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Champa, 10th-12th century. The ring set with an oval agate at the top, surrounded by scroll designs executed in repoussé, the shoulder also with fine repoussé showing on both sides a rare depiction of a dancing Kala (kirthimukha), the demon of passing time.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected traces of age and wear as well as soil encrustations, the central stone with some natural inclusions.Weight: 10.7 gDimensions: Size 3.1 x 3.0 cm, Inner Diameter 2.3 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Gandhara, c. 2nd century. The diadem of triangular form, with fine repoussé depicting Buddha in the center, wearing a long-flowing robe with accentuated folds, the face with a calm yet strong expression, the hair surmounted by an ushnisha, a halo behind him, seated in dhyanasana on a rectangular throne with demons falling to hell below and showing the bhumisparsa mudra, flanked by the Hindu gods Brahma and Indra, surrounded by followers and soldiers, all witnessing his enlightenment and subsequent victory over the demonic celestial king Mara. 20 small separately crafted gold repoussé representations of Buddha meditating, seated in dhyanasana and showing the dhyana mudra, hang from the diadem, attached with gold wire.Likely this diadem was gifted to a Cham king by an Indian trader, Brahmin scholar, or possibly even a king, as part of the Indianization of Southeast Asia.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected traces of age and wear, bending, and soil encrustations.Weight: 57.5 gDimensions: Size 12.6 x 30 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, pages 84 and 86/87, Budapest 2013. Gold Treasures of the Cham Kingdoms from theCollection of Dr. Zelnik Volume 2, no. 94 (page 130), Budapest 2008. Art of Champa, Arts of Southeast Asia, page 72, Issue 4, 2020. 

Indonesia, Tanimbar, 19th century or earlier. The richly decorated dish executed in fine repoussé, showing four peacocks arranged in a stylized swastika in the center of the well surrounded by two scroll borders, with various geometric and foliate borders around the interior sides and another scroll border around the rim.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of wear, some small tears with associated losses to the rim.Weight: 73.2 gDimensions: Diameter 23.2 cmLiterature comparison: Similiar dishes are published in The Zelnik Istvan Southeast Asian Gold Museum, page 220, Budapest 2013. 

Champa, 8th-10th century. The box of globular form with a recessed circular foot, the small circular cover with a cylindrical handle and decorated in fine repoussé with a flower.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, a small loss to the cover.Weight: 47.3 gDimensions: Height 9.8 cm 

Champa, Tra Kieu style, 10th-12th century. The richly decorated gold pectoral with fine repoussé depicting Ganesha dancing, surrounded by floral and scrolling cloud designs, and set with many different gemstones (amethyst and zircon), including three above the deity’s head and three below him. Two gold hooks are attached to the pectoral, allowing it to be worn as a necklace.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 26.2 gDimensions: Size 8.6 x 10.9 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr.Zelnik Volume 2, no. 72 (page 72), Budapest 2008 (described as 10th-14th century). Art of Champa, Arts of Southeast Asia, page 105, Issue 4, 2020.Assay data: Gold 67-68 %, Silver 30-31 %, Copper 1 %, traces of iron and zinc. 

Champa, 10th-13th century. The richly decorated ring set with an oval amethyst at the top surrounded by four smaller garnets, further with fine repoussé showing twice the head of a Cham king on the shoulder as well as scroll designs around the setting and shoulder.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition, some scratches to the shoulder on one side, expected traces of age and wear as well as soil encrustations.Weight: 12.7 gDimensions: Size 3.3 x 2.7 cm, Inner Diameter 2.2 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 1, no. 34 (page 51), Budapest 2007.Alloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting three Buddhas, one in the center seated in dhyanasana and showing the bhumisparsa mudra, flanked by two Buddhas each standing in samapada on a lotus dais and showing the abhaya mudra, all with calm expressions, long earlobes, and subtle smiles, the figures within a shrine surmounted by five stupas.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 5.9 gDimensions: Size 8.3 x 7 cm 

Champa, 10th-12th century. The lingam of cylindrical shape, with fine repoussé showing phallic markings and depicting Shiva’s locks of hair.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of age and wear, some minor bending, and soil encrustations.Weight: 126.6 gDimensions: Height 11 cm, Diameter 10.7 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 168, Budapest 2013. This piece will also be featured in the upcoming book Gold and Silver Masterpieces from the Collection of Dr. Zelnik, to be published in 2021.Alloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %.Literature comparison: A similar gold lingam is published in Art of Champa, Arts of Southeast Asia, page 73, Issue 4, 2020. 

Champa, 12th-14th century. The pectoral of rectangular form with an arched top, executed in fine repoussé with the four-armed Uma performing a dance, her husband Shiva’s trusted mount Nandi to her feet, the deity holding a dharmachakra, lotus bud, and vajra in her hands, wearing only a loincloth and crown, one hand covering one of her breasts, and richly adorned in jewelry. Two rock crystal cabochons are set to either side of Uma’s crown, and two amethyst cabochons set beside either leg.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 19.8 gDimensions: Size 10.5 x 7.2 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 48, Budapest 2013, and Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 1, no. 4 (pages 44 and 87), Budapest 2007. Assay data: Gold 61-62 %, Silver 35 %, Copper 1-2 % (traces of iron and zinc). 

Pyu city-states, 2nd-10th century. The translucent stone of good clarity with some natural inclusions, finely carved as a tiger with a cub in its mouth, a very rare depiction. Large piercing through the mouth and tail allowing for suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a rock crystal and the talisman is original, ancient, cut by hand with carving, chiseling, boring, and grinding. The color is original and natural. The stone has been cleaned by hand while preserving the fine ancient patina. There are clear marks of authentic ancient craftsmanship and use of primitive tools. The holes are ancient, handmade, irregular, funnel-shaped, the use of an iron needle is apparent due to the transparency of the stone, the holes having been made from both sides, the difficulty of execution can be seen. There is no evidence of a later external intervention or the use of modern instruments on this piece. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 48.3 gDimensions: Length 7.8 cmLiterature comparison: Similar tiger talismans are published in Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), pages 94/95 and 142/143, Budapest 2016. 

