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A TERRACOTTA HEAD OF A DEITY, MAJAPAHITJava, 13th-15th century. Modeled with full lips, a broad nose below heavy-lidded eyes, and gently arching brows, the raised coiffure smooth above the ears with floral earrings.Provenance: Agostino Recalbuto, L’Asia del Sud Est, Vicenza, Italy. Italian private collection, acquired from the above.Condition: Good condition, commensurate with age, extensive wear and losses, fine copper-red encrustations.Weight: 3,005 g (the head)Dimensions: Height 29 cmWith an associated metal base. (2)Auction result comparison: Compare with a related but considerably smaller (16.4 cm) head at Bonhams San Francisco; in Fine Asian Works of Art on 10 December 2012, lot 5367, sold for USD 4,000.

A TERRACOTTA FIGURE OF A FEMALE DEITY, MAJAPAHITJava, 13th-15th century. Standing in samapada on a stepped rectangular base, the ornately incised dhoti secured with several florally decorated belts, the floral motifs repeated on the necklace, earrings, and headdress, the serene face with downcast eyes and full lips, the long pleated hair falling neatly behind her shoulders.Provenance: La Datina, Florence, Italy, 2000. Italian private collection, acquired from the above.Condition: Extensive wear, losses, pitting, encrustations. The statue was broken into several pieces and reassembled after excavation.Weight: 3,627 g Dimensions: Height 56.7 cmLiterature comparison: Compare with a related carved stone figure of Parvati, dated to the 15th century, in the collection of the Victoria & Albert Museum, museum number IM.147-1921.Auction result comparison: Compare with a Majapahit stone fragment of an ancestor figure, dated to the 14th-15th century, at Bonhams San Francisco in Fine Works of Asian Art on 18 June 2007, lot 6166, sold for USD 7,200.

A JAVANESE BRONZE FIGURE OF AVALOKITESHVARA, 9TH-10TH CENTURYJava. Cast standing on a circular lotus base, the left hand held in karanamudra and the right holding a lotus stem extending along the arm and terminating in a bud to the shoulder. Wearing a dhoti and richly adorned in beaded jewelry, the hair with a stupa-like headdress behind the five-leaf crown. The serene face with an urna, downcast eyes below gently arched brows, and full lips forming a subtle smile.Provenance: The private collection of Haji Daeng Iskandar. A New York, USA, private collection, acquired from the above. Haji Daeng Iskandar was a notable art dealer in Bali, Indonesia, specializing in Indonesian primitive and tribal art.Condition: Very good condition commensurate with age. Extensive old wear, traces of gilt, encrustations, small losses, dents and nicks here and there. Overall with a fine, malachite-green patina.Weight: 1,392 gDimensions: Height 28.5 cmLiterature comparison: Compare with two closely related examples in the Metropolitan Museum of Art including a Vishnu that shares the same iconographic program and a Garuda projecting from the base, accession number 1987.142.15, see Lener and Kossak, The Lotus Transcendent, New York, p.188, no.146, and a standing Manjushri, accession number 2001.758.2, in a flexed pose.Auction result comparison: Compare with a related figure of Vishnu at Bonhams Hong Kong, in Fine Southeast Asian Arts, 29 March 2018, lot 11, sold for HKD 375,000.

A BRONZE FIGURE OF UMA, LOPBURI STYLE, 13TH-15TH CENTURYThailand. Cast standing in samabhanga, holding a lotus bud in her right hand, wearing a checkered dhoti with an elaborate fishtail hem, multiple armlets, a torque and earrings. The braided hair drawn up into a conical chignon and secured with a tiara.Provenance: From an American private estate. By repute acquired in Asia c. 1965-1970 and thence by descent within the same family.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, and occasional light scratches. Fine, naturally grown patina.Weight: 658.7 g (incl. base)Dimensions: Height 23.2 cmMounted on an associated wood base. (2)Auction result comparison: Compare with a closely related bronze at Christie’s New York in Indian and Southeast Asian Art on 19 March 2014, lot 1129, sold for USD 10,000.

A KHMER BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR PERIODKhmer Empire, 12th century. The bodhisattva standing in samapada on a square base, four-armed, holding a lotus bud, a water vessel, a scroll, and a rosary. Wearing a short pleated sampot, tucked around the striated belt, which is decorated with pendants. Richly adorned in jewelry, the hair arranged in a high topknot with a small Buddha Amitabha behind the circular diadem.Provenance: Art of the Past, New York, 3 December 2002, old label with number to base. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, stating the land of origin as Cambodia and dating the piece to the 12th century, accompanies this lot.Condition: Excellent condition commensurate with age, old wear, minuscule nicks here and there. Fine malachite-green patina.Weight: 297.8 gDimensions: Height 15 cmAuction result comparison: Compare with a closely related copper alloy figure of Avalokiteshvara (height 34 cm) at Sotheby’s New York, in Indian and Southeast Asian Works of Art, 19 March 2008, lot 243, sold for USD 73,000.

A KHMER BRONZE FIGURE OF VISHNU STANDING ON GARUDA, ANGKOR PERIODKhmer Empire, 12th century. The four-armed deity standing on Garuda's shoulders and holding the disk and conch in his uppermost hands, wearing a sampot and richly adorned in jewelry. The mythical bird standing on a square base with arms and wings outstretched as if flying through the air. Both with benign expressions.Provenance: Art of the Past, New York, 21 May 2003, old label with serial number to base. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, at a price of USD 7,500, stating the land of origin as Cambodia and dating the piece to the 12th century, as well as a description of the piece attached to the invoice, accompany this lot. The letter states, “This particular example of this motif is superbly conceived. Every detail is finely articulated. The dark patina of the bronze is also smooth and without flaw. It is possibly one of the finer examples of its type.”Condition: Excellent condition commensurate with age, old wear, minuscule nicks here and there, fine natural patina with malachite-green encrustations.Weight: 649.0 gDimensions: Height 20.7 cmLiterature comparison: Compare to a similar figure published Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Thailand, 2004, pp. 350-351, fig. 125. Compare also with a near-identical bronze at Christie’s Amsterdam in Indian Himalayan and Southeast Asian Art on 16 December 2003.

