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YOKOBUE III: A RARE LACQUERED WOOD NETSUKE OF A MANDARIN DUCK (OSHIDORI) By Yokobue III, signed Yokobue 横笛Japan, Kyoto, late 19th century, Meiji period (1868-1912)The duck preening itself, finely painted in gold, red, and black lacquer, the gold lacquer dominating, with hiramaki-e, togidashi-e, kirikane flakes, mother-of-pearl (aogai) inlays, and some nashiji. The underside with two slightly asymmetrical himotoshi above the signature YOKOBUE within an oval reserve.LENGTH 4.2 cmCondition: Excellent condition with only 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. According to Edward Wrangham (EW), “[Yokobue III] carried on the family business in Kyoto from the late Edo into the Meiji period, after which it virtually disappeared. The Tomkinson inro (now EW) is dated 1871 […]; the EW netsuke is lacquered […] and inlaid with a copper and gold snail.” (Earle, Joe [ed.], 1995, The Index of Inro Artists, p. 330-331)Auction comparison:Compare a lacquered wood and metal netsuke of a snail on driftwood by Yokobue at Bonhams, The Edward Wrangham Collection of Japanese Art Part III, 15 May 2012, London, lot 118 (sold for 4,375 GBP).

A RARE LACQUERED AND CERAMIC-INLAID NETSUKE OF A BUGAKU HELMET (TORIKABUTO) UnsignedJapan, 19th century, Edo period (1615-1868)The wood netsuke lacquered in gold with glazed ceramic inlays, depicting a torikabuto in the shape of a suzume (sparrow) used for the traditional Bugaku dance. Large himotoshi through the back.LENGTH 4.8 cmCondition: Very good condition with minor associated wear to lacquer.Provenance: Collection of Richard R. Silverman, old collection no. to the 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.Bugaku is a Japanese traditional dance. The defining elements of this dance were introduced through Southeast Asia to the Chinese Tang court and its use in Japan dates back to the Heian period (794-1185) and is still performed today.

SHIOMI MASANARI: A CHARMING SMALL TWO-CASE GOLD LACQUER INRO WITH A HERDBOY AND OX By a member of the Masanari family, signed Shiomi Masanari 鹽見政誠Japan, mid to late 19th centuryPublished: Eskenazi Ltd. (1996), Japanese Inro and Lacquer-ware from a Private Swedish Collection, pp. 36-37, no. 30.The two-case inro lacquered in brilliant iro-e togidashi-e against a gold kinji ground, depicting a herdboy hauling on the halter of an ox which tries to free itself from him. The inside compartments with coarse nashiji.HEIGHT 5.7 cmCondition: Good condition. There are some light surface scratches and a tiny area of discoloration to the boy’s silver robe.Provenance: Segal collection. Then collection Ankarcrona, sold at Christie’s, Netsuke and lacquer from the Japanese department of Eskenazi Limited, 17 November 1999, London, lot 41 (sold for 3,220 GBP).The imagery plays on a Zen Buddhist parable which draws a parallel between the herdboy and ox and the attainment of enlightenment. It is most famously portrayed in the series of ten ox herding pictures (originally only eight) accompanied by a series of short poems by Kakuan Shien. The motif is often associated with the Shiomi Masanari family of lacquer artists founded at the end of the seventeenth century, whose name was passed down by successive generations of pupils and descendants.Sten Ankarcrona (1861-1936) began collecting Asian works of art upon his first visit to Japan in the late 1880s – a golden age of travel and European collecting. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. This love of Asian art was later passed down to the admiral’s children and grandchildren, who have enriched the ensemble during their own visits to Japan, through specialist dealers and at auction houses throughout the second half of the 20th century, continuing into the early 21st century.Auction comparison: For a related inro by the Masanari family see Bonhams, Fine Japanese Art, 11 May 2017, London, lot 84 (sold for 8,750 GBP).

TOMOTADA: AN IVORY NETSUKE OF A RECUMBENT OX Signed Tomotada 友忠Japan, Kyoto, late 18th century, Edo period (1615-1868)A fine and powerfully crafted ivory netsuke of a recumbent ox with its head turned to the right, the eyes carefully inlaid in dark horn giving life to the expression. The bulky animal has a powerfully ridged spine and thick, curved horns. A rope halter passes through the nose ring, over the horns and up around over its back, pleasingly worn at the highest points. The underside shows a gorgeous deep yellow-honey patina, smooth to the touch and appealingly glossy. Generously excavated and asymmetrical himotoshi on the underside, in-between the signature in a rectangular reserve TOMOTADA.LENGTH 5.8 cmCondition: Several natural age cracks. A section of the left ear and the tail is restored.Provenance: German private collection, acquired in Japan c. 1980.Auction comparison:Compare to a netsuke signed Tomotada, described as carved from sperm whale tooth, showing very similar age cracks and an almost identical underside, was sold at Van Ham, Asian Art, 3 December 2015, Cologne, lot 2320 (sold for 10,320 EUR).

MASAMITSU: A WOOD NETSUKE OF SNAKE AND SKULL By Masamitsu, signed Masamitsu 正光Japan, Ise-Yamada, mid-19th century, Edo period (1615-1868)A finely carved wood netsuke of a snake (hebi) coiling around and through the eye sockets of a skull. This usually quite morbid depiction is depicted here with charm, the snake appears to be smiling. The scales are rendered with an appealingly rough stippled pattern, and the large staring eyes are inlaid in lustrous dark horn. Signed underneath the skull on a bridge which functions as the cord attachment MASAMITSU – a pupil of Masanao.HEIGHT 3.1 cm, LENGTH 3.5 cmCondition: Good condition with some surface wear and few minuscule nicks.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.Auction comparison:A related wood netsuke by Masakatsu was sold at Christie’s, Art of Japan, 8 December 2016, London, lot 20 (sold for 6,875 GBP).

Vu Cao Dam (1908 - 2000) Titled "Homecoming", color lithograph numbered 118/150, signed vu Cao Dam '62. Previously sold at Sotheby's. Vu Cao Dam was born in Hanoi in 1908 to a French-speaking and Francophile father. Raised in a scholarly universe, he joined the School of Fine Arts in Hanoi, founded in 1925 by the French painter Victor Tardieu. He accompanied the latter to the Paris International Exhibition in 1931 and discovered the world of Parisian art. Very influenced by the charms and culture of the City of Light, he travels through France, where he chooses to settle. First showing a keen interest in sculpture, which he practiced assiduously, it was finally in painting on silk that Vu Cao Dam expressed his immense talent. In these two fields, the artist focuses above all on the human figure, which he magnifies in portrait or in a charming genre scene. Combining with finesse the Asian and European pictorial traditions. Overall size: 26 x 32 in. Sight size: 20 x 25 in.

China, coins, Xianfeng (1851-1861) AE 100 cash, Xi'an mint, Shaanxi Province, Hartill CCC-22.950, 58mm, 56.6g, cast in 1854, large size flan for yuan bao type, FineCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Asian works of art, coins and antiquities principally collecting from the 1930s to the 1970s. He amassed a good reference library on Chinese & Asian coins and wrote on several occasions (1969-70) to to the academic F.A. Turk regarding the study of coin amulets and other non-currency coinages of China. A number of the Asian numismatic reference books will be offered in our 29th March sale.Arber-Cooke initially lived in Wimbledon, Greater London and was involved with the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975.

Vietnam coins, Annam, Tu Duc (1848-83), AR 2 Tien and Thieu Tri (1841-1847), AR tien, the 2 Tien, Schroeder 351B, 26mm, 7.9g, obverse double struck, otherwise VF and the AR Tien Sch-250, 25mm, 3.9g, fine finishing marks good VF (2)CONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Asian works of art, coins and antiquities principally collecting from the 1930s to the 1970s. He amassed a good reference library on Chinese & Asian coins and wrote on several occasions (1969-70) to to the academic F.A. Turk regarding the study of coin amulets and other non-currency coinages of China. A number of the Asian numismatic reference books will be offered in our 29th March sale.Arber-Cooke initially lived in Wimbledon, Greater London and was involved with the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975.

China, 12 bronze charms or amulets, Qing dynasty, to include eight zodiac charms, rev. pictorial, Mandel 3.5.A and 3.6.A, 35mm-62mm, mostly fine to good F, two zodiac charms, rev. plain, 36mm & 43mm, F, one magical spell charm, rev. eight trigrams, version of Mandel 6.1.6, 39mm, VF and four character obv, rev. pictorial, 37mm, near VFCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Asian works of art, coins and antiquities principally collecting from the 1930s to the 1970s. He amassed a good reference library on Chinese & Asian coins and wrote on several occasions (1969-70) to to the academic F.A. Turk regarding the study of coin amulets and other non-currency coinages of China. A number of the Asian numismatic reference books will be offered in our 29th March sale.Arber-Cooke initially lived in Wimbledon, Greater London and was involved with the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975.

China, 19 bronze zodiac charms or amulets, Qing dynasty, six obv. Twelve Terrestial Branches & Symbolical Animals, rev. Eight Trigrams with characters, 32mm-45mm, all Mandel 4.3, fine to good fine, a set of 12 small zodiac animal charms, 17mm, Mandel 3.1.A, good VF, one other worn,CONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Asian works of art, coins and antiquities principally collecting from the 1930s to the 1970s. He amassed a good reference library on Chinese & Asian coins and wrote on several occasions (1969-70) to to the academic F.A. Turk regarding the study of coin amulets and other non-currency coinages of China. A number of the Asian numismatic reference books will be offered in our 29th March sale.Arber-Cooke initially lived in Wimbledon, Greater London and was involved with the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975.

China, 5 large cast bronze charms or amulets, Qing dynasty, the first inscribed to the obverse and reverse with a Daoist magical spell, Mandel 7.5.7, 65mm, fine or better, the second 108 Shou, 58mm, good F, two cast with 24 'good fortune' characters to obverse and reverse, 48mm, VF and 45mm, good F, the last ten characters obverse and reverse, 45mm, good FCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Asian works of art, coins and antiquities principally collecting from the 1930s to the 1970s. He amassed a good reference library on Chinese & Asian coins and wrote on several occasions (1969-70) to to the academic F.A. Turk regarding the study of coin amulets and other non-currency coinages of China. A number of the Asian numismatic reference books will be offered in our 29th March sale.Arber-Cooke initially lived in Wimbledon, Greater London and was involved with the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975.

A Chinese green ground hot water dish, Daoguang mark and period, damagedCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He intially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archeaology and wrote the History of Llandovery, published in 1975. Further items from the collection to be offered in our 30th March Fine sale.

A group of Egyptian pottery fragments, Coptic period, together with a Syrian Islamic pottery oil lamp fragment many items with Victorian collection labelsCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He intially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975. Further items from the collection to be offered in our 30th March Fine sale.

A group of Ancient Greek, Roman and Byzantine pottery and marble fragments many with Victorian collection labels, including two ostracon inscribed in Greek, the label stating '..Found at Oxyrhynchus, Egypt', 8.5cmCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He intially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975. Further items from the collection to be offered in our 30th March Fine sale.

Neolithic flint knives and fragments etc. from Wimbledon & Merton, and a dolerite hand-axe, together with 17th/18th century tile fragments, 18th century plaster mouldings from Llwyn-y-Brain mansion near LLandovery, a pine Ionic capital' fragmentCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He intially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975. Further items from the collection to be offered in our 30th March Fine sale.

A group of early 20th century Chinese children's books, Chess books, pamphlets and journals Provenance - A. T. Arber-CookeCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He intially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archeaology and wrote the History of Llandovery, published in 1975. Further items from the collection to be offered in our 30th March Fine sale.

A Chinese Ge type water pot, Qing Dynasty, possibly QianlongOf cylindrical form with three spur feet, covered in a greyish glaze suffused with a fine two-tone wire crackle, the rim dressed in dark brown in imitation of the Song Dynasty.7cm high, 10cm dia.Footnote: Footnote:For similar examples of middle Qing Dynasty Ge type brush washers and water pots see He Li, Chinese Ceramics, p.273, f.518-520 from the collection of the San Francisco Asian Art Museum.Condition report: Negligible signs of age only.

A ‘SANDUO’ LAVENDER JADEITE FIGURE OF A MEIREN, LATE QING TO REPUBLICChina, 1830-1930. Carved striding, she wears a long flowing robe and several elegantly curving garlands, and holds up a tray with the Three Abundances, peach, pomegranate, and finger citron. Her hair is arranged in an elaborate coiffure, the face with a joyful expression. The pale green stone with intense shades of lavender and emerald green as well as cloudy white inclusions.Provenance: Collection of Lü Xiaguang (1906-1994). Thence by descent in the family. Lü Xiaguang came to Paris in 1930 with Wu Zuoren. Both were students of Xu Beihong, one of China’s most important artists of the time. Lü participated in the Chinese civil war and was ranked a General of the Army by Chang Kai-Check in 1937. After returning to Paris in 1946, he established himself as a reputed merchant of Asian art and built a notable collection.Condition: Very good condition with minor wear, expected microscopic nibbles to the edges.Weight: 812.2 gDimensions: Height 23 cmAuction result comparison: A related lavender jade figure was sold by Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 16-17 September 2014, lot 310, for USD 25,000.清末民初紫羅蘭翡翠雕美人像 中國，1830-1930。美人身著飄逸長袍，手舉放著桃子、石榴和佛手瓜的托盤。頭髮雕刻精緻，臉部表情愉悅。 淡綠色的玉石，帶有深淺不一的紫羅蘭色和翠綠色，玉石内含白色絮狀紋。 來源：呂霞光（1906-1994）收藏。自此保存於同一家族。呂霞光與吳作人1930年來到巴黎。兩人都是徐悲鴻的學生。抗戰期間，呂霞光回國積極參加抗日宣傳，1946年回到巴黎。他建立了自己的亞洲藝術品商人的聲譽，並建立了一個著名的收藏。 圖片：呂霞光 (1906-1994) 1960年巴黎雙年展 品相：狀況極佳，有輕微磨損，邊緣有輕微磕損。 重量：812.2 克 尺寸：高23 厘米 拍賣結果比較：一件相似紫羅蘭玉雕人像售于紐約蘇富比Fine Chinese Ceramics & Works of Art拍場，2014年9月 16-17日，lot 310，售價USD 25,000。

