINE COLLARED NOTCHED DISC, ZHOU STYLEChina, 20th century or earlier. Of circular form, the jade is pierced with a wide collared central aperture with radiating incised grooves, the outer edge is carved with three pronounced notches forming three arcs with shallow grooves, swirling in the same direction, subtly honed all around. The stone of dark green tone with patches celadon, as well as calcification.Condition: Good condition with wear and expected minor signs of weathering. Few losses and fissures.Provenance: D Milano, Paris, France. Paolo Bertuzzi, acquired from the above in 2001. A copy of the original invoice from D Milano, dated 9 September 2001, stating a purchase price of EUR 5,400 (or approx. EUR 7,900 converted and adjusted for inflation at the time of writing), accompanies this lot. Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born 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: 306 gDimensions: Diameter 17 cm
A GROUP OF TWO AGATE SNUFF BOTTLES, 19TH CENTURYChina, late Qing Dynasty (1644-1912). The first of rounded square form, rising from a recessed oval foot to a cylindrical neck and a green glass stopper, the honey-brown stone carved with archaistic designs within lappet borders and a pair of mask and mock-ring handles. The second of rounded square form, well hollowed, rising from an oval ring foot to a cylindrical neck, with a flat lip, and a pair of mask and mock-ring handles in relief to the narrow sides, the creamy pale-honey stone with shadings of amber as well as icy white inclusions, with a rock crystal stopper, black platelet, and bone spoon.Condition: Overall good condition with some surface wear. The first with the stopper glued to the lip, the second with small chips to the stopper.Provenance: French private collection. The second bottle was formerly in the collection of the late Michael Sherrard CBE, QC, who had acquired it before 2000. 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. Weight: 209.5 g (total) Dimensions: Height including stopper 7.4 cm and 7.7 cm
A BRONZE EAR CUP, HAN DYNASTY 漢代青銅耳杯China, 206 BC to 220 AD. Of oval shape, the wine vessel is cast with two thick, ear-form handles on either side and stands on a flat and rather thin base. The bronze is entirely covered in a naturally grown patina with subtle malachite, azurite, and cuprite encrustations.Provenance: Collection of William Rogers, Australia. From a private collection in Anchorage, Alaska, acquired from the above. Condition: Good condition, commensurate with age. Some casting flaws, signs of wear and weathering, minor losses, dents and corrosion. Weight: 465.5 g Dimensions: Length 13.9 cmLiterature comparison:Compare a closely related bronze cup, 15.2 cm long, dated to the Han dynasty, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.362. Compare a closely related ear cup, 5.7 cm long, dated 2nd to 1st century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2487.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2023 Price: USD 35,560 or approx. EUR 32,500 converted at the time of writing Description: A gilt-bronze stand and ear cup, Western Han dynasty Expert remark: Note this lot consists of a similar ear cup and an associated stand. Note the size (16.3 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.漢代青銅耳杯中國，西元前206-西元220年。酒器呈橢圓形，雙耳，底座平坦且較薄。通體自然包漿，上有美麗的紅藍結殼。 來源：澳洲William Rogers收藏；阿拉斯加安克拉治私人收藏，購於上述收藏。 品相：狀況良好，一些鑄造缺陷、磨損和風化跡象、輕微損失、凹痕和腐蝕。 重量：465.5 克 尺寸：長 13.9 釐米 文獻比較： 比較一件非常相近的漢代青銅耳杯，長15.2 釐米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S1987.362。比較一件非常相近的西元前二至一世紀青銅耳杯，長5.7 釐米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S2012.9.2487。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2023年3月22日 價格：USD 35,560（相當於今日EUR 32,500） 描述：西漢銅鎏金架座及羽觴 專家評論：請注意此耳杯有相應的架座和尺寸 (16.3 釐米)。