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

A KHMER BRONZE FIGURE OF BUDDHA MUCHALINDA, LATE ANGKOR PERIODKhmer Empire, Bayon style, late 12th to early 13th century. Seated in dhyanamudra on the coils of Muchalinda, beneath the seven-headed canopy of the serpent king, wearing a short loincloth around his waist, adorned with elaborate jewelry, a crown surrounding his hair piled high and surmounted by a conical ushnisha, his face with a serene expression, downcast eyes and hands held in his lap holding a stupa.Provenance: Old German private collection.Condition: Some minor fills to the back, otherwise in good condition with wear, some nicks here and there, light scratches, and losses. Fine natural patina with malachite-green and copper-red encrustations.Weight: 703.8 g (the bronze only)Dimensions: Height 19.5 cm (excl. base) and 26.5 cm (excl. base)Mounted on a modern metal base. (2)When a storm raged and torrential rain poured for a whole week, the king of the nagas, Muchalinda, rose from the earth, coiling its body to form a seat and swelling its great hood to shelter Buddha.Expert’s note: Few early examples of this type appear to be recorded. The well-modeled naga hood in later stylistic development dissolves into greater ornamentation. The present piece can therefore be considered as rare.Literature comparison: Compare to an in-situ example of a stone sculpture of Buddha Muchalinda, in M. Freeman and R. Warner, Angkor, The Hidden Glories, 1990, ill. p. 128. Compare also with two other examples in G. Coed/ges, Bronzes Khmers, 1923, plate XXI, figs 1 and 2.Auction result comparison: Compare with a closely related but smaller bronze at Christie’s New York in Indian and Southeast Asian Art including 20th Century Indian on 19 September 2002, lot 193, sold for USD 26,290, and another, though of larger size, at Christie’s New York in Indian and Southeast Asian Art on 20 March 2002, lot 11, sold for USD 94,000.

AN INDIAN WHITE MARBLE RELIEF OF UMA MAHESHVARA, 12TH-13TH CENTURYWestern India, Rajasthan or Gujarat. The divine couple seated in lalitasana on Shiva’s mount Nandi. Shiva's primary left hand around Uma’s back and cupping her breast, one of his upper hands holding a trident, Uma with one arm draped around Shiva's shoulders, her left hand holding a mirror.Provenance: German private collection. Condition: Fine condition commensurate with age, extensive old wear, encrustations and soiling, losses, dents, nicks and scratches here and there. Natural patina.Weight: 18 kg (incl. base) Dimensions: Height 45.5 cm (incl. base) and 39 cm (excl. base)With a wooden base. (2)Uma-Maheshvara represents the sacred embrace, alingana, of the Lord Shiva joined with the Goddess Uma. The Great Ascetic, Lord Shiva, who was overcome with the beauty of Uma, Daughter of the Mountain, succumbed to their union for the benefit of his devotees (S. Kramrisch, Manifestations of Shiva, Philadelphia, 1981, p. 57). Their union is principally metaphysical, though during the Pala period, Shiva and Uma's relationship can be most immediately observed through their corporeal interplay. It is through their sensual relationship that they are meant to become a gateway for the devotee to enter their sacred realm.The divine couple is featured here in the moment before their union, the anticipation of which accentuates the possibility of entering the divine realm. This expectancy is what creates a feeling of activity, carried throughout the piece in the swaying movement of the surrounding figures and swirling foliate carvings throughout.Auction result comparison: Compare with a closely related marble relief at Christie’s New York in Indian, Himalayan & Southeast Asian Art on 23 July 2020, lot 9, bought-in at an estimate of USD 8,000-10,000.

AN INDIAN BRONZE FIGURE OF RATNASAMBHAVA, PALA PERIODEastern India, Bihar, 9th century. Finely cast with Buddha seated in dhyanasana on a double-lotus base over a raised plinth, backed by a round nimbus with bead and flame border surmounted by a parasol, the stylized leaves of the Bodhi tree emerging from behind his head.Provenance: Dr. Phil Michael Henss, Zurich, Switzerland. A private collector, acquired from the above on 13 April 2018. A copy of the original invoice, dating the present lot to the 9th century and describing it as Buddha Ratnasambhava, accompanies this lot. Michael Henss is a Swiss art historian, scholar and writer focusing on Asian art - with a focus on Tibet and East Asia. He contributed articles for Asian art journals, seminars and books. Currently, Henss lives in Zürich, Switzerland, where he also runs a bookstore specializing in Asia and the Near East. In 2004-2005 he was a co-curator of the exhibition "The Dalai Lamas" at the University of Zürich Ethnography Museum.Condition: Very good condition with old wear, traces of use, minor nicks and dents here and there, light scratches, areas of fine copper-brown patina.Weight: 445.8 gDimensions: Height 15 cmDuring the Pala period, there was an increase of Buddhist patronage in Northeastern India, resulting in the production of a vast number of highly refined artworks that participated in the development of esoteric forms of Buddhism. Known as Vajrayana, the “diamond path,” this new iteration of Buddhism greatly expanded the pantheon of Buddhist deities. A large number of tantric texts were produced in Northeastern India and circulated throughout the Himalayas, where the esoteric knowledge they contained continued to flourish. Bronze sculptures played a crucial role in these lines of transmission. As portable objects, they could easily be carried across vast distances by the groups of monks and pilgrims who traveled by land and sea.Situated at the heart of Pala territory, less than twenty miles from Bodh Gaya and close to the renowned Buddhist monastery and educational establishment at Nalanda, Kurkihar became a sophisticated international center of artistic production at the end of the first millennium AD. Inscriptions found at Kurkihar document the arrival of monks and pilgrims from regions abroad, including distant places in India such as Kanchipuram in the South and also foreign lands such as maritime Southeast Asia. These visitors commissioned bronzes like the present example to donate to local temples and monasteries or to carry home.The bronzes produced by the expert artisans in Kurkihar contribute to the overarching Pala style while revealing their own local idiom particular to the Kurkihar workshops. Figures are characterized by slender proportions, delicately tapering torsos, and chests that swell with the intake of prana, the sacred life-breath. This present figure of Ratnasambhava, the “jewel-born” Buddha, is a seminal example of Kurkihar craftsmanship that gives expression to the donor’s pious devotion.Literature comparison: Compare with two early to mid-9th century bronzes of Avalokiteshvara and Tara from Nalanda, published in Roy, Eastern Indian Bronzes, New Delhi, 1986, nos. 110a & 124.Auction result comparison: Compare with a related bronze, but with the Buddhist creed inscribed to the reverse, at Christie’s New York in The Collection of Robert Hatfield Ellsworth Part I, on 17 March 2015, lot 12, sold for USD 269,000.

A JAIN BRONZE ALLOY ALTAR SHRINE, GUJARAT, 11TH - 12TH CENTURYCast in openwork with the principal image of a Tirthankara seated in dhyanasana on a throne supported by various animals, framed by apsaras and with a tiered conical parasol above, the outer border with numerous seated and standing Jinas in architectural niches, the rectangular pedestal stepped, all with a rich brown patina.Provenance: German private collection. Condition: Good condition with old wear, small dents, minuscule nicks, occasional light scratches. Fine natural patina.Weight: 938.3 gDimensions: Height 17.8 cmThis bronze shrine is remarkable for the complex openwork casting and vivid detail. It is cast in two pieces, with the large surrounding arch separately cast and adjoined.Auction result comparison. Compare with a related shrine of 30 cm at Christies New York, in Indian And Southeast Asian Art, 21 September 2007, lot 94, sold for USD 67,000.

