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A GILT COPPER-REPOUSSE PLAQUE OF A DEITY, 18TH CENTURYNepal. Depicting a multi-armed deity seated in dhyanasana on a lotus-base, the left hand held in vitarka mudra, the remaining seven arms radiating around the body and holding different attributes such as a drum, a katvanga, and a sword.Provenance: From the important private collection of Jochen and Herbert Kienzle, thence by descent in the same family. A private collector, acquired from the above. Jochen (1925-2002) and Herbert (1931-1997) Kienzle were sons of Herbert Otto Kienzle (1887-1954), whose father Jakob (1859-1935) was a German watchmaker, who founded Kienzle Apparate, a German manufacturer of data processing equipment. Jochen and Herbert took over management of the company after their father's death in 1954 and pioneered the use of computer systems for commercial office-based applications in Germany. From 1965 until 1986, the brothers assembled a well-known and highly regarded collection of East Asian and Tibetan art.Condition: Overall good condition with extensive wear, particularly to gilt, some losses, nicks and dents. Fine, naturally grown patina with cuprite encrustations.Weight: 523.3 g (incl. stand) Dimensions: Height 19 cm (incl. stand) and 14.8 cm (excl. stand) Mounted to an associated metal stand. (2) 十八世紀鎏金銅錘鍱女神坐像尼泊爾，多臂女神結跏趺坐坐於蓮座上，左手施安慰印，其他手都拿著不同法器，如手搖經輪、天杖和劍。 來源：重要Jochen 與Herbert Kienzle私人收藏，在同一家族收藏至今；私人藏家購於上述收藏。Jochen (1925-2002) 與 Herbert (1931-1997) Kienzle 是 Herbert Otto Kienzle (1887-1954) 的兒子，他的父親 Jakob (1859-1935) 曾是一位德國製表師，他創立了德國Kienzle數據處理設備公司。Jochen 和 Herbert 於 1954 年父親去世後接管了公司，並率先在德國將計算機系統用於商業辦公應用。 1965 年到 1986 年間，兄弟倆收集了一批著名且備受推崇的東亞和西藏藝術收藏品。品相：整體狀況良好，磨損嚴重，特別是鎏金、一些缺失、刻痕和凹痕。自然細膩的包漿與綠色鏽斑。重量: 523.3 克 (含底座) 尺寸：高 19 厘米 (含底座) ，高 14.8 厘米 (不含底座) 金屬底座。 (2)

A STAG ANTLER LION-HILTED DAGGERIndia, Mughal or Deccan, 16th-17th century (the hilt) and 19th century (the blade and mounting). The hilt boldly carved in the form of a lion with a fierce expression, the mouth agape revealing sharp teeth, the eyes with dark-inlaid pupils, the wavy fur finely incised. The gilt metal fittings with beaded, open worked floral decoration and neatly inset semi-precious stones.Provenance: French trade.Condition: Good condition with minor wear and traces of use. The hilt with age cracks and small old repairs to both ears as well as a fine, golden-brown patina overall.Weight: 549.3 g (total)Dimensions: Length 11 cm (the hilt), 45 cm (the blade), and 65.5 cm (total)The floral-decorated silk brocade scabbard further fitted with a gilt metal coat-of-arms bearing a shield surmounted by a five-pointed crown flanked by a lion and elephant above a ribbon with raised Devanagari inscription. The straight blade of triangular section.Auction result comparison: Compare a related ivory dagger handle in the form of a lion, 12.3 cm high, dated late 17th century and attributed to Deccan, at Christie's New York in Indian and South East Asian Art on 21 March 2007, lot 387, sold for USD 15,600. Compare a related Mughal marine-ivory-hilted dagger with a ram's head, dated to the 17th century, at Sotheby's London in The Sven Gahlin Collection on 6 October 2015, lot 142, sold for GBP 20,000.

A TRANSLUCENT GREEN DOUBLE-GOURD GLASS VASE, GUANGXU MARK AND PERIODChina, 1875-1908. Thickly molded from a solid block of bubble-suffused, translucent glass of dark green tone, rising from a short foot to a straight neck. The recessed circular base is engraved with a four-character Guangxu reign mark.Provenance: From a French private collection, by repute acquired at Drouot more than 10 years ago.Condition: Good condition with light surface scratches, minor nibbling to foot and rim, nicks and manufacturing irregularities.Weight: 432 gDimensions: Height 16.3 cm Auction result comparison: Compare a related yellow glass double gourd vase, of smaller size (12.1 cm high), dated to the 18th to 19th century, at Sotheby's New York in The Hundred Antiques: Fine & Decorative Asian Art on 30 September 2020, lot 1016, sold for USD 10,080.光緒款及年代綠料葫蘆瓶中國，1875-1908年。厚重的半透明深綠色琉璃，充滿氣泡，長頸葫蘆形，圈足，可見"光緒年製"四字款。 來源：法國私人收藏，據説十多年前購於 Drouot 藝廊。 品相：狀況良好，表面有輕微劃痕，足部和邊緣有輕微磕損，有刻痕和製造瑕疵。 重量：432 克 尺寸：高16.3厘米 拍賣結果比較：比較一個相近的十八至十九世紀黃料葫蘆瓶，尺寸稍小 (高12.1厘米)，見紐約蘇富比The Hundred Antiques: Fine & Decorative Asian 2020年9月 30日 lot 1016, 售價10,080 USD。

A BRONZE GROUP OF SHIVA AND PARVATI, PALA PERIODNortheastern India, 11th-12th century. The divine couple seated in lalitasana on a double lotus pedestal, Shiva's primary right hand reaching towards his consort's chin, his primary left around her back and cupping her breast, both backed by a flaming halo.Provenance: From a French private collection. Condition: Good condition, commensurate with age, with traces of age and wear, a few losses, some casting flaws, nicks, dents, and with a fine natural patina overall.Weight: 437 g Dimensions: Height 12.9 cm Auction result comparison: Compare a related bronze group of Shiva and Parvati, dated 11th-12th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 650, sold for USD 15,000.