‘Almost a single-handed endeavour of extremely bold pattern, one day these exploits will be disclosed, and they will read stranger than fiction.’ Admiral Christie, Commander of the United States Pacific Submarine Operations, on the success of Operation Jaywick. The historic and important Second War ‘Operation Jaywick’ M.M., ‘Special Operations Executive - Orient Mission’ B.E.M. group of nine awarded to Acting Sergeant, later Major R. G. Morris, Royal Army Medical Corps, attached S.O.E. and Special Operations Australia, who was awarded the Military Medal for his gallantry and distinguished service as Medical Orderly in the MV Krait during her hazardous and highly audacious 48-day 4,000 mile round trip Commando raid, under the Command of Major Ivan Lyon, Gordon Highlanders, on Japanese occupied Singapore Harbour in September 1943, resulting in the sinking and destruction of seven enemy ships totalling 37,000 tons - the deepest surface waterborne penetration behind enemy lines undertaken by special forces in the Second World War. With no uniforms, no identity tags, and flying the Japanese flag, there would only have been one outcome for the crew if they were captured - failure was not an option. Remarkably, Morris had previously been awarded the B.E.M. for his services in the South-West Pacific, almost certainly for his devotion to duty during the Fall of Singapore when, having helped establish an escape route through Sumatra, and with his medical skills to the fore, he tended to the hundreds who came ashore at Durian during the exodus from Singapore in February 1942, before finally evacuating the island with Ivan Lyon in a tale of daring-do, first by sail to Sumatra, then by car across the mountains, before securing passage on the last ship out of Padang Military Medal, G.VI.R. (7264507 A/Sjt. R. G. Morris. R.A.M.C.); British Empire Medal, (Military) G.VI.R., 1st issue (7264507 Pte. Ronald George Morris); 1939-45 Star; Pacific Star; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Malaya, G.VI.R. (7264507 Sjt. R. G. Morris. M.M. B.E.M. R.A.M.C.); General Service 1962-2007, 1 clasp, Borneo (Lt. R. G. Morris. M.M. B.E.M. RAMC.); Army L.S. & G.C., E.II.R., 1st issue, Regular Army (7264507 W.O. Cl.2. R. G. Morris. B.E.M. M.M. R.A.M.C.) mounted court-style as worn, cleaned and lacquered, light contact marks, generally very fine and better (9) £60,000-£80,000 --- M.M. London Gazette 19 September 1946: ‘In recognition of gallant and distinguished services in the field (to be dated 23 November 1944).’ The Operation Jaywick File at the PRO (ADM 1-16678 gives the following Recommendation: ‘Corporal R. G. Morris, R.A.M.C., and Corporal A. Crilly, A.I.F. These two men were members of the ship’s crew, Corporal Morris the Medical Orderly, and Corporal Crilly as cook. Both performed their duties with great cheerfulness and their bearing throughout was of the highest standard in most trying and hazardous conditions. I recommend that if awards to the above men are approved, their published citation should only state that these awards are for outstanding conduct in the presence of the enemy, but that no fuller citation can be published for reasons of military secrecy.’ Morris’ Military Medal was approved by H.M. the King on 17 May 1944, on the Secret List, with the instruction that it was not to be published in the London Gazette until it had been taken off the Secret List. B.E.M. London Gazette 4 May 1943: ‘In recognition of gallant and distinguished services in the South West Pacific.’ Ronald George ‘Taffy’ Morris was born at Pentre, in the Rhondda Valley, on Christmas Day 1918, and after leaving school at the age of 14 was employed as a miner. After five years in the South Wales pits he attested for the Royal Army Medical Corps on 30 May 1938, and after Japan entered the War he was recruited as a Medical Orderly to join the Special Operations Executive, Orient Mission, arriving in Singapore on 19 April 1941. Here he met fellow S.O.E. Operative, the charismatic old Harrovian Captain Ivan Lyon, Gordon Highlanders. The pair of them were soon part of an unorthodox group undertaking clandestine missions, training up local groups in the art of sabotage to be undertaken behind enemy lines, as well as establishing an escape route through Sumatra, should the unthinkable happen, and Singapore fall to the Japanese. In early February 1942, Lyon and Morris, together with a handful of other operatives, were ordered to leave Singapore to establish a base on Pulau Durian, one of the handful of small islands between Singapore and Sumatra. Here they acted as a makeshift staging post for the mass exodus out of Singapore, with Morris’ medical skills to the fore, as many who came ashore had severe injuries from Japanese bombing raids. ‘He set about making splints, setting broken bones, stemming bleeding, suturing gashes, and removing shrapnel embedded in flesh. all without anaesthetic.’ (The Tiger’s Revenge, by the recipient’s son, Evan Morris, refers). The work undertaken by the various S.O.E. teams saved hundreds stranded on the islands during this period, and on Durian Lyon and Morris worked tirelessly for days without a break. Then, on 17 February, two small ships arrived at Durian with the bad news. Singapore had fallen. The last of the survivors from Singapore having been evacuated, Morris and Lyon then left themselves in a small sailing vessel, and made their way by boat to the mouth of the Indragiri River, up the river to Rengat, and then across the Sumatran mountains by car, to Padang. Here, Morris, owing to his medical skills, was ordered onto what was the last ship to leave the island, on board the Dutch steamer the S.S. Palopo, bound for Ceylon. Against all odds, the ship made it to Ceylon on 11 March, from where Morris was posted to No. 55 Combined Military Hospital in Colombo. He was advanced Acting Sergeant on 10 July 1942 and, for his gallant and distinguished services in the South West Pacific, was awarded the British Empire Medal. Understandably, given the secretive nature of his work, no citation exists. Lyon, meanwhile, had also made it, via an extraordinary 1,000 mile journey in a fishing ketch, to Ceylon, from where he proceeded by steamer to Bombay. It was from here that he, along with Major Jock Campbell, King’s Own Scottish Borderers, and a 61 year old Australian civilian, Bill Reynolds, conceived an enterprising idea to have their revenge upon the Japanese in Singapore. Operation Jaywick Under the plans hatched by Lyon, Campbell, and Reynolds in Bombay, commandos would travel to Singapore harbour in a vessel disguised as an Asian fishing boat. They would then use collapsible canoes (folboats) to attach limpet mines to Japanese ships. General Archibald Wavell, Commander-in-Chief, India, known for his enthusiasm for unconventional warfare, approved the plan. However, given the necessary secrecy required for the operation, and the fact that India was known to harbour an extensive network of Japanese spies, to embark from the sub-Continent was out of the question. Instead, another embarkation point was require, and in July 1942, Lyon set off for Australia to organise the operation. But first he had to secure the services of a key member of his team - Ronald Morris. Flying to Colombo, Lyon attempted to secure Morris’ release from his hospital duties, but his meeting with the Commanding Officer of No. 55 Combined Military Hospital in Colombo for once did not go to plan, and the C.O. refused to agree to Morris’ release. Undaunted, Lyon then flew back to Delhi and, having obtained an official order sanctioning Morris’ release,...
Lin Fengmian 林风眠 (1900 - 1991) Birds and Wisteria 紫藤小鸟 Oil on canvas Signed and mounted. 80 x 60cm (31.5” x 23.5”） Lin Fengmian was a pioneer of modernism known for his brilliant hybridization of Chinese and European styles, subjects and methods. In his role as a prominent educator, Lin laid the foundation for Chinese modern art. Throughout his long and productive life, Lin absorbed a wide array of stylistic approaches into his paintings, and was one of the earliest Chinese artists to make a serious study of European modern art along with traditional ink paintings. By 1920 Lin was working as a signboard painter in Marseilles, sketching and studying French in his spare time. Lin’s work as a sign painter would help develop the steadiness and clarity of his later brushwork. Following six months of study at the School of Fine Arts in Dijon, Lin left for Paris where he studied at the École des Beaux Arts and the studio of Fernand Cormon (1845-1924). He had a highly eventful year in Germany, where he saw the works of German Expressionists and held a one-man exhibition, married his first wife, and exhibited 42 paintings in an Exhibition