AN INDIAN MINIATURE PAINTING OF A MAHARAJAIndia, Rajasthan, circa 1800. Watercolors and gilt on paper, matted and framed behind glass. Standing on a terrace with a canopy in the background, his left hand held to his face and his right resting on a katar at his waist. Wearing a sheer kurta and red sash over dark orange jamas, richly adorned in beaded jewelry, a nimbus around his head, inscribed in white Devanagari on the red border.Provenance: Sotheby's London, Oriental Ceramics and Works of Art, 20 October 1994, Lot 271 (part lot). An English Lady, acquired from the above and thence by descent within the family.Condition: Very good condition with little wear, minor traces of soiling and creasing to edges.Dimensions: Size incl. frame 39.4 x 34.1 cm, Image size 18.5 x 13.5 cmThe fine European gilt wood frame is from the 20th century.Auction result comparison: Compare with a related miniature painting of Maharaja Gaj Singh Ji at Christie’s New York, Indian and Southeast Asian Art, 14 September 2010, lot 190, sold for USD 2,500.

A FINE AND RARE CHAM SILVER HEAD OF SHIVAChampa, 10th-12th century. The head displaying the classic iconography of Shiva, the central deity of the Cham people, with long earlobes and piled up locks of hair. The face showing a fine, calm expression with almond-shaped eyes, one uninterrupted bow-shaped eyebrow below the third eye, a broad nose, an elegantly curved mustache, and thick lips forming a subtle smile. Gold and silver Shiva heads such as this one once belonged to mukhalingas but were often separated due to the weak riveting used to fix the heads to the linga bodies.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.Published: The Zelnik Istvan Southeast Asian Gold Museum, page 174, Budapest 2013.Condition: Very good condition with minor traces of age and wear.Weight: 260.2 gDimensions: Height 17.2 cm罕見占銀濕婆頭像占婆, 十至十二世紀。這個頭像是濕婆的經典特徵。占婆絕大多數人信奉濕婆。濕婆有著長長的耳垂和精心編織的髮辮。臉部呈杏仁形，雙眼下方有一個不間斷的弓形眉毛，寬闊的鼻子，優雅的弧形鬍鬚，豐滿的嘴唇展現出微妙而平靜的表情。像這樣的金色和銀色濕婆頭像曾經屬於穆卡林迦，使用時會將其固定到林伽上。來源：原The Zelnik István Southeast Asian Gold Museum博物館收藏。比利時Institutional art collection, 購於上述收藏。 Dr. István Zelnik是匈牙利南亞和東南亞研究所所長，前匈牙利高級外交官，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：Dr. István Zelnik出版：The Zelnik Istvan Southeast Asian Gold Museum, 174頁, 布達佩斯 2013.品相：狀況極佳，有輕微的年代和磨損痕跡。重量：260.2 克尺寸：高17.2 厘米

‘LADY PLAYING THE SAUNG’ BY U LUN GYWE (BORN 1930)Oil on canvas. An early work by perhaps the greatest living Burmese painter. Finely painted with a young lady richly adorned in beaded jewelry and wearing fine colorful garments, kneeling on the ground, and playing the saung (Burmese harp) with a cheerful yet focused expression. Framed.Provenance: Collection of Ludvík Doležal, acquired in Burma during his stay there as an attache between 1970 and 1973, and thence by descent in the same family.Condition: Excellent condition with minor wear.Dimensions: Size incl. frame ca. 62 x 53 cm, Image size 46.5 x 38.5 cmLun Gywe (born 1930) is a Burmese painter who works in oil and watercolor. Outside of Myanmar his work has been exhibited, often in solo shows, in Japan, Korea, China, Australia, the USA and Singapore. He studied under Thet Win and graduated from the Art Institute of Teacher's Training in 1954. He was an instructor at the School of Fine Arts, Yangon, between 1958 and 1979, and principal of the same school from 1977 to 1979. He began painting in a realistic vein, influenced by the major painters of the Rangoon School, Ba Nyan and Thein Han, who was his painting master. Over time, his work became more expressive and today some of it might even be seen as expressionist.Auction result comparison: Compare with a later work by the same artist, depicting a dancing lady, dated 1999, at Sotheby’s Hong Kong in Modern and Contemporary Southeast Asian Art on 6 October 2019, lot 316, sold for HKD 85,000."A noted collector of the work of U LUN GYWE has advised us that the present painting could also be from the hand of U CHIT SWE, who is about 10 years younger than U LUN GYWE. It is therefore sold as the work of either one of these two artists."

A PAIR OF SPINACH-GREEN JADE CUPS, QING DYNASTYChina, 18th century. Each with deep sides rising from a thick ring foot. The translucent stone of an attractive and intense green tone with scattered black speckles. Fine manual surface polish with an unctuous, silky matt finish. (2)Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance, signed by Dr. 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: Excellent condition with minor wear, the stone with natural flaws and microscopic fissures, some of which may have developed into small hairline cracks over time.Weight: 262.1 g (total)Dimensions: Height 7 cm (each), Diameter 8.2 cm (each)Auction result comparison: Compare with a related pair of wine cups, with incised four-character Qianlong marks and of the period, at Christie’s London in Fine Chinese Ceramics and Works of Art on 8 November 2011, lot 78, sold for GBP 15,000.清代一對碧玉杯中國，十八世紀。玉杯圈足，半透明，碧色濃鬱，散佈著黑色斑點。 表面光滑溫潤。來源：原越南阮朝最後一位皇帝阮福永瑞收藏 (根據來源信件，由 Dr. 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：狀況極佳，磨損很小，石頭具有自然缺陷和微觀裂縫，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：縂262.1 克 尺寸：各高7 厘米, 直徑分別8.2 厘米 拍賣結果比較：一對相近的酒杯，乾隆四字款見倫敦佳士得Fine Chinese Ceramics and Works of Art 拍場2011年11月8日lot 78, 售價GBP 15,000。

A Chinese Sancai glazed pottery figure of a Western groom, Tang dynasty, modelled standing, his face with a concentrated expression, a splash of yellow glaze to his cap, his left arm raised as if to hold a rein, wearing an ochre and green glazed tunic tied at the waist, on a clear perspex base, 61.5cm high including base, 58.5cm excluding base, see Bonhams London, Fine Asian Art, 8th June 2004, lot 70Condition report: Restored. It would appear that the restoration is just below the figure's waist and has been done to a very high, museum quality standard. There are two thermoluminescence drill holes, one behind the right ear, the other located underneath the base of his jacket, unfortunately, no certificate accompanies this piece. It stands firmly and evenly unsupported.