AN INFORMAL LADY'S DAMASK SILK ROBE WITH AUSPICIOUS SYMBOLS, QING DYNASTYChina, 19th century. The blue-ground damask silk robe is neatly embroidered with auspicious symbols including bats, pomegranates, grapes, peaches, Buddha's hand fruits and Buddhist symbols. The hem with an elegant lotus border. The sleeves decorated with a fine band of blossoms and butterflies. Gilt metal buttons.Provenance: From a private collection in Texas, USA.Condition: Very good condition overall with some old wear, traces of use, creasing, loose threads and minimal gaps near the collar.Dimensions: Height 99 cm, Width 151 cm (across sleeves)Damask is a silk with a 'hidden' pattern formed by weaving, and one of the five basic techniques of the Byzantine and Middle Eastern weaving centers of the early Middle Ages. In China, draw looms with a large number of heddles were developed to weave damasks with highly complex patterns. The Chinese may have produced these as early as the Tang Dynasty. Damasks derive their name from the city of Damascus—in that period a city active both in trading (as part of the silk road) and in manufacture.Auction result comparison: Compare a related Lady's robe of blue silk damask, also dated to the 19th century, of slightly smaller size (137 cm), at Christie's London in Fine Chinese Ceramics & Works of Art on 10 November 2015, sold for GBP 11,250. Compare also a related Lady's robe of black-ground silk, also dated to the late Qing dynasty, of slightly smaller size (109.4 cm), at Sotheby's New York in The Hundred Antiques: Fine and Decorative Asian Art on 24 March 2021, lot 581, sold for USD 11,340 (part lot).清代湖藍地蝴蝶石榴花卉紋氅衣中國，十九世紀。湖藍色地，圓領、大襟右衽，裾左右開至腋下，直身式袍；刺綉石榴花卉蝴蝶紋、佛手與佛教吉祥符號。鎏金紐扣。 來源：美國德克薩斯私人收藏。 品相：整體狀況極好，有一些舊磨損、使用痕跡、摺痕、鬆動，衣領附近有小縫隙。 尺寸：高99 厘米，兩袖之間間距151厘米 拍賣結果比較: 比較一件相近的十九世紀仕女藍色氅衣，十九世紀， 137 厘米，見倫敦佳士得Fine Chinese Ceramics & Works of Art 2015年11月10日，售價GBP 11,250；比較一件清代黑地仕女氅衣109.4 厘米，見紐約蘇富比The Hundred Antiques: Fine and Decorative Asian Art 2021年3月24日 lot 581, 售價USD 11,340 (此號拍品中的一件)。

A RARE LACQUER-GILT BRONZE FIGURE OF AN ARHAT, AYUTTHAYA PERIODThailand, 16th-17th century. Heavily cast seated in dhyanasana with his right hand lowered in bhumisparsa mudra and the left resting on his lap and holding a small vessel, wearing a monastic robe draped over the left shoulder, the serene face with heavy-lidded eyes below elegantly arched brows, flanked by long pendulous earlobes, the hair arranged in tight curls.Provenance: Collection of Peter Salomon. Peter Salomon (1942-2020) was a Danish designer who developed a passion for Asian art at a young age. He purchased his first Buddhist figure at the age of 12 with his own pocket money. Planning to sell antiques for a living, he traveled to London when he was 19 and purchased many objects around Portobello Road, which he found very hard to part with, however. In the end, Salomon pursued a different career path which was nonetheless inspired by his early passion, and began to design decorative objects himself, while his love for Asian and Buddhist art lasted his entire life.Condition: Good condition, as expected and commensurate with age, with wear and casting flaws, minor losses, small nicks, warping, dents, few structural cracks, extensive wear and flaking to lacquer gilding. Fine, naturally grown patina with a good, unctuous feel overall.Weight: 52.9 kg Dimensions: Height 67 cmThis rare bronze sculpture of an arhat depicts the monk seated in meditation with his right hand extending towards the ground to call on the Earth to bear witness to his enlightenment. An arhat in Theravada Buddhism, which predominates throughout Southeast Asia, represents the spiritual paradigm for ordinary beings to emulate. The highest spiritual goal for followers of Theravada Buddhism is to perfect Shakyamuni's teachings over many lifetimes, which results in becoming an arhat: an enlightened being freed from the cycle of rebirth (parinirvana).Paintings and sculptures of arhats frequent Thai temples. Their depiction largely imitates Buddha images, though without possessing certain key physical characteristics (lakshana) that distinguish Buddha as a supernatural being. As represented in this sculpture, these are the absence of an ushnisha and the orientation of the arhat's left hand. Rather than the back of the hand resting in his lap, it is turned frontally toward the viewer.Auction result comparison: Compare a related copper alloy figure of an arhat, 83 cm high, also dated 16th-17th century, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 23 September 2020, lot 638, sold for USD 47,575.

A VERY LARGE GILT AND DRY-LACQUERED SCULPTURE OF BUDDHA SHAKYAMUNI, SHAN STATES, KONBAUNG PERIODBurma, 1752-1885. Seated in dhyanasana with his right hand lowered in bhumisparsa mudra and the left held above his lap, wearing a samghati draped over the left shoulder, the serene face with downcast eyes, gently arched eyebrows, and full lips forming a calm smile, flanked by elongated earlobes, the hair arranged in tight spikes with a high ushnisha surmounted by a jewel.Provenance: Danish trade.Condition: Presents magnificently overall. The flame jewel above the ushnisha is possibly a replacement. Some losses to the hair spikes. Old wear and weathering, nicks, surface scratches, age cracks, losses, flaking to lacquer, minor old repairs, extensive wear to gilt. Nevertheless, dry lacquer sculptures of significant age are usually heavily damaged, hence it must be concluded that this piece is in good condition commensurate with age.Dimensions: Height 122 cmThe founding of Shan States inside the present-day boundaries of Burma began during the Pagan Kingdom in the Shan Hills and accelerated after 1287, when the Pagan Kingdom fell to the Mongols. The Tai people, who came south with the Mongols, stayed, and quickly came to dominate much of the northeastern arc of Burma. The newly founded Shan States were multi-ethnic, and included minorities such as the Chin, the Kachin, the Wa, the Ta'ang, the Lisu, the Lahu, the Pa O, and the Kayah. Although Burmanized Shans founded the Ava Kingdom that ruled central Burma, other Shan States, Mohnyin in particular, constantly raided Ava territories throughout the years. A Mohnyin-led Confederation of Shan States finally conquered Ava in 1527.In 1555, King Bayinnaung dislodged Shan king Sithu Kyawhtin from Ava. By 1557 he went on to conquer all of what would become known as the Burmese Shan States under his rule, from the Assamese border in the northwest to those in Kachin and Shan Hills, including the two most powerful Shan States, Mohnyin and Mogaung. The Shan States were reduced to the status of governorships, but the Saophas (rulers) were permitted to retain their royal regalia and their feudal rights over their own subjects. Bayinnaung introduced Burmese customary law and prohibited all human and animal sacrifices. He also required the sons of Saophas to reside in the Burmese king's palace, essentially hostages, in order to ensure the good conduct of their fathers and to receive training in Burmese court life. Burmese kings continued this policy until 1885 when the kingdom fell to the British. In the mid-18th century, the Burmese Konbaung dynasty's reassertion of the easternmost boundaries of Burmese Shan States led to war with China, following which eight of the Chinese Shan States were briefly occupied by the Kingdom of Burma. The Burmese success in repelling Chinese forces laid the foundation for the present-day boundary between Burma and China.Auction result comparison: Compare a closely related Shan-style lacquer Buddha, 201 cm high, dated to the 18th century, at Bonhams London in Fine Asian Art on 10 July 2006, lot 374, sold for GBP 18,000.