Vietnam, 18th-19th century. The small gold spoon with an elegantly curved handle and an oval bowl, a fine example of gold craftsmanship.Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (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.Condition: Very condition with minor traces of age and wear. Fine copper-red patina.Weight: 8.8 gDimensions: Length 8.9 cm 

Persia, Hellenistic period, 4th-1st century BC. The scarab talisman finely carved and incised, with a seal to the underside, and pierced to allow for suspension as an amulet. Scarabs were popular amulets and impression seals in ancient Egypt, a symbol for rebirth and regeneration which from the Middle Bronze Age (2100–1550 BC) spread across the Mediterranean and Middle East. This piece was found near Persepolis, the ancient capital of Persia. This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a lapis lazuli of excellent quality from Afghanistan and the scarab is original, ancient, cut by hand with carving, chiseling, boring, and grinding. The color of the stone is original with no traces of dye in the recesses. The stone has been cleaned in a tumbler and re-polished by hand, preserving the fine ancient patina. The holes are ancient, irregular, and funnel-shaped. There are no traces of use of modern tools. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.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.Condition: Very good condition with expected minor traces of age and wear.Weight: 3.0 gDimensions: Size 0.8 x 1.7 cm 

Champa, 18th-19th century. Two boxes of compressed globular shape, finely executed in repoussé with floral and geometric designs and an impressed flower mark to the circular base; one box of octagonal shape and with fine repoussé showing a flower at the top of the cover as well as an impressed floral mark to the base; and one box of tapering cylindrical form with a stepped finial and a recessed circular base.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. One box with old collector’s number to the base.Condition: Good condition with minor traces of age and wear, one box with little verdigris here and there.Weight: 199.3 g (total)Dimensions: Height 4 cm (the shortest), 8.2 cm (the tallest)Published: The Zelnik Istvan Southeast Asian Gold Museum, page 197, Budapest 2013 (the octagonal box, erroneously described as from Cambodia, Angkor period).Literature comparison: A similar octagonal medicine box is in the National Museum of Cambodia, inventory number Ga.5733. 

Southeast Asia, 1st millennium AD. The coins were excavated in Myanmar, in what was formerly the territory of Champa, each of circular shape and with fine repoussé showing either a crab or a scroll design.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 11.4 gDimensions: Diameter ca. 0.8 cm (each) 

Champa, 15th-18th century. The betel holder of cylindrical shape, the cover tapering upwards to a stepped conical finial decorated with floral designs at the top, the recessed circular base with a skillfully executed floral mark in fine repoussé.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, few miniscule losses, some pink and white betel residue to the interior.Weight: 77.2 gDimensions: Height 12.5 cmLiterature comparison: Similar pieces in gold are published in The Zelnik Istvan Southeast Asian Gold Museum, page 195, Budapest 2013. Related betel nut containers can be found in the National Museum of Cambodia, for example inventory number NMC.468. 

Indonesia, central Java, 9th-10th century. The four-armed God of Wealth seated in lalitasana on a double lotus throne rising from the unsealed stepped square base, holding a mongoose expelling wish fulfilling jewels in his main left hand and a round vessel in his main right, a dharmachakra and a lotus flower held in his other two hands. His right foot is resting on a bowl from which jewels are falling out and this motif is repeated several times around the base. The deity richly adorned in jewelry and wearing a five-leaf crown, his face with a calm expression showing a benevolent smile, with a broad nose, arched eyebrows, and an urna, a flaming halo above two mythical beasts standing on elephants behind him.Jambhala originated in ancient India as the Hindu Lord of Wealth Kubera. At the beginning of the 8th century, the Medang Kingdom in central Java practiced a religion centered on the Hindu god Shiva, but soon afterwards the Sailendra dynasty rose in Kedu Plain and became a patron of Mahayana Buddhism, with Hinduism and Buddhism coexisting in central Java throughout the 9th and 10th century. This depiction of Jambhala, or Kubera, adheres more to the Buddhist iconography, with glimpses of the Hindu tradition.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of wear, fine copper-red patina, the back plate with halo has come apart.Weight: 305.3 gDimensions: Height 12 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 105, Budapest 2013. 

Khmer Empire, Angkor period, 13th-15th century. The plaques with fine repoussé, one depicting Buddha standing on a rectangular base with the right hand raised in abhaya mudra, wearing a long flowing robe, the hair in curls surmounted by an ushnisha, the other two depicting Buddha seated cross-legged with the hands forming the dhyana mudra, the gesture of meditation, showing benevolent expressions with arched brows, almond eyes, and subtle smiles, the hairs in tight curls, the smaller one with an ushnisha.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor losses, traces of age and wear, and soil encrustations.Weight: 20.8 g (total)Dimensions: Size 10.8 x 5.1 cm, 8.5 x 5.2 cm, and 7.9 x 4.2 cmPublished: The Zelnik István Southeast Asian Gold Museum, page 90, Budapest 2016. Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 2, nos. 97 and 101 (pages 130/131) Budapest 2008 (the seated Buddha plaques).Assay data: Gold 1 %, Silver 94-95 %, Copper 3-4 % (the smaller seated Buddha). Gold 2 %, Silver 95 %, Copper 2 %, traces of iron (the larger seated Buddha).Literature comparison: A similar piece to the standing Buddha plaque is in the National Museum of Cambodia, inventory number Ga.2