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Artist: Mark Tobey (American, 1890 - 1976). Title: "Composition #5". Medium: Mixed Media on Paper. Date: Composed c1967. Dimensions: Overall size: 12 3/4 x 9 3/4 in. (324 x 248 mm).Lot Note(s): Signed lower right. Painted on medium weight cream wove paper. Fine condition; as painted. Comment(s): Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29861-2-3000]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Feuilles de bambou". Medium: Original vintage photogravure. Date: Composed c1935. Printed 1935. Dimensions: Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [23916-2-300]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Foret au printemps". Medium: Original vintage photogravure. Date: Composed c1936. Printed 1936. Dimensions: Image size: 11 1/2 x 9 1/16 in. (292 x 230 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition;affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [25082-2-600]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Boat Towers of the Kia Ling Kiang". Medium: Original vintage photogravure. Date: Composed c1939. Printed 1939. Dimensions: Image size: 7 1/4 x 9 1/8 in. (184 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [25473-2-300]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Brouillard du matin". Medium: Original vintage photogravure. Date: Composed c1936. Printed 1936. Dimensions: Image size: 12 1/8 x 7 5/8 in. (308 x 194 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [25083-2-400]

A TIBEATAN-CHINESE SILVER BUTTER LAMPTibetan-Chinese, 19th century. The fine deep stem bowl with applied beaded bands and rim. Raised on a tall hollow stem foot with a center piece depicting a beautiful flower design.Condition: Good condition with few manufacturing flaws as well as surface wear and scratches. 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: 296.5 g Dimensions: Height 15.8 cm

A LARGE PAIR OF SILVER BUTTER LAMPSTibetan-Chinese, 19th century. The fine pair with a deep bowl incised and embossed with four reserves enclosing various auspicious Buddhist symbols surrounded by lotus scroll, raised on a tall hollow stem foot encircled by a band of out-turned narrow petals above a band of further auspicious symbols.Condition: Very good condition with minor warping and expected surface wear. 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: 387.6 and 402.3 g Dimensions: Height 20.3 cm each

A FINE SILVER AND GOLD FOIL REPOUSSE VOTIVE PLAQUEChina, 19th century. The plaque's frontal worked in gold foil to depict Buddha seated on a lotus throne, the backside of silver with a stamped mark. The borders with fine silver filigree work.Condition: Good condition with minor surface wear and scratches. 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: 8 g Dimensions: Length 4.5 cm

AN FINE IVORY CARVING OF AVALOKITESHVARA SHADAKSHARITibetan-Chinese, c 1900. Carved, seated in dhyanasana on a double lotus base with vajra, the principal hands in anjalimudra in front of the chest, the other right hand holding a lingzhi stalk and the other left hand a lotus blossom, wearing richly adorned clothing and jewelry. The ivory bearing a stunning patina.Condition: Very good condition with fine wear and a tiny chip to one fingertip. 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: 502.4 g Dimensions: Height 14.5 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 CORAL FIGURINE OF GUANYINChina, c. 1920. Of even dark pink color with sparse white inclusions. Guanyin, dressed in a long robe, is holding a vase containing the elixir of longevity in her left hand and a rosary in her right.Condition: Overall fine condition with some chips to exposed areas. 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: 165 g Dimensions: Height 15 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 BURLWOOD CARVING OF LIU HAI, LATE MING TO EARLY QINGChina, 17th-18th century. Carved in a standing position, using the natural shape of the gnarled wood to depict the robe. Supporting a mythical three-legged toad on his right shoulder.Condition: Fine golden-brown patina. Some wear, minor losses, intrinsic age cracks. Scattered tiny wormholes. A superb naturally grown patina with a soft, unctuous finish.Provenance: The Oriental Art Collector. Quek Kiok Lee (1921-2018), acquired from the above on 15 December 1980. Singaporean businessman, banker and investor Quek Kiok Lee was the founder of the Southeast Asian Ceramic Society (SEACS) and Acquisitions Advisor on Chinese Antiquities for the National University of Singapore. Weight: 1,149 g Dimensions: Height 23.7 cmThe story of Liu Hai is frequently told as "Liu Hai playing with the Golden Toad". However, there is a hidden meaning here: The Chinese word for "toad" is chanchu. Sometimes, Chinese will only pronounce the first character chan. In some Chinese dialects, the character chan has a pronunciation very similar to qian which means "coin". Therefore, a storyteller reciting "Liu Hai playing with the Golden Toad" could also be heard by listeners as "Liu Hai playing with the gold coins". Later fitted stand. (2)Auction result comparison: Compare with a related burlwood carving of a luohan sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 27 September 2019, lot 101, for €2,000.癭木雕劉海金蟾擺件，明末清初中國，十七至十八世紀。立像，利用癭木自然紋理雕刻衣袍，一隻三足蟾蜍立於他的右肩処。品相：金棕色包漿，一些磨損，輕微缺損，内在年代裂紋。散佈著微小的蟲洞，極好的自然包漿濃厚潤澤。來源：東方藝術收藏家。郭克禮 (1921-2018)先生于1980年12月15日購於上述收藏。郭克禮先生是新加坡商人，銀行家和投資家。他曾是東南亞陶瓷協會創立人，並擔任新加坡國立大學中國古玩收藏顧問。重量：1,149 克尺寸：高23.7 厘米拍賣結果比較：一件相似癭木雕劉海于2019年9月27日售于本藝廊，拍號101，成交價€2,000。