A SUPERB INDIAN STONE LINGAM, LATE 19TH - EARLY 20TH CENTURYDeemed the purest embodiment of Shiva, the lingam serves as the primary emblem of worship for this Hindu deity. Its aniconic form symbolizes a phallus or a pillar of light. Self-manifested or svayambhu lingas are spawned in the bed of the sacred Narmada River in Western India. Occurring through natural rock formations and erosions, ovoid boulders such as the present lot are considered remarkably propitious.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s.Condition: Excellent condition with minor wear.Dimensions: Height 50 cm (excl. stand)With a modern wood stand. (2)Auction result comparison: Compare a related stone lingam, 129.5 cm high, at Sotheby's New York in Indian & Southeast Asian Works of Art on 19 March 2014, lot 21, sold for USD 17,500. A related stone brahmanda, 46 cm high, dated to the 19th century, with a matching bronze tripod stand, was sold in these rooms in Fine Chinese Art, Buddhism & Hinduism on 6 March 2021, lot 748, sold for EUR 16,432.

A GANDHARA STUCCO RELIEF OF BUDDHAAncient region of Kushan, 300 - 500 AD. Finely sculpted standing, holding the collar of his sanghati in his right hand and the lower hem in his left, the serene face with almond-shaped eyes and full lips forming a subtle smile, the slightly roughened surface on the top of the head indicates the Buddha's curls, backed by a halo.Provenance: From a private collection in Belgium, by repute acquired at Galerie du Carre, Versailles, c. 2000.Condition: Good condition with old wear, few restored vertical breakages to neck and back plate as well as losses as seen on the images, remnants of old pigment. Presenting very well and overall commensurate with age.Weight: 5.6 kg (total)Dimensions: Height 34.5 cm (excl. base) and 39.5 cm (incl. base)In addition to schist, stucco was a popular medium for sculpture in the ancient Gandhara region. A lightweight, malleable ware, stucco readily lends itself to delicate detailing and sensitive modeling, conveying a sense of emotional presence.Mounted to a recent metal base. (2)Literature comparison: Compare a related head of Buddha from a stucco figure, dated to the 2nd - 4th century, in the collection of the Victoria & Albert Museum, accession number IM.106-1939.Auction result comparison: Compare with a larger (81 cm high) stucco figure of Buddha displaying the same posture at Bonhams London in Fine Asian Art on 8 November 2004, lot 458, bought in at an estimate of EUR 14,000-18,000. 健陀羅灰泥浮雕佛像貴霜帝國，公元300 - 500 年。佛陀立像，右手扶衣領，左手托著下擺，安詳的面部，杏仁狀的眼睛和豐滿的嘴唇形成微笑，頭頂略顯粗糙的表面象徵了螺髻，身後有光背。 來源：比利時私人收藏，據説2000年購於 凡爾賽Galerie du Carre藝廊。 品相：狀況良好，磨損，頸部和背面的缺損處有少量修復，舊時顏料殘餘。整體狀況非常好，與年齡相稱。 重量：總5.6 公斤 尺寸：高34.5厘米(不含底座) ，總39.5厘米 拍賣結果比較：比較一件更高 (高81厘米) 的灰泥佛像，見倫敦邦翰思Fine Asian Art 2004年11月 8日 lot 458, 估價EUR 14,000-18,000。

A WHITE MARBLE RELIEF OF UMA MAHESHVARA, 13TH-15TH CENTURYIndia. The divine couple seated in lalitasana on Shiva's mount Nandi. Shiva's primary left hand around Uma's back and cupping her breast, one of his upper hands holding a trident, Uma with one arm draped around Shiva's shoulders, her left hand holding a mirror.Provenance: Austrian private collection.Condition: Fine condition, commensurate with age, extensive old wear, encrustations and soiling, losses, dents, cracks and scratches here and there.Weight: 15.5 kgDimensions: Height 42 cm, length 24.5 cmUma-Maheshvara represents the sacred embrace, alingana, of the Lord Shiva joined with the Goddess Uma. The Great Ascetic, Lord Shiva, who was overcome with the beauty of Uma, Daughter of the Mountain, succumbed to their union for the benefit of his devotees (S. Kramrisch, Manifestations of Shiva, Philadelphia, 1981, page 57). Their union is principally metaphysical, though during the Pala period, Shiva and Uma's relationship can be most immediately observed through their corporal interplay. It is through their sensual relationship that they are meant to become a gateway for the devotee to enter their sacred realm.The divine couple is featured here in the moment before their union, the anticipation of which accentuates the possibility of entering the divine realm. This expectancy is what creates a feeling of activity, carried throughout the piece in the swaying movement of the surrounding figures and swirling foliate carvings throughout.Auction result comparison: Compare with a related marble relief at Christie's New York in Indian, Himalayan & Southeast Asian Art on 23 July 2020, lot 9, bought-in at an estimate of USD 8,000-10,000.

3rd-7th century AD. A silver U-section bowl with flat rim and rounded base, with a possibly later stylised peahen engraved to the interior. Cf. The British Museum, museum number 135700, for this genre of bowl, dated 6th-7th century AD; cf. The David Collection, Inv.no.4/1967, for a similar bird of this date on a belt fitting; cf. The National Museum of Asian Art, accession number F1957.20, for a bowl of similar form and date. 158 grams, 15cm wide (6"). Abelita family collection, 1980-2015. Very fine condition.

Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring Uddiyana region, depicting two Buddhas (Shakyamuni and Prabhutaratna) kneeling on a tiered base with flaming aureole behind. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. 341 grams, 14.5cm (5 3/4"). Buckingham Collection, early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11075-184861. Gandhara was the principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.

Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with hands clasped together in dhyana mudra and seated in dhyanasana posture on a throne flanked by two roaring lions with flaming aureole; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha, incised inscription to the reverse in four columns, translating approximately as: a 'dedication by Kang Shen requesting a peaceful life for his family', with Sutra on front legs of four-legged podium. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit TB007, p.59 & 160. 211 grams, 14cm (5 1/2"). Buckingham Collection, from the early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11132-168638. Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.

Later Yan Dynasty, 384-407 AD. A gilt-bronze statuette, with Gandharan stylistic influence, featuring Buddha standing against an aureole and lotus-flower nimbus, on a lotus podium with flared legs, flanked by attendants or donors; hatched ornament to the podium, incised text here and to the reverse of the flaming aureole which translates approximately as: 'A disciple of Buddha had this made to keep his family safe', and the 'Buddha Disciple' with the years for Later Yan (384-407 [389]) to the right. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit TB011, p.161; accompanied by copies of the relevant exhibition catalogue pages which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 384-407 (389), Later Yan era. 235 grams, 13.4cm (5 1/4"). Buckingham Collection, from the early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11049-168637. Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.

c.5th-6th century AD. A substantial bronze figure of Buddha Shakyamuni standing facing on a hollow-formed bell-shaped podium wearing a loose uttariya robe gathered in hand at the left hip in the 'Indo-Greek' manner, the right hand raised in the abhaya gesture of reassurance; the facial expression serene with narrow eyes possibly inlaid with silver, the hair piled into the ushnisha style with tiers of tight curls; to the rear, a separate mandorla or aureole with rim of openwork flames. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit GMB035, p.134; no.238, p.72, & for a photograph of this piece at the exhibition see p.174. 2.1 kg, 39cm (15 1/4"). Richard Kixmiller collection, USA, 1976-1977. Buckingham Collection, early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant Tibet House exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11135-184862. Gandhara was the principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.