of Traditional and Modern Chinese Art. Soon after, with the untimely and sudden death of his wife and first-born child, the stunned Lin’s art and outlook were transformed. He remarried in 1925 and then returned to Beijing in 1926, committed to revitalizing Chinese art through education. After serving as the first principal of the National Beijing Fine Art School he founded the Hangzhou National College of Art where he taught Western style painting to students including Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Lin Fengmian’s life was marked by numerous upheavals and tragedies including the destruction of may of his works during the Sino-Japanese War and Cultural Revolution. After leaving China in 1977 to reunite with family members Lin Fengmian ultimately settled in Hong Kong where he died in 1991 at the age of 90 years old. His work can be found in many museum collections including the Metropolitan Museum of New York, the Cernuschi Gallery of Asian Arts of Paris, and the Art Gallery of New South Wales. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
TWO FAMILLE ROSE DISHES,China, 18 - 19th Centuryof circular shape, decorated in traditional palette, decorated with alternating fan-shaped panels with figures in a pavilion interior and flower groups together with a famille rose saucer dish, Qianlong (1736-1795) of shallow circular form, colourfully enamelled with scattered flowerheads and leafy sprigs (2) D. 13.5 and 33.5 cmProvenance：Private Irish collection of Marion Newman and Blanche Handelman出處：愛爾蘭瑪麗安 ·紐曼 （Marianne Newman） 和布蘭奇·漢德爾曼 （Blanche Handelman）收藏。In the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.在 1960 年代充滿活力的時代，瑪麗安 ·紐曼 （Marianne Newman） 和布蘭奇·漢德爾曼 （Blanche Handelman） 在都柏林開設位于莫爾斯沃思街 4 號和奧蒙德碼頭的古董店。Handelman夫人以對Belleek瓷器的熱情而著稱，成為這種精緻藝術形式的傑出轉銷商。 除了在Belleek的專業知識外，她還是一位狂熱的藝術品收藏家，對亞洲艺术品情有獨鍾。 经营的三十年來他们的古董店成为艺术愛好者和收藏家的中心，他们夫妇二人成為都柏林乃至爱尔兰的古董界的重要角色。 奧蒙德古董店于1990 年結束。
A CRACKLEWARE AND POLYCHROME ENAMELLED VASEof baluster form, decorated with a continuous scene of warriors on horseback holding flags aloft, contained within brown-wash bands and applied with shi-shi side handles and dragons in relief, spuriously Chenghua mark to the base, H: 36cm;Together with a fish-bowl jardinière of similar decoration,H: 18cm (2)Provenance: Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.
A RARE PAIR OF GILT BRONZE CLOISONNÉ ENAMEL "WU DU TU"（FIVE POISONOUS CREATURES）NARCISSUS BOWLS清中期 銅鎏金掐絲琺瑯 '五毒圖'水仙盆一對China, mid 19th century. each applied with gilt metal Greek key rims over a lobed panel body decorated with flowers, fruits and the five poisons: snake,scorpion, centipede, toad and spider, against a rich blue ground, on short scroll feetL: 24 cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.Publication: Inventory of Fine period furniture, porcelain, bronzes and effects, by Richard J.Lattimore, auctioneer and valuer of James Adams & Sons, July 1984, page 13出处：瑪麗安·紐曼（Marianne Newman）和布蘭奇·漢德爾曼（Blanche Handelman）的愛爾蘭私人收藏在 1960 年代充滿活力的時代，瑪麗安 ·紐曼 （Marianne Newman） 和布蘭奇·漢德爾曼 （Blanche Handelman） 在都柏林開設位于莫爾斯沃思街 4 號和奧蒙德碼頭的古董店。Handelman夫人以對Belleek瓷器的熱情而著稱，成為這種精緻藝術形式的傑出轉銷商。 除了在Belleek的專業知識外，她還是一位狂熱的藝術品收藏家，對亞洲艺术品情有獨鍾。 经营的三十年來他们的古董店成为艺术愛好者和收藏家的中心，他们夫妇二人成為都柏林乃至爱尔兰的古董界的重要角色。 奧蒙德古董店于1990 年結束。出版：《精美时期家具、瓷器、青铜器和效果清单》，由本公司的拍卖师兼估价师理查德·J·拉蒂莫尔编写，1984年7月，第13页。NOTE-a similar decoration on a Qianlong period copper box, in the collection of National Palace Museum, reference故琺000995N000000000In ancient China, the fifth day of the fifth month, known as Duanwu, marked the start of summer and was considered dangerous due to the emergence of poisonous animals. To protect against this, people used customs like drinking realgar wine, hanging Zhong Kui pictures, and employing "Five Poison" charms featuring snakes, scorpions, centipedes, toads, and spiders, believed to be "poisonous" creatures.People thus display objects adorned with motifs of the Five Poisons and wear clothing with patterns depicting these creatures during the Duanwu Festival to ward off evil and invite good fortune. Our pair of finely crafted cloisonné narcissus bowls should be considered as a festive display item for affluent families during this auspicious time.