A LARGE PAINTED POTTERY BACTRIAN CAMEL WITH RIDER, TANG DYNASTYChina, 618-907. The two-hump camel standing foursquare on a rectangular base, neck raised and mouth slightly open to reveal tongue and teeth above the hairy beard, the bearded Turk or Sogdian rider wearing a distinctive pointed hat and seated in a relaxed posture with his right arm raised to goad the camel, the other hand originally holding the reins.Provenance: German private collection. Galerie Zacke, Vienna, 3 December 2002. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 3 December 2002, 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. Extensive wear to pigments. 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. C120a58, sets the firing date of all three samples taken at 1000 – 1600 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 5.0 kgDimensions: Height 59.5 cmThe Tang dynasty is undoubtedly one of the most artistically exciting periods in China's long history. The arts are characterized by their diversity, cosmopolitan nature of their design, and by the high technical skill employed in their manufacture as the present pottery example amply demonstrates. In the first half of this dynasty, up to the An Lushan rebellion of 756, the level of luxury enjoyed by the court and the Tang elite ensured the production of a wide range of goods of the highest quality. China prospered as a result of trade with the west along the famous Silk Road, and camels became increasingly important for the transport of wares, since these impressive animals could carry heavy loads over long distances, surviving several days without water. As their large and broad feet did not sink easily into the sand, they became known as ‘the ships of the desert’. Many camels were imported from the states of the Tarim basin, Eastern Turkmenistan, and Mongolia, and are known as Bactrian camels. The Tang civil servants created a special office to supervise their breeding and services. It seems that no pottery examples showing Chinese riders have yet been excavated. Perhaps only these Central Asian foreigners were able to tame and guide the camels.Handsome, imposing and exotic camels such as the present lot are of great scholarly importance as well as being highly decorative. Much of the evidence of Tang dynasty life comes from archaeological pieces from tomb excavations which bear witness to fear of death as well as a desire to recreate the lifestyle and comforts experienced in this life. Impressive beasts such as this camel, as well as horses and other figures including attendants, officials and servants, were therefore required to accompany the deceased on his journey in the afterlife. Examples of Tang dynasty camels, both unglazed and with sancai glaze, are in important museum collections including the British Museum, Musee Guimet, and the Metropolitan Museum of Art.Literature comparison: For a comparable figure of a camel with Central Asian rider see Hao Qian, et al., Out of China's Earth: Archaeological Discoveries in the People's Republic of China, Beijing 1981, fig.241. For another related group of gray pottery camels excavated from the tomb of Dugu Sijing, dated AD 709, see Tang Chang'an chengjiao Sui Tang mu (Excavation of the Sui and Tang Tombs at Xi'an), Bejing, 1980, pls.65, 70-71.Auction result comparison: A closely related but slightly larger (68 cm high) camel and rider were sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 255, sold for EUR 24,940. Compare also with a related but slightly larger (66 cm high) camel and rider at Christie’s New York in The Art of China on 20-27 September 2017, lot 38, sold for USD 25,000.唐代大型彩繪胡人騎駝陶俑中國, 618-907年。雙峰四足前後錯落站立在菱形托板上，昂首引頸，作嘶鳴狀。駝背上坐一胡人，深目高鼻，絡腮鬍。頭戴尖帽，身著翻領、窄袖、開胯、過膝的胡服。手扶駱駝前肉峰。 來源：德國私人收藏。維也納 Zacke藝廊, 2002年12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：唐朝出土物品預期的一些維修。缺損、裂縫和結殼。顏料大量磨損。 因檢測樣品採集鑽孔。 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C120a58。檢測結果表明拍品為1000-1600年前所制。 重量：5.0 公斤 尺寸：高59.5 厘米 唐朝無疑是中國歷史長河上最令人激動的藝術時期之一。如本拍品實例充分表現的那樣，藝術的特徵在於多樣性、設計的國際化以及其製造中採用的高技術。從唐初到756年的安祿山叛亂，宮廷和唐朝精英階層享有的富裕水平確保了各種最高品質商品的生產。絲綢之路更是擴大了與西方的貿易，中國繁榮了，駱駝在商品運輸中變得越來越重要，因為這動物可以長途搬運重物，無水生存數天。由於它們大而寬的腳不易沉入沙灘，因此被稱為“沙漠之船”。許多駱駝是從塔里木盆地、土庫曼斯坦東部和蒙古進口的，被稱為雙峰駝。唐代甚至建立了一個專門官署，監督其繁殖和運作。目前似乎還沒有發掘出顯示中國駝俑的實例。也許只有這些中亞人才能馴服和引導駱駝。 像現在這樣雄壯的、充滿異國情調的例如此拍品中的駱駝不但在學術上舉足輕重，裝飾性也很高。 重現唐朝生活需要很多來自出土的物品，這些出土物見證了古時人們對死亡的恐懼以及渴望重塑這一生所經歷的舒適的生活的願望。 因此，像這樣令人印象深刻的野獸比如駱駝，以及包括侍者以及官員、馬等都陶器都會用來陪葬。 重要的博物館收藏了很多上釉、位上釉和三彩的唐朝駱駝，比如大英博物館、吉梅博物館和大都會博物館。 文獻比較：一件胡人駱駝陶俑見 Hao Qian, et al., Out of China's Earth: Archaeological Discoveries in the People's Republic of China, Beijing 1981, fig.241.；另一組灰陶駱駝見獨孤思敬墓（公元709年），《唐長安城郊隋唐墓》，北京1980年，圖65, 70-71。 拍賣結果比較：一件非常相似但更大 (高68 厘米)的胡人駱駝見本拍賣行Fine Chinese Art, Buddhism and Hinduism 拍場2020年4月25日 lot 255, 售價EUR 24,940. ；一件相近但更大 (高66 厘米)的胡人駱駝見紐約佳士得The Art of China 拍場2017年9月20-27日 lot 38, 售價USD 25,000.

A MONUMENTAL SANCAI-GLAZED FIGURE OF BUDDHA SHAKYAMUNI, MING DYNASTYChina, Henan province or Shanxi province, 1368-1644 (ca. 1500-1600). Seated in dhyanasana on a matching, separately fired double-lotus base with beaded edge. His left hand is raised in front of the chest and his right lowered on his lap, wearing a loose-fitting monastic robe opening at the chest. The serene face with downcast eyes and full lips forming a benevolent smile, flanked by long pendulous earlobes, the hair in tight curls surmounted by a domed ushnisha.Provenance: From a Swedish private estate.Condition: Excellent condition with old wear and firing flaws, including a glaze recess to one hand. A major firing crack to the base was sealed at the time of production, with associated superficial recesses that look similar to firing cracks but are in fact glaze recesses. Minor chips and losses along the edge of the base, intentional glaze crackling, extensive weathering to glaze areas resulting in some sections being slightly dull. Note that for a sancai statue of this size and age, the present condition must be considered as superb.Weight: 44 kg Dimensions: Height 83.5 cm (measured including the matching lotus base, the Buddha alone measuring already 67 cm height)Both Buddhist and Daoist sancai-glazed stoneware figures were popularly commissioned during the Ming dynasty. They were likely inspired by the famous Yixian glazed pottery luohans, discovered before World War I in caves at Yizhou and described as one of the most important groups of ceramic sculpture in the world.No other sancai-glazed figures of Buddha, with such fine modeling, in equally well-preserved condition, and of this date and size, appear to have been published in private collections.A sancai-glazed seated figure of Buddha is illustrated by Rene-Yvon Lefevre d'Argence, Chinese, Korean and Japanese Sculpture from the Avery Brundage Collection, Kondasha, Tokyo, 1974, fig. 170. In the catalog description, the author writes, “The figure belongs to a large series, many of which have reportedly come from Shansi, and is very close to a Buddha now in the Musee Guimet. The Avery Brundage Collection example seems to continue the style of a pottery Buddha, dated 1494, in the Metropolitan Museum of Art.” The dated figure in the Metropolitan Museum is illustrated by W. Cox, The Book of Pottery and Porcelain, Vol. 1, New York, 1947, pl. 151.Literature comparison: Compare with a closely related sancai Buddha from the Avery Brundage collection, now in the Asian Art Museum, San Francisco, object number B60P139. Compare with a sancai-glazed sculpture of a luohan, dated to the Liao dynasty, in the Metropolitan Museum of Art, accession number 21.76. Compare also with a polychrome figure which may represent the Daoist deity Yuan Shi Tian Zun (The Primal Celestial Excellency) of the San Qing (Three Pure Ones) in the British Museum, museum number 1930,0719.62. Further Daoist examples include a figure of the Heavenly Marshal Zhao, dated 1482 in the Metropolitan Museum of Art, New York and another related seated figure of the Daoist God of Literature, Wenchang Wang in the Royal Ontario Museum is illustrated in Henry Trubner, Royal Ontario Museum, The Far Eastern Collection, Toronto, 1968, p. 72, no. 90.Auction result comparison: Compare with a related sancai figure of a Daoist deity of larger size (111.8 cm high) at Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 17-18 September 2013, lot 49, sold for USD 149,000. Compare also with a related but slightly larger (89.8 cm high) sancai-glazed figure of Guanyin at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 1 June 2011, lot 3767, sold for HKD 4,580,000.明代三彩釋迦牟尼坐蓮像中國，河南省或山西省，1368-1644 (約 1500-1600)年。釋迦牟尼結跏趺坐坐在匹配但分開燒製的寶珠紋雙層蓮座上。他的左手在胸前舉起，右手擱在膝上，身著寬鬆敞胸袈裟。寧靜的臉龐，雙眼微垂，嘴唇豐滿，露出仁慈的笑容。臉部兩側是長長的耳垂，頭頂頭髮捲曲，有螺髻。 來源：瑞典私人遺產 品相：狀況極佳，有舊磨損和燒製瑕疵，包括一隻手上有釉面凹陷。底座一條燒製裂紋已在製作時經過修補，相關的表面凹陷，看起來類似燒裂，但實際上是釉面凹陷。底座邊緣有細小碎屑和缺損，釉面開裂，釉面區域有廣泛風化導致某些斷面有些暗沉。請注意，像這樣的尺寸和年代的三彩造像，當前狀況算是保存相當好的。 重量：44公斤 尺寸：高 83.5 厘米 (含蓮座，佛像高67 厘米) 在明代，佛教和道教的三彩釉陶器都極受推崇，可能是受到著名的易縣三彩羅漢的啟發，它們是在一戰前在易州發現的，是世界上最重要的陶瓷造像群之一。 在私人收藏中的同期且相近尺寸的三彩造像沒有任何一座保存如此完整。 一件三彩坐佛見 Rene-Yvon Lefevre d'Argence所著的Chinese, Korean and Japanese Sculpture from the Avery Brundage Collection, 東京講談社 1974年出版，圖 170。在畫冊中，作者寫道 “The figure belongs to a large series, many of which have reportedly come from Shansi, and is very close to a Buddha now in the Musee Guimet. The Avery Brundage Collection example seems to continue the style of a pottery Buddha, dated 1494, in the Metropolitan Museum of Art.”（該造像屬於一個造像系列，其中很多據報導自山西省，與現在吉美美術館中的佛像非常接近。Avery Brundage 收藏的例子似乎延續了大都會博物館中一座1494年的陶佛的風格。）大都會博物館中的陶佛可見W. Cox, 畫冊The Book of Pottery and Porcelain, 第一冊，紐約1947年, 圖151。 文獻比較：一件來自Avery Brundage collection相近三彩佛像，現存於舊金山亞洲藝術博物館，編號 B60P139；一件遼代三彩羅漢，大都會博物館，編號 21.76. ；一件粉彩元始天尊見大英博物館，編號1930,0719.62. 其他道教造像如1482年的趙公明像見紐約大都會博物館管，多倫多皇家安大略博物館的文曲星造像可見Henry Trubner所著的Royal Ontario Museum, The Far Eastern Collection, 多倫多1968年, 72頁, 90號。 拍賣結果比較：一件三彩道教人物造像 (高111.8 厘米) 見紐約蘇富比 Fine Chinese Ceramics & Works of Art 拍場2013年9月 17-18日 lot 49, 售價 USD 149,000. 一件相近但更大 (高89.8厘米)的三彩觀音像見香港佳士得Important Chinese Ceramics and Works of Art 拍場2011年6月1日 lot 3767, 售價 HKD 4,580,000.

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 HENAN BLACK-GLAZED POTTERY TWIN-HANDLED BOTTLE VASE, SONGChina, 960-1279. The cylindrical body rising from the flat recessed base to a conical shoulder with two loop handles, a slightly concave neck, and a cup-shaped mouth with everted rim, covered overall in a superb persimmon-splashed black glaze pooling irregularly above the base, revealing the buff ware.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Excellent condition with minor wear and firing flaws.Weight: 789.1 g Dimensions: Height 19.3 cmAuction result comparison: Compare with a Henan twin-handled jar sold by Christie’s New York in Fine Chinese Ceramics & Works of Art on 22 March 2019, lot 1704, for USD 25,000.宋代河南黑釉鉄鏽斑雙耳罐 中國，960-1279年。近乎直筒型罐，厚胎，卷口外反，短頸，雙繫耳，小圈足，釉薄處呈黑褐色，器身多處施褐色鐵鏽斑紋。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今 品相：狀況極佳，有輕微磨損和燒製缺陷。 重量：789.1 克 尺寸：高 19.3 厘米 拍賣結果比較：一件河南雙耳罐售于紐約佳士得 Fine Chinese Ceramics & Works of Art拍場，2019年3月22日，拍號1704, 售價 USD 25,000。

A YUE ‘LOTUS’ JAR AND COVER, FIVE DYNASTIESChina, 907-960. The ovoid body rising from a tall and slightly tapered ring foot, carved with seven lotus petals, the shoulder applied with four knobs below the cylindrical neck, the domed and lobed floral cover with a lotus stem finial. Overall covered in a finely crackled pale sea-green glaze pooling in the recesses, stopping irregularly at the foot and at the interior of the neck, the base left unglazed.Provenance: E. Pranger Oriental Arts, Amsterdam. Dr. Koos de Jong, acquired from the above at PAN Amsterdam in 2004 (invoice not available). 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.Condition: Good condition with minor wear and firing irregularities, such as small firing cracks and minor kiln grit, one small chip to the cover, a nick to one of the lotus leaves with an old repair.Weight: 265.5 gDimensions: Height 14.5 cmThe Yue stoneware kilns, originally located in Northern Zhejiang Province, produced wares with green glazes which were highly valued and used as tribute for the Imperial court. The ware was also exported to foreign markets in the Middle East and in South East Asia. During the Five Dynasties period, despite the civil unrest and turbulence, production of high-quality Yue wares flourished and peaked.The present lot is a fine example of the high quality translucent soft olive-green glaze which the Yue potters achieved. Lotus-petal designs became increasingly popular on ceramics with the spread of Buddhism. This form of decoration was popular and used at various kilns, including also Longquan.Literature comparison: Compare a Five Dynasties dated Yueyao bowl and stand, with similar lotus-petal decoration, excavated from the pagoda in the Yunyan Temple, Huqiu Hill, Suzhou, Jiangsu province, in the Suzhou Museum, illustrated in Zhongguo mei shu fen lei quan ji: The Complete Works of Chinese Ceramics Vol. 6, Shanghai, 2000, no. 209. A Longquan funerary vessel with similar lotus petals and incised details, in the Victoria and Albert Museum, is illustrated by Rose Kerr, Song Dynasty Ceramics, London, 2004, p. 21, no. 13. See also Inaugural Exhibition, Vol. 1. Chinese Ceramics, The Museum of East Asian Art, Bath 1993, no. 41, p. 79, and R. Krahl, Chinese Ceramics from the Meiyingtang Collection, London 1994, Vol. 1, no. 319, p. 186.Auction result comparison: Compare with a related but smaller jar and cover at Bonhams Hong Kong in The Feng Wen Tang Collection of Early Chinese Ceramics on 9 October 2014, lot 125, bought-in at an estimate of HKD 200,000-300,000. Compare also with a jar and cover of closely related size and similar form at Christie’s Hong Kong in Chinese Ceramics From The Yangdetang Collection on 30 November 2016, lot 3101, sold for HKD 125,000.五代越窯蓮葉蓋罐 中國，907-960年。卵圓形罐體，圈足高且外撇，七個蓮花花瓣，在圓柱狀頸下方肩上四個旋鈕。罐蓋呈蓮葉狀上有蓮花莖形鈕。整體覆蓋海綠色釉中，底部未上釉。 來源：阿姆斯特丹E. Pranger Oriental Arts藝廊。Dr. Koos de Jong收藏，2004年購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 圖片: Edward Pranger 和他的妻子Franny 品相：狀況良好，有輕微的磨損和燒制不規則的現象，例如釉面開片和較小的窯渣、蓋上有一個小碎屑，其中一個荷葉上有一個缺口，已修過。 重量：265.5 g 尺寸：高14.5 厘米 拍賣結果比較：一件相近但更小的蓋罐，見香港邦翰斯The Feng Wen Tang Collection of Early Chinese Ceramics 拍場，2014年10月9日 lot 125, 估價HKD 200,000-300,000. 一個尺寸與形狀相近的蓋罐見香港佳士得Chinese Ceramics From The Yangdetang Collection 拍場，2016年11月30日 lot 3101, 售價HKD 125,000.