Dated 1970 AD. An inked sketch on beige-washed card of a facing male bust with shoulder-length hair and short beard, wearing a smock; the facial features are slim and elongated, the nose and mouth exaggerated while the eyes are set high on the face; radiating lines around the head and minimal detailing to the clothing, in the Art Brut tradition of naïve treatment derived from Dadaism and other 20th century art movements, supplied within a black card reveal; on the top right attributed to F. N. Souza. 118 grams total, 50.8 x 38.8cm including mount (20 x 15 1/4"). Personal collection of Harmadar Singh Thind; thence by descent. Private family collection of a West London gentleman. British Asian artist Francis Newton Souza (12 April 1924–28 March 2002) was a founding member of the Progressive Artists' Group of Bombay. He studied at the Sir J. J. School of Art in Mumbai but was expelled in 1945, having pulled down a Union Flag during a ceremony; he also supported the Quit India Movement of which the aim was to encourage the British authorities to leave the subcontinent, and joined the Communist Party of India. In 1948, some of his paintings were shown in London as part of an exhibition on Indian art while his work was under attack from his own Goan community in Mumbai. Souza emigrated to London the following year after complaints against him were made to the police for obscenity. He is acknowledged to have inspired his protégé, M.F. Husain. Souza's career developed so that he participated in several shows, receiving positive reviews from the art world. [No Reserve] Fine condition.

Dated 1970 AD. An inked sketch on beige-washed card of a nude female reclining on a rectangular rug, the body adorned with the same pattern of hatched patches as appears on the rug; the head tilted back and the solid shading of the hair forming the only substantial element in the design, supplied within a black card reveal; middle top attributed to F. N. Souza, 1970. 123 grams total, 50.8 x 38.8cm including mount (20 x 15 1/4"). Personal collection of Harmadar Singh Thind; thence by descent. Private family collection of a West London gentleman. British Asian artist Francis Newton Souza (12 April 1924–28 March 2002) was a founding member of the Progressive Artists' Group of Bombay. He studied at the Sir J. J. School of Art in Mumbai but was expelled in 1945, having pulled down a Union Flag during a ceremony; he also supported the Quit India Movement of which the aim was to encourage the British authorities to leave the subcontinent, and joined the Communist Party of India. In 1948, some of his paintings were shown in London as part of an exhibition on Indian art while his work was under attack from his own Goan community in Mumbai. Souza emigrated to London the following year after complaints against him were made to the police for obscenity. He is acknowledged to have inspired his protégé, M.F. Husain. Souza's career developed so that he participated in several shows, receiving positive reviews from the art world. [No Reserve] Fine condition.

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

A ROCK CRYSTAL STUPA WITH GOLD APPLICATIONSSoutheast Asia, 19th century. Made in three parts, consisting of a circular base, a cylindrical domed mid-section part, and a tiered finial. Applied with fine 22 Karat gold bands and filigree leaves.While architectural stupas serve as places of worship, smaller ones are used as reliquaries and votive offerings. The veneration accorded a reliquary stupa is determined by its size, rarity and preciousness of the materials from which it is made, such as gold, rock crystal, or silver.Condition: With wear as well as few notches and chips here and there. A chip reattached to the upper section. The mineral with natural inclusions. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 501.9 g Dimensions: Height 13 cm

A SILVER AND CELADON JADE BUTTER TEA SETTibet, the silver parts date to 19th century, the jade bowl dates to the first half of the 20th century. The silver stand with the lobed saucer atop, embossed with a dense composition of blossoming flowers and Buddhist treasures, comprising a thinly carved celadon jade cup of fine translucent quality. The four-level tiered cover delicately engraved and embossed with floral decor in high relief, surmounted by a glass knob, imitating an apple green jade. The underside shows an incised Swastika.Condition: Very good condition, the silver shows surface wear, nicks, and slight warping. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 373 g Dimensions: Height 18.8 cm, Diameter 9.6 cm (Jade cup), 13.3 cm (Saucer)

AN UNUSUAL MIXED MATERIAL HAKO NETSUKE WITH COMPASSJapan, late 19th centuryPublished: Chappell, Welch (1999) Netsuke: The Japanese Art of Miniature Carving, no. 248.A quite unusual ensemble consisting of many different materials. The case is crafted from marine ivory (most likely sperm whale tooth) and highly polished ebony wood. The top is very finely decorated in gold hiramaki-e with aogai (mother-of-pearl) showing two butterflies, a symbol for marital happiness and well-being relating to the Chinese character for "double-happiness". The interior of the hako netsuke slides out to reveal an old compass, inscribed in gold lacquer with the twelve animals of the zodiac and a sundial.LENGTH 4.5 cmCondition: Very good condition with minor surface wear. The sundial with a loss.Provenance: Ex-collection Richard R. Silverman purchased from Sharen Chappell, St. Paul, in 2013. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person.

A LAPIS LAZULI COURT NECKLACE, CHAOZHU, QING DYNASTYChina, 19th century. Composed of one hundred white chalcedony beads, intersected by four lapis lazuli foudou ('Buddha Heads') and a gourd-shaped fodouda, flanked by open worked and gilt bronze cash coins and suspending a cord tassel intersected by a flattened ovoid lapis lazuli pendant.Provenance: French private collection. Condition: Excellent condition with minor wear and traces of use. Eight of the originally 108 white chalcedony beads are lost.Weight: 300 gDimensions: Length 134 cm, Diameter 11 mm (the white chalcedony beads), 20 mm (the lapis lazuli foudou), and 8 mm (the agate beads)The pendant terminating in a gilt bronze-set lapis lazuli drop, the three jinian strands of agate beads suspending smaller lapis lazuli drops in similar settings.With a fine and old silk brocade pouch, probably from the same period. (2)Auction result comparison: Compare a related court necklace with lapis lazuli beads at Sotheby's New York in Chinese Art on 21 March 2015, lot 818, sold for USD 20,000, and another with lapis beads and pendant at Bonhams in Asian Decorative Arts on 17 December 2014, lot 9384, sold for USD 27,500. 清代青金石朝珠中國，十九世紀。由一百顆白色玉髓珠子組成，四顆青金石佛頭和一個葫蘆狀佛頭塔交錯。兩側朝珠垂下的小珠串是鏤空鎏金包裹青金石的小墜角，朝珠之間飾有鎏金硬幣，最中央懸掛一根流蘇，扁平的卵形青金石吊墜。來源：法國私人收藏。 品相：狀況極佳，有輕微磨損和使用痕跡。 原本 108 顆白玉髓珠子中的 8 顆丟失了。 重量：300 克 尺寸：長134 厘米, 直徑11 毫米 (白玉髓珠子), 20 毫米 (青金石佛頭), 8 毫米 (瑪瑙珠)配絲綢錦囊，可能來自同一年代。 拍賣結果比較：一件相近的青金石朝珠于紐約蘇富比Chinese Art2015年3月21日 lot 818, 售價USD 20,000, 另一件青金石朝珠于邦翰思Asian Decorative Arts 2014年12月17日 lot 9384, 售價USD 27,500。