IMPORTANT SHIELD (DHAL/SEPAR) WITH KNOBS AND SCROLLS. Mughal India/Persia. 18th/19th c. Iron with silver inlay (koftgari) and partly gilt applications. Inside original lining and handles from fabric preserved. The surface of this shield is completely covered with dense spiral and leaf tendrils in silver inlay. Around the four knobs, which are inlaid and surrounded by star shapes, a braided ribbon is appliqued, which also carries fine inlays in the structure of a string. Further along the edge is a separately worked flower tendril fastened with rivets. Ø 38cm. Condition A/B. Provenance: Collection Ulrich Braun (1941-97), acquired in the European art trade since approx. 1964. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Southeast Asia 18th/19th centuryAmorMetall works India

BUDDHA MARAVIJAYA. Thailand or Laos. Lan Na. Chiang Saen- or U Thong-Stil. In the style of the 16th/17th c., but later. Bronze with dark brown patina. Eyes inlaid in mother-of-pearl. Sitting and with his right calling the earth to witness, the Buddha is shown in the typical slender and stylized form of Lan Na. The kasaya garment appearing in the simplest relief lines, the hair in fine, spiral curls. H. (including the seperate flame tip) 86cm. Condition A/B. Provenance: Private collection Belgium, aquired 1993 at a French Art dealer. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Southeast Asia Buddhist art Bronze Thailand

BOX WITH THE IMMORTAL SU SHE FLYING ON A CRANE. Korea. Joseon dynasty (1392-1897). 19th c. Najeonchilgi - paper with lacquer, inlay from mother-of-pearl from abalone, partly engraved. Inside and underneath lacquerd black. The oval box in fourfold lobed form of a melon blossom with convex sides. The top of the lid and the bottom of the box are equally recessed. The sides covered by dense leaf tendrils. The top of the lid is decorated with a depiction of the immortal Su She, riding on his flying crane over fine stylized waves. These thicker inlays are structured with fine engraved lines, such as the face of the gentleman, his garment and the bird's plumage. Whether the brown color of the lacquer in the background was originally intended, or has faded from black, remains unclear. Characteristic for 19th c. works are the thick, engraved mother-of-pearl on the lid and the shape of the box. Similar shapes are found in Japanese lacquer boxes. H.4.8cm, 10.4x8.5cm. Inside the lid a label: \"8 Japan. 7. Juli. 300,-\". Condition B/C. Browned, some inlay missing, partly brittle, inside with cracks. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts Joseon-Dynasty (1392-1897) Lacquer Crafts Korea Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insurance

TEA BOWL (CHAWAN) IN KOREAN STYLE. Japan or Korea. 16th-17th c. Leather colored stoneware covered with a matte shiny, fine crazed glaze. Opaque white to transparent. Partly discolored dark gray from the kiln. Komagai nari shape with outswinging lip, on a wide foot ring. Gold lacquer repair (kin tsugi). At the bottom two old labels: \"14\" (on a chrysanthemum-shaped label), \"Corea 15.ton Jabiol\". Also residue of a red collector's seal. H.8.4cm, Ø 14.3cm. Condition B/C. Supplement: Not matching: Wooden box for a tea bowl. H.15.5cm, 17x17.5cm. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts 16th/17th century Tea ceramic Ceramic Japan Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insurance

TEABOWL (CHAWAN) WITH IRON GLAZE. Japan. 18th-19th c. Thinly turned, light colored and fine stoneware. On the outside glazed transparent, slightly yellowish with crazing. Inside, iron glaze in khaki tones, dark brown and with crystal structure. Wide shape with almost vertical walls, rounded at the bottom and with turning grooves, on a small foot with spiral. The round shape at the lip pressed in slightly asymmetrically. H.8cm, Ø 13.2cm. Condition A/B. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts 18th/19th century Tea ceramic Ceramic Japan Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insurance

TWO TENMOKU TEA BOWLS. Japan. 18th-19th c. Dark brown, highly fired stoneware, covered with dark brown Tenmoku glaze, one with oil stain effect (yui tenmoku), the other partly light grey and with mushi kui in the glaze. Both with fine blackened silver rim on the lip. One bowl with lacquer repair and collectors label: 23. H.5.5cm, Ø 13cm; H.6.7cm, Ø 11.7cm. Condition B/C. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts 19th century Tea ceramic Ceramic Japan Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insurance

THREE CADDIES FOR POWERED TEA (CHAIRE). Japan. 18th/19th c. Fine light grey stoneware. a) Bulbous nasu shape. Black brown spotted iron glaze. Original ivory lid, underneath gilding removed. H.7cm, Ø 6.5cm. Underneath and old collector's label: \"61.\" and residue of a red collectors seal. b) Gourd shape (hyotan). Glazed. Original ivory lid, underneath gilt. H.6.4cm, Ø 6cm. Enclosed an old collection note: \"Tea urn (Chaire) light gray fine clay with shiny, brown glaze and black-brown, slightly iridescent overglaze. Hon-itokiri. Pottery of Iga, 16th-17th c. Rare\". Underneath old collection label: 2/. c) Thin iron slip and kaki glaze (tetsu yu) with black running. Original ivory lid, underside gilt. In tsubo form on a small flat foot with itokiri. The bulbous body with turning grooves and slightly deformed. Shoulder almost horizontal, the retracted neck with swinging out lip. H.7.7cm, Ø 5.3cm. Inside a collector's label: 5. At the lip chipped and repaired, lid chipped, too. Condition C. Supplement: Not matching: Flat, square, brown lacquered wooden box (h.6,5cm, 13x13cm) with silk bag (shifuku). Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Please note that this object is made of materials, for whose export into countries outside the EU contract area a permission due to Cites regulations is necessary. We point out that such a permission is usually not given.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts 18th/19th century tea caddy Ceramic Japan

TWO INCENSE BOXES (KÔGÔ). Japan. 19th c. a) Satsuma box with pine trees and fog banks in front of the Fuji. Satsuma stoneware with transparent, fine crackled glaze, painted with blue, green and red-brown enamel with gold. Manufacturer's mark impressed underneath. H.2cm, Ø 7.1cm. b) Octagonal box with lying cattle and brocade patterns. Porcelain, underglazed blue painted with relief. Underneath sign. of the artist. H.5.5cm, Ø 6.2cm. Condition A/B. Supplement: Small dish. White ceramic with iron spots and brown lip. Ø 8.4cm. Condition A/B. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts 19th century Box Ceramic Japan Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insurance

AN ELEGANT MOON VASE AND THREE MORE JARS. Korea. 17th-19th c. Stoneware/porcelain, partly painted, some glazes with crazing. a) Moon vase with light blue glaze. H.18cm. b) Pharmacy bottle, painted in underglaze blue with chrysanthemums and orchids. H.14cm. c) Vase with fine crackled glaze. H.14cm. d) Tea caddy. Octagonal painted with flowering twig. Complete height 12,5 cm, tin 8,5 cm. Lid and base carved from wood. Condition B. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts 17th/18th century Vessel Ceramic Korea Estimated Shippingcost for this lot: Germany: 26,89 Euro plus 5,11 Euro VAT EU: 46,22 Euro plus 8,78 Euro VAT Worldwide: 92,44 Euro plus 17,56 Euro VAT additional shipping insurance