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 LONGQUAN CELADON ‘TWIN FISH’ DISH, LATE SOUTHERN SONG TO YUAN DYNASTYChina, 13th-14th century. The exterior of the deep rounded sides carved with a band of petals rising from the foot to the flat everted rim, and the interior decorated in the center with two molded fish, covered overall with a glaze of sea-green tone except for the foot rim burnt reddish-brown in the firing.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: Old wear, firing flaws, old repairs to rim, the glaze with erosion probably from saltwater.Weight: 171.6 gDimensions: Diameter 12.7 cmPaired fish symbolize fertility and connubial bliss, and they are also one of the Eight Buddhist symbols. Dishes of this type, known as ‘twin fish’ dishes, were popular products of the Longquan kilns during the late Southern Song to early Ming period.Literature comparison: Similar Longquan celadon ‘twin fish’ dishes were recovered from the cargo of a trading vessel that sank off the coast of Sinan, South Korea, in the 1320s, and were included in the Special Exhibition of Cultural Relics Found off the Sinan Coast, National Museum of Korea, Seoul, 1977, pl. 28. Other examples are in the National Palace Museum, Taipei, included in Illustrated Catalogue of Sung Dynasty Porcelain in the National Palace Museum, Lung-chu'n Ware, Ko Ware and other Wares, Taipei, 1974, pl. 26, and in the Percival David Foundation, included in the Illustrated Catalogue of Celadon Wares, rev. ed., London, 1997, p. 27, no. 265.Auction result comparison: Compare with a closely related dish at Christie’s New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1275, sold for USD 9,375.宋末元初青釉雙魚盤中國, 十三至十四世紀。深圓形側面，腹外壁飾蓮瓣紋。盤寬折沿，平底，盤內底貼首尾相對的模印雙魚。整體覆蓋有青綠色釉，脚緣露胎成紅褐色。 來源：The Zelnik Istvan Southeast Asian Gold Museum, 168頁，布達佩斯2013。這件拍品還將出現在即將出版的關於Zelnik博士先生收藏中的金銀器一書中，該書將於2021年出版。圖片：Dr. István Zelnik 品相：舊磨損，燒制瑕疵，邊缘有舊的修復，釉面可能受鹽水侵蝕。 重量：171.6 克 尺寸：直徑12.7 厘米 拍賣結果比較：一件相近的盤，見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場，2005年3月30日，lot 318, 售價USD 11,400.

A DEHUA PORCELAIN FIGURE OF GUANYIN, QINGChina, 18th century. Seated in lalitasana with the right arm resting on a box of texts, wearing an elegant long flowing robe, a tiara, and the hair arranged in plaited locks gently falling over the shoulders.Provenance: Formerly in the Vermeer & Griggs Collection. Old label to backside. An American private collector, acquired from the above. In 1976, Michael L. Vermeer (1947-2015) joined Alan Griggs (1939-1995) to form Vermeer & Griggs, the famous Los Angeles gallery. Alan’s extensive knowledge of Asian art, specifically Chinese ceramics, was complemented by Michael’s strong interest in Ming and Qing Imperial porcelain. They catered to an audience of the rich and famous, being one of the most reputed galleries in Southern California.Condition: Good condition with minor wear and firing flaws, a microscopic nick to one finger, some soiling to base, firing crack to the interior of the base.Weight: 913.4 gDimensions: Height 19.8 cmThe heavily potted figure with a thick white glaze, also to the interior, partially transparent, thus revealing the white ware with areas burnt to orange.Auction result comparison: A related Dehua figure of Guanyin was sold by Sotheby’s Hong Kong in Fine Chinese Ceramics Works of Art on 2 May 2005, lot 683, for HKD 480,000.清代德化白瓷自在觀音 中國 ，十八世紀。 觀音右腿半蹲，左腿後曲，右手自然支撐在書盒上。菩薩頭頂戴如意花冠，左右兩邊垂下辮子，著袒胸廣袖上衣，下著裙，衣褶層次明快清晰。 來源：原先來自Vermeer & Griggs 收藏。背面可見老標簽。一個美國私人收藏家，購於上述收藏。1976年Michael L. Vermeer (1947-2015) 加入 Alan Griggs (1939-1995) 建立Vermeer & Griggs，一個洛杉磯著名藝廊。Alan對亞洲藝術（尤其是中國陶瓷）的廣泛了解與Michael對明清瓷器的濃厚興趣相輔相成。 他們迎合了富有與知名人物，成爲南加州最著名的藝廊之一。 品相：狀況良好，有輕微的磨損和燒制缺陷，一根手指有細微的缺口，底座有些污漬，底座內部有些燒製裂紋。重量：913.4 克 尺寸：高19.8 厘米 拍賣結果比較：一件相似德化觀音像售于香港蘇富比Fine Chinese Ceramics Works of Art拍場，2005年5月2日，lot 683, 售價HKD 480,000.

A BLUE-GLAZED CONG-FORM VASE WITH ELEPHANT HANDLES, GUANGXU MARK AND PERIODChina, 1875-1908. The square vase with a characteristic circular foot ring and mouth rim, applied with a pair of molded elephant-heads, each suspending a mock ring-handle, covered overall with a lustrous, deep-blue glaze thinning slightly on the edges. Six-character Guangxu mark to base and of the period.Provenance: Collection of Mr. Mah in New Jersey, USA, by repute acquired by the collector’s father in China prior to 1949, and thence by descent in the same family.Condition: Very good condition with minor wear and firing flaws, occasional light scratches, the base drilled to center.Weight: 3,401 g Dimensions: Height 30 cmLiterature comparison: Compare a similar, slightly smaller, blue-glazed cong vase, Guangxu mark and period, illustrated by P. Lam, ed., Imperial Porcelain of Late Qing from the Kwan Collection, Hong Kong, 1983, catalog no. 142.Auction result comparison: Compare with a closely related vase sold by Christie’s New York in Fine Chinese Ceramics and Works of Art on 14-15 September 2017, lot 1257, for USD 10,000, another sold by Sotheby’s Paris in Asian Art on 16 December 2010, lot 297, for EUR 10,625, and a third sold by Bonhams London in Fine Chinese Art on 11 November 2010, lot 403, for GBP 10,800.光緒款和年代祭藍釉象耳琮式瓶 中國，1875-1908年。方形琮式瓶圓圈足，圓瓶口，瓶身上有一對象頭，每個大像頭上都懸掛著一個環柄，整體上覆蓋著一層祭藍釉，邊緣略圓滑。光緒六字款。 來源：美國新澤西州 Mr. Mah收藏，據説是藏家的父親1949年前在中國購得，自此保存於同一家族至今。 品相：狀況極佳，有輕微磨損和燒制缺陷，局部有輕微划痕，底座鑽到中心。 重量：3,401 克 尺寸：高 30 厘米 拍賣結果比較：比較一個非常相近的瓶，於紐約佳士得Fine Chinese Ceramics and Works of Art拍場售出，2017年9月14至15日，拍號1257，售價USD 10,000。另一個於2010年12月16日巴黎蘇富比Asian Art拍場售出，拍號297，售價EUR 10,625。第三個於倫敦邦瀚斯 Fine Chinese Art拍場售出，2010年11月11日，拍號403，售價GBP 10,800。

A ROCK CRYSTAL SPHERE WITH A GILT BRONZE LOTUS BASE, QING DYNASTYChina, 1644-1912. The rock crystal of near perfect spherical form and good clarity, fitting perfectly into the Chinese or Tibetan gilt bronze base, finely crafted in the form of overlapping lotus leaves on a stepped square plinth cast with lotus lappets and Buddhist lions.Provenance: The present sphere is from the Josette and Theo Schulmann Collection, Paris, France. Acquired c. 1960-1970. Josette and Theo Schulmann were passionate dealers of Asian Art and have donated several important works to the Cernuschi Museum.Condition: The sphere is in good condition with light scratches, few minor nicks, as well as natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The base is in excellent condition with old wear, small nicks and dents, some wear to gilt and a fine, naturally grown patina.Weight: 1,494 g (the sphere) and 636.4 g (the base)Dimensions: Diameter 10 cm (the sphere), Height 10.5 cm (the base) and 16.5 cm (the sphere and base)A near identical, but larger rock crystal sphere is in the University of Pennsylvania Museum of Archaeology and Anthropology (Penn Museum), object number C681A. It was purchased in 1927 from the Far East Shop of John Wanamaker's famous department store in Philadelphia in memory of George Byron Gordon, the recently deceased Director of the Penn Museum. In the booklet that accompanied its sale, the department store advanced an exciting tale of the sphere’s exotic origins, implying that it had once belonged to the Empress Dowager Cixi (1836-1908 AD) of China. No evidence has ever come to light that supports this or any other account of the sphere's origins. It is believed to be the third largest crystal sphere in the world, with a diameter of 25.4 cm.Empress Cixi (1835-1908) was a Chinese empress dowager and regent who was the de facto supreme ruler of China in the late Qing dynasty for 47 years, from 1861 until her death in 1908. Selected as a concubine of the Xianfeng Emperor in her adolescence, she gave birth to a son, Zaichun, in 1856. After the Xianfeng Emperor's death in 1861, the young boy became the Tongzhi Emperor, and she became the Empress Dowager. In 1872, the Tongzhi Emperor turned 17 and was married to the Jiashun Empress. The empress's grandfather, Prince Zheng, was one of the eight regents ousted from power in the Xinyou Coup of 1861 and was ordered to commit suicide after Cixi's victory. As a consequence, there were tensions between Cixi and the empress, and this was often a source of irritation for Cixi. Moreover, the empress's zodiac symbol of a tiger was perceived as life-threatening by the highly superstitious Cixi, whose own zodiac symbol was a goat. According to Cixi's belief, which she reputedly formed while looking into her crystal sphere, it was a warning from the gods that she would eventually fall prey to the empress.Auction result comparison: Compare with a related rock crystal sphere of slightly larger size (12.8 cm in diameter), together with a wood stand, at Sotheby’s New York in Fine Chinese Ceramics and Works of Art on 23 March 2011, lot 617, sold for USD 21,250.清代水晶球及銅鎏金蓮座 中國，1644-1912年。接近於完美球形的水晶，具有良好的清晰度，完美地與中國或西藏的鎏金銅蓮座融合。蓮座基底為方形，上面可見蓮蓬與佛獅。 來源： 法國巴黎Josette and Theo Schulmann 收藏。大約購於 1960-1970年間。Josette and Theo Schulmann 曾是熱情的亞洲藝術商與Cernuschi Museum 衆多重要藝術品的捐助者。 圖片：Josette Schulmann, Theo Schulmann 品相：該球體狀況良好，有輕度的划痕，極少的划痕以及自然的夾雜物和裂縫，隨著時間的推移，其中一些可能會發展成細小的裂縫。 底座狀況良好，有舊磨損，小刻痕和凹痕，有些鎏金磨損，還有自然生長的包漿。 重量：水晶球1,494 克，底座636.4 克 尺寸：水晶球直徑10 厘米, 底座高10.5 厘米，水晶球與底座一起16.5 厘米 拍賣結果比較：一件相似但尺寸較大水晶球及木製底座，售于紐約蘇富比Fine Chinese Ceramics and Works of Art 拍場2011年3月 23日，lot 617, 售價USD 21,250。

AN AQUAMARINE GLASS ‘KUILONG’ SNUFF BOTTLE, QING DYNASTYChina, 18th – early 19th century. Each side carved in relief with a pair of confronting archaistic upright coiling kuilong, their bodies decorated with scrolls. The flattened ovoid body rising from an oval foot to a cylindrical neck with a remarkably wide mouth.Provenance: British private collection.Condition: Very good condition with minor wear, microscopic nibbling to mouth, and manufacturing flaws, such as cloudy white inclusions and bubbles.Stopper: Apple green jadeite cabochon with a particularly fine ivory spoon of attractive shape and honey-golden patina.Weight: 47.9 gDimensions: Height including stopper 85 mm. Diameter neck 16 mm and mouth 11 mmAuction result comparison: Compare with a related red glass snuff bottle with kuilong at Sotheby’s New York in Important Chinese Art on 13-14 September 2016, lot 217, sold for USD 5,000, and another at Sotheby’s New York in Asian Art on 18 March 2017, lot 1562, sold for USD 8,750.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. 清代寶藍色料夔龍紋鼻烟壺中國，十八至十九世紀。兩側浮雕相對的古老盤曲夔龍紋。扁平式，橢圓形底足，圓柱形的直頸，寬嘴。 來源：英國私人收藏 品相：有輕微磨損，細微磕損和製造缺陷例如渾濁的白色内含物和氣泡。 壺蓋：翡翠壺蓋，形狀優美的蜜金色包漿象牙小壺匙 重量：47.9 克 尺寸：總高85 毫米；頸部直徑16 毫米；嘴部直徑11 毫米 拍賣結果比較：一件紅料夔龍紋鼻烟壺見紐約蘇富比 Important Chinese Art 拍場2016年9月13-14日lot 217, 售價USD 5,000；另一件見紐約蘇富比 Asian Art 拍場2017年3月18日 lot 1562, 售價USD 8,750.