A PAIR OF SPINACH-GREEN JADE CUPS, QING DYNASTYChina, 18th century. Each with deep sides rising from a thick ring foot. The translucent stone of an attractive and intense green tone with scattered black speckles. Fine manual surface polish with an unctuous, silky matt finish. (2)Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance, signed by Dr. Istvan Zelnik, will be handed to the winning bidder). The Istvan Zelnik Southeast Asian Gold Museum, acquired from the above. An institutional art collection in Belgium, acquired from the above. Bao Dai was the 13th and final Emperor of the Nguyen dynasty, the last Imperial dynasty of Vietnam. From 1926 to 1945, he was Emperor of Annam. After his abdication in 1945, he remained an important advisor to the new government under Ho Chi Minh but left for France in 1946, until he was persuaded by the French to return as head of state in 1949. He moved back to France in 1954 after the peace deal between the French and the Viet Minh, appointing Ngo Dinh Diem as his prime minister. After being removed from power by Diem in a referendum in 1955, he spent the remainder of his life in exile in France.Condition: Excellent condition with minor wear, the stone with natural flaws and microscopic fissures, some of which may have developed into small hairline cracks over time.Weight: 262.1 g (total)Dimensions: Height 7 cm (each), Diameter 8.2 cm (each)Auction result comparison: Compare with a related pair of wine cups, with incised four-character Qianlong marks and of the period, at Christie's London in Fine Chinese Ceramics and Works of Art on 8 November 2011, lot 78, sold for GBP 15,000.清代一對碧玉杯中國，十八世紀。玉杯圈足，半透明，碧色濃鬱，散佈著黑色斑點。 表面光滑溫潤。來源：原越南阮朝最後一位皇帝阮福永瑞收藏 (根據來源信件，由 Dr. Istvan Zelnik簽名，將會交給獲得此藏品的藏家) 。The Istvan Zelnik Southeast Asian Gold Museum, 購於上述收藏。一個比利時藝術收藏機構購於上述美術館。阮福永瑞，即保大帝，是越南最後的皇朝阮朝第十三位也是最後一位皇帝。從1926年到1945年，他是安南皇帝。 自1945年退位後，他一直是胡志明領導下的新政府的重要顧問，但於1946年前往法國，直到法國說服他在1949年返回越南成爲臨時國家元首。1954年，他移居法國。1955年，在首相吳廷琰私下操縱的公民投票中，越南的君主制被廢除，保大帝隨後流亡法國直至逝世。圖片：保大帝 (1913-1997) 品相：狀況極佳，磨損很小，石頭具有自然缺陷和微觀裂縫，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：縂262.1 克 尺寸：各高7 厘米, 直徑分別8.2 厘米 拍賣結果比較：一對相近的酒杯，乾隆四字款見倫敦佳士得Fine Chinese Ceramics and Works of Art 拍場2011年11月8日lot 78, 售價GBP 15,000。

A CHINESE BRONZE BOWL, HANChina, Han Dynasty (206 BC - 220 AD). The simplistic bowl shows beautiful naturally grown malachite and lapis lazuli patina as well as ochre incrustations.Condition: Good condition with fine ancient patina. 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: 474 g Dimensions: Height 10.5 cm, diameter 17 cm

A TURQUOISE MINIATURE PENDANT OF A HAREChina, presumably Ming Dynasty (1368-1644). Very fine miniature depiction of a crouching hare, the fourth animal in Chinese zodiac, known to be the luckiest out of all the twelve. In ancient Chinese culture it was believed that the rabbit lives on the moon and it is a great companion of the Moon Goddess who never grows up. It is easily associated with the symbol of longevity as well as fertility and mercy. The details are neatly carved, central drilling showing ancient toolmarks. The stone of a beautiful blueish hue. Publication: This lot will be catalogued in the book about the turquoise collection of Dr. Zelnik which is expected to be published in 2022. Condition: Good condition with some minor, age-related wear. 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: 11 g Dimensions: Height 1.8 cm, Length 2.5 cm

A SANCAI-GLAZED POTTERY FIGURE OF A BACTRIAN CAMEL, TANG DYNASTYChina, 618-907. Standing foursquare on a mostly unglazed square base, with its head raised upwards as if braying, the body covered in a transparent ochre glaze, the back with a molded caparison and glazed with green, cream and ochre.Provenance: Austrian private collection. Galerie Zacke, Vienna, 3 October 1998. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 3 October 1998, 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 repair and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Minor firing flaws, such as firing cracks, glaze flakes, glaze recesses, and dark spots. Drilled holes from sample-taking. Overall, very good condition.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 11 February 2020, based on sample no. C120a60, sets the firing date of both two samples taken at 900 - 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 6.0 kgDimensions: Height 58 cmLiterature comparison: A closely related but smaller sancai pottery camel in the collection of the Metropolitan Museum of Art, accession number 67.43.1. A related sancai camel is also in the collection of the British Museum, museum number 1915,0409.2.Auction result comparison: Compare with a closely related sancai pottery camel at Bonhams London in Asian Art on 6 November 2017, lot 326, sold for GBP 10,625.唐代三彩駱駝俑中國, 618-907年。雙峰駝俑，引頸翹首，四肢挺拔，體態昂揚。周身以黃釉為主，局部間以綠、白色釉。 來源：奧地利私人收藏。維也納 Zacke藝廊, 1998年10月3日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：唐代出土物品中普遍預期的一些維修和修整。 缺損，裂縫和結殼。輕微的燒製缺陷，例如燒製裂紋，釉面開片，釉面内凹和黑斑。 因樣品採集鑽孔。總體而言，狀況良好。 科學檢測報告：隨附一份2020年2月11日出具的牛津熱釋光檢測報告副本， 采樣編號C120a60。檢測結果表明拍品為900-1500年前所制。 重量：6.0 公斤 尺寸：高58 厘米

A LARGE PAIR OF QINGBAI GLAZED BURIAL VASES WITH DAOIST DECORATIONChina, Song dynasty (969-1279). The tall vases consisting of an egg-shaped belly, a long cylindrical neck decorated in the applique technique with twelve standing figures and various animals representing the zodiac, a flying dragon, the sun and the moon. The bell-shaped cover crowned by a phoenix, of which one is looking up and the other looking down. Overall covered with a greenish-blue glaze, except for the flat base, revealing the sand-colored buff.Condition: Good age-related condition with some wear and firring flaws. One vase with a hairline to mouth rim and the other with chips to base rim. Provenance: Edward Pranger Oriental Arts (PAN Amsterdam 2000). Dr. Koos de Jong, acquired from the above. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 8.8 and 19.6 kg Dimensions: Height c. 84 cm without cover and 101 cm with cover eachLiterature comparison: Compare to similar vases in He Li, Chinese Ceramic, The New Standard Guide From the Asian Art Museum of San Francisco, London 1996, no. 370 and in Wu Hung, The Art of the Yellow Springs, Honolulu 2010, p. 160.

AN INTERESTING CERAMIC AMPHORA FILLED WITH COINSChina, Song Dynasty (960 - 1279). Of cylindrical form rising from a flat base and applied with six tiny handles. The interior filled with antique coins, which are firmly merged with the soil inside the vessel and show a fine malachite patina.Condition: Fair condition with significant old wear, signs of weathering and erosion, all consistent with age. With one handle missing and a chip to rim. 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: 8069 g Dimensions: Height 23.5 cm

AN APPEALING GLAZED BOWL, YUANChina, Yuan Dynasty (1279-1368). The interior covered with a fine olive color glaze, the outside and rims unglazed, the latter applied with a wavy rim.Condition: Very good condition with expected surface wear and firing flaws. 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: 865 g Dimensions: Diameter 24.5 cm

A SMALL BRONZE BELLSouth China/ Northern Vietnam, Dong-Son culture (800 BC - 200 AD). The quadrilateral bell, cast with lobed canons, shows overall fine malachite patina. The inside with remains of the casting core.Condition: With casting irregularities and the clapper firmly within the casting core. 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: 230 g Dimensions: Height 8 cm