TWELVE TSUBA. Japan. 18th-19th c. and earlier. Two in bronze, ten from iron. Partly with inlay and relief in gold and silver. a) Marugata. Yo and Uba. Bronze with relief in very fine nanako. Ø 8cm. Wooden box. b) Mokkogata. Sakura in silver inlay. H.8.2cm. Wooden box. c) Marugata with mon in bronze sukashi. Ø 7.2cm. Sign. Wooden box. d) Kawarigata. Aoi. Sign. H.7.4cm. Wooden box. e) Marugata. Clematis in sukashi. H.8cm. f) Nagamarugata. Shishi and peonies. H. 6.9cm. Sign.: Yoshitsugu. g) Mokkugata. Fisher. H.6.6cm. h) Nagamarukakugata. Reed. H.6.3cm. i) Marugata. Arrow head. Ø 6.5cm. j) Marugata. Sakura in sukashi. Ø 7.6cm. k) Marugata. Clams. Ø 7cm. l) Tanto tsuba. Mokkogata. Bronze. H.5.9cm. Condition B. Some rusty. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan Weapons, Tsuba 18th/19th century Tsuba Crafts Japan Estimated Shippingcost for this lot: Germany: 20,17 Euro plus 3,83 Euro VAT EU: 29,41 Euro plus 5,59 Euro VAT Worldwide: 52,94 Euro plus 10,06 Euro VAT additional shipping insurance

CENSER WITH STAMPED PATTERNS. China or Japan. 18th-19th c. Ivory colored stoneware, covered with finely crazed, transparent glaze. Gold lacquer repairs. Censer: Cylindrical with offset square lip, on the wall relief lines. The three feet cut and polished. H.9.5cm, Ø 14cm. Matching carved wooden base. Vase: In the upper and lower part each with banana leafs engraved in fine lines. H.17.7cm, Ø 13.5cm. Condition B/C. Supplement: Small oval vase with wicker pattern and two small handles (one missing). Stoneware with creme colored glaze. China. H.11cm, w.11cm. Cracks. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts 18th/19th century Censer Ceramic Asia Estimated Shippingcost for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 117,65 Euro plus 22,35 Euro VAT additional shipping insurance

EIGHT PORCELAIN PIECES WITH FINE PAINTING. China. 20th c. Porcelain famille rose. One vase with genre scene from eggshell porcelain, ginger jar painted with colours in famille verte. a) Cylindrical vase with autumn flowers. H.28.5cm. Underneath a red six-part Guangxu mark but later. b) Vase with flowers of the four seasons. H.22cm. c) Brush pot with flowers. H.12.5cm. Underneath a red four-part Qianlong mark but later and a wax export seal. d)e) Two long-necked vases with flowers and peacock. H.19.5/11cm. f)g) Two baluster vases with peonies resp. a genre scene. H. each 13cm. d)-g) Underneath each a six-part Jingdezhen mark. h) Jinger jar with Guan Yu on horse. H.15.5cm. Export wax seal. Condition A/B. Provenance: Collection Heinrich Aigner (1919-2005), Southern Germany. Acquired locally in the 1960s-70s. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Chinese Porcellain, Ceramics 20th century Vase Porcelain China Estimated Shippingcost for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 117,65 Euro plus 22,35 Euro VAT additional shipping insurance

RITUAL WINE CUP (JUE) AND CENSER. China. Qing dynasty. Bronze with dark patina. Jue cup: On three outward curved legs. The body in fine relief with birds, dragons and zoomorphic forms in lancet leaves. Side handles originating from animal mouths, two small mushroom-shaped handles on top. At the longer spout between the lancet leaves two inscriptions, but rubbed. Censer: Bulbous shape with slightly protruding lip, on flat bottom. On the body a wide band, on the underside offset with an fine edge. In bas-relief archaising patterns with stylized birds. H.15.2cm/9.8cm, Ø 18cm. Condition A/B. Provenance: -Private collection Northern Germany. The family lived in China from 1925-35. Estimated Shippingcost for this lot: Germany: 26,89 Euro plus 5,11 Euro VAT EU: 46,22 Euro plus 8,78 Euro VAT Worldwide: 92,44 Euro plus 17,56 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Chinese Applied Arts Qing dynasty (1644-1911) Vessel Bronze China Estimated Shippingcost for this lot: Germany: 26,89 Euro plus 5,11 Euro VAT EU: 46,22 Euro plus 8,78 Euro VAT Worldwide: 92,44 Euro plus 17,56 Euro VAT additional shipping insurance

BULBOUS BOWL AND VASE. China. Ca. 1900. Copper with blue cloisonné with very fine bridges, partly gilt. Bowl h.10cm, Ø ca. 14.5cm. Vase h.21.5cm, w. ca. 12cm. At the foot of the bowl engraved mark: Lao Tian Li zhi. Vase underneath engraved mark in a squre. Condition A/B. Provenance: Private collection Southern Germany. Acquired locally by the previous owner ca. 1920. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Chinese Applied Arts 1900s Cloisonné Crafts China Estimated Shippingcost for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 117,65 Euro plus 22,35 Euro VAT additional shipping insurance  

RARE CROUCHING BIXIE. China. Detailed carved from light jade with dark brown skin. The mythological animal with the body of a lion, is equipped with wings in fine bas-relief and one horn rolled up at the upper head. In the manner of cats it seems to creep up. The open mouth shows the fangs and the tongue. Above the big eyes powerful brows are curled. From the chin a pointed beard stretches to the left raised paw. The surface of the jade is covered with a brownish, finely granulated skin. L.13.3cm, h.8.5cm. Condition A/B.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Chinese Applied Arts Jade Crafts China Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insurance

EMBROIDERED FAN WITH FINE IVORY CARVING. China. Qing dynasty. Ca. 1900. Bone: Outside carved in deep relief, the fan sticks in paper-thin openwork. Fan from embroidered satin silk. Box in Kanton lacquer, inside painted silk. L.29.5cm, w.55.5cm. Condition A/B. Silk with some foxing, tassels tangled. Supplement: Joss stick holder with lotus and crabs. Openwork carved bamboo. China. 19th c. H.21,5cm. Condition B. Provenance: Private collection Southern Germany. Estimated Shippingcost for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 117,65 Euro plus 22,35 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Chinese Applied Arts 1900s Fan Crafts China Estimated Shippingcost for this lot: Germany: 26,89 Euro plus 5,11 Euro VAT EU: 46,22 Euro plus 8,78 Euro VAT Worldwide: 92,44 Euro plus 17,56 Euro VAT additional shipping insurance

HAKUHO, HIRANO 1879 - 1957 Woodblock print: At hair dressing. Japan. Shôwa period. 4th month 1932. Nishiki-e, gomazuri, kimedashi. Ôban, tate-e. A young woman after bathing dressing her hair with a hairpin. The contours of the body are embossed and a fine pink graduation gives the body volume. Seal: Haku. Publisher: Watanabe Shôzaburô. Condition A/B. Very good print, pin holes in the left margin, thin spot in the paper on the thigh. Provenance: Private collection Southern Germany. Charity Auction for the benefit of Mukoviszidose e.V. Estimated Shippingcost for this lot: Germany: 21,85 Euro plus 4,15 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 58,82 Euro plus 11,18 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Hirano Hakuho Japan Shin-hanga 19th/20th C. Asian Art - Japan / Korean Paintings, Woodblock Prints Shôwa period (1926-1989) Shin-hanga Print Japan Estimated Shippingcost for this lot: Germany: 21,85 Euro plus 4,15 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 58,82 Euro plus 11,18 Euro VAT additional shipping insurance