EISAI: A WALRUS IVORY RYUSA MANJU NETSUKE OF ONIGAWARABy Eisai, signed Ei 永Japan, Asakusa, Tokyo, second half of 19th centuryCarved as a cluster of roof tiles, the topmost depicting an onigawara (demon faced roof tile), the others with a pitchfork, stylized phoenix, and a mitsudomo-e design, one tile to the lower area depicted from the side, showing the shape of the tile, the tiles exhibiting various degrees of wear, clearly intended by the artist. The reverse with formal designs, central himotoshi, and the seal signature EI, which is remarkably similar to the Kokusai seal (Koku). The material with natural inclusions, particularly visible to the unstained sections to the reverse, are typical of walrus ivory.LENGTH 4.2 cmCondition: Excellent condition with minor surface wear. Provenance: Richard R. Silverman, acquired from Sotheby's London in 1997 (by inventory). Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture. Literature comparison: Two related ryusa manju netsuke by the same carver, but carved from stag antler and depicting different subjects, are illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. III, p. 260-261, nos. 493 and 494.Auction comparison: For another manju by the artist, carved from walrus ivory, see Bonhams, Fine Japanese Art, 17 May 2018, London, lot 107 (sold for 5,000 GBP).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person.

A CHAM SILVER BETEL NUT CONTAINER WITH FLORAL MARKChampa, 15th-18th century. The betel holder of cylindrical shape, the cover tapering upwards to a stepped conical finial, the recessed circular base with am skillfully executed floral mark in fine repousse.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, few miniscule losses, and some pinkish-white betel residue to the interior.Weight: 98.9 gDimensions: Height 11.4 cmLiterature comparison: Similar pieces in gold are published in The Zelnik Istvan Southeast Asian Gold Museum, page 195, Budapest 2013. Related betel nut containers can be found in the National Museum of Cambodia, for example inventory number Ga.6606. 

A RARE AND LARGE HORN NETSUKE OF A FOREIGNERUnsignedJapan, 19th century, Edo period (1615-1868)Finely carved from a large section of translucent horn with neat parallel striations and white marbling. Depicted is a foreigner, most likely a Dutchman, carrying a large bag and hat slung over his shoulder. Asymmetrical himotoshi through the back.HEIGHT 10.7 cmCondition: Very good condition, some fine age cracks, minor wear around edges.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Auction comparison:A related horn figure of a Dutchman was sold at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 299 (sold for 5,688 EUR).

A VERY LARGE GREEN AMETHYST HEAD OF GUANYIN MOUNTED AS A LAMPChina, 1900 to 1920. The transparent stone is of an appealing green tone with lighter inclusions and fine veining depicting the head of Guanyin, with delicately carved facial features, big nose, and downcast eyes, flanked by her elongated earlobes, wearing a five-tiered crown with tiny buddha faces. Mounted as a lamp on a segmented wood base.Condition: Good condition with minor surface wear, natural cracks, small chips and inclusions. As seen in the photos the electric mechanism is currently working but we do not guarantee on its functioning. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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 EuropeWeight: 6 kg (excl. base) Dimension: Height 27.2 cm (excl. base)

AN INDONESIAN BRONZE MIRROR, 10TH- 11TH CENTURYJava. Cast in two pieces, the back of the circular dish with concentric rings around the raised domed knob surmounted by a small circle, encircled by a raised ridge. The handle cast with a floral motif flanked by a pair of peacocks.Provenance: De-accession of The Dr. István Zelnik Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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. Condition: With some wear and casting flaws, signs of weathering, few minuscule nicks and dents, occasional light scratches, losses and corrosion. The fine malachite-green patina with brown encrustations. Overall, very good condition, especially for such an old piece.Weight: 841.8 gDimensions: 27 cmLiterature comparison: For related bronze mirrors, see The Metropolitan Museum, accession numbers: 1987.142.251a, b and 1987.142.250.

A SILVER REPOUSSE STATUE OF BUDDHAChina, Qing Dynasty (1644-1912). Finely executed in silver repousse with Buddha seated on a double lotus base, wearing a monastic robe, the hands held in his lap, behind him is an aureole. With a floral integrated pedestal under the lotus base and fine incised decoration such as a swastika to the chest or swirling clouds to the back of the robe.Condition: Overall good condition, the lower part dented, the silver slightly tarnished, few minor nicks and casting flaws. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 259.1 g Dimensions: Height 20 cm

A HIMALAYAN TURTLE SHELL MASKHimalayan region, 19th century. Expressively carved with eyes, eyebrows, nostrils, and mouth.Condition: Fine patina and material loss particularly to the upper shell layer. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 335 g Dimensions: Length 25 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person.

TWO BRONZE PENDANTS, ANGKOR PERIODKhmer Empire, 12th century. Each of half loop shape cast with decoration to each side and top, with a tiered band and four hinges, with suspension loop.Condition: Good condition commensurate with age, old wear, minuscule nicks here and there, with a fine, naturally grown patina, encrustations, and corrosion. One with losses to exposed areas. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Weight: 121.2 g and 207.6 g Dimensions: Height 7 and 7.5 cm

'BUDDHA CHILD 2' BY SOPHANNARITH (BORN 1960)Sophannarith Thou, one of Cambodia's most prestigious artists, born in 1960 and student from the Royal Academy of Fine Arts. In 2000 he was acknowledged as an "Honorable Painter" by the Ministry of Culture of the Kingdom of Cambodia.Oil on canvas, mounted on a stretcher. Painted in expressionistic style depicting Buddha as a child with a subtle smile, standing on a lotus flower.Published: From the collection of Dr. Zelnik, SOPHANNARITH, Icon of the Contemporary Cambodian Painting, p. 39 Condition: Very good condition. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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.Dimensions: 65 cm x 50 cm

A SILVER AND JADE BUTTER TEA SETTibetan-Chinese, 19th century. Comprising a spinach green jade cup of fine translucent quality and a silver stand and a silver-plated cover. The silver elements are embossed and engraved with floral decor and auspicious symbols. The cover surmounted by a coral-colored bead.Condition: The silver shows surface wear, nicks, and warping, otherwise good condition. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 142.3 g Dimensions: Height 12.5 cm

A FINE ROCK CRYSTAL "CHILONG" VASEChina, 18th-19th cent. Of a nice, light-greyish color with naturals inclusions, decorated with two clambering chilongs amongst lingzhi sprays, carved in a high relief. The surface of the thick-walled translucent vase is neatly polished.Condition: Good condition with expected surface wear, few small chips to exposed areas and natural inclusions in the stone. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 910 g Dimensions: Height 13.5 cm