A FINE FAMILLE ROSE EXPORT PORCELAIN DISHChina, late 18th century. Finely painted in high-relief polychrome enamels on the show side with a phoenix amid peonies growing loose out of a terrace, surrounded by a border of floral designs. The backside with three stylized sprays.Condition: Good condition with expected wear to enamels and a thin hairline to rim. 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: 341 g Dimensions: Diameter 23.5 cm

A MONUMENTAL GILT BRONZE SHRINE DEPICTING SAMANTABHADRA AND CONSORT, 17TH - 18TH CENTURYTibet. Heavily cast seated in vajraparyankasana on a double lotus base with a beaded upper edge, the lower part of the unsealed base cast separately, the hands lowered in dhyanasana holding the consort Samantabhadri in miniature form, both naked, his serene face with heavy-lidded almond-shaped eyes centered by an urna and flanked by long earlobes, each with an oval piercing.Provenance: The private collection of Paul R. Wedendal (1924-2010), Djursholm, Sweden. Bukowskis, Stockholm, Sweden, Dec 6, 2017, lot 474 (erroneously described as Nepalese Buddha and erroneously dated 18th - 19th century). An important Dutch collection, acquired from the above. Paul Wedendal was a Swedish dentist in Djursholm and a notable collector of Asian art.Condition: Good original condition with traces of use, occasional light scratches, some dents and nicks, minor warping, few losses, remnants of old pigment, wear to gilt overall. The shrine most likely was once a Shakyamuni triad with two smaller figures of Buddha and Manjusri missing.Weight: 7.0 kg (the figure and base), 19.3 kg (the throne)Dimensions: Height 65 cm (incl. throne) and 33 cm (the figure and base only)The base supported on a large and elaborate stepped throne cast in openwork, with Buddhist lions, a carved image of Ganesha, lotus lappets, and ruyi heads, surmounted by a mandorla of leafy peach branches with many buds towering above the figure.In the Tibetan Buddhist tradition, the Samantabhadra Buddha arises from the early Nyingma Tantric literature of the Guhyagarbha Tantra. He is typically depicted naked, with a Buddha appearance, hands in meditation gesture, legs in vajra posture, embracing the consort Samantabhadri, their union representing the blissful essence of the Truth Body of all Buddhas.Together with Gautama Buddha and the bodhisattva Manjusri, Samantabhadra forms the Shakyamuni Triad in Buddhism. He is the patron of the Lotus Sutra and, according to the Avatamsaka Sutra, made the ten great vows which are the basis of a bodhisattva.In Chinese Buddhism, Samantabhadra is known as Puxian and is associated with action, whereas Manjusri is associated with prajna (transcendent wisdom). In Japan, this bodhisattva is known as Fugen, and is often venerated in Tendai and Shingon Buddhism, and as the protector of the Lotus Sutra by Nichiren Buddhism. In the Nyingma school of Tibetan Buddhism, Samantabhadra is also the name of the Adi-Buddha, often portrayed in indivisible union (yab-yum) with his consort, Samantabhadri.Expert's note: Unlike his more popular counterpart Manjusri, Samantabhadra is almost never depicted alone and usually found in a trinity. In the present shrine the two missing figures are Buddha and Manjusri, which are both quite common and therefore - with some patience - can be found and put back in place again.Literature comparison: For a thangka depicting Samantabhadra and Samantabhadri, see Marylin M. Rhie and Robert A. F. Thurman, The Sacred Art of Tibet, London, 1991, pl. 430, no. 51A. For two related figures, see Arts of Asia, Treasures of Himalayan Art, Zhiguan Museum of Fine Art, November - December 2020, p.49, no. 24 and 25.Auction result comparison: Compare with a related gilt bronze depicting Samantabhadra in union with his consort, dated to the 18th-19th century, at Sotheby's Hong Kong in Chinese Art on 30 November to 1 December 2017, lot 451, the figure alone sold for HKD 187,500.十七至十八世紀銅鎏金普賢如來像西藏。普賢結金剛座坐于雙層蓮座上，蓮座上邊緣飾有珠紋，第二層蓮座和第一層并不為一體，底部未密封。普賢雙手施禪定印擱在足部，握住微型小佛母，兩人都赤裸著身體。他沉著的臉與沈低垂的雙眼，雙眼之間有天眼，兩側長耳垂，每個耳垂都有橢圓形的耳洞。 來源：瑞典Djursholm Paul R. Wedendal (1924-2010)私人收藏。 瑞典斯德哥爾摩Bukowskis，2017年12月6日lot 474 (錯誤地描述爲尼泊爾佛像以及錯誤地斷代為18至19世紀)。一個重要荷蘭收藏，購於上述拍賣。Paul Wedendal 曾是Djursholm 的一位牙醫，他是知名的亞洲藝術收藏家。 圖片：Paul R. Wedendal (1924-2010) 品相：良好的原始狀態，使用痕跡，局部輕度划痕，一些凹痕和缺口，輕微的翹曲，輕微缺損，舊顏料殘留，整體鎏金磨損。神龕上極有可能曾經是釋迦牟尼與佛陀以及文殊菩薩三聖。 重量：7.0 公斤 (佛像與蓮座), 19.3 公斤 (底座) 尺寸：縂高65 厘米 ，33 厘米 (佛像與蓮座) 底座鏤空鑄造，可見佛獅、大象神、蓮花瓣紋和如意紋，有很多花朵的卷葉曼陀羅。 在藏傳佛教傳統中，普賢菩薩源於早期的寧伽密宗文獻。 他通常赤裸，雙手禪定印，雙腿以金剛姿勢，擁抱佛母，他們的結合代表了所有佛陀真身幸福本質。 喬達摩佛和菩薩文殊以及普賢一起構成了佛教的華嚴三聖。 喬達摩佛弘揚《妙法蓮華經》，《華嚴經》中有十地菩薩贊釋迦牟尼佛偈。 在中國佛教中，普賢菩薩即普賢，是象徵理德、行德的菩薩，與文殊菩薩的智德、正德相對應。在日本，這位菩薩被稱為附言，通常在天台宗和真言宗佛教中受到崇敬，並且被日蓮佛教徒作為《妙法蓮華經》的保護者。 在藏傳佛教寧瑪派中，普賢菩薩也是普賢王如來的名字，通常與他的佛母象徵智慧與慈悲的結合。 專家注釋：不像文殊菩薩，普賢菩薩幾乎從來沒有被單獨描繪過，通常出現在三聖中。 在目前的蓮座上，失踪的兩個人物是佛陀和文殊菩薩，它們都很常見，因此可以耐心地找到並重新放置。 文獻比較: 唐卡普賢王及其佛母可見Marylin M. Rhie and Robert A. F. Thurman, The Sacred Art of Tibet, London, 1991, pl. 430, no. 51A. 拍賣結果比較：一件十八至十九世紀的銅鎏金普賢王與其佛母見香港蘇富比Chinese Art拍場2017年11月 30日至12月1日lot 451售價HKD 187,500.