NETSUKE OF ASHINAGA AND TENAGA. Japan. 18th c. Ivory, on the back with amber yellow patina. Eyes of the octopus inlaid with dark horn. Ashinaga carries Tenaga on his back and the latter holds an octopus with his long arms, which has its tentacles wrapped around Ashinaga's right leg. Both are dressed in loincloths, their hair and beard engraved with fine lines rubbed out in black. While Tenaga has straight hair, that of Ashinaga is curled. H.9cm. Condition A/B. Provenance: -German private collection. -Acquired at Sotheby's \"Japanese Works of Art\" 20th June 2002, lot 466. Literature: -J. Earle: Netsuke: Fantasy and Reality in Japanese Miniature Sculpture. 2002. Comp. P.59, No. 24. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 18th century Netsuke Crafts Japan

IMPORTANT NETSUKE OF CHÔKARÔ SENNIN WITH GOURD. Japan. Late 18th/early 19th c. Ivory with shiny, amber yellow patina. The figure might be stained a bit. Standing, dressed in a wide robe with leaf collar and apron. Knotted to his belt he has a gourd, to which he points with his left hand. He has raised his right hand and holds a short staff behind his neck. This staff once belonged to a fly whisk, from which probably a part of the hair has broken off. Here was later very skilfully carved over with a leaf, no patina is found here either. H.9.7cm. Sign.: Signed on the back: Nobukatsu. Condition B. Provenance: -German private collection. -Acquired at Klefisch auction 28, lot 728. -Sotheby's \"Fine Netsuke Including Property from the Collection of Alan R. Liss\" (publisher of the MCI), 2.9.1993, lot 113. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 18th/19th century Netsuke Crafts Japan

NETSUKE: TANUKI AS PRIEST WITH BIRD SCARER. Japan. 19th c. Ivory, carved with fine engraving. Denoted: Tomomasa. H.3.8cm. Condition A/B. Provenance: Formerly collection Johan Somerwil. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan

KAGAMIBUTA WITH SITTING COURTIER. Japan. 19th c. Bowl from ivory (fine crack), plate from shibuichi in Relief with gold. Denoted: Komio. Ø 4.4cm. Condition B. Provenance: Formerly collection Johan Somerwil. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan

Western Qin Dynasty, 385-431 AD. A gilt-bronze statuette, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered podium, aureole to the rear; inscribed legend to the reverse of the aureole, the inscription mentions the 'Tripitaka Master', the 'Buddha Disciple' and to 'arouse the vow' and asks 'to improve human welfare, and to save all beings from the sea of suffering and erase calamity'; donors to the legs of the podium. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB008, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages. 355 grams, 14.1cm (5 1/2"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 385-431 AD, Western Qin era; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10447-169027. Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. [A video of this lot is available to view on TimeLine Auctions website.] Fine condition.

Northern Wei, early 5th century AD. A gilt-bronze buddha figure kneeling on a throne, flanked by lions, flames radiating from the upper arms, pleated robe, hands clasped in the samadhi mudra; the figure's composition originates in the Gandharan style and displays Central Asian features. 406 grams, 13cm (5"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London exhibition catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163205-10082. Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece. [A video of this lot is available to view on TimeLine Auctions website.] Fine condition.

Tang to Liao Dynasty, 907-1125 AD. A substantial hollow bronze 'pagoda' stupa with three-tiered square and stepped base showing bodhi leaves, flaming jewels and foliage tendrils respectively, surmounted by a pierced frieze, each side depicting a seated Buddha flanked by standing figures and clouds; with triple pitched and hipped roof elements rising above pierced wall panels; in turn all surmounted by a column with five graduated discs affixed and terminating in a four-lobed flammiform element. See National Museum, China, for a similar example; accompanied by a two-page document describing and illustrating the piece.4.9 kg, 59cm (23 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by Nik Douglas's collection cataloguing pages; and a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages including an image of this lot featured in one of the display cases; this lot has also been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10493-170984. Fine condition.

2nd-3rd century AD. Of imposing size and presence while retaining Buddha's serenity, this carved larger than life-size schist head shows Gandharan sculpture's Graeco-Roman legacy; the naturalistic carving of the facial features from ridged eyebrows to rounded chin; the locks of hair flow in sinuous symmetrical waves from the widow's peak to the dome of his ushnisha; the ears are shown long with looped earrings drawing the lobes down towards the neck; the urna sits in low relief above the nasal ridge; mounted on a custom-made stand. Cf. Jongeward, D., Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 70. Exhibited at ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; accompanied by a copy of the main Tibet House exhibition press release which shows an image of several of the most important items in the exhibition, including this piece which is first on the left. 32.3 kg, 60cm including stand (23 1/2"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost and Buddhist Art News. Accompanied by geologic report No. TL005265 by geologic consultant Dr R. L. Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10458-170299. Dr Bonewitz notes: 'No definite source localities have been identified for the stones used by the Gandharan sculptors, but the predominant rock was an alumina-rich chloritoid-paragonite-muscovite-quartz schist, probably from Swat.' [A video of this lot is available to view on TimeLine Auctions website.] Very fine condition, chipped.

10th century AD. A superb Anglo-Scandinavian double-edged cutting sword of Petersen Type L or O variant, straight tapering blade with rounded point and battle nicks to the cutting edges, tapering fullers and strong tang; boat-shaped cross guard decorated with crosses and vertical segments within a double border, the upper guard decorated in a similar way; massive five-lobed pommel carved from nephrite with thick vertical lines. See Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Peirce, I., Swords of the Viking Age, Suffolk, 2002; ?abi?ski, G., Viking Age Swords from Scotland, in Acta Militaria Mediaevalia III, Kraków, Sanok, 2007, pp.29-84. The sword finds parallels in various similar Viking age specimens of L variant; two very similar swords, both in the British Museum, have been published by Peirce (2002, pp.77-81"). The combination of the curved guard with the five lobes suggests an evolution of the pattern of variant O, like the swords of Oslo University (from Vestre Berg, Løiten parish, Akershus, Norway, Peirce, 2002, pp.87ff.) and Gunnarsby (Rygge, Smaal), (Petersen, 1919, fig.105).689 grams, 90.5cm (35 1/2"). Property of a London businessman; formerly with A. Artsi; accompanied by an archaeological report by military specialist Dr Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10300-168752. This sword type, considered Anglo-Scandinavian in origin, is usually dated to c. 850-975. Swords of this type, with particular emphasis on those found in England, often display various kinds of ornament on the central lobes of their pommels, including patterns enclosed in borders of various shapes. The employment of a nephrite pommel is remarkable in our sword, which attests the extensive travels of the Vikings and their continuous trade and contacts with central Asian caravan routes. Fine condition. Extremely rare.