A LARGE CLOISONNÉ ENAMEL GLOBULAR VASE, Japan, Meiji period (1868-1912)with flared octagonal rim and short tapering neck, decorated to one side with a figure of a seated archer playing a flute within a circular sky-blue reserve, the opposing side reserved with three foraging quail set against a ground of cranes in flight, on short circular foot.H: 31cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.
A PAIR OF CLOISONNÉ ENAMEL DISHES, Japan, Meiji period (1868-1912)each central reserve depicting stages of an eagle hunting a prey bird, against a deep yellow ground, encircled by lobed panels filled with pairs of cranes in flight, the underside in turquoise enamel.D: 30.9cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.
A LARGE IMARI AND GILT BRONZE BOWLJapan, Meiji period (1868-1912)of compressed globular form with flared rim, decorated alternating floral and diaper banding above a fan-shaped reserve with Chinese figures in a garden landscape, set against a blue and gilt floral ground, applied with elaborate gilt metal serpent handles and a pierced scrollwork foot.Size: 64 x 27 x 26cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.Publication: Inventory of Fine period furniture, porcelain, bronzes and effects, by Richard J.Lattimore, auctioneer and valuer of James Adams & Sons, July 1984, page 11.
AN IMPORTANT SATSUMA PORCELAIN PLATE, 'THE SEVEN GODS OF HAPPINESS AND FORTUNE'Japan, Meiji period, (1868-1912)The shallow red-ground dish painted with a jovial group of seven deities, inspired by the original painting by Hokusai. Each god engaged in merriment, with food, drink board games and musical instruments, set against a background with scattered 'cash' symbols, scrolls, bats and a canopy.D: 62cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.
Possibly Gandharan Ca. AD 300 or later.A stucco slab with a high relief depiction of a monk, possibly engaged in the practice of marana-sati (contemplation of death). The monk's face is depicted with distinct features, including a rounded visage, heavy-lidded eyes, a broad nose, and full lips. His head is covered with a scarf, and his upper body is uncovered. The monk holds a human skull with both hands, positioned at chest level, offering a striking visual representation of mortality and spiritual contemplation. For a similar type, please see The Berlin State Museums, Museum of Asian Art, Ident. No .: I 125. Size: 530mm x 270mm; Weight: 8.1kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Possibly Ming Dynasty, Ca. AD 1368-1646.A Ming dynasty ochre-glazed terracotta dog depicted sitting on its haunches, with its tail curled over its back. Head held high with its mouth slightly open as if smiling. The dog's tail and ears are painted green and lightly textured to imitate long hair.Size: 110mm x 100mm; Weight: 315gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Ming Dynasty, Ca. AD 1368-1644.A large ceramic vessel with a raised rim and a bulbous body gently tapering to a flat base; tooled in groove at the shoulder. Bright turquoise glass decorates the surface, displaying allowing variations in hues. Size: 190mm x 230mm; Weight: 2.28kg Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Full title: A pair of fine Chinese famille rose trembleuse stands or 'mancerina', QianlongDescription:L.: 25,5 cm – H.: 4 cm (the stands)Dia.: 7 cm – H.: 4,5 cm (the cups) Provenance:- The collection of Tove and Karl Emil Stromstad (born 1936), Norway. - Acquired in 1894 by or from Thomas WU (?), for the price of GBP 5.50 each, according to the label on the base. Ref.:- Christie's, The Tibor Collection, New York, April 10, 2019, for a nearly identical pair. (sold USD 5.000) (External link available on rm-auctions.com)The accompanying text states:The mancerina is closely associated with the Hispanic market and with the Spanish custom of chocolate drinking. Both chocolate and silver of