A THANGKA OF BUDDHA AMITABHA, 18TH CENTURYTibet. Distemper and gold on cloth. Amitabha seated in dhyanasana on a large pillow, a mandorla and a halo behind him, flanked by White and Blue Tara, with Padmasambhava below with a vajra, crescent knife, and staff.Provenance: Collection of Karl Ryberg, purchased in Stockholm between 1939 and 1944. Karl Ryberg was a Swedish painter and sculptor. He studied under Isaac Grünewald in Stockholm, and later at the Royal Danish Academy of Fine Arts as well as the Academie de la Grande Chaumière in Paris. His work includes both modern and Christian art.Condition: Good condition with some wear, minor soiling, small tears, minuscule losses.Dimensions: Size incl. frame 78 x 57.5 cm, Image size 52 x 36.5 cmFramed behind glass, with a black lacquered wood frame.Auction result comparison: Compare with a related Thangka, but of considerably larger size, at Christie's New York in Indian, Himalayan and Southeast Asian Works of Art on 12 September 2018, lot 316, sold for USD 162,500.十八世紀阿彌陀佛唐卡 西藏。布面金彩膠畫。 阿彌陀佛結跏趺坐在寶座上，身後是曼陀羅和光背，旁邊是白度母和藍度母。其之下是手握金剛杵、月牙刀的蓮花生大士。 來源：Karl Ryberg收藏，1939年至1944年在斯德哥爾摩購買。Karl Ryberg是瑞典畫家和雕塑家。 他曾在斯德哥爾摩的Isaac Grünewald學習，後來在丹麥皇家美術學院以及巴黎大學院夏米埃學院（Academiede la Grande Chaumière）學習。 他的作品包括現代和基督教藝術。 品相：狀況良好，有一定的磨損，輕微的污跡，小水漬，小缺損。 尺寸：含框 78 x 57.5 厘米, 畫面52 x 36.5 厘米 玻璃面黑漆木框。 拍賣結果比較：一件相似的唐卡但尺寸更大見紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art 拍場2018年9月12日 lot 316, 售價USD 162,500。

A BRONZE FIGURE OF BUDDHA, MON-DVARAVATIThailand, 9th century. Seated in dhyanasana with the hands lowered in dhyanamudra, the sanghati loosely draped across the broad shoulders, the serene face with downcast eyes and broad mouth, the hair arranged in tight curls surmounted by a domed ushnisha.Provenance: Old German private collection. Condition: Superb condition with old wear, small nicks here and there. Fine natural patina.Weight: 341.4 gDimensions: Height 10.9 cmAuction result comparison: Compare with a near-identical bronze at Christie's New York in Indian and Southeast Asian Art on 17 September 1999, lot 243, sold for USD 6,900.

A FIGURATIVE WHITE MARBLE MINATURE SCULPTUREIndonesia, Tanimbar or Flores Islands, early 20th century. Carved from fine white marble to depict a stylized figure of a man, with pierced eyes, broad nose and simplistic arms, the legs and short loincloth indicated by subtle incisions.Condition: Good condition with some wear and three surface scratches. 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: 130.1 g Dimensions: Height 12.5 cm

A CARVED STONE DEPICTING A PUMPKINSoutheast Asia, 20th century. The unique smooth carving depicting a pumpkin, carved from stone. Note the fine color and stone striations.Condition: Good condition with minor surface scratches and some touch ups. 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: 967 g Dimensions: Height 9 cm

FOUR SILVER REPOUSSE VOTIVE PLAQUESBurma / Myanmar, 18th century or earlier. Of rectangular form, each executed in fine repousse depicting human figures and deities in various scenarios.Condition: Good condition with minor losses and traces of age and wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 18.46 g in total Dimensions: c. 3 x 3.7 cm

A FINE LOT WITH TEN ANCIENT AMETHYST BEADSSamon Valley culture, 800 BC - 200 AD. A charming lot with ten beads in a rare barrel shape, with small and flattened nubs to the ends, carved from translucent amethyst of a beautiful violet and light-lavender color with white engravings. Brilliantly polished and nice to touch. Central drilling showing ancient toolmarks. Condition: Good condition with some expected wear, natural inclusions, and minor weathering commensurate with age. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 26.8 g Dimensions: 1 - 1.9 cm

A PYU BANDED AGATE 'TIGER' TALISMANBurma/ Myanmar, Pyu city states (200-1000 CE). The translucent agate of a reddish-orange colour with white bands and natural darker inclusions. Carved as a tiger with the back arched and the front paws extended forward as it is preparing to pounce its prey. Central drilling showing ancient toolmarks and allowing for suspension as a pendant. Condition: Fine condition with traces of age and natural notches due to inclusions in the material. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 36 g Dimensions: Height 3.3 cm, Length 6.5 cm

A ROSE-QUARTZ 'TIGER' TALISMANSamon Valley Culture, 800 BC-200 AD. Quartz with natural greyish inclusions, carved as a tiger with the back arched and the front paws extended forward as it is preparing to pounce its prey. Central drilling showing ancient toolmarks and allowing for suspension as a pendant. Condition: Fine condition with minor traces of age. Breakages to part of the tail and front paws. 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: 87.8 g Dimensions: Height 3.8 cm, Length 9.5 cm

A HUMANOID ROCK CRYSTAL TALISMANSamon Valley Culture, 800 BC-200 AD. The translucent stone of good clarity with few natural inclusions, finely carved to represent a human standing upright with distinctive broad nose and prominent lips, the hands folded on the protruded round belly and the legs close together. Pierced through the sides to allow suspension as a pendant. The drilling showing ancient toolmarks. Condition: Fine condition with usual traces of age and wear. 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: 49.5 g Dimensions: Height 7.5 cm

A CHAM GOLD EARRINGChampa 10th -13th century. Executed with fine gold thread decoration. The hook with attached soil from the excavation site.Condition: With traces of age and soil encrustation. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Weight: 4.74 g Dimensions: Length 5.5 cm

A BRONZE OIL HOLDER IN THE FORM OF A BIRDCambodia, Post Angkor period 15th -17th century. The stylized bird-shaped holder is decorated with carved grooves to the body, neck, and tail feathers.Condition: Good condition, with expected signs of erosion and wear to surface as well as a minor nick to the body and a fine malachite-green patina. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dimensions: Height 13 cm

A PORCELAIN FLASK WITH SILVER MOUNTING FOR ISLAMIC MARKETVietnam, 19th century. A blue and white porcelain flask with a simple floral and geometric decoration. The silver mounting applied to the neck and the pointy stopper connected to the body with a small chain. The rim of the base also applied with silver.Condition: Fine condition with several glaze hairlines and some firing imperfections. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 156 g Dimensions: Height 23 cm