2nd century BC. A silver bell-shaped cup or bowl, raised from a single sheet of silver, parcel-gilt, with hatched gilt bands to the inner face, pointillé maker or owner stamp to the outer rim; the interior of the cup decorated with a gilded circular band under the rim, and a central gilded garland in which a series of leaves is alternating geometrical patterns ornamented with dots and lines. See Pfrommer, M., Metalwork from the Hellenized East: Catalogue of the Collections of the J. Paul Getty Museum, Malibu, 1993, pp.21ff and 140ff, for general discussion and parallels.305 grams, 15cm diameter (6"). Property of an American collector; previously from the private German collection of Mr F., formed 1950-1960; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate. During the Hellenistic period, wealthy Greeks, rich Hellenised Asian people and even Central Asian royalty used silver as a sign of wealth more commonly than before. The profits from the mines of Laurium Hills in Attica, discovered in 5th century BC, enriched several Athenian families and created a greater pool of silver with which artisans could produce fine goods like this cup. In Hellenistic times we often find a small ornamental medallion in the centre, framed by tendril friezes or other decorative zones at varying intervals, like in our cup, and, especially if the cup was purchased by a Barbarian leader, the punched mark of the Greek workshop which produced the vessel, with the possible indication of the weight, or the owner's name. The decoration of our cup finds a parallel among Near Eastern silver and suggests the work of an eastern Hellenised workshop. Archaeological findings suggest ritual functions for these cups too. Silver cups have been abundantly found at sanctuaries of Diana and Hercules - two figures in classical religion associated with birth, nursing, and rearing children. [No Reserve] [A video of this lot is available to view on TimeLine Auctions website.] Fine condition, repaired, hole to base.

Qian Songyan (1898-1985) - A moment of peaceful life - Chinese ink and watercolor on paper scroll created by the side of Lu Gou bridge；Measures approx; 131.5 x 43cm Qian Songyan was a Chinese Asian Modern & Contemporary artist who was born in 1898. Their work was featured in exhibitions at the Shanghai Himalayas Museum and the National Art Museum of China. In MutualArt’s artist press archive, Qian Songyan is featured in Sotheby's Hong Kong to Hold Fine Chinese Paintings Autumn Sale 2009, a piece from the ArtDaily in 2009. The artist died in 1985.

A MASSIVE THAI BRONZE STATUE OF BUDDHA IN PARINIRVANA, AYUTTHAYA STYLE Thailand, Ayutthaya Kingdom style, 19th century. Cast reclining with the head held resting in one hand, the other arm extended along his body, wearing a long flowing monastic robe draped over the left shoulder, the face showing an enlightened expression with almond-shaped eyes over gently arched eyebrows and slender lips, flanked by long earlobes, the hair in tight curls surmounted by an ushnisha. Condition: Very good condition with minor traces of age and wear, traces of gilt, tiny nicks here and there. Fine copper-red patina in some areas. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 18.2 kg Dimensions: Length 107.5 cm Auction result comparison: A related figure, though smaller (84 cm long) and dated to the 17th/18th century, was sold by Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 13 September 2016, lot 254, for USD $21,500.

A MASSIVE AND HEAVY INDIAN BLACK STONE HEAD OF VISHNU India, Rajasthan, 16th-17th century. The face shows a serene expression with gently arched eyebrows, almond-shaped eyes, a broad nose, and full lips forming a subtle smile, flanked by long ears with large circular earrings, the fine locks of hair in tight curls along the hairline, surmounted by an elaborate headdress finely incised with floral and geometric designs. Mounted to an associated modern wood base. Condition: Good condition commensurate with age, some cracks and losses, extensive wear. Provenance: Belgian private collection. Weight: 36.1 kg (incl. base) Dimensions: Height 71.5 cm (incl. base), 52 cm (excl. base) Auction result comparison: A similar head, from the 12th century and of considerably smaller size, was sold by Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 15 March 2016, lot 315, for USD $25,000.

A PERSIAN BRONZE RING WITH RUBY INTAGLIO OF A HORSE, EX-COLLECTION MOHAMMAD REZA PAHLAVI Persia, Hellenistic period, 2nd-1st century BC. The bronze ring set with a fine oval ruby worked in intaglio depicting a galloping horse, the bronze setting of a later date. Condition: Very good condition with expected minor traces of age and wear. Fine malachite-green patina. Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above. Weight: 3.5 g Dimensions: Size 2.6 x 2.1 cm, Inner Diameter 1.8 cm

A PERSIAN BRONZE RING WITH RUBY INTAGLIO OF A LION, EX-COLLECTION MOHAMMAD REZA PAHLAVI Persia, Hellenistic period, 2nd-1st century BC. The bronze ring set with a fine rectangular ruby worked in intaglio depicting a pouncing lion, the bronze setting of a later date. Condition: Very good condition with expected minor traces of age and wear. Fine malachite-green patina. Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above. Weight: 4.2 g Dimensions: Size 2.8 x 2.4 cm, Inner Diameter 2.1 cm

A PERSIAN BRONZE RING WITH RUBY INTAGLIO OF A SCORPION, EX-COLLECTION MOHAMMAD REZA PAHLAVI Persia, Hellenistic period, 2nd-1st century BC. The bronze ring set with a fine oval ruby worked in intaglio depicting a scorpion, the bronze setting of a later date. Condition: Very good condition with expected minor traces of age and wear. Fine malachite-green patina. Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above. Weight: 4.4 g Dimensions: Size 2.5 x 2.1 cm, Inner Diameter 1.2 cm

A PERSIAN BRONZE RING WITH RUBY INTAGLIO OF A MYTHICAL HORSE, EX-COLLECTION MOHAMMAD REZA PAHLAVI Persia, Hellenistic period, 2nd-1st century BC. The bronze ring set with a fine oval ruby worked in intaglio depicting a winged horse, the bronze setting of a later date. Condition: Very good condition with expected minor traces of age and wear. Fine malachite-green patina. Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above. Weight: 3.5 g Dimensions: Size 2.5 x 2.1 cm, Inner Diameter 1.6 cm