A RHINOCEROS HORN SNUFF BOTTLE, QING DYNASTYChina, 1750-1850. Of flattened ovoid form with an oval foot and a tall cylindrical neck with a wide mouth, the material of an attractive golden honey-brown tone mottled with black veins and shadings.Provenance: French private collection. Condition: Very good condition with old wear, some traces of use and natural age cracks.Stopper: Amber cabochon and carved spoonWeight: 27.3 gDimensions: Height including stopper 64 mm. Diameter neck 18 mm and mouth 10 mmLiterature comparison: Compare with a closely related bottle, dated 18th-19th century, in T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p.247, no.185.Auction result comparison: Compare with another Rhinoceros horn snuff bottle at Bonhams Sydney in Fine Asian Art on 3 May 2016, lot 55, sold for AUD 12,200.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. 清代犀角鼻烟壺 中國，1750-1850年。扁平卵形，橢圓形底足，圓柱形直頸，大口，迷人的金色蜜棕色調，帶有黑色的紋理。 來源：法國私人收藏. 品相：狀況良好，有舊磨損，使用痕跡和自然裂縫。 壺蓋：琥珀壺蓋，小壺匙 重量：27.3 克 尺寸：總高64 毫米，頸部直徑18 毫米，嘴部直徑10 毫米 拍賣結果比較：另一件犀角鼻烟壺見悉尼邦翰斯Fine Asian Art 拍場，2016年5月3日lot 55, 售價AUD $12,200.

A BRONZE STORAGE VESSEL AND COVER, FANGHU, HAN DYNASTYChina, 206 BC to AD 220. The faceted pear-shaped body, raised on a slightly spreading square foot, is applied to either side with a taotie mask handle suspending a loose ring, the square cover surmounted by four flat, S-shaped finials at the corners.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Very good condition commensurate with age, old wear. Fine malachite-green patina.Weight: 1,507 gDimensions: Height 32.2 cmLiterature comparison: Compare a similar bronze fanghu excavated at Shuihudi, Yunmeng, Hubei province, now in the Yunmeng County Museum, published in Zhongguo qingtongqi quanji (‘Complete collection of Chinese archaic bronzes’), vol. 12, Beijing, 1998, pl. 9; and another in the collection of the Fujii Yurinkan, Kyoto, illustrated in Sueji Umehara, Nihon shucho Shina kodo seikwa (‘Select Relics of Ancient Chinese Bronzes from Collections in Japan’), vol. 6, Osaka, 1964, pl. 471.Auction result comparison: Compare with a related fanghu of larger size at Christie’s New York in Fine Chinese Ceramics and Works of Art on 18-19 September 2014, lot 1008, sold for USD 9,375.漢代青銅饕餮紋方壺 中國，公元前206至公元220年。 壺身為扁方體，壺口稍寬，延長收束，腹部外鼓，圜底，下接高圈足。兩側饕餮紋，挂著圓環。來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。品相：狀況與年齡、舊磨損相稱。孔雀石綠色銅綠。 重量：1,507 克 尺寸：高32.2厘米 拍賣結果比較：比較一個尺寸較大的方壺，於2014年9月18日至19日紐約佳士得Fine Chinese Ceramics and Works of Art拍場，lot 1008，成交價USD 9,375。

A ROCK CRYSTAL CONCH SHELL, 17TH-18TH CENTURYTibetan-Chinese. The stone of a good quality with natural inclusions, carved as a conch with a distinct four-tiered spire and a massive shell. The conch is considered sacred in Buddhism and is one of the eight auspicious symbols.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: Excellent condition with minor wear, few light scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small natural cracks over time.Weight: 1,063 gDimensions: Length 16.5 cmExpert’s note: The many inclusions and fissures to the stone, as well as the absence of any decoration whatsoever, clearly indicate a dating to the 17th / 18th century.Auction result comparison: Compare with a related but larger and later rock crystal conch, decorated with gilt bronze, at Christie’s London in Fine Chinese Ceramics and Works of Art on 15 May 2012, lot 288, sold for GBP 25,000.十七至十八世紀水晶海螺 漢藏。具有天然内含物的優質石材，雕刻成獨特的海螺。 海螺在佛教中被認為是神聖的，是佛教八寶之一。 來源：原 Zelnik István 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。 圖片：István Zelnik 博士 品相：狀況極佳，磨損小，輕微划痕，石材具有自然裂縫，隨著時間的流逝，其中一些可能會演變成小的自然裂縫。 重量： 1,063 克 尺寸：長16.5 厘米 專家注釋：石頭内有許多內含物和裂縫以及沒有任何裝飾，清楚地表明可以追溯到17世紀十八世紀。 拍賣結果比較：一件相近但更大更晚期的水晶海螺可見倫敦佳士得 Fine Chinese Ceramics and Works of Art 拍場2012年5月15 日 lot 288, 售價GBP 25,000。

A COPPER EWER AND COVER, QING DYNASTYTibetan-Chinese, 18th-19th century. The copper body embellished with a gilt bronze handle in the form of a makara, the elegantly curved spout with an inlaid turquoise on the silver end and issuing from a repousse lotus scroll application, the shoulder and neck with silver applications showing the bajixiang and phoenixes surrounded by scrolling vines.Provenance: English private collection. Condition: Excellent condition with minor wear and casting irregularities, occasional light scratches, and few minuscule nicks.Weight: 2,628 gDimensions: Height 29.6 cmThe stepped circular cover with a lotus bud finial above scrolling vines and a band of shiva lingams, all executed in the finest silver repousse.Auction result comparison: Compare with a related ewer and cover of slightly different form at Bonhams London in Fine Chinese Art on 10 November 2011, lot 528, bought-in at an estimate of GBP 3,000-5,000. Compare also with a related, but smaller ewer and cover at Koller Auctions in Zurich, Switzerland, in Asian Art: Himalaya, China (A195as), lot 238, sold for CHF 8,125.清代鑲銀銅蓋壺 漢藏，十八至十九世紀。銅壺，執柄鎏金成神獸摩迦儸形。優雅的弧形壺嘴，銀質嘴鑲嵌綠松石色，蓮葉紋。肩部和頸部鑲銀，八吉祥紋與鳳凰穿花紋。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損和鑄件不規則現象，局部有輕微刮擦，機輕微划痕。 重量：2,628 克 尺寸：高29.6 厘米 拍賣結果比較：一件相近但形狀不同的蓋壺見倫敦邦翰斯Fine Chinese Art 拍場，2011年11月10日 lot 528, 估價GBP 3,000-5,000。比較另一件相近但是較小的蓋壺，售於瑞士蘇黎世Koller拍賣行Asian Art: Himalaya, China (A195as)拍場，lot 238，售價CHF 8,125。

A BRONZE AND IRON PHURBA, 17TH CENTURY OR EARLIERTibet. The pommel with three heads of wrathful protectors with fierce expressions, open mouths baring sharp teeth and tongue, a third eye, and wearing five-leaf crowns, with the outer leaves shared between adjacent heads, surmounted by a vajra. The stylized openwork handle with vajras and a makara base secured to the iron blade.Provenance: Swiss private collection. Condition: Good condition with old wear, minor nicks here and there, occasional light scratches, the blade with traces of gilt. Fine dark patina.Weight: 273.1 gDimensions: Length 27 cmAuction result comparison: Compare with a related but slightly longer and later phurba , dated to the 18th century, at Sotheby’s New York in Asian Art on 24 March 2018, lot 1634, sold for USD 7,500. Compare also with an earlier and slightly longer phurba, dated to the 14th-15th century, at Christie’s Paris in Art d’Asie on 15 December 2010, lot 331, sold for EUR 11,250.十七世紀或更早浦爾巴鉄銅合金金剛鐝西藏。金剛鐝頂端為三面像首神明，張嘴露牙，三隻眼，頭戴五葉冠。柄部中段由上下兩個鏤空鈕結夾合一個九股式金剛杵構成。有鐵作三棱式刃部。 來源：瑞士私人收藏. 品相：狀況良好，有舊磨損，到處有小刻痕，偶爾有輕微划痕，刀片有鎏金痕跡。 深色銅綠。 重量：273.1 克 尺寸：長27 厘米 拍賣結果比較：一件十八世紀的金剛鐝，更長些，見紐約蘇富比Asian Art 拍場，2018年3月 24日，lot 1634, 售價USD 7,500；一件更早期且更長的金剛鐝，十四至十五世紀，見巴黎佳士得 Art d’Asie 拍場，2010年12月15日，lot 331, 售價EUR 11,250.

A PARCEL-GILT AND SILVERED ‘AMITAYUS THANGKA’ VOTIVE PLAQUENepal, circa 1900. The copper alloy panel is finely inlaid in coral, turquoise, lapis lazuli, bone, and glass paste, with silvered and gilt wire filigree, crafted in the form of a thangka with distinct handles to the top and bottom.Provenance: British private collection. Condition: Very good condition with minor wear, losses, few cracks and nicks to inlays, some wear to gilt and silvering. Good natural patina overall.Weight: 9.3 kgDimensions: Height 63 cm, Width (max.) 60 cm, Width (min.) 39 cmDepicting Amitayus in the center seated on a three-tiered throne, holding a lotus stem in one hand, richly adorned in jewelry, and wearing a five-leaf crown, surrounded by further deities including Manjushri as well as wrathful protectors, mythical beings, and auspicious symbols.Literature comparison: A gilt-metal filigree and inset-stone votive plaque, Nepal, 19th century, similar to the present example but dedicated to the god Vishnu, is illustrated in the Art Institute of Chicago, Annual Report 1982-1983, Chicago, 1983, pp. 38-40. Another example in the Newark Museum, New Jersey, is illustrated by P. Pal, Where the Gods are Young, New York, 1975, pp. 113 and 132, no. 83. See also a related plaque in the Jacques Marchais Museum of Tibetan Art as published in Lipton & Ragnubs, Treasures of Tibetan Art, New York, 1996, p. 229, no. 121.Auction result comparison: Compare with a related but slightly larger votive panel at Bonhams London in Fine Chinese Art on 16 May 2019, lot 192, bought-in at an estimate of GBP 25,000-30,000, and another at Bonhams San Francisco in Fine Asian Works of Art on 26 June 2018, lot 19, sold for USD 40,000.銅鎏金虆絲嵌寶石阿彌陀佛挂屏 尼泊爾，約1900年。銅合金面板中精細地鑲嵌著珊瑚、綠松石、青金石、骨頭和玻璃中，銀色和鎏金虆絲，以唐卡的形式精製而成，頂部和底部各具特色。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損，缺損，寶石幾乎沒有裂紋和磕碰痕跡，鎏金和鎏銀有磨損。整體有良好的天然銅綠。 重量： 9.3 公斤 尺寸：高63 厘米, 寬 (最大処) 60 厘米, 寬 (最小処) 39 厘米 拍賣結果比較：一件相似但尺寸較大的挂屏，售于倫敦邦瀚斯Fine Chinese Art 拍場2019年5月16日lot 192, 估價 GBP 25,000-30,000；另一件相似挂屏售于舊金山邦瀚斯Fine Asian Works of Art 拍場2018年6月26日 lot 19, 售價USD 40,000.

A BRONZE PORTRAIT FIGURE OF A LAMA, 17TH-18TH CENTURYTibet. Seated in dhyanasana on an unsealed double-lotus base, the hands held in dharmachakramudra, wearing long flowing monastic robes with floral borders at the hems and collar, the benign face with heavy-lidded eyes and full, pursed lips forming a subtle smile, flanked by long pendulous earlobes, the plain hair with a distinct receding hairline.Provenance: Austrian private collection.Condition: Excellent condition with minor wear and firing flaws, light scratches, few minuscule nicks, dents, warping, remnants of old lacquer gilt and fine old polychrome pigment.Weight: 2,580 gDimensions: Height 20 cmAuction result comparison: Compare with a related but earlier bronze, dated to the 16th century, at Christie’s New York in Indian & Southeast Asian Art on 21 March 2008, lot 655, sold for USD 16,250. Compare also with a closely related gilt bronze figure of a lama, Qianlong mark and period, at Sotheby’s New York, September 11, 2019, lot 797, bought in at an estimate of USD $15.000-20.000.十七至十八世紀喇嘛銅像 西藏。喇嘛結跏趺坐在未密封雙層蓮座上，雙手施説法印，著袈裟，臉容祥和，雙眼微垂和豐滿的雙唇形成微妙的笑容，兩側是長長的耳垂。 來源：奧地利私人收藏. 品相：狀況極佳，有輕微的磨損和燒制缺陷，輕微的划痕，極少的凹痕，翹曲，舊漆金和舊彩色顏料殘留。 重量：2,580 克 尺寸：高20 厘米 拍賣結果比較：一件相近但十六世紀的銅像見紐約佳士得 Indian & Southeast Asian Art 拍場，2008年3月21日 lot 655, 售價USD 16,250.