FLOATING VILLAGE ON SUNSET' 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 with a snapshot of village life. The lower left signed Sophannarith and the backside with a dedication - "To my friend Dr. Zelnik, Sophannarith".Published: From the collection of Dr. Zelnik, SOPHANNARITH, Icon of the Contemporary Cambodian Painting, p 149. Condition: Very good condition. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Dimensions: 110 x 58 cm

A LARGE AND FINE PICHWAI PAINTING OF THE RASA LILAIndia, 19th century. Pigments on cloth. Depicting the Rasa Lila or eternal dance, the central image depicts Krishna and a Gopi dancing under the night sky in the forest, surrounded by a circle of further Gopis alternating with Krishna, all above a lotus pond and enclosed by a floral frame. Framed.The rasa dance is a spiritual performance, Krishna expanded himself in many forms, stood beside each gopi and began to dance in their midst. The mystic expansions of Krishna were not perceived by the gopis because Krishna appeared alone to each one of them.Condition: Good condition with wear, few stains, abrasions, creases and minor losses. Provenance: German private collection. Dimensions: 131 x 102 cmAuction comparison: Compare to a related pichwai at Sotheby's New York, Indian & Southeast Asian Art, 18 March 2009, lot 62, sold for 18,750 USD.

A FIVE-COLOR OVERLAY GLASS 'CHILONG' BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved through a single translucent layer of ruby red, dusky pink, emerald green, lemon yellow, and sapphire blue with a continuous scene of ten chilong, seven sinuously coiling on the body and three clambering around the neck chasing their own long multi-furcated tails, all against an opaque white ground. Four-character Qianlong nianzhi mark wheel-cut to the base and of the period.Provenance: French private collection, by repute acquired prior to the year 2000 in Paris.Condition: Good condition with minor wear and expected manufacturing flaws, such as pitting and open swirls, mostly to the interior of the neck, as well as minuscule nicks and losses, one old fill to the foot rim (ca. 3 cm long).Weight: 423.0 gDimensions: Height 19.4 cmThis superb glass vase, so finely decorated with a multi-color overlaid design of chilong and inscribed with a Qianlong four-character mark, is extremely rare. A small number of Qianlong reign-marked overlaid glass vases is recorded in museum collections, but none of the exact same style.Literature comparison: A ruby-red ground glass vase decorated in turquoise blue overlays with flowers and butterflies in the Palace Museum, Beijing is illustrated by Zhang Rong, Lustre of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, pl. 81, bearing a similar wheel-cut Qianlong nianzhi four-character mark, but within a double square. The same mark is also found on a small glass jar in the Palace Museum, Beijing, illustrated ibid, pl. 79 overlaid with a pair of chilong in emerald green against a rich cobalt-blue ground. For examples of unmarked Qianlong period white-ground multi-color overlaid glass vases of similar decoration style, see a vase decorated with chilong in the Suntory Museum of Art, cataloged as Qianlong/Jiaqing, illustrated in The Glass that Galle Adored, Glass from the Qing Imperial Collection, Suntory Museum of Art, Tokyo, 2018, p. 104, cat. no. 78, and a vase carved with flowers from the Shorenstein collection, illustrated in C.F. Shangraw and C. Brown, A Chorus of Colors: Chinese Glass from Three American Collections, Asian Art Museum of San Francisco, 1995, cat. no. 78, and on the front cover, and sold at Christie's Hong Kong, 1st December 2010, lot 2940.Auction result comparison: Compare with a closely related vase at Sotheby's Hong Kong in Gems of Chinese Art - The Speelman Collection II on 3 October 2018, lot 3428, bought-in at an estimate of HKD 800,000-1,000,000, and a related but slightly smaller vase at Christie's London in Fine Chinese Ceramics and Works of Art on 6 November 2018, lot 131, sold for GBP 25,000.乾隆款及年代五色套料螭龍紋長頸瓶中國，1736-1795年。涅白地上使用寶石紅、粉紅、翡翠綠、檸檬黃和藍寶石藍等五色套料表現螭龍紋，蜿蜒曲折。底足"乾隆年制"四字款。來源：法國私人收藏，購於2000年巴黎。品相：狀況良好，有輕微磨損，並且可見製做缺陷，例如凹痕和明顯的旋流，主要出現在頸部內部，並且細微的划痕和缺損，圈足上有小補（約3厘米長）。重量：423.0 克尺寸：高19.4 厘米 拍賣結果比較：一件非常相似的長頸瓶見香港蘇富比Gems of Chinese Art - The Speelman Collection II 拍場2018年10月 3日lot 3428, 估價HKD 800,000-1,000,000； 另一件稍小的瓶子見倫敦佳士得Fine Chinese Ceramics and Works of Art 拍場2018年11月6 日lot 131, 售價GBP 25,000.

A CONONUT AND SILVER TEA SETChina, 19th century. Lovely set of six bowls and a lidded teapot, carved from coconut shell with silver inlays. The bowls carved with a floral pattern and the silver interiors hallmarked. The Teapot carved with Buddhist symbols, with a fine bamboo handle and the lid surmounted by a Buddhist lion, carved from boxwood and possibly an addition but antique. The interior is inlaid in silver and the inside of the lid is also hallmarked.Condition: Cracks and wear to the coconut shell. The silver shows stains and warping. Generally good condition. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 435 g in total Dimensions: Heights 3.5 - 13.5 cm

A SILVER BUTTER TEA SETTibetan-Chinese, late 19th century. Comprising a silver lidded cup and a stand. The cup is engraved with dragons and scrolling vines, the lid engraved with a poem, fine floral designs and auspicious symbols and surmounted by a knob, shaped as a pair of pomegranates. The stand decorated on the inside with further auspicious symbols and with a mark, raised on a circular foot showing an incised dedication note.Condition: Excellent condition with only minor traces of wear. 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: 193 g Dimensions: Height 9.6 cm

Lot of 64 catalogues 32 pcs. Christie's 2005 concerning asian paintings, calligraphy, carvings, fine art, ceramics, modern art and jade. And 32 pcs. Christie's 2008 concerning carvings, visual arts, snuff bottles, ceramics, modern art, paintings, clocks and Chinese costumes and textiles.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

A WOOD NETSUKE OF A SKELETON ON A GIANT SKULLJapan, 19th century, Edo period (1615-1868)The wood finely stained and boldly carved as a giant skull with three teeth and pierced sockets, a smaller skeleton clambering on the skull in an amusing manner.HEIGHT 3.6 cmCondition: Excellent condition with minor surface 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.Literature comparison: A closely related netsuke signed Gyokusai is illustrated with a line drawing in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 102.