A GROUP OF FIVE CERAMIC SHIPWRECK FIGURINESSouthern China, Ming Dynasty (1368-1644), 16th century. Lively depictions of four ladies and one dignitary elegantly seated, with removable heads. Remains of blue, burgundy and black paint to the body and clothing. This charming group of five well-dressed attendants appear to be listening to some story or music.Condition: Fine condition with expected surface wear, few chips to exposed areas, some body parts are missing. Natural sea-life incrustations. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 712 g (all five total) Dimensions: Height 10.5 cm - 14 cm

A LOT OF SIXTEEN ANCIENT GLASS BEADSChina, Han Dynasty (202 BC- 220 AD) or later. A charming lot consisting of sixteen beads, spherical in shape and similar in size. They are made from translucent glass of an impressive, lapis lazuli blue color. Condition: Fine condition with expected wear, some minor notches and weathering commensurate with age. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 41.3 g Dimensions: 1 -1.2 cm

A WOOD NETSUKE OF FUKUROKUJUJapan, 19th century, Edo period (1615-1868)The wood netsuke, depicting a finely carved model of Fukurokuju holding his staff in his right hand and a handscroll in his left hand, wearing a long cowl over his characteristically elongated head, with a fan hanging on his back. The natural himotoshi through the backside underneath the fan.HEIGHT 8.4 cmCondition: Good condition with minor wear and natural age cracks. Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

HIRATA SHIGEMITSU: A SET OF SILVER BOX AND COVER AND SIX SILVER TRAYSBy Hirata Shigemitsu (1855-1926), signed Shigemitsu with kakihanJapan, late 19th century to early 20th century, Meiji period (1868-1912)The box and cover of rectangular form, the cover opening to reveal two compartments, further with a drawer fitted with a chrysanthemum knob handle, the trays of oval form with shallow rounded sides supported on four short bracket feet. The sides of the box, the top of the cover, and the interiors of the tray are all neatly incised with lotus flowers and scrolling foliage. The interior of the cover with the signature SHIGEMITSU with a kakihan above the silver hallmark Jungin (pure silver).SIZE 22 x 14.3 x 7.2 cm (the box and cover), LENGTH 18.3 cm (each tray)WEIGHT 3,220 gCondition: Good condition with minor surface wear and light scratches.Provenance: De-accession of The Dr. István Zelnik Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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.Hirata Shigemitsu (1855-1926) was one of the most prominent metal-hammering craftsmen of the Meiji period. He produced work mainly for the Imperial Household and exhibited regularly in international exhibitions. With Kurokawa Eisho (1854-1917), Hirata initiated the metal-hammering division of the Tokyo Chokokai (Tokyo Society of Metal Artists), founded in 1887.Literature comparison: For a pair of silver vases by Hirata Shigemitsu in the collection of the Imperial Household, see Museum of the Imperial Collections [Sannomaru Shozokan] (1995) Meiji bijutsu saiken I (Reappraisal of Meiji Art I), The Era of Meiji Bijutsu-kai and Nihon Kinko Kyokai, no. 27.Auction comparison: Compare a large Imperial silver presentation bowl by Hirata Shigemitsu at Christie's, Japanese and Korean Art, 18 March 2014, New York, lot 522 (sold for 37,500 USD), and another at Bonhams, Fine Japanese Works of Art, 19 March 2014, New York, lot 3282 (sold for 36,250 USD).

A STAG ANTLER NETSUKE OF AN OX AND OXHERDJapan, 18th century, Edo period (1615-1868)Depicting a recumbent ox with inlaid eyes and a boy seated behind it. Fine naturally grown patina. The underside with asymmetrical himotoshi.LENGTH 8 cmCondition: Good condition with extensive old surface wear, the old plug to the right of the netsuke is lost. Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

AN INTERESTING CERAMIC AMPHORA FILLED WITH COINSChina, Song Dynasty (960 - 1279). Of cylindrical form rising from a flat base and molded with vertical ribs. The interior filled with antique coins, which are firmly merged with the soil inside the vessel and show a fine malachite patina.Condition: With significant wear, signs of weathering, erosion, and tiny losses, overall good condition consistent with age. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Weight: 15 kg Dimensions: Height 33 cmAuction result comparison: Compare a closely related amphora filled with coins of slightly smaller size sold in these rooms in Asian Art Discoveries - China and Southeast Asia on 15 June 2021, lot 285, sold for EUR 1,770.Literature comparison: For a similar amphora filled with coins see The Zelnik Istvan Southeast Asian Gold Museum, page 114, Budapest 2013.

A MONUMENTAL 'SILVER EAGLE' OCTAGONAL BRONZE VASEJapan, early Meiji period (1868-1912)The elegant body of the vase is applied with a massive, layered and craggy bronze rock, traversed by branches of silvered and gilt cherry blossoms, on which a majestic eagle has just landed. Below we find two sparrows, neatly inlaid in silver, gold, shakudo and shibuichi. The feathers of the eagle are cleverly incised to create a dramatic movement, his claws with punched details and gilt. The eyes and talons are finely inlaid in shakudo. Condition: Superb condition with some old wear, a fine naturally grown chocolate-brown patina overall, minor traces of wear and shallow surface scratches, small casting flaws. Faint traces of verdigris to bronze rock.Provenance: Property from a collection in the United Kingdom.HEIGHT 68.5 cm WEIGHT 21.6 kgIn this remarkable portrayal of an eagle's fierce spirit, the artist distilled the soul of the Japanese nation in the second half of the 19th century, which was - at the onset of westernization - exerting itself as an international power. In addition to his regal presence, the 'king of the skies' represents unhesitating, even ruthless action, an indispensable quality during these turbulent times. Determined to break the mold of traditional East Asian sculpture, the artist augmented the vivacity of his subject with youthful audacity, dramatically varying contrasts of light and dark within the plumage. With an increased degree of realism, almost brutal naturalism, the final abandonment of the classical Edo aesthetic becomes apparent in this masterpiece of Japanese metalwork.Auction comparison: Compare the manner of the eagle to a silvered bronze okimono of an eagle by Masatsune sold by Bonhams, Fine Japanese Art, 5 November 2020, London, lot 288 (sold for 11,312 GBP).

A GANDHARAN BRONZE MIRROR WITH A FIGURAL SCENEAncient region of Gandhara, 7th - 8th century. The circular dish with incised decoration on the concave side depicting a bearded man and a woman seated on chairs and facing each other, with their hands raised, a dog under a chair and another in front of them, the back of the mirror with concentric rings. With a handle in the form of a column.Provenance: De-accession of The Dr. István Zelnik Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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. Condition: With some wear and casting flaws, signs of weathering, few minuscule nicks and dents, occasional light scratches, losses and corrosion. The fine malachite-green patina with brown encrustations. Overall, very good condition, especially for such an old piece.Weight: 848.4. gDimensions: Height 27 cm

A FINE AND LARGE SHELL PECTORALHimalayan region, 19th century or earlier. Well-polished tubular focal bead made from shell (probably chank shell, Turbinella pyrum). The color is original and natural, showing varying cream hues and an appealing natural geometrical pattern. Large central drilling with ancient toolmarks.Condition: Very good condition with some natural weathering and notches commensurate with age. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 66 g Dimensions: 9.6 cm

A BLACK CORAL SNUFF BOTTLEChina, late Qing Dynasty (1644-1912). The fine bottle conforming to the natural outline of a coral branch, carved with a large carp, its eye inlaid in glass. The black material with gold lacquer striations, lightly polished to show the grain. Matching hardstone stopper and miniature bone spoon.Condition: Excellent condition with minor wear, the material with natural fissures and flaws. Few small flakes to lacquer. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Weight: 42.1 g Dimensions: Height including stopper 8 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person.