AN AQUAMARINE GREEN GLASS BI DISK, HAN DYNASTYChina, 202 BC to 220 AD. Of circular form, the glass of a deep turquoise to aquamarine green tone.Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance, signed by Dr. István Zelnik, will be handed to the winning bidder). The István 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: Good condition commensurate with age, with extensive wear, several small chips and fine cracks, some open bubbles and pitting.Weight: 322.6 g (excl. stand)Dimensions: Diameter 14.3 cmWith a modern stand and an old velvet box. (3)Literature comparison: Compare with a related glass disk in the collection of the Metropolitan Museum of Art, accession number 2006.404.漢代玻璃璧 中國，公元前202 BC 至公元 220 年。呈圓形，玻璃深綠色漸進到翠綠色。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. István Zelnik簽名，將會交給獲得此藏品的藏家) 。The István 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：良好的狀態與年齡相稱，大面積磨損，一些小碎屑和細裂紋，一些開放的氣泡和點蝕。重量：322.6 克 (不含底座) 尺寸：直徑14.3 厘米 現代底座和舊絲絨盒

AN IMPORTANT WHITE MARBLE STELE OF BUDDHA, MAUDGALYAYANA AND SARIPUTRA, NORTHERN QIChina, 550-577. Carved from a single piece of marble, the central figure of Buddha is seated in dhyanasana on a throne supported on two chilong, his left hand held in abhayamudra, the face in a serene, meditative expression with downcast eyes and a benign smile.Provenance: Collection of Colonel Paul Kuhlo (1866-1943) and thence by descent in the same family. A noted German private collection, acquired from the above. Colonel Paul Kuhlo was the Commander of the Imperial German East Asian Marine Detachment and a Japanese prisoner of war from 1914 to 1919. During the sunset of his life, he collected Chinese and Japanese stamps, Asian antiques, and transcribed parts of his hand-written diary.Condition: Good condition commensurate with age, extensive wear, weathering, age cracks, losses, one horizontal crack with old filling.Dimensions: Height 62 cm, Width 42 cm, Depth 11 cmWith a modern display stand. (2)Buddha is flanked by two Avalokiteshvara, followed by his two main disciples, Maudgalyayana and Sariputra, and two Guanyin, the latter four standing on lotus pedestals borne on vines issuing from the chilongs’ mouths. The upper section is carved with two bodhi trees, while the lower section shows a boshan lu (hill censer) flanked by two Buddhist lions.The Northern Qi dynasty (550-577) was one of the most vibrant periods in the history of Chinese art, both religious and secular, as its openness towards foreigners, their ideas, beliefs, and goods immensely enriched the local cultural climate. It was within this cosmopolitan climate that Buddhist sculpture experienced perhaps its most glorious moment. While in the Northern Wei dynasty (386-534), manners of depiction were adapted from traditional South and Central Asian prototypes, in the Northern Qi they had matured and developed into distinctive native styles. However, they still emanate the seriousness of strong religious beliefs, which were rooted in the political instability of the mid-sixth century and had not yet moved towards the pleasant and more decorative imagery of the Tang dynasty (618-907).The present stele is carved in the simplified style of carving in white marble found in Quyang, Hebei province, and is particularly notable for the sensitively carved face of the main figure. The disciples and bodhisattvas are carved in shallower relief and with even more restraint in detailing, creating a sense of harmony and veneration.The Palace Museum, Beijing, holds 251 pieces of similarly carved sculpture from Xiude Temple in Quyang which was excavated in 1953-54. Of these Xiude Temple figures, more than 100 are inscribed with Northern Qi reign names, but not all of them.Auction result comparison: Compare with a considerably smaller stele dated by inscription to the year 540 at Christie’s New York in Treasures of the Noble Path: Early Buddhist Art from Japanese Collections on 14 September 2017, lot 806, sold for USD 68,750, and a considerably larger stele dated to the Tang dynasty at Christie’s London in Fine Chinese Ceramics and Works of Art on 55 November 2013, lot 386, sold for GBP 98,500.北齊重要大理石雕釋迦佛目犍連與舍利弗 中國, 550-577年。釋迦佛由一塊大理石雕刻而成，他成迦趺座坐在寶座上，手施無畏印，臉部表情沉靜，雙目低垂，微笑著。 來源： Paul Kuhlo上校（1866-1943）藏品，在同一個家庭世代相傳。 一個著名的德國私人收藏，從上述收藏獲得。 Paul Kuhlo上校是德意志帝國東亞海軍陸戰隊司令官，1914至1919年成爲日本戰俘。他在日本時，收集了中國和日本郵票，亞洲古董，並抄寫了部分手寫日記。圖片：保羅·庫洛上校（1866-1943）品相：自然老化的狀況與年齡相稱，廣泛的磨損，自然裂縫，風化，一條橫向裂縫，有舊時填充物修補。 尺寸：高 62 厘米, 寬42 厘米, 深 11 厘米 現代底座。 釋迦佛四周可見兩位觀音和目犍連與舍利弗。蓮座上纏枝環繞，上半部分雕刻有兩棵菩提樹，下半部分顯示了兩頭佛教獅子以及兩側的博山爐。 北齊（550-577）是中國藝術史上最活躍的時期之一，無論是宗教的還是世俗的，因為它對外國人的思想、信仰和商品的開放極大地豐富了當地的文化氣候。 正是在這種國際化的氣候中，佛教雕塑經歷了最輝煌的時刻。 在北魏時期（386-534），其描繪方式是根據傳統的南亞和中亞原型改編而成的，而在北齊時期，它們已經成熟並發展成為獨特的本土風格。 然而，他們仍然散發出強烈的宗教信仰的嚴肅性，這些宗教信仰植根於六世紀中葉的政治動盪，尚未走向唐朝（618-907）令人愉悅和更具裝飾性的形象。這座佛碑與在河北省曲陽市發現的漢白玉佛像雕刻風格極爲相似，尤其是面孔雕刻細節部分。 門徒和菩薩刻有淺淺的浮雕，在細節上有更多的體現，營造出一種和諧和崇高的感覺。北京故宮博物院保存著251件來自曲陽修德寺的雕塑，這些雕塑是在1953-54年間發掘的。 在這些修德寺人物中，有100多個都刻有北齊王朝的名字，但並非全部。 拍賣結果比較： 一件尺寸較小，年代刻540年的石雕，售于紐約佳士得Treasures of the Noble Path: Early Buddhist Art from Japanese Collections 拍場，2017年9月 14 日, lot 806, 售價USD 68,750, ；一件尺寸較大唐代石碑售于倫敦佳士得 Fine Chinese Ceramics and Works of Art 拍場，2013年11月5日，lot 386, 售價GBP 98,500.

A STONE STELE OF BUDDHA SHAKYAMUNI, NORTHERN QIChina, 550-577. Depicted with an alluringly peaceful countenance, downcast eyes and a benevolent smile. The figure outstretches now-lost hands over which drape the billowing sleeves of his monastic robes, covering both shoulders and rendered simply in descending rows of graceful W-shaped folds. Surrounded by a radiating aureole formed of gently curving vertical lines and surmounted by a halo of lotus petals.Provenance: From a French private estate. Condition: Extensive weathering, erosion, losses including both hands, pitting, remnants of polychrome pigments and ancient gilt, small old fills. Two sections of the lower border of the stele have been re-attached a long time ago. Good natural grown patina.Dimensions: Height 78 cm (incl. base) and 67 cm (excl. base)Mounted on a modern base. (2)The iconography of this stele was quite prevalent during the Northern Dynasties period and can be seen in a number of comparable stele including one in the Detroit Institute of Arts, illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture, National Palace Museum, Taipei, 1990, p. 67, no. 62, where it is dated Sui dynasty; and two others dated Eastern Wei, illustrated by S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Buddhist Sculpture), vol. 1, Early Six Dynasties, Tokyo, 1995, pl. 286 a and b. The sculptures discovered in a large cache at the Longxing Temple, Qingzhou, Shandong, in 1996, also included stele of Northern Wei to Northern Qi date that have the same iconography. See, Masterpieces of Buddhist Statuary from Qingzhou City, The National Museum of Chinese History, Qingzhou Municipal Museum, Beijing, 1999, pp. 56-73. In all of these, Buddha Shakyamuni is shown standing on a small plinth flanked by two bodhisattvas, most likely Avalokitesvara and Samantabhadra, the two most closely associated with Shakyamuni.The present figure shows the more rounded face and the simply defined, light, clinging robe of the Northern Qi style, which was influenced by Gupta sculpture. For a detailed discussion of the drastic change in artistic style between the preceding Northern Wei dynasty (386-535CE) and the Northern Qi characteristics of the present lot, see Angela Falco Howard et al., Chinese Sculpture (New York: Yale University Press and Foreign Languages Press, 2006), 274: “Under the influence of the Gupta style (300-600) of India ... lotus-like eyes and voluptuous lips gracing elegant, sensitively modeled torsos became an alternative to the prevailing aesthetic... [exhibiting] more naturalistic and fuller body forms, embellished with unobtrusive and elegant surface patterns.”Literature comparison: Other examples which share these characteristically Northern Qi rounded and full features and the very simply rendered, water-like flowing attire of the present lot are published in Matsubara Saburo, Chugoku Bukkyo Chokoku Shiron (Tokyo: Yoshikawa Kobunkan, 1995); specifically: the figure of an arhat in the collection of the Cleveland Museum, 450; the figure of a standing Buddha in the Nezu Museum, 493; and the figure of the seated Buddha in the Victoria and Albert Museum, 490. For a closely related stone stele of Buddha Shakyamuni, see Imperial China - The living past, p.95, no. 72.Auction result comparison: Compare with a related but larger figure at Bonhams San Francisco in Fine Asian Works of Art and Paintings on 19 December 2016, lot 8198, sold for USD 47,500. Compare also with a related stele, of smaller size but with the flanking bodhisattvas still preserved, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 13-14 September 2018, lot 1133, sold for USD 62,500.北齊釋迦牟尼石碑 中國，550-577年。釋迦面相豐潤，雙眼低斂，稍稍內收的唇角，蘊含著親切的笑意。石像圓肩寬胸，雙手丟失，衣裙覆蓋雙肩，刻劃洗鍊流暢。背光的雕飾富麗精美，疏朗的火焰紋和花瓣紋相結合，由柔和的垂直線彎曲而成，極具裝飾之美。 來源：法國私人收藏 品相：大面積風化、侵蝕，包括雙手的損失，多色顏料和古代金彩的殘物，小的舊時填料。石碑下邊界的兩個部分很久以前已經重新安裝。 良好的自然生長的包漿。 尺寸：含底座高78 厘米，不含底座厘米 現代底座。 拍賣結果比較：一件相似但更大的石像見舊金山邦瀚斯Fine Asian Works of Art and Paintings 拍場2016年12月19日lot 8198, 售價USD 47,500； 另一尊稍小但菩薩相伴的石像見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2018年9月13-14日，lot 1133, 售價USD 62,500。

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 CARVED BOXWOOD ‘MOUNTAIN LANDSCAPE’ BRUSH REST, LATE QING TO REPUBLICChina, 1820-1940. Carved as a mountainous landscape with craggy rockwork, pine trees, houses, and two figures, one on a boat. The wood of fine grain, smooth natural patina, and warm honey-brown color.Provenance: Old French private collection. Piasa, Paris, 11 May 2001. French private collection, acquired from the above. A copy of the invoice accompanies this lot.Condition: Excellent condition with minor wear.Weight: 149.5 gDimensions: Length 19.8 cmAuction result comparison: Compare with a Qing-dynasty boxwood brush rest in the form of a gnarled prunus trunk, sold by Bonhams London in Asian Art on 2 November 2020, lot 429, for GBP 2,805.清末民初黃楊木雕山水筆山 中國，1820-1940年。筆山雕刻成群山形狀，山間可見松樹、房屋和人物，一個在船上。木材質地細密，光滑的天然包漿和溫暖的棕褐色。 來源：法國巴黎Piasa私人老收藏，2001年5月11日，法國私人收藏，購於上述收藏。隨附發票複印件。 品相：狀況極好，輕微磨損。 重量：149.5 克 尺寸：長19.8 厘米拍賣結果比較：比較一個清代黃楊木筆山，於2020年11月2號邦瀚斯Asian Art拍場，拍號429，售價GBP 2,805。

A HUANGHUALI ‘LOTUS’ BRUSH POT, BITONG, MID-QINGChina, 18th-19th century. The naturalistic vessel deftly rendered with tall and gently curved walls depicted as overlapping lotus petals, the exterior superbly carved in relief with lotus leaves, flowers, pods, and buds. The wood of a warm dark-honey tone.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Excellent condition with old wear, some light scratches and minuscule nicks mostly to bases.Weight: 731.7 gDimensions: Height 13 cmLiterature comparison: Compare with a similar zitan brushpot with magnolia design, late Ming dynasty and with a signature of Wen Fu, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, no.23.Auction result comparison: A related huanghuali brush pot with magnolia design was sold by Bonhams London in Fine Chinese Art on 5 November 2020, lot 94, for GBP 10,062.明代中期黃花梨雕蓮池筆筒 中國，十八至十九世紀。筆筒圓滑的弧形筒壁，精美浮雕成蓮池中重疊蓮花、蓮葉、蓮蓬與花苞。溫暖的深蜜色木料。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況極佳，有舊磨損，一些輕微的划痕，大部分在底部。 重量：731.7 克 尺寸：高 13 厘米 拍賣結果比較：一件相近的黃花梨木蘭筆筒售于倫敦邦翰思Fine Chinese Art 拍場，2020年11月5日, lot 94, 售價 GBP 10,062.

A MONUMENTAL BURLWOOD SCHOLAR’S ROCK, LATE QING TO REPUBLICChina, 1860-1940. Of a unique gigantic size, well carved in the round as a pierced rock formation, skillfully utilizing the uneven surface with its angular areas and projections, the undulating surface simulating a scholar’s rock.Provenance: From a notable New York private collection. Condition: Excellent condition with minor wear, traces of use and natural weathering and erosion.Weight: 16.9 kg Dimensions: Height 116 cm (incl. base)With a naturalistically carved, modern wood base. (2)Auction result comparison: Compare with a similar burlwood scholar’s rock but of much smaller size (25 cm high) at Sotheby’s London in Important Chinese Art on 11 November 2015, lot 166, sold for GBP 6,250, another of much smaller size (34 cm high), dated to the 18th/19th century, at Christie’s New York, in Fine Chinese Ceramics & Works of Art, on 16 October 2001, lot 232, sold for USD 23,500, and a root wood sculpture of a scholar’s rock, again of much smaller size (56 cm high), at Christie’s Hong Kong, in a Private Asian Collection of Bamboo and Wood Carvings, 3 October 2016, lot 34, sold for HKD 62,500.清末民初癭木山子 中國，1860-1940年。木山子，取癭瘤而成，棕紅色，皮殼老辣，包漿瑩潤。上方有孔，頗為險峻。下方細，靈動堅强。下承木座，小矮足。來源：紐約著名私人收藏 品相：狀況極佳，有輕微磨損，使用痕跡以及自然風化和腐蝕。重量：16.9 公斤 尺寸：含底座高116 厘米現代天然小木座。拍賣結果比較：一件癭木山子，尺寸較小（25厘米高），於2015年11月11日在倫敦蘇富比Important Chinese Art拍場售出，拍號166，售價GBP 6,250。另一件但尺寸更小（34厘米），斷代為十八至十九世紀，售于紐約佳士得 Fine Chinese Ceramics & Works of Art拍場，2001年10月16日，拍號232，售價USD 23,500。在香港佳士得拍賣行於2016年10月3日舉行的Private Asian Collection of Bamboo and Wood Carvings拍場，一件尺寸更小的（高56厘米）根雕木山子，拍號34，售價HKD 62,500。

A GOLDEN AMBER CARVING OF A QILIN, QING DYNASTYChina, 1644-1912. Of compact shape with the head turning backwards, the hooves well positioned to the underside, the eyes inked black. The fine, barely translucent baltic amber of a superb golden color and a nice, naturally grown patina.Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.Condition: Excellent condition with minor old wear. Two small holes to base for suspension like a Netsuke and two character-signature probably added later.Weight: 16.0 gDimensions: Length 4.6 cm清代琥珀麒麟 中國，1644-1912年。隨形而雕，麒麟頭向後轉，前蹄恰好位於下方，眼睛呈黑色。 精美、幾乎不透明的波羅的海琥珀，具有超凡的金色和漂亮的自然生長的包漿。 來源：Ted Adameck收藏, 自此同一家族世代相傳。Ted Adameck (1924-2019) 是Netsuke的傳奇收藏家，活躍了幾十年，在檀香山經營兩家古董店，寫了無數有關該主題的文章和書籍，以及許多其他有關亞洲藝術和文化的文章。 品相：狀況極佳，舊磨損少。 有兩個小孔可用於懸掛或用作Netsuke，底部可見兩個刻字，可能是後來加的。 重量：16.0 克 尺寸：長4.6 厘米