KOMA KANSAI: A LACQUERED WOOD NETSUKEBy Koma Kansai, signed KansaiJapan, 19th century, Edo period (1615-1868)Of square manju-style shape, lacquered in the front with a variety of techniques, including sabiji-nuri (in imitation of iron) and with fine iro-e takamaki-e depicting a fruiting peach branch. The reverse with large himotoshi and lacquered signature KANSAI.LENGTH 4.1 cmCondition: Minor wear to lacquer, a chip to the larger himotoshi. Good condition.Provenance: Ex-collection Richard R. Silverman purchased from Ito, Tokyo, in 1999. 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.

OGAWA HARITSU (RITSUO): A FINE CERAMIC AND LACQUER INLAID KIRI WOOD RYOSHIBAKO (DOCUMENT BOX) AND COVER WITH BUGAKU ACCOUTREMENTSAttributed to Ogawa Haritsu (Ritsuo, 1663-1747), probably by Michizuki Hanzan (1743-1790), sealed KanJapan, 18th century, Edo period (1615-1868)Of rectangular form, carved from kiri (paulownia) wood of an attractive grain and color, the rounded edges with gold lacquer, the sides and cover inlaid with glazed ceramic, polychrome lacquer, and mother-of-pearl, depicting the various elements needed to perform the bugaku dance, including a fierce mask with phoenix headdress, a drum with beaters, a biwa and plectrum, a torikabuto, a flute and cymbals, a sho and a koto, the interior with a small ceramic inlay and the inlaid ceramic seal KAN – a seal used by Ogawa Haritsu and his followers. This type of pink seal was used by Michizuki Hanzan (1743-1790), a direct pupil of Ogawa Haritsu.HEIGHT 17.3 cm, WIDTH 28.6 cm, DEPTH 23 cmCondition: Good condition with minor wear, scattered losses (some of them likely intended), natural age cracks, few minuscule chips to edges, some nicks and scratches, one small ceramic inlay to the interior of the cover is lost. All as is to be expected from a Ritsuo box.Provenance: Christie’s, 27 October 1981, London, sale 2232, lot 371, purchased by William R. Appleby (1915-2007) and Elinor Appleby (1920-2020), longtime donors to the Metropolitan Museum of Art in New York. Mrs. Appleby had a particular interest in Asian art, and she and her husband supported the Department of Asian Art as well as the Fund for The Met, providing for important acquisitions and institutional initiatives.Ogawa Haritsu (formerly often referred to outside Japan by his alternative name of Ritsuo) was among the first Japanese lacquer artists to establish an independent reputation outside of the hereditary craft dynasties of Kyoto, Edo, and Kanazawa. Following an early career as a haiku poet, he is thought to have first turned his attention to lacquer design in middle age and soon attracted a wide following thanks to his novel choice of subject matter and pioneering and imaginative use of unusual materials; at some point after 1710 he was hired by Tsugaru Nobuhisa (1669-1747), lord of a domain in northern Japan, for whom he worked until 1731.Auction comparison:Compare a related but smaller inlaid wood box and cover signed Ritsuo and with the same pink seal Kan, but depicting a different subject, at Van Ham, Asiatische Kunst, 9 June 2016, Cologne, lot 2263 (sold for 10,320 EUR). Also compare to a similar ryoshibako featuring a biwa very similar to the one on the present box, sold at Zacke, Fine Japanese Art, 29 November 2019, Vienna, lot 83 (sold for 11,430 EUR). Also compare to a related wood document box recently sold at Bonhams, Fine Japanese and Korean Art, 17 March 2021, New York, lot 594 (sold for 27,812 USD).

Tang Dynasty, dated 829 AD. A gilt-bronze figure, influenced by Gandharan style, of Buddha sitting on a raised rectangular podium resting on a four-legged base, with separate flaming aureole; legs with engraved images of the donors; reverse of aureole with incised inscription, translating approximately as: a 'dedication by Zhang Hai requesting that his family remain safe' and 'offering Buddha forever', dated to '829 AD during the reign of Emperor Wenzong of Tang'.Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB010, p.161; accompanied by copies of the relevant exhibition catalogue pages.293 grams, 13.5cm (5 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed 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; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House 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 later date of 829 AD, a discrepancy which likely arose due to stylistic similarities between those dates; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10613-169029.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 at TimeLine Auctions website. Fine condition.

17th-18th century AD. A bronze figure of Buddha in 13th century style, on a disc base with lotus-petal rim; Buddha seated on a low block, his legs spread and his hands raised, wearing a tight-fitting ankle-length garment.2.1 kg, 24cm (9 1/2"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s. [No Reserve] Fine condition.

After Lu Ji (1477-?)Phoenix and PaulowniaInk and pigment on silk depicting phoenix and other birds beside a large paulownias tree, Japanese mounting, ivory rollers. 194cm (76 3/8in) high x 101.5cm (40in) wide.Footnotes:呂紀（款） 山禽圖 絹本設色 立軸裝裱Provenance: Henri Vever (1854-1942)Sotheby's London, 17 June 1994, lot 24A French private collection來源：Henri Vever（1854-1942）舊藏倫敦蘇富比，1994年6月17日，拍品編號24法國私人收藏Henri Vever was one of the preeminent European jewellers of the early 20th century, operating the family business, Maison Vever, started by his grandfather. Vever was also a collector of a broad range of fine art, including prints, paintings, and books of both European and Asian origin.Lu Ji was a court painter under the reign of the Hongzhi emperor (1488-1505). He was well known for his naturalistic paintings of flowers and birds. See a painting of various auspicious birds and flowers by Lu Ji, 15th century, in the Palace Museum, Beijing, illustrated in Masterpieces of Chinese Painting: 700-1900, London, 2017, no.56.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

SU LIUPENG (1791-1862)Scholars gathering in gardensInk and pigment on paper, a set of four leaves, each inscribed with a colophon, signed and with a seal of the artist. each 30cm (11 3/4in) x 52.5cm (20 5/8in) (4).Footnotes:Two paintings by the same artist were sold in our Hong Kong saleroom, Fine Chinese Paintings and Contemporary Asian Art, 23 Nov 2014, lot 1300.For further information on this lot please visit Bonhams.comAll mounted, two attached to a cardboard back through the corner edges. General surface deterioration, foxing and large areas of water damage. General old smoothed out creases and scattered small infilled holes. The painting with three scholars with an arrow vase particularly foxed and water damaged, with the inscription almost illegible. The painting of the scholars looking at paintings with also damage to the inscription, and a large area of damage and a large infilled hole around the ceiling and pine tree.