A TURQUOISE CONG-FORM BEAD, SHANG TO WESTERN ZHOU DYNASTYChina, 1300-772 BC or later. Carved in the form of a miniature cong with two registers of rectangular protrusions to each side, each carved with a C-shaped scroll in relief. Vertically pierced from both sides for suspension. The opaque stone of a rich turquoise tone with greenish-brown patches and rivering.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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.Condition: Signs of weathering and erosion. Remnants of soiling. Traces of wear, especially around the piercings. Few small nicks. The stone with natural fissures, some of which have developed into small hairline cracks over time. Fine, naturally grown, dark patina.Weight: 14.6 gDimensions: Length 2.8 cm 商至西周綠松石琮形珠中國，公元前1300-772 年或更晚。微型琮形珠，每側有兩個矩形突起，每個突起上都刻著一個 C 形紋，垂直穿孔用以懸掛。色彩艷麗的不透明綠松石，帶有綠褐色斑和脈絡。 來源：原匈牙利布達佩斯István Zelnik博士 Southeast Asian Gold Museum收藏。比利時Institutional art collection 購於上述美術館。István Zelnik博士是匈牙利South and Southeast Asian Research Institute東南亞研究所主席，曾是匈牙利高級外交官，他在東南亞工作了幾十年，建立了歐洲最大的亞洲藝術品私人收藏。 品相：風化和侵蝕的跡象。污漬，穿孔周圍有磨損痕跡。幾處小刻痕。帶有天然裂縫的石料，隨著時間的推移，其中一些已經發展成細小的裂縫。細膩且自然的深色包漿。 重量：14.6 克 尺寸：長 2.8 厘米

TWO FINE JADE BEADSChina, Qing dynasty (1644 - 1912) or earlier. Different in size, opaque and biconical in shape spinach jade beads. The surface is neatly polished and nice to touch. Central drilling showing ancient toolmarks.Condition: Very good condition with calcification and wear. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 34.9 g (Total) Dimensions: 3.4 - 2.8 g

A LARGE RESIN NETSUKE OF AN ISLANDERThe large netsuke depicting a strong islander standing on one foot hefting a large pearl. The backside with himotoshi and signed.HEIGHT 9 cmCondition: Very good condition with minor wear. Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

A LARGE BRONZE MIRRORCambodia, Khmer Empire (Angkor culture), ca. 12th to 14th century CE. Of circular form with a smooth and simplistic design.Condition: With surface wear and extensive patina rich in fine malachite-green, brown, and blue hues. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 634 g Dimensions: Diameter 20 cm

A FINE ENAMELED PORCELAIN 'LANDSCAPE' VASE, ATTRIBUTED TO ZHANG ZHITANGAttributed to Zhang Zhitang (1893-1971). The baluster vase finely painted in bright enamels with a continuous landscape of lofty peaks towering around a broad river, trees, and houses, followed by an inscription reading 'In the autumn of Wuzi year (1948) in Xinjiang River, signed Zhang Zhitang', and a seal `Zhitang'. With maker's mark in overglaze iron-red reading Yitao Zhai.Condition: Excellent condition with minor wear and minimal firing flaws. Provenance: German private collection.Weight: 945.1 cmDimensions: Height 29.5 cmAuction result comparison: Compare a pair of related vases attributed to Zhang Zhitang at Christie's London in Chinese Ceramics, Works of Art and Textiles on 13 May 2011, lot 1272, sold for GBP 12,500. Another vase attributed to the artist was sold at Bonhams San Francisco in Asian decorative Arts on 13 March 2012, lot 3457, sold for USD 1,500.

A TURQUOISE PENDANT DEPICTING A HAREChina, Ming Dynasty (1368-1644) or later. Very fine miniature depiction of a crouching hare, the fourth animal in Chinese zodiac, known to be the luckiest out of all the twelve. The head with large round eyes and pierced through the mouth and back for suspension.Condition: Good condition with wear, signs of weathering and erosion. Few small nicks around the piercings. The stone with natural fissures. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Weight: 13.9 cm Dimensions: Length 3 cm

A PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL, TANG DYNASTYChina, 618-907. Standing foursquare atop the shaped base, the baying camel with an elegantly curved neck and raised head, the bulging pack in the form of two monster heads fitted between the humps, the tail swept to one side.Provenance: Galerie Zacke, Vienna, 1 October 1996. Dr. Mons Fischer, acquired from the above, sold for ATS 68,000 (approx. EUR 7,774 today after inflation). A copy of the invoice, dated 1 October 1996 and stating the aforementioned purchase price, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some old repair as generally expected from Han dynasty excavations. Extensive wear, soiling, losses, chips, holes, cracks and encrustations.Weight: 3,744 gDimensions: Height 40.3 cm, Length 33.5 cmAuction result comparison: Compare a closely related painted pottery figure of a camel, also dated to the Tang dynasty and with a similar monster-head pack, at Sotheby's New York in Asian Art on 14 September 2019, lot 1627, sold for USD 13,750. 唐代彩繪駱駝俑 中國, 618-907年。駱駝俑站在四方基座上，它引頸張口，後肢直立，前腿略彎，彷彿剛從臥姿直身而起，仰天長嘶。 來源：維也納Zacke藝廊，1996年10月1日。Dr. Mons Fischer購於上述藝廊，ATS 68,000 (通貨膨脹后換成今日歐元大約 EUR 7,774)。隨附一份1996年10月1日出具的發票 顯示了當時的價格。Mons Fischer 博士是一位經驗豐富的現代及當代藝術私人收藏家，自 1980 年代以來，他還收藏了衆多精美的中國藝術品，建立了奧地利最重要的一個藝術品收藏。 品相：一些從漢代考古發掘中普遍預期的舊修復。磨損嚴重，污跡，缺損，缺口、小孔、裂紋和結垢。 重量：3,744 克 尺寸：高40.3 厘米, 長 33.5 厘米 拍賣結果比較：一件唐代相近駱駝陶俑見紐約蘇富比Asian Art 2019年9月14日 lot 1627, 售價USD 13,750。