A CARVED TORTOISESHELL ‘FIGURAL’ SNUFF BOX AND COVER, QING DYNASTYChina, Canton, 19th century. Of circular shape with matching cover, the top delicately carved in deep and partially reticulated relief with elaborate figural scenes amid pavilions and garden courtyards, two people in a boat. Provenance: From a German private collection. Condition: Good condition with fine naturally grown patina, old wear and traces of use, few small losses here and there.Weight: 9 g Dimensions: Diameter 7 cm The base with a circumferential bamboo border. The sides of the box with further intricately carved designs, the base with a matching depiction in shallow relief. Auction result comparison: For a closely related box see Sotheby’s New York in Asian Art, 14 September 2019, lot 1297, sold for USD 7,500.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. 清代玳瑁雕人物故事鼻烟蓋盒 中國，廣東，十九世紀。圓形蓋盒，盒蓋表面浮雕花園中兩個人乘著小船的故事場景 來源：德國私人收藏 品相：狀況良好，自然包漿，舊時磨損和使用痕跡，局部有缺損。 重量：9 克 尺寸：直徑7厘米 盒子外壁四周雕刻精美的竹林庭院景觀。 拍賣結果比較：一件相近的蓋盒售于紐約蘇富比Asian Art拍場, 2019年9月14日，lot 1297, 售價USD 7,500。

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 LARGE PALE GREEN AND RUSSET JADE ‘DOUBLE DRAGON’ PENDANT, HUANG, EARLY WESTERN HANChina, 2nd century BC. The elegantly curved huang with a stylized dragon head to either end. The mostly translucent stone of a sea-green tone with cloudy white and russet inclusions and shadings. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Condition: Very good condition with old wear, signs of weathering, minuscule nibbling to edges, shallow surface scratches and other traces of use, minor erosion.Weight: 227.6 gDimensions: Length 33.5 cmThe surface is densely covered with small and slightly raised hexagons, a pattern called pu, or ‘cat tail’. During the Han dynasty, this motif was mostly used to decorate large funerary discs with carved masks. The squarish indentations carved on the border at the extremities of the ornaments evoke the stylized features of two dragon heads in profile: the chin, mouth, snout, and horns.Literature comparison: Three related huang carved with patterns of small, raised curls and hexagons were excavated from the princely tombs at Shizishan (Xuzhou, Jiangsu) between 1994 and 1995. Similar huang with jagged profiles but decorated with spirals and dated to the late Eastern Zhou period, are in the National Museum of History, Taiwan, and in the Samuel and Myrna Myers collection. Compare also with a very similar, yet significantly smaller pair in F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, no. 285.Auction result comparison: Compare with a related jade huang, of significantly smaller size and dated to the Eastern Zhou dynasty, at Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 18-19 March 2014, lot 151, bought-in at an estimate of USD 10,000-15,000.西漢早期大型青玉帶沁雙龍紋璜中國，公元前二世紀。弧形，典雅的黃褐色，兩端龍首，總體海綠色，半透明的玉石，帶有絮狀物和赤褐色的內含物。 穿孔。来源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授品相：狀況良好，有舊磨損，風化，細微的邊緣磕損，表面淺划痕和使用痕跡，輕微腐蝕。重量：227.6 克尺寸：長33.5 厘米拍賣結果比較：一件相近的東周玉璜，尺寸更小，見紐約蘇富比 Fine Chinese Ceramics & Works of Art 拍場2014年3月18-19日lot 151, 估價 USD 10,000-15,000.

A THANGKA OF EKADASHAMUKHA AVALOKITESHVARA, 19TH CENTURYTibet. Gold and distemper on cloth. The eleven-headed and eight-armed bodhisattva of compassion standing with the principal hands folded together at the heart, the other forming various mudras or holding attributes, including dharmachakra, rosary, lotus, and water vessel. Richly adorned in jewelry, wearing an elaborate crown, the lower part of his body covered in fine silks.Provenance: Collection of Raphaël Petrucci (1872-1917), and thence by descent in the same family. Raphaël Petrucci was a French art critic, who wrote a number of books on Asian art, including Les Peintres Chinois (1912), La philosophie de la nature dans l'art d'extrême-orient (1910), and Les caracteristiques de la peinture japonaise (1907). Inscribed in pencil to back, ‘Avalokitesvara’, ‘21234’, and ‘[…] Coll. R. Petrucci’.Condition: Extensive wear, soiling, and creasing, overall good condition.Dimensions: Size 51 x 36 cmAvalokiteshvara is flanked by two stupas, seated at the top center is Buddha Shakyamuni, flanked by Amitayus and Manjushri. At the bottom center are the wrathful deities Vajrapani and Mahakala. With a silk brocade frame and mounted on a stretcher.Auction result comparison: Compare with a related thangka, together with a thangka of Vajrapani, at Sotheby’s Hong Kong in Chinese Art on 1-2 June 2015, lot 620, sold for HKD 75,000.十九世紀十一面觀音唐卡西藏。布面金彩膠畫。十一面八臂的慈悲菩薩雙手合十站立，其餘手臂均在體側，手持法輪、念珠、蓮花和净水瓶等法器。雙耳垂花璫，佩戴瓔珞寶珠飾品，盡顯華麗之美。著天衣，披帛裹肩繞臂。 來源：Raphaël Petrucci（1872-1917）收藏，從那以後在同一個家族相傳。 Raphaël Petrucci是法國一位藝術評論家，他撰寫了許多有關亞洲藝術的書籍，其中包括Les Peintres Chinois (《中國畫家》1912年), La philosophie de la nature dans l'art d'extrême-orient (《遠東藝術中的自然哲學》191) 以及Les caracteristiques de la peinture japonaise (《日本畫的特徵》1907)。 背面有鉛筆書寫的 ‘Avalokitesvara’，‘21234’，與 ‘[…] Coll. R. Petrucci’。 圖片：Raphaël Petrucci, Les Peintres Chinois, 1912年第一版 品相：廣泛磨損，污漬和壓痕，總體狀況良好。 尺寸：51 x 36 厘米 拍賣結果比較：一件相近唐卡與一件金剛手菩薩唐卡見香港蘇富比Chinese Art拍場2015年6月 1-2 日 lot 620, 售價HKD 75,000.

A BLUE-GROUND KESI SEMIFORMAL DRAGON ROBE, JIFU, QING DYNASTYChina, 18th-19th century. Finely woven with eight gold-thread dragons chasing flaming pearls and surrounded by scrolling clouds, flying cranes and bats, and auspicious symbols above crashing waves and lishui stripe, repeated at the sleeves, with gilt metal buttons, gold-striped sleeve extensions, the matching black-ground collar and horse-hoof cuffs with gold-thread lotus scrolls.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades, one of their first works of Asian art being a painting of Guan Yu, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus.Condition: Extensive wear, several tears and losses, few loose threads, some soiling and creasing, minor repairs.Dimensions: Length 140 cmAuction result comparison: Compare with a closely related kesi dragon robe, dated to the Qianlong period, at Sotheby’s Hong Kong in Fine Chinese Ceramics & Works of Art on 8 October 2008, lot 2677, sold for HKD 150,000.清代藍地緙絲龍紋吉服 中國，十八至十九世紀。龍袍用五彩絲線共繡五爪正面金龍八條，周身點綴五彩流雲及萬字、蝙蝠、寳扇、如意、瓶、靈芝等雜寶紋。龍袍所繡花紋運用了等多種針法。海水層次豐富，帶有鍍金金屬鈕扣，金色條紋的袖子延長線， 黑色底領和馬蹄形袖口，配以金線荷葉卷。 來源：來自Ferdinand博士和Gudrun Thaler-Szulyovsky博士的收藏，自此在同一個家族世襲。 這對夫妻倆都一直在從事法律工作，由於對藝術的共同熱情在1967年相識。 數十年來他們共同建立了豐富多樣的藝術收藏，他們的第一批亞洲藝術作品是關於關羽的一幅畫，這是從著名Sigurd Reininghaus啤酒廠獲得的法律服務費用。 圖片：Ferdinand 與Gudrun Thaler-Szulyovszky 品相：大量磨損，幾處撕裂和缺損失，幾根絲綫鬆動，一些污跡和摺痕，有修補。 尺寸：長140 厘米 拍賣結果比較：一件相近的乾隆時期緙絲龍袍見香港蘇富比 Fine Chinese Ceramics & Works of Art 拍場2008年10月 8日 lot 2677, 售價HKD 150,000.

AN EXCEPTIONALLY LARGE PALE GREEN AND RUSSET JADE BI DISC, EARLY BRONZE AGEChina, c. 2200-1900 BC. Of somewhat irregular thickness and still retaining the cutting marks on the walls of the central hole drilled from both sides, the mostly translucent stone of variegated shades of green ranging from pale olive to sea-green with some russet-brown veining and shadings as well as cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple have been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.Condition: Excellent condition with old wear, signs of weathering, nibbling and some losses to edges, the stone with natural fissures, some of which have developed into larger hairline cracks over time. Some traces of use and shallow surface scratches.Weight: 3,814 gDimensions: Diameter 43.5 cmBi discs are a type of jade which continued to be crafted in numbers by cultures located in central and northwest China during the transitional period between the Neolithic and Bronze Age. The majority of these discs range in size between ten and twenty centimeters: large ones, such as the present lot, are rare. Their size and weight, requiring both hands to hold them, suggest that these imposing discs were displayed and used in a ritual context. The hole is usually drilled from one side only: on larger discs, it is smoothed down and the traces of the tool marks are almost invisible.The whitened areas are mostly limited to the edges. This alteration, which is often seen on excavated jades, was probably created by the action of alkaline body fluids on the nephrite.Literature comparison: A related green jade bi of smaller size (22 cm diameter) is illustrated by J. Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, 1995, p. 155, no. 7:6, where the author ascribes it to northwest China, c. 2000-1000 BC. One large disc which measures 32.5 cm in diameter is in the Victoria & Albert Museum, London, accession number A.42-1936.Auction result comparison: Compare with a related dark green jade bi, dated to circa 2000-1500 BC, of much smaller size (21.3 cm diameter), at Christie’s New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1449, sold for USD 40,000. Compare also with a related jade from the same period, but still of considerably smaller size (34.1 cm diameter), from the A.W. Bahr Collection, at Christie’s New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 277, sold for USD 194,500.青銅時代大型青玉璧中國，公元前2200-1900 年。厚度不規則，保留著切割痕跡，主體半透明，夾雜著不同深淺的綠色，從淺橄欖色到海綠色，帶有紅褐色的紋理，以及絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：3,814 克尺寸：直徑43.5 厘米拍賣結果比較：一件相近墨綠玉璧，公元前 2000-1500年, 尺寸更小 (直徑21.3 厘米), 見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2013年9月20 日 lot 1449, 售價USD 40,000. 一件來自同一時期但尺寸更小（直徑34.1 厘米）的玉璧，來自A.W. Bahr 收藏, 見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 拍場2009年3月18日 lot 277, 售價USD 194,500.

A RARE MILITARY OFFICIAL'S RANK BADGE OF A LION, BUZI, LATE MING DYNASTYChina, 17th century. Made for a second rank military official. Embroidered with a Buddhist lion seated atop a rocky outcrop over crashing waves with its expressive head turned to the side, the mouth open in a roar, revealing sharp fangs, amid lingzhi-shaped clouds and flames, all worked in vibrant shades of green, orange, blue, yellow. White couched silk floss and gold couched threads on an unusual twisted blue silk thread ground.Provenance: Cardinal Neri Maria Corsini (1685-1770). Collections of the Palazzo Corsini, Florence. Property of an English collector, acquired from the above, thence by descent in the same family. The Palazzo Corsini is a monumental late 17th century palace located on Via del Parione, with a facade towards the Arno River, in Florence, Italy. It is still owned by the Corsini family today, who have donated parts of their large art collections, initially gathered by cardinal Neri Maria Corsini (1685-1770), to the Galleria Nazionale d'Arte Antica di Palazzo Corsini in Rome.Condition: Fine condition with few loose threads, minor losses, fringing to edges. A fragment of another rank badge from the same group sewed on in the upper right corner. Superb colors!Dimensions: Size 37 x 37 cm Second rank military officers were assigned square lion badges which were applied to the chest and back of their official robes worn at the Ming dynasty court. This bold design with large lozenge-shaped clouds, prism-like rocks and rolling waves, reflects the aesthetic developments of the later Ming period. This badge was part of a group of over twenty similar badges once sewn into a large curtain or canopy reportedly from the collection of the Palazzo Corsini in Florence. This explains the fragment of another rank badge from the same group sewed on in the upper right corner. See C. Hall, “Chinese or Korean? The Palazzo Corsini Rank Badges”, Hali 104 (May-June 1999), pp. 66-8.Literature comparison: Lion badges from the same group have been published. One from the Jobrenco Limited Trustee Hall Collection Trust, C. Hall et al., Heaven’s Embroidered Cloths: One Thousand Years of Chinese Textiles, Hong Kong, Urban Council of Hong Kong, 1995, pp. 66-68, and one from a private European collection, J.E. Vollmer, Silks for Thrones and Altars: Chinese Costumes and Textiles from the Liao through the Qing dynasty, Paris, 2003, no. 12, pp. 36-37. See, also, the example illustrated by C. Hall et. al., Power Dressing: Textiles for Rulers and Priests from the Chris Hall Collection, Asian Civilizations Museum, Singapore, 2006, p. 240, no. 69.Auction result comparison: Compare with a closely related rank badge, also from the Palazzo Corsini, at Christie’s New York in The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection on 19 March 2008, lot 19, sold for USD 73,000.明末武官官服獅子補 中國，十七世紀。獅子補是二品武官官服所用。獅子表情極富表現力，頭轉向側面，嘴巴怒吼張開，露出尖銳的獠牙。四周祥雲圍繞，下方海浪。在如意祥雲中有各色火焰。 來源：紅衣主教Neri Maria Corsini（1685-1770）。佛羅倫薩科西尼宮的藏品。英國收藏家的財產，購於上述出處。自此在同一家族中世襲。Palazzo Corsini宮是一座巨大的17世紀晚期宮殿，位於意大利佛羅倫薩的Via Parione大街上，立面朝向阿爾諾河。 如今，它仍然歸科西尼家族所有，他們已將其大型藝術收藏的一部分捐贈給了羅馬的科西尼美術館，最初由紅衣主教Neri Maria Corsini（1685-1770））收集。圖片: Palazzo Corsini宮位於阿爾諾河的一側 圖片: 紅衣主教 Neri Maria Corsini (1685-1770) 品相：狀況良好，一些絲綫鬆動，缺損，邊緣有磨損。 右上角縫有同一組的另一個等級徽章的片段。 精湛的色彩！ 尺寸：37 x 37 厘米 拍賣結果比較：一件相近且同樣來自 Palazzo Corsini的官服獅子補，售于紐約佳士得The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection拍場，2008年3月19日， lot 19, 售價USD 73,000。

‘BIRDS IN SPRING’ BY HUA YAN (1682-1756)Ink on silk. Depicting two birds perched on a prunus branch below a hanging willow, the painting finely executed with skillful use of shading.Inscriptions: Lower left, ‘Liulü taohong (Green Weeping Willow, Red Peach Blossom)’ and signed ‘Xinluo Shanren’, two seals, ‘Hua Yan’ and ‘Qiugu’.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Old repairs, staining, losses, all well visible on images, no hidden damages.Dimensions: Size incl. frame 102.8 x 50.7 cm, Image size 80.3 x 29.5 cm. Matted and framed.Hua Yan (1682-1756), who often used different names including Xinluo Shanren, was a painter active during the earlier Qing dynasty. He was born in Shanghang, Fujian province, and lived in Yangzhou and later in Hangzhou. He was one of the Eight Eccentrics of Yangzhou, who were known in the Qing Dynasty for rejecting the orthodox ideas about painting in favor of a style deemed expressive and individualist.Auction result comparison: Compare with a related but slightly larger painting by the same artist at Christie’s Hong Kong in Fine Classical Paintings and Calligraphy on 27 November 2006, lot 690, sold for HKD 420,000.《桃紅柳綠》，華喦(1682-1756) 款中國，絹本水墨。兩隻燕子依偎在桃樹上，旁邊柳枝搖曳，描繪生動，春意盎然。款識：新羅山人；鈴印：華喦，秋穀 來源：Karl Zeilinger (1944-2014), 德國紐倫堡中國藝術及古董武器收藏家。自此保存在同一家族至今。品相：舊修，染色，缺損失，沒有隱藏的損壞 尺寸：縂102.8 x 50.7 厘米，畫面80.3 x 29.5 厘米；有鋪墊，裝裱拍賣結果比較：一件相近但更大的華喦畫作見香港佳士得Fine Classical Paintings and Calligraphy 拍場2006年11月 27日 lot 690, 售價HKD 420,000.