BronzeIndia , Vijayanagar 16th centuryDimensions: Height 63 cm by 32 cmWeight: 20460 gramsThe Goddess of Mother Earth standing on a round lotus base attached to a square base with geometrical pattern. She has four arms, two are holding the discus wheel and the conch shell, while the other two are showing the abhaya and varada mudra. Dressed in a long striped dhoti with festooned waistbelt and armlets, bracelets and necklaces adorn her body. Her ears are adorned with circular earrings, a high conical headdress. Vaishnavi is one of the matrikas, or mother goddesses central to Hinduism and is often depicted alongside Varahi, Indrani and Chamunda. She is considered the shakti, or female manifestation of the god Vishnu.Provenance:1961 | Purchased from Carlebach Gallery , New York 1961 - 2014 | Zanesville Museum of Art, OH USADeaccessioned in 2013 and sold at auction on 3/24/2014 through Cowan’s Auctions, Cincinnati, Ohio, U.S.A.2015 | Gatsby and Brunson Gallery Auction , NY , USA2015 - 2021 present | International Fine Asian Art collection

C. 206 BC-220 AD. Han Dynasty. Beautiful figure of a Han Dynasty court lady.The lady stands upright in a graceful manner with both of her hands held below her chest. she wears long and tightly wrapped robe that underlines her slender body. The bottom part of her flared robe ends just above her feet. Her face is modeled with strong features, while the lips are painted in bright red. Her hair is combed back. In Ancient China, terracotta unglazed and low-fired glazed statuettes of animals and human figures, known in Chinese as mingqi, would have been placed in the deceased's tomb to ensure companionship and service in the afterlife. Mingqi were usually modeled as an intimation of either common objects that once played a vital role in Han Dynasty domestic life, or as zoomorphic and anthropomorphic figures that were closely related to the deceased when they were alive. Terracotta figures of court attendants, such as this fine example, were made for the service and entertainment of the owner, ensuring that their journey in the underworld was a happy one. The Han Dynasty, which ruled between 202 BC -220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:560mm / W:160mm ; 5.8kg

Ca. 206 BC - 220 AD. Han dynasty. Beautiful decorated bronze mirror. The small fluted loop is framed by a concave square border from which four heart-shaped leaves radiate, each supporting short straight stems terminating in further leaves, divided by four large grooved 'T' motifs converging from the raised rim, all on a fine ground of hooks, wings and feathers. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay molds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:190mm / W:190mm ; 810g

A Regency ormolu and patinated bronze figural mantel timepiece Bearing a signature for Webster, London but probably by Baetens, circa 1825 The circular four columnar pillar eight-day single chain fusee movement with anchor escapement regulated by a lenticular bob pendulum, the 3.5 inch circular white enamel Roman numeral dial now inscribed WEBSTER LONDON to centre and with steel moon hands within a gilt lappet leaf milled bezel, the case with gilt surmount cast as the bust of a Classical warrior over drum housing the movement cradled on honeysuckle decorated scroll supports, on plinth base applied to a relief floral garland to front over shallow cavetto skirt and gilt ball feet, 29cm (11.5ins) high. Several models of this timepiece sharing the same castings, form and specification are known signed either by Joseph van Baetens, F. Baetens or just Beatens who were a family firm of bronziers who also produced timepieces. Indeed a near identical example, complete with the same Classical bust surmount, was sold at Halls Fine Art, Shrewsbury in the their Country House & Asian Art sale held on 15th May 2019 (lot 431) realising £1350 hammer. Baetens worked in a similar vain to the Vulliamy family they were based at 23 Gerard Street, Soho, and according to Baillie, G.H. (in Watchmakers & Clockmakers of the World) were active around 1832. Condition Report: Movement is in clean working condition with no visible signs of alteration or significant replacements. The enamel dial has been restored to a good standard but the signature is most likely added. The bust surmount to the case and the festoon mount to the front have been regilded; the latter also has one securing nut missing at the rear so is a little loose otherwise case is in good original condition retaining original patination and gilding to bezel, scrolls and feet.Timepiece has pendulum and winding key.  Condition Report Disclaimer

George Waller Parker (NY, MA, 1888 - 1957) Painting of figures in a Southeast Asian village. Possibly Bali. Signed lower center. Oil on canvas. Parker studied art at Brown University, at the Art Student League in New York City, and at the Grande Chaumiere and Academie Colarossi in Paris, France. He traveled extensively throughout Indonesia, including Bali, to Japan, Canada, and Mexico. Parker was a member of the Salmagundi Club, Portland Society of Artists, Allied Artists of America, Artists Fellowship, Audubon Artists, Societe Coloniale des Artistes Francaises, Fine Arts Federation of New York, American Artists Professional League, and Grand Central Art Galleries. Sight Size: 25 x 30 in. Overall Framed Size: 29 x 34 in.

MINKO: A WOOD NETSUKE OF A KARAKO WITH HANNYA MASK After Tanaka Minko (1735-1816), signed Minko 珉江 with kakihanJapan, Tsu, mid-19th century, Edo period (1615-1868)Finely carved, the young boy with short black tufts of hair holding a Hannya mask in front of his face, his genitals exposed to the underside, ‘natural’ himotoshi between the feet, legs, and mask, the reverse signed MINKO with a kakihan.LENGTH 3.3 cm, HEIGHT 3 cmCondition: Good condition with minor wear, natural age cracks, small old repairs to one arm and one leg.Provenance: Richard R. Silverman, acquired from Sotheby’s, Los Angeles, 22 August 1981, lot 79. 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: A related netsuke by the same carver is illustrated with a line drawing in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 512.

A FINE WOOD NETSUKE OF A FRACTURED SKULL UnsignedJapan, 19th century, Edo period (1615-1868)A finely carved wood netsuke of a somewhat disintegrated skull with cavernous eye sockets and a row of teeth with some of them missing. A section of the cranium in the back is missing giving an eerie glimpse into the bone structure. Natural himotoshi.HEIGHT 3.8 cmCondition: Excellent condition with only minimal surface wear.Provenance: Ex-collection Richard R. Silverman, purchased at Sotheby’s London, 1996. 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 FINE WOOD NETSUKE OF A SKULL WITH BAMBOO SHOOT UnsignedJapan, first half of 19th century, Edo period (1615-1868)A finely carved and morbidly fantastic wood netsuke of a skull with large, cavernous eye sockets, two bones underneath functioning as the himotoshi, and a leafy bamboo shoot growing out of the eye socket and resting on the apex of the cranium. Unusually, this skull only has two front teeth which are inlaid in bone. The wood bearing an excellent patina.HEIGHT 3 cm, LENGTH 3.3 cmCondition: Good condition with some surface wear and few minuscule nicks.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.