A BRONZE 'LION AND GRAPEVINE' CIRCULAR MIRROR, TANG DYNASTY China, 618-907. The mirror is cast in the center with a crouching beast-form loop surrounded by six smaller ‘lions’ amid fruiting grapevines, and in the outer field with birds in flight amidst further grapevine below a narrow border of florets. Condition: Good condition with minor wear, some small losses, a minor crack to the rim, and a fine dark patina with areas of copper red and malachite green. Provenance: Douglas J. K. Wright Ltd., London (label to back). Since 1945, Douglas J.K. Wright has been a renowned and well-respected auction specialist and London dealer in Chinese and Japanese works of art. He ran the Japanese department of Spink & Son before opening his own art gallery, Douglas J.K. Wright Oriental Art. Anthony du Boulay (label to back), acquired from the above. Anthony du Boulay served at Christie’s from 1949 to 1980, for many years as the Director of the Ceramics Department and for 13 years as the President of Christie’s, Geneva. From 1981, he served as Honorary Adviser on Ceramics to the National Trust, United Kingdom, on council of the Oriental Ceramic Society and as the Chairman of the French Porcelain Society. Weight: 1,124 g Dimensions: Diameter 13.4 cm Literature comparison: Compare with a similar mirror in the Avery Brundage Collection at the Asian Art Museum San Francisco (no. B60B600); see Also Hoyt, C., The Charles B. Hoyt Collection Memorial Exhibition, 1952, nos. 493 & 494. Auction result comparison: Compare with a closely related mirror sold by Christie’s New York in Fine Chinese Ceramics and Works of Art on 19-20 September 2013, lot 1481, for USD $12,500. 狻猊葡萄紋銅鏡，唐代 中國，618-907。海兽葡萄镜为伏兽钮，可見瑞兽。镜背有雀鸟相间环绕，葡萄及叶蔓铺地的图案。而纹饰中的瑞兽为西域引进的狮子。 品相：品相良好，輕微磨損，一些小缺失，邊緣處有一道輕微開裂，細膩深色包漿，成銅紅以及孔雀石綠。 來源：倫敦Douglas J. K. Wright Ltd. (背面標簽)。自1945年Douglas J.K. Wright已成爲倫敦中國日本工藝品方面最右面的拍賣專家。 在他建立自己的藝廊之前，他領導著Spink & Son 拍賣行日本藝術部。Anthony du Boulay (背面標簽)，購於上述藝廊。Anthony du Boulay 于1949-1980年間為佳士得工作，曾多年為陶瓷部主任，后又曾任13年日内瓦佳士得主席。1981年起他曾任英國陶瓷信托名譽顧問、東方陶瓷協會理事以及法國陶瓷協會主席。 重量：1,124 克 尺寸：直徑 13.4 厘米 拍賣結果比較：一件相似銅鏡2013年9月19至20日于紐約佳士得《中國陶瓷與工藝品》拍號1481，成交價USD $12,500。

A JADE ‘CAT’ PENDANT, MING China, 1368-1644. The cat depicted recumbent with its head raised and tilted to the side, the stone of deep celadon color mottled with grey, russet and brown streaks. Condition: Fine condition with old wear, traces of use and natural flaws to stone. Provenance: From a private collection. Collector inventory number “LSA 42” painted in black ink to bottom. Weight: 48 g. Dimensions: Length 6 cm. Auction result comparison: Compare with a related Ming dynasty jade cat at Sotheby’s London on November 9th, 2018, in Asian Art, lot 312.  

A ROSEWOOD BRUSH POT, BITONG China, late Qing to Republic period (1900-1950). Of cylindrical form with very thick walls carved with a geometrical pattern. The central cavity to the top is 7.5 cm deep. Condition: Fine condition with some wear and tiny age cracks. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 1776 g Dimensions: Height 19 cm

A ROSEWOOD BRUSH POT, BITONG China, late Qing to Republic period (1900-1950). Of cylindrical form with plain sides. The wood is of a golden-brown tone with natural grain and some scattered ghost face striations. The central cavity to the top is 7.5 cm deep. Condition: Fine condition with some wear and tiny age cracks. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 1388 g Dimensions: Height 20.2 cm

A ROSEWOOD BRUSH POT, BITONG China, late Qing to Republic period (1900-1950). Of cylindrical form with plain sides. The wood is of a golden-brown tone with natural grain and some scattered ghost face striations. The central cavity to the top is 10.7 cm deep. Condition: Fine condition with some wear and traces of use. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 1208 g Dimensions: Height 20 cm

A ROSEWOOD BRUSH POT, BITONG China, late Qing to Republic period (1900-1950). Of cylindrical form with plain sides. The wood is of a golden-brown tone with natural grain and some scattered ghost face striations. The central cavity to the top is 8.5 cm deep. Condition: Fine condition with some wear and traces of use. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 768 g Dimensions: Height 19 cm

A ROSEWOOD BRUSH POT, BITONG China, late Qing to Republic period (1900-1950). Of cylindrical form with plain sides. The wood is of a red-brown tone with natural grain and some scattered ghost face striations. The central cavity to the top is 8.5 cm deep. Condition: Fine condition with some wear and traces of use, mostly to top rim. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 586 g Dimensions: Height 13.7 cm

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

A RARE THANGKA WITH A MANDALA OF BUDDHA, TIBET 18TH CENTURY Very fine painting with distemper and gold on linen. Buddha is at the center, flanked by his disciples Sariputra and Maugdalyayana. Surrounding the trio, each set within a lotus petal, are 16 Indian Arhats. The four cardinal points are each guarded by a lokapala. Outside of the circle we eventually find the two Chinese arhats, Dharmatala and Hvashang. Fine old wood frame with the mandala nicely set between two layers of glass. Condition: Creases, pigment losses, stains. Overall good and absolutely original condition. Provenance: The Schulmann Collection, Paris, France. Acquired ca. 1960-1970. Josette and Théo Schulmann were passionate dealers of Asian Art and have donated several important works to the Cernuschi Museum. Old paper label from Claude de Muzac, Paris, on the backside. Dimensions: 35 x 35 cm (the painting) and 51 x 51 cm (the frame) 曼陀羅唐卡，西藏，十八世紀 非常細膩的繪畫，亞麻布面帶有彩繪和金彩。佛陀在中央，目犍连与舍利弗随侍在兩側。四周 三重環繞，第一重十六個印度羅漢分別坐在一個蓮花花瓣中。第二重四個正角分別由護世四天王保護。 在圈子外，有兩個中國羅漢，達摩多羅和摩诃衍尊者。 品相：摺痕、色彩損失、污漬。 總體來說很好而且絕對原始狀況 來源：法國巴黎Schulmann收藏。購於1960-1970年間。Josette與 Théo Schulmann曾是熱衷於亞洲藝術的商人，曾捐助過很多重要藝術品給Cernuschi 美術館。背面有巴Claude de Muzac的舊紙標簽。 尺寸：畫35 x 35 厘米，裝幀51 x 51 厘米

DOSAI: AN AMUSING IVORY NETSUKE OF A BOY WITH A BROKEN BASKET OF PERSIMMONS Japan, Meiji period (1868-1912) The boy finely carved, with a surprised expression as he is holding up the broken off rim of a basket, the rest of the basket having fallen and spilling persimmons all over the ground. Note the attention to detail in the carving. Signed DOSAI to the underside. HEIGHT 12 cm Condition: Good condition with only a couple of chips and few minor traces of wear. Provenance: British collection. Auction comparison: Compare with a closely related okimono by the same carver, sold by Bonhams, Fine Asian Works of Art, 21 November 2005, San Francisco, lot 9024 (sold for 3,525 USD).