A LARGE 'BIRD SHAPE' BRONZE KHMER CONCH SHELLKhmer, Angkor period, late 12th - early 13th century. Large and well-cast conch shell with an impressive flaring tip in a form of a bird head, bordered by flaming leafy scrolls. Spiral base molded with lotus leaf borders. An interesting relief depiction of Hevajra flanked by dancing attendants and placed above the head of Kala (kirtimukha), the demon of passing time, is decorating the central panel, neatly bordered with flaming mandorla. The inside of the shell filled with the original casting core.Condition: Overall still fine condition with expected wear and an old, green patina. Some cracks to the back side. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 2370 g Dimensions: 30 x 12 x 12.5 cm

A KHMER BRONZE FIGURE OF VISHNU, ANGKOR PERIODKhmer Empire, 12th - 13th century. The deity standing in samapada on a yoni, his four arms radiating around him holding four attributes, wearing a sampot secured with a decorative sash. The face with wide smiling features flanked by long foliate earrings. The hair secured into a high chignon.Provenance: De-accession of The Dr. István Zelnik Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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. Condition: Good condition, commensurate with age. The statue with wear, signs of erosion, miniscule nicks here and there, a hole on the upper side of the base. Fine, naturally grown malachite-green patina.Weight: 576.8 gDimensions: Height 18.4 cm, width 7.7 cm Vishnu is a deity of Vedic origin and along with Brahma and Shiva, forms part of the Trimurti or Triad in Hinduism. He represents the principle of preservation and, thanks to his various avatars, is able to intervene when the universal order is threatened.Auction result comparison: Compare a related, yet more refined and larger, bronze figure of Vishnu, dated to the 13th century, at Christie's New York in The Doris Wiener Collection on 20 March 2012, lot 168, sold for USD 12,500.

AN INDIAN MINIATURE PAINTING OF A NAYIKA AND HER SAKHIPahari, early 19th century. Ink, gilt, and watercolors on paper. The heroine holding fly-whisk in her left hand and raising her right, looking toward her sakhi, the two standing face to face in a palace terrace setting. Both wearing elaborate robes and richly adorned with fine jewelry. The background with a mountain landscape.Provenance: Old Swiss private collection, acquired before 1965, probably during the 1940s and 1950s at Arcade Gallery, London, and thence by descent.Condition: Excellent condition with minor wear.Dimensions: Image size 20 x 16.5 cm, Size incl. frame 41.3 x 36.3 cmMatted and framed behind glass.Auction result comparison: Compare a related Indian miniature painting of a nayika and her sakhi at Indian, Himalayan & Southeast Asian Works Of Art on 15 March 2017, lot 282, sold for USD 5,000.

A SMALL AND FINE BUFFALO HORN STELE OF VAJRAPANISino-Tibetan, 19th century. Vajrapani, "holder of the thunderbolt" is lively displayed in typical wrathful iconography, holding his eponymous vajra upright in his right and snake in his left hand. Standing in pratyalidhasana, with the skull-crown and snakes for jewelry. Vajrapani is depicted as a terrifying guardian able to subdue the most dangerous of creatures. Framed by a flaming mandorla with small perforations to the sides.Condition: Good condition with expected surface wear, some minor notches and scratches. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 100 g Dimensions: Height 8.4cm, Width 5.5 cm

A LARGE CHAM SILVER REPOUSSE PLAQUE DEPICTING VISHNU AND CHILDChampa, 15th-16th century. The plaque finely executed in repousse depicting Vishnu, one of the principle deities of Hinduism, four-armed and holding the Sudarshana Chakra (war disk), a conch, a mace, and a divine jewel in his hands, wearing a high crown, richly adorned in jewelry, the face with a fine expression with arched brows, almond-shaped eyes, a broad nose, and slender lips, a halo behind his head, the attendant child to Vishnu's side holding a lotus flower high above his head.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with some minor bending and tears, some small losses, and minor traces of age and wear.Weight: 98.0 gDimensions: Size 33.9 x 19 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 40, Budapest 2013. 

MASAYOSHI: AN EBONY NETSUKE OF A RECUMBENT OXBy Masayoshi, signed Masayoshi 正義Japan, Nagoya, 19th century, Edo period (1615-1868)Lying with its head turned to the side and its legs drawn in for compactness, the eyes double-inlaid with pale and dark horn. The underside with two symmetrical himotoshi and the signature MASAYOSHI.LENGTH 4.8 cmCondition: Very good condition with minor wear, few light scratches, and minute natural age cracks.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Auction comparison: Compare a related ebony netsuke of a recumbent ox by Ikkan, also dated to the 19th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 130 (sold for 10,200 GBP).

REIGEN: A WOOD NETSUKE OF A DRAGON HATCHLINGBy Geijo Reigen (born 1935), signed ReigenJapan, c. 1970Published: Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, Vol. 2, p. 866.An attractively compact netsuke, finely carved and stained as a dragon emerging from an egg and baying its head. The scales and flaming body are finely incised, the tail at the back sweeps to the side. Large, asymmetrical himotoshi underneath and signed REIGEN.HEIGHT 3.6 cmCondition: Excellent condition.Provenance: Ex-collection Richard R. Silverman, purchased from Wakayama, Tokyo, in 1976. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

A PAIR OF BRONZE BRACELETSSouthern China, Dong-Son culture (200 BC - 200 AD). The pair with both ends cast as a stylized dragon.Condition: Good condition commensurate with age, with traces of age and wear as well as a fine malachite-green patina. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 90 g (both) Dimensions: Diameter 7.5 cm each

A POWERFUL KYOTO SCHOOL IVORY NETSUKE OF A TIGER ON BAMBOOUnsignedJapan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)Similar to no. 49, yet carved from ivory and bearing a deep-yellow patina. The mighty animal strides across the bamboo rod with a leafy sprig growing from the separation point of the two nodes, and turns its head to the left, baring its fangs and snarling. The fur markings are finely incised and inked. Himotoshi through the bamboo rod.LENGTH 5 cmCondition: Very good condition, appealingly worn, minuscule nick to the tail, natural age cracks.Provenance: English private collection.Auction comparisons:A related netsuke was sold by Van Ham, Asian Art, 7 December 2017, Cologne, lot 2336 (sold for 3,000 EUR). Another was sold by Bonhams, Fine Japanese Works of Art, 19 March 2013, New York, lot 2133 (sold for 6,875 USD). Another was recently sold by Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 66 (sold for 4,880 EUR).This motif is called take no tora, "tiger in bamboo". There are many different interpretations; the tiger has a strong nature, is flexible and resilient like the bamboo, but it is also said that the strong tiger is looking for shelter underneath the bamboo, as any earthly power is inferior to the forces of nature. Moreover, the tiger and bamboo represent the power of faith in Buddhism.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.

A ROCK CRYSTAL SET BRONZE PENDANT, ANGKOR PERIODKhmer Empire, 12th century. Of half loop shape with decoration to each side and top, with a tiered band and four hinges holding a rock crystal, with suspension loop.Condition: Good condition commensurate with age, old wear, minuscule nicks here and there, with a fine, naturally grown patina, encrustations, and corrosion. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Weight: 232.5 cm Dimensions: Height 8 cm