GYOKURINTEI: A WOOD NETSUKE OF TEKKAI SENNIN SEATED ON A ROCK By Gyokurintei, signed Gyokurintei 玉林亭Japan, Edo (Tokyo), c. 1820, Edo period (1615-1868)The sennin holding a cane and seated on a large rock with leaves emerging from a crevice in the front. The mountain hermit is laughing, his long hair is finely carved, falling on his shoulders and back, the rest of the back is entirely covered in minutely incised artemisia leaves. The wood of a good color with a fine patina. Large, asymmetrical himotoshi through the back, the larger hole generously excavated to accommodate the knot. The underside with the boldly incised signature GYOKURINTEI.HEIGHT 5 cmCondition: Excellent condition with only minor associated surface wear.Provenance: Ex-collection Richard R. Silverman purchased from Jeffrey Moy, Chicago, in 1997. 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 POWERFUL STAG ANTLER NETSUKE OF KAN'U, ATTRIBUTED TO TOMOHISA Unsigned Japan, Kyoto, mid-18th century, Edo period (1615-1868)The Chinese military general finely carved standing, wearing a coat with voluminous folds, the hem sweeping to one side, following the natural curvature of the material, secured with a belt, a sword attached to it, with neatly incised armor underneath, his right hand lowered and holding his halberd, the left hand at his waist, the face with a fierce expression and eyes inlaid with dark horn. The back with two symmetrical himotoshi.HEIGHT 7.5 cmCondition: Good condition with minor surface wear, some inlays likely lost, superb patina.Provenance: Richard R. Silverman, acquired from I.M. Chait in 2003. Old collector’s label to back. 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. The present lot is attributed to Tomohisa, who belongs to an important group of 18th-century figure carvers, which also includes Mototada. About this group, Jay Hopkins writes, “Working in staghorn, they primarily produced large figures ranging from 3 to 6 inches in height. Subject matter usually involved Chinese legends, including Shoki, sennin, Kann’u, guardians and entertainers. They effectively used black horn to inlay eye pupils, buttons and other details – perhaps the earliest cavers to use this technique.” (Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, p. 30)Literature comparison: Four similar netsuke from the Tomohisa group, though depicting different subjects, are illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Vol. I, p. 31, fig. 13.

AN EARLY WOOD NETSUKE OF A KARAKO WITH KIKU FLOWER AND TREASURE SACK UnsignedJapan, 18th century, Edo period (1615-1868)The tactile, ideally shaped, and large wood netsuke depicting a Chinese boy sleeping and leaning against a large tied up bag, presumably Hotei’s treasure sack. In his right hand he holds a finely carved, leafy kiku (chrysanthemum) flower, possibly identifying the boy as Kikujido (the chrysanthemum boy). The boy’s facial expression is serene, the folds of his robe and the sack are well-carved. The wood of a very good color with a fine patina, the asymmetrical himotoshi underneath are very large and generously excavated, indicative of an early piece.LENGTH 5 cmCondition: Excellent condition with minor associated surface wear, particularly in and around the himotoshi.Provenance: Ex-collection Richard R. Silverman purchased from Jeffrey Moy, Chicago, in 1997. 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.

SHIBAYAMA SOICHI: A FINE INLAID AND LACQUERED BURLWOOD NETSUKE By Shibayama Soichi, signed Soichi 宗一Japan, Tokyo, second half of 19th centuryFinely lacquered and inlaid in horn with a centipede and three ants on a natural, desiccated piece of burlwood showing a beautifully marbled structure. Himotoshi through the back and signature SOICHI within a rectangular mother-of-pearl reserve.LENGTH 4.1 cmCondition: Very good condition with ‘natural flaws’ to the burlwood.Provenance: Ex-collection Robert S. Huthart. Old museum number to the underside. Then 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 very similar netsuke was sold by Christie’s, Chinese & Japanese Art, 15 May 2008, London, lot 22 (sold for 1,125 GBP).

TEIJI: A MASTERFUL LACQUERED AND CERAMIC-INLAID MANJU OF AN OCTOPUS IN A POT (TAKO TSUBO) By Teiji, signed Teiji 貞二Japan, Nagoya, mid-19th century, Edo period (1615-1868)Published: Chappell and Welch (1999) Netsuke, The Art of Japanese Miniature Carving, no. 239.The netsuke of manju shape and lacquered in almost black, dark green, the interior revealing a masterful ceramic-inlaid octopus, one of the suckered tentacles breaking through an opening in the wicker structure and extending towards the reverse. The octopus has a fierce expression with veins on his forehead and a pressed forward funnel-shaped mouth, the eyes are highlighted in gold. The ceramic cephalopod is glazed in red with black accents brilliantly imitating negoro-lacquer. The reverse with the gold-lacquered two-character signature TEIJI and the two asymmetrical himotoshi.The depiction here is likely a variation of the tako tsubo motif, the pot here shown from the top view. The manju could also represent a submerged object which the octopus uses as its lair, as these animals preferred dark crevices or caves as their hiding spots (hence they were also trapped in pots). The design of this netsuke is very clever, one wonders how the octopus entered his lair (or how the artist managed to inlay this netsuke!).DIAMETER 4 cmCondition: Good condition, some wear to lacquer including tiny hairlines and surface scratches. Some expected firing flaws and a crack through one of the octopus’ tentacles.Provenance: Ex-collection Richard R. Silverman, purchased from Konishi Gallery, LA, in 1993. 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. Teiji, pupil of Seiji, was originally a potter and made unique netsuke with ceramic inlays. The quality of his ceramic inlay is arguably unequaled in netsuke. Teiji made several netsuke depicting octopi, most like the one cited in the literature comparison. The present model appears to be unique.Literature comparison:Compare to a related netsuke in the Toledo Museum of Art (gifted by the former owner of the present netsuke, Richard R. Silverman), accession no. 2009.154.

HOJUSAI: A RARE LACQUERED WOOD KAGAMIBUTA NETSUKE DEPICTING A RAKAN By Hojusai, signed Hojusai 宝珠齋 with kakihanJapan, 19th centuryThe plate with black, dark brown, and gold lacquer, depicting a rakan with typically long eyebrows, the ears with a long pendulous lobes and circular earrings, the face with an intense expression, the bowl covered in a light translucent lacquer coating heightening the grain of the wood. Central himotoshi through the back and cord attachment on the reverse of the lid.DIAMETER 4.2 cmCondition: Good condition, some old wear to the lacquer, a minor split to the rakan’s cheek, and a minor flake to his chin.Provenance: Richard R. Silverman, acquired from Eskenazi Ltd. in 1982. Two collector’s labels to the interior, one inscribed in Japanese. 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:A closely related kagamibuta netsuke by the same carver, but with a shunga depiction to the interior, is illustrated in Ducros, Alain (1994) Paris Edo, no. 29b. Note the translucent lacquer coating heightening the wood grain, which is executed in the same manner in the present netsuke.