course came from the Spanish New World, so it is fitting that this form was often made in silver as well as in Spanish maiolica. It is said that the 2nd Marques de Mancera, Viceroy of New Spain 1664-1673, had a palsied hand and thus needed the all-in-one cupstand, which took his name, though none survive from this early period. Interestingly, a very similar form exists in Chinese ceramics of the Song period, which may have influenced the development of the export examples.For a Mexican silver mancerina see H.R. Borrell et al, The Grandeur of Viceregal Mexico, p. 380. An almost identical single export mancerina is in the Museo Nacional de Historia, Mexico City, and illustrated by M. Priyadarshini, Chinese Porcelain in Colonial Mexico, p. 123. - Denver Art Museum, Accession Number 2017.143, for a similar yet less elaborate example. (External link available on rm-auctions.com)The accompanying text by Jorge Rivas Perez states: This large Chinese famille rose mancerina decorated with flowers is a specialized item found in chocolate services. The mancerina is a deep, wide saucer, often in the shape of a seashell, with a cup holder in the center to hold the jÃcara (chocolate cup) in place and prevent it from tipping over. It was invented in Mexico in the mid-1600s and named after Don Antonio Sebastian alvarez de Toledo Molina y Salazar, 2nd Marquis of Mancera, and Grandee of Spain (c. 1608 - 1715), a Spanish nobleman who was Viceroy of New Spain (Mexico) from 1664 to 1673.Mancerinas became very fashionable across the Spanish empire during the colonial period and were manufactured in both silver and ceramic. In the 18th C., thanks to the trade with Asia via the Manila Galleon, porcelain mancerinas were also produced in China for the Mexican market. This example, a Qianlong period (1736-1795) famille rose mancerina decorated with flowers from circa 1760-70, is representative type of the Asian export wares for the Spanish market.Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
• LINCOLN SELIGMAN (BRITISH B.1950) INDIAN TURBANSsigned LINCOLN SELIGMAN lower rightacrylic on canvas293 x 218cm; 115 1/2 x 86inProperty from the Estate of Sir John CravenProvenanceSir John Craven, London (commissioned from the artist). Sir John Craven (1940-2022), founded Phoenix Securities in 1981 and quickly became one of the most successful bankers in the glory days of the City following de-regulation. One of the early boutique investment banks in the Square Mile, Phoenix profited enormously from mergers and acquisitions at the time of the 1986 stockmarket big bang. Craven was subsequently courted by Morgan Grenfell, becoming their CEO. And when it in turn was acquired by Deutsche Bank Craven became the German bank's first non-German board member. Deutsche's fabled corporate art collection awakened Craven's interest in art, but it was via his connection with another significant corporate collection - that of Flemings Bank - he began collecting. His taste in art was eclectic and wide ranging, his particular interest in Asian culture influenced by his third wife Ning Chang - Lady Ning - who predeceased him in 2009.
A RARE CARVED WOOD TEMPLE STRUT (VIGRAHA) DEPICTING A YOGINI 寺廟木柱雕刻瑜伽士Nepal, 13th-14th century or earlier. Finely carved standing in tribhanga, the left hand raised in the healing gesture of prithvi mudra, the right holding a skull cup. The emaciated body adorned with a garland of severed heads, the gaunt face with large eyes protruding from cavernous sockets, the head surmounted by an elaborate tiara.Provenance: From the estate of Richard S. Ravenal (1927-2022), Livingston Manor, New York, USA. The former owner of both the Asian Gallery in New York, Richard Ravenal was an avid collector and connoisseur of East Asian antiquities. Pieces formerly in his possession can be found today in several prominent institutions, including the Brooklyn Museum.Condition: Good condition, commensurate with age. Ancient wear, expected age cracks and splits, losses, signs of weathering and erosion, minor worming, nicks, scratches. Overall presenting remarkably well. A magnificent, naturally grown patina overall.Weight: 13.4 kg (incl. stand)Dimensions: Height 73 cm (excl. stand) and 88.5 cm (incl. stand) Mounted on a fitted stand. (2)Nepalese temple struts, known as tunala or vigraha, are considered fine works of art and are often made by highly skilled craftsmen using traditional techniques. They are an important part of the cultural heritage of Nepal and can be found in many different styles and designs throughout the country. These struts are found in traditional Nepalese architecture, particularly in religious structures such as temples and shrines, ornately carved and often painted, serving both structural and symbolic purposes.Structurally, the struts help support the roof of the temple or shrine, which is made of heavy timber or stone. The struts are typically placed at regular intervals along the eaves of the roof, and their weight helps to counterbalance the weight of the roof, making the structure more stable.Symbolically, the struts are often carved with intricate designs and figures from Nepalese mythology, and are believed to have religious significance. They are thought to represent various deities or supernatural beings, and are intended to offer protection and blessings to the structure and its occupants.Literature comparison: Compare a related wood temple strut depicting a yakshi, 128 cm high, dated to the 13th century, formerly in the Art Gallery New South Wales, accession number 33.2000.a-b, recently repatriated to Nepal in May 2003 and currently on display at the Patan Museum. Compare a related wood temple strut depicting Varaha, 74.5 cm high, dated to the 15th century, previously in the James W. and Marilynn Alsdorf Collection and now in the Art Institute of Chicago, reference number 1984.1495. See a comparable set of temple struts dated to the 15th century, still in place at Gunakar monastery in Jyatha Tol, Chhusyabaha, Kathmandu, Nepal.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 8 May 2001, lot 531 Price: NLG 25,850 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A Nepalese wood temple strut, circa 14th century Expert remark: Compare the related manner of carving. While the present lot appears significantly older than the Christie's example, both have comparable iconography. The Christie's example also shows that the current lot may possibly be missing a lower portion. Note the size (101 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 15 December 2022, lot 154 Estimate: EUR 50,000 or approx. EUR 51,500 converted and adjusted for inflation at the time of writing Description: A sandalwood figure of Lokeshvara, Nepal, 11th/13th century Expert remark: Compare the related manner of carving. Note the size (66 cm). 寺廟木柱雕刻瑜伽士尼泊爾，十三至十四世紀或更早。精雕細刻，呈三曲式，左手舉起，結地手印治療姿勢，右手拿著一個骷髏杯。 瘦弱的身體上戴著骷髏花環，憔悴的臉龐，大眼突出，頭上戴著頭飾。 來源：Richard S. Ravenal (1927-2022年) 舊藏，美國紐約利文斯頓莊園。Richard Ravenal是紐約亞洲藝廊的前任所有者，他是一位熱心的東亞古董收藏家和鑑賞家。 如今，包括布魯克林博物館在內的幾個著名機構中都可以找到他以前擁有的藏品。 品相：狀態良好，磨損、裂縫和裂口、缺損、風化和侵蝕、輕微的蟲蛀、刻痕、劃痕，自然包漿。 重量：13.4 公斤(含底座) 尺寸：高 73 厘米 (不含底座) 與 88.5 厘米 (含底座) 固定支架 (2) 文獻比較: 比較一件相近的十三世紀寺廟木雕藥叉女，高128 厘米，曾藏於Art Gallery New South Wales，館藏編號33.2000.a-b，2003年5月已被送回尼泊爾，現藏於Patan 博物館。比較一件相近的十五世紀寺廟木雕婆羅訶，高74.5 厘米，曾藏於James W.和Marilynn Alsdorf Collection，現藏於芝加哥藝術博物館，館藏編號1984.1495。見一件十五世紀寺廟木雕像，仍在尼泊爾加德滿都Jyatha Tol的Gunakar修道院。 拍賣比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2001年5月8日，lot 531 價格：NLG 25,850（相當今日EUR 18,500） 描述：約十四世紀尼泊爾寺廟木雕 專家註釋：比較相近的雕刻風格。 雖然我們的拍品看起來比佳士得的木雕年代更久遠，但兩者的圖像具有可比性。佳士得的例子還表明，我們的拍品可能缺少下部部分。請注意尺寸 (101 厘米)。 拍賣比較： 形制：相近 拍賣：巴黎邦翰斯，2022年12月15日，lot 154 估價：EUR 50,000（相當今日EUR 51,500） 描述：尼泊爾十一/十三世紀檀香木雕聖觀自在菩薩像 專家註釋：比較相近的雕刻風格。請注意尺寸 (66 厘米)。
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