AN IMPERIAL ‘DOUBLE DRAGON’ SPINACH-GREEN JADE SEAL, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEChina, 18th century. Of large and massive square form, surmounted by a superbly articulated pair of addorsed dragons, each powerfully depicted with eyes bulging and nostrils flaring above curling whiskers and jaws bearing sharp fangs, the scales and flowing mane meticulously incised, the bodies tightly intertwined and crouching on the haunches.The seal face inscription: ‘Jiangning fudu Chenghuang zhi yin’ (‘The seal of Chenghuang in the Capital of Jiangning’), written in both Manchu and Chinese. Chenghuang, god of the boundaries, is an important deity in China who protects the local people and affairs of a village, town, or capital, both in life and death.The inscriptions incised to the sides, added in 1878: ‘Zhuchi Xianding li’ (consecrated by abbot Xianding), ‘Puren Juntong Ye Wenquan kan’ (amended by Ye Wenquan of Pu region) and ‘Guangxu san'nian zao’ (in the third year of the Guangxu reign). Ye Wenquan was an official during the Guangxu period, from Jiangsu province, who passed the imperial examination in 1890. Provenance: Nicholas Grindley, Inc., Asian Works of Art, New York, 28 September 1982 (label to side). The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Nicholas Grindley (born 1951) is a well-known dealer and scholar of Chinese art. Since 1998 he has published two catalogs a year, and exhibited in London, New York and Hong Kong. Many works from these exhibitions are in museums and important private collections throughout the world.Condition: Good condition with old wear, some nicks and nibbling to edges and corners, the stone with natural flaws, fissures and inclusions. Fine patina.Weight: 1,678 g Dimensions: Height 8.8 cm, Width 10.1 cmThe present seal illustrates the mastery of Imperial jade craftsmanship during the Qing Dynasty, and especially the Qianlong period. It appears to be one of the better-preserved examples of Imperial lapidary work from the 18th century and is notable for its high-quality jade of pure dark green color, vigorous rendering of the dragons, and inscriptions to the sides added during the Guangxu period. Large top-quality jade stones such as in the present example were not readily available during the later Qing dynasty. For this reason, seals inherited by emperors after 1850 were sometimes re-purposed and provided with additional inscriptions on various occasions. The fine material, the fullness of the crouching body, the three-dimensionality in the facial features, and the intricately carved scales set the present seal clearly apart from the characteristic stiffness of typical Guangxu seals (see literature comparison further down below for two such seals). It is therefore concluded that despite the incised inscriptions to the top sides being dated 1878, the seal itself is from an earlier date – the Qianlong period. As opposed to the present lot, Imperial seals belonging to the Guangxu court and related officials, carved at the time, typically are of a lesser material, already reflecting the financial constraints of the period. The limited availability of good-quality jade stone during these days is demonstrated by the use of serpentine and wood in the production of Imperial seals. Several 'double-dragon' seals belonging to the Dowager Empress Cixi and made of serpentine are known, see the example sold at Christie's Paris, 14 June 2006, lot 139 (see literature comparison further down below). The reign of the Guangxu Emperor was witness to one of the most disruptive periods in the 5000-year history of China, which eventually led to the demise of the entire Qing Dynasty Empire. Naturally, these hard times saw a significant decline in both the quality of artwork created and the quality of materials available to the workshops. Literature comparison: For typical seals carved during the Guangxu period, see a wooden double-dragon seal belonging to the Guangxu Emperor, sold at Sotheby's Paris, 11 June 2009, lot 233, and a green serpentine double-dragon seal belonging to the empress dowager Cixi, sold at Christies Paris, June 14 2006, lot 139. For a seal that is stylistically related to the present lot, but created for Emperor Qianlong’s eightieth birthday, see Sotheby’s London, 4 November 2009, lot 136.Auction result comparison: Compare the present seal with a related, but slightly larger double-dragon seal, also with an inscription in Manchu and Chinese, at Sotheby’s Hong Kong, Important Chinese Art, 7 October 2015, lot 3698, bought-in at an estimate of HKD 5,000,000-7,000,000. Also compare with a double-dragon seal from the 18th century, with the seal face re-carved during the Guangxu reign for the Empress Dowager Cixi, at Sotheby’s London, Fine Chinese Ceramics and Works of Art, 16 May 2012, lot 186, sold for GBP 313,250.御制碧玉滿漢文交龍鈕中國，十八世紀。印面呈方形，立體高浮雕交龍鈕，神龍挺胸，龍首微昂，圓目張吻，平視前方，豎角橫須，鬃發飛揚，凜然神威。龍身捲曲交纏而龍首相背，龍爪緊抓印面，龍脊微隆，軀幹遒勁，威猛張揚。龍身鱗片雕琢精細。印文：印文規整，刻工精湛，滿漢雙語，江寧福都城隍之印。款識：光緒三年造；主持賢定立 ；濮人俊同葉文銓刊。葉文銓，江蘇人， 1890年光緒時期進士。來源：紐約Nicholas Grindley 亞洲藝術藝廊，1982年9月28日 (可見標簽)。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。Nicholas Grindley 出生於1951，是知名中國藝術學者與商人。自1998 年起他出版了兩本畫冊並在倫敦、紐約和香港舉辦展覽。這個展覽裏的很多展品曾在全球重要博物館和私人收藏展出過。圖片：1950年James 與 Marilynn Alsdorf在邁阿密圖片：Nicholas Grindley品相：狀況良好，有舊磨損，輕微划痕，邊角磕損，玉石有天然裂縫和內含物。 良好的包漿。重量： 1,678 克尺寸：高8.8 厘米, 寬10.1 厘米這枚龍鈕碧玉章充分體現了清代對玉雕工藝的精通，並且似乎是該時期御用文物保存最完好的例子之一，純正的深綠色玉石，生動交龍紋以及兩側精湛的刻字。在本例子中，大型的優質玉石在19世紀後期並不容易獲得。 出於這個原因，有時會重新利用繼承的印章，並在各種場合增加額外的文字。 精美的材料，精湛的雕工，明顯不同於典型的光緒印章的特有硬度（請參閱下面的文獻比較，進一步了解這兩種印章 ）。 因此得出的結論是，儘管上面刻有切刻的銘文是1878年，但封印本身必須是較早的日期，乾隆時期。相反的是，光緒朝廷和官員的印章材料等級較次，反映了該時期的財務限制，因此優質玉石的供應有限。這可通過使用蛇紋石和木料來生產皇家印章的現象來佐證。 慈禧太后“雙龍”印章是眾所周知的，請參見巴黎佳士得於2006年6月14日139號拍出的示例（請參見下面的文獻比較）。文獻比較: 光緒時期的印章以光緒帝一件木製雙龍印售于巴黎蘇富比，2009年6月11日 lot 233；慈禧的蛇紋石雙龍印售于巴黎佳士得2006年6月14日 lot 139。一件乾隆八十歲閑章見倫敦蘇富比2009年11月 4日，lot 136。拍賣結果比較：一件相近但更大的滿漢文雙龍印見香港蘇富比 Important Chinese Art拍場2015年10月7日，lot 3698, 估價HKD 5,000,000-7,000,000。慈禧雙龍印見倫敦蘇富比 Fine Chinese Ceramics and Works of Art拍場2012年5月16日 lot 186, 售價GBP 313,250。

‘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 ‘CHAEKGORI’ SIX-PANEL SCREEN, JOSEON DYNASTY, WITH ‘HIDDEN’ ARTIST SEALKorea, 19th century. Ink and watercolors on paper. The six ‘Scholar’s Accouterments’ paintings mounted as a six-panel folding screen depicting an array of books, scrolls, and other items associated with a scholar's studio. With silk brocade mounting, hardwood frame, and metal fittings. The lower section of the first panel from the left, showing a variety of seals, is painted with a hidden artist signature in the form of a seal.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. Old inventory number ‘304’ to back. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art. The present screen will be featured in an upcoming book by Prof. Salviati about Korean art.Condition: Good original condition with extensive wear, tears, losses, indentations, the fittings also with wear and some dents, nicks, and scratches.Weight: 8.2 kgDimensions: Panel size 178.5 x 43.7 (each), Image size 139.5 x 37.5 cmThe Chinese-style books on screens of the present type are usually depicted closed, stacked in sets wrapped in slipcases. Joseon-dynasty scholars sat on thin cushions on the floor and worked at small, portable desks. Chaekgeori is a Confucian theme, directly related to the scholarly aspiration of the landed gentry, the scholar-officials of the Joseon-dynasty government. Yet, bookstack screens were popular in the homes of commoners, as well, symbolizing the Confucian ideals of education and self-improvement, and perhaps providing inspiration to the family's children. There is literary evidence that this subject became a status symbol after King Jeongjo (reigned 1776-1800) placed one behind his desk in the men's quarters of the palace.Expert’s note: Functioning the same way as a signature in Western art, a seal impression on a chaekgeori screen is sometimes included to reveal the painter’s identity. It is called a ‘hidden’ seal due to its discreet placement. Only about 12 works with such a ‘hidden’ seal are known today.Literature comparison: Compare with a closely related ten-panel folding screen, also signed with a hidden seal, in the collection of the Cleveland Museum of Art, accession number 2011.37. For a full discussion of Chaekgeori screens, see Kay E. Black and Edward W. Wagner, "Court style Ch'aekkori," in Hopes and Aspirations: Decorative Paintings of Korea, exhibition catalog (Asian Art Museum of San Francisco, 1998), 21-35, and also Black and Wagner, "Ch'aekkori Paintings: A Korean Jigsaw Puzzle," Archives of Asian Art 46 (1993), 63-75.Auction result comparison: Compare with a related but smaller (image size 67.3 x 41.6 cm) eight-panel folding screen at Bonhams New York in Fine Japanese and Korean Art on 22 July 2020, lot 1183, sold for USD 16,325, a closely related but smaller (image size 67.3 x 41.6 cm) eight-panel folding screen at Christie’s New York in Japanese & Korean Art Including Arts of the Meiji Period on 15 September 2010, lot 721, sold for USD 15,000, and a related but smaller (image size 60 x 35.6 cm) eight-panel screen at Christie’s New York in An Inquiring Mind: American Collecting of Japanese & Korean Art on 25 April 2017, lot 114, sold for USD 15,000.Note that none of these three lots carry a hidden seal.朝鮮王朝彩繪“文房清玩”六折屏風 韓國，十九世紀。紙本設色。六幅“文房清玩“繪畫被裝裱成六折屏風，描繪了一系列文人書房中的書籍、捲軸和其他清玩。採用絲綢錦緞裝幀，硬木框架和金屬配件。左側第一個面板的下方可見一系列印章，藝術家並以印章的形式留下自己的簽名。來源：意大利羅馬Filippo Salviati教授私人收藏。背面可見老收藏標簽號“ 304 ”。Filippo Salviati教授是羅馬大學東亞研究所考古係及藝術史係教授。Salviati教授對中國古代藝術進行了廣泛研究並出版了很多專著。此拍品將出版于Salviati 教授一本關於韓國藝術的書中。圖片：Filippo Salviati 教授 品相：原始狀態良好，有大量磨損、撕裂、損失和壓痕，配件也有磨損以及一些凹痕，缺口和划痕。 重量：8.2 公斤 尺寸：屏風每幅178.5 x 43.7 厘米，畫面每幅139.5 x 37.5 厘米 專家注釋：與西方藝術中的印章功能相同，“文房清玩”屏風中的印章有時也會揭示畫家的身份。由於其謹慎的位置，它被稱為“隱藏”印章。如今，已知作品中大約只有12件帶有這種“隱藏”印章。 拍賣結果比較：一件相近但更小 (畫面67.3 x 41.6 厘米)的八折屏風見紐約邦瀚斯 Fine Japanese and Korean Art 拍賣2020年7月22日 lot 1183, 售價USD 16,325, ；一件相近但更小 (畫面 67.3 x 41.6 厘米) 的八折屏風見紐約佳士得 Japanese & Korean Art Including Arts of the Meiji Period 拍場2010年9月15日 lot 721, 售價USD 15,000, ；一件相近但更小 (畫面 60 x 35.6 厘米) 的八折屏風見紐約佳士得 An Inquiring Mind: American Collecting of Japanese & Korean Art 拍場2017年4月25日 lot 114, 售價USD 15,000. 請注意這三個拍品都沒有一個“隱藏”的印章。

A PALE CELADON, GRAY AND RUSSET JADE FIGURE OF DONGFANG SHUO, QING DYNASTYChina, 18th-19th century. The immortal carved standing with a double gourd on the ground before him, holding a peach on a leafy stem in one hand and a lingzhi sprig raised in the other, wearing a long flowing robe and hat, the face with a benevolent expression. The stone of a translucent pale celadon tone with opaque shadings of gray and russet. With a matching wood base. (2)Provenance: French private collection.Condition: Good condition with some wear, a small chip to the brim of the hat, microscopic nibbles here and there.Weight: 109.7 gDimensions: Height 7.8 cmDongfang Shuo (c. 160-93 BC) was a Han Dynasty scholar-official, fangshi (‘master of esoterica’), author, and court jester to Emperor Wu (reigned 141-87 BC). In Chinese mythology, Dongfang is considered a Daoist xian (immortal) and the spirit of Venus who incarnated as a series of ancient ministers including Laozi.The legend of Dongfang Shuo has him attempting to steal one of the famous 'peaches of longevity' from the orchard of Xi Wangmu, the Queen Mother of the West, whose palace was believed to be in the Kunlun Mountains. The peaches were believed to ripen only once in 3,000 years and to confer immortality on anyone who ate them.Literature comparison: Compare a celadon jade figure of Dongfang Shuo, attributed to the 18th-19th century, in the collection of the Victoria & Albert Museum, London, acc. no. 1633&A-1882. Another, attributed to the late Ming/early Qing period, is illustrated in Chinese Jades from Han to Ching, Asia Society, New York, 1980, pl. 101. See also a white jade figure attributed to the late Ming period illustrated in Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 101. For a late Qing example, see one in the collection of the Asian Art Museum, San Francisco, included in Michael Knight, He Li, and Terese Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century, San Francisco, 2007, pl. 324.Auction result comparison: Compare with a related celadon jade figure of Dongfang Shuo, but of considerably larger size, at Sotheby’s New York in Junkunc: Chinese Jade Carvings on 22 September 2020, lot 236, sold for USD 30,240. Compare also with a related but much larger and earlier chicken bone jade of the same immortal, dated to the 16th/17th century, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 September 2008, lot 294, sold for USD 10,000. For a similar jade figure of a gentleman, dated to the 19th/20th century, see Christie’s London in Chinese Ceramics, Works of Art and Textiles on 16 May 2014, lot 1075, sold for GBP 7,500.清代青白玉帶皮東方朔中國，十八至十九世紀。東方朔身前有一個大葫蘆，他一隻手拿著桃子，另一隻手舉著一隻靈芝，頭戴長袍和帽子，表情慈祥。玉石為半透明的淡青色，帶有不透明的灰色和赤褐色紋理。 相配的木底座。 來源：法國私人收藏 品相：狀況良好，有些磨損，帽子邊緣有小磨損，局部有細微的磕損。 重量：109.7 克 尺寸：高7.8 厘米 拍賣結果比較：一件相近青玉東方朔但尺寸更大，見紐約蘇富比Junkunc: Chinese Jade Carvings 拍場2020年9月22日 lot 236, 售價USD 30,240. ；一件相近但尺寸更大更早的雞骨玉東方朔，十六至十七世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2008年9月17日lot 294, 售價USD 10,000. ；一件相似人像，十九至二十世紀，見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2014年5月16日 lot 1075, 售價GBP 7,500.

A RARE AND IMPORTANT TERRACOTTA HEAD OF BUDDHA SHAKYAMUNIAncient region of Gandhara, 4th century. The large head is superbly modeled with a serene and meditative expression, almond-shaped eyes beneath finely arched brows, distinct urna, aquiline nose, and full lips forming a gentle, benevolent smile. The hair is in tight curls with a dome-shaped ushnisha on top.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Some firing flaws, minor nicks and dents, material loss to exposed areas, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago. Overall, fully consistent with the age of this sculpture.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n6, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 8.7 kg (total)Dimensions: Height 35 cm (the head) and 49.5 cm (incl. base)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.The masterfully carved head of Buddha is a fine example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE and embodies an idealized, transcendent male form of an earthly prince. Based on Greco-Roman prototypes, his elegant neck is slightly elongated, and his heavy eyelids frame a pair of almond-shaped eyes, his forehead remaining perfectly uncreased, and there is no tension in his rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility.The sculptor has also skillfully referenced Buddha’s earlier history as Prince Siddhartha by carving openings in the elongated earlobes where, as a prince, he would have worn heavy jewelry. This detail reminds the viewer that, while the Prince’s past was centered on excess, the absence of material goods – jewelry and fine clothing – emphasizes the Buddha’s renunciation of worldly attachments.Compare the face of this Buddha with that of another in the Peshawar Museum (see H. Ingholt, Gandharan Art in Pakistan, 1957, p.113, fig.223). In both examples, the artist has skillfully carved and polished the face to transform it into human skin. While the face of the published image has been carved in a rather formulaic manner, the present work has been carved by a master of naturalism. The softly rounded cheeks give way to hollows on either side of the skin, the upper and lower lids are nearly spherical to emphasize the eyes, and the pupils are not carved. The quiet contours and gentle shadows model the flawless structure of the face, encapsulating the eternal youthfulness of the Buddha. Almost androgynous in appearance, the Buddha transcends gender, embodying the perfect balance of masculinity and femininity.This head has a high aesthetic value, illustrious provenance, and is in a beautifully preserved condition. It is an important and rare masterpiece of Gandharan art.Mounted on an associated wood base. (2)Auction result comparison: Compare with a related but smaller (28 cm) terracotta head of a Bodhisattva at Christie’s New York, Indian and Southeast Asian Art, 19 March 2013, lot 212, sold for USD 75,000, and a related but much smaller (20.3 cm) terracotta head of a Buddha at Sotheby’s New York, Images Of Enlightenment: Devotional Works Of Art And Paintings, 17 September 2014, lot 410, sold for USD 62,500.罕見重要陶土釋迦牟尼頭像健陀羅，四世紀。大型佛頭造型優美，沉靜冥思，眉毛下方拱形杏仁狀眼睛，眉間白毫，豐滿的鼻子，溫柔仁慈的笑容。 頭髮緊卷，呈螺髻。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況很好，尤其是考慮到這件作品的年代。一些燒製缺陷，輕微的刻痕和凹痕，裸露區域有材料缺損。表面的清漆應爲很久之前所塗，所以現在已經基本看不出來了。總體而言，狀況與該雕塑的年代相符。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n6，2016年10月18日，與目前斷代一致。重量：縂8.7 公斤尺寸：頭高35 厘米 ；縂49.5 厘米 這件頭像有很高的美學價值，出眾的外觀，並且保存完好，堪稱是健陀羅藝術裏的重要且罕見的傑作。底座。拍賣結果比較：一件相近但稍小 (28 厘米) 陶土菩薩頭像見紐約佳士得Indian and Southeast Asian Art拍場2013年3月19日 lot 212, 售價USD 75,000, ；一件相近但更小 (20.3 厘米) 的佛陀陶土頭像見紐約蘇富比Images Of Enlightenment: Devotional Works Of Art And Paintings拍場2014年9月17日 lot 410, 售價USD 62,500.

A SPINACH-GREEN JADE RUYI SCEPTER, MID-QINGChina, 18th century. Carved in the form of a lingzhi fungus, with a bat perched on the head and a chilong clambering up the stem amidst smaller lingzhi shoots. The stone is of a deep spinach-green tone with some darker speckles.Provenance: Roger Keverne, London, 2012. The Lenora and Walter F. Brown Collection, San Antonio, Texas, acquired from the above and thence by descent in the same family. Walter F. Brown (1930-2014) was an independent oil and gas producer. He founded Delray Oil Inc. and W. F. Brown Exploration Ltd. of Canada. The Browns began donating their collection of Asian works of Art to the San Antonio Museum of Art in the 1980s. In 2005, the museum honored the couple for their ongoing commitment by naming their new expansion the ‘Lenora and Walter F. Brown Asian Wing’.Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84.Condition: Excellent condition with minor wear, some minuscule nicks, one crack with an old repair (invisible to the naked eye but inspected under strong blue light). The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 345.8 gDimensions: Length 36.2 cmWith an old Chinese silk stand. (2)As Roger Keverne explains, the present scepter relates closely to one presented by the Qianlong Emperor to Sir George Staunton in 1793, now in the collection of the Victoria and Albert Museum. Sir George Staunton (1737-1801) was Minister Plenipotentiary to the 1792 Macartney Embassy to Beijing. The Staunton ruyi scepter is illustrated in “Encounters: The Meeting of Asia and Europe 1500 -1800” by Jackson and Jaffer, fig. 7.2, page 94. William Alexander accompanied Lord Macartney on the mission and his drawing of the Staunton scepter is illustrated in “Image of China: William Alexander” by Legouix, pl. 44, page 62. It is noted there that the scepter was one of three presented by the Emperor Qianlong. The other two were given to Lord Macartney, one for himself and the second for King George III. The drawing is in the collection of the British Museum, registration number 1865,0520.272. It is therefore possible that the present scepter is the one that was presented by Emperor Qianlong to Lord Macartney, while the third scepter most likely remains in the Imperial household and collections, handed down from George III, who was King of England from 1760-1801.Literature comparison: For other similar examples, see Auspicious Ju-i Scepters of China, no. 17, p. 90, in the collection of the National Palace Museum, Taipei; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; and Palace Museum, Compendium of Collections in the Palace Museum: Jade, vol. 8, no. 73, p. 102.Auction result comparison: Compare with a related spinach-green jade ruyi scepter at Christie’s in Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco on 18 March 2009, lot 412, sold for USD 25,000.清代中期碧玉靈芝如意 中國，十八世紀。如意首作鏤雕靈芝形，內雕一蝙蝠，柄作靈芝莖狀，上雕小靈芝數朵與螭龍。如意、靈芝與蝙蝠相伴出現有福壽雙全的寓意。玉石成深綠色的菠菜色，有深色斑點。此如意玉質細膩溫潤，整器以靈芝造型，浮雕與局部鏤雕手法相結合，如意首部琢一大靈芝頭，長柄靈芝枝葉纏繞，多處鏤空，甚為玲瓏，表現出靈芝的肌理質感，更顯古樸自然。 來源：倫敦Roger Keverne, 2012。德克薩斯州聖安東尼奧市Lenora and Walter F. Brown收藏，從上述收藏獲得併自此保存在同一家族中的。Walter F. Brown（1930-2014）是一家獨立的石油和天然氣生產商。 他創立了Delray Oil Inc.和加拿大W. F. Brown Exploration Ltd.。 Brown一家在1980年代開始將其亞洲藝術品收藏捐贈給San Antonio Museum of Art博物館。 2005年，博物館將新展館名字命名為“ Lenora and Walter F. Brown Asian Wing”，以表彰這對夫婦的不懈努力。圖片：Walter F. Brown (1930-2014) 出版：Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84. 品相：狀況極佳，輕微磨損，一些微小的刻痕，一條裂縫舊時已修復（肉眼看不見，但在強烈的藍光下檢查過）。具有天然裂縫的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：345.8 克 尺寸：長36.2 厘米 配置中國絲質底座。 正如Roger Keverne所説，本如意與乾隆皇帝於1793年贈予Sir George Staunton（現由維多利亞和阿爾伯特博物館收藏）密切相關。Sir George Staunton（1737-1801）是1792年馬卡特尼（Macartney）駐北京大使館的全權代表。Sir George Staunton 的如意可見Jackson和Jaffer 所著的“Encounters: The Meeting of Asia and Europe 1500 -1800”，參見圖7.2頁，第94頁。William Alexander陪同 Macartney勳爵，他曾繪製了Sir George Staunton如意，見Legouix 所著的“Image of China: William Alexander”，圖44，第62頁。在那裡提到，此如意是乾隆皇帝所贈三件如意中的一件，另外兩件分別送給了Macartney勳爵，另一件給了喬治三世國王。該圖在大英博物館收藏，編號1865,0520.272。因此，現在的如意很可能是乾隆皇帝送給馬卡特尼勳爵的，而第三只很可能仍留在皇室和收藏中，由1760-1801年的英格蘭國王喬治三世傳世。 文獻比較: 一件相似如意可見於 Auspicious Ju-i Scepters of China, no. 17, p. 90, 臺北故宮博物院收藏; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; 北京故宮博物院: Jade, vol. 8, no. 73, p. 102. 拍賣結果比較：一件相近碧玉如意售于佳士得Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco 拍場，2009年3月18日，拍號412, 售價USD 25,000。

A SANDSTONE TORSO OF UMA, ANGKOR WAT PERIOD, BAPHUON STYLEKhmer Empire, 11th century. Standing in samabhanga, her young unadorned body with small, high breasts and her belly naturalistically and beautifully rounded, wearing a long, pleated sarong tied at the front, the long central fold elegantly culminating in a 'fishtail' shape at the hem, held together at the hips with a patterned belt fastened at the front with a knot. Mounted to an associated metal base. (2)Provenance: From an old Belgian private collection.Condition: Fine condition, commensurate with age, extensive wear and losses, nicks, structural cracks. The upper section of the torso has come apart just above the chest and was reattached some time ago.Weight: 17.3 kgDimensions: Height 52 cmThis piece exemplifies the style of Baphuon female figures with the frontal stance, the ovoid skirt wide at the hips and narrowing around the knees, the sarong positioned high at the back and curving down to below the navel and the elegant central pleat. According to Boisselier, the highly decorative style of Banteay Srei inspired the development of Baphuon period sculpture, a manner which became more embellished with decorative elements as it continued into and reached a zenith during the Angkor Wat period a century later (see Helen Ibbitson Jessup and Thierry Zephir, editors, Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Washington 1997, page 255). The modeling of the torso, the curled end of the sarong above the belt and a long central fold certainly recalls Banteay Srei sculpture (see Emma C. Bunker and Douglas Latchford, Adoration and Glory - The Golden Age of Khmer Art, Chicago, 2004, page 175, fig. 8.6).The decorative nature and style of the central pleat on the sarong can be compared to a 12th century example published P. Pal, A Collecting Odyssey: Indian, Himalayan and Southeast Asian Art from the James and Marilynn Alsdorf Collection, Thames and Hudson, 1997, page 195, cat. 255. However, all other elements are characteristic of the Baphuon style.Auction result comparison: Compare with a closely related sandstone torso, though once multi-armed and of slightly larger size (63.5 cm high), at Christie’s New York in Indian and Southeast Asian Art on 22 March 2011, lot 477, sold for USD 56,250.

A KHMER SANDSTONE FRAGMENT OF TWO NAGAS, BAYON STYLEKhmer Empire, 12th-13th century. This expressively carved and incised fragment was once part of a very large Buddha Muchalinda statue, depicting a naga head with a smaller naga flanking it.Provenance: Belgian private collection. Condition: Good condition commensurate with age, extensive wear, losses, small nicks here and there.Weight: 4.9 kg (incl. stand)Dimensions: Height 30 cm (incl. stand) and 20 cm (excl. stand)In Buddhism the Naga are divine, half-human half-serpent beings that reside in the netherworld (Patala) and can occasionally take human form. They are depicted either as wholly human with snakes on their heads and necks, or as common serpents, or as half-human half-snake beings. A female Naga is called Nagini. Nagaraja is the king of all Nagas and Naginis. Nagas hold considerable cultural significance in the mythological traditions of most Southeast Asian cultures.Mounted on a modern metal stand. (2)Literature comparison: For a large Buddha Muchalinda from the 12th century, missing the top naga head, see Zacke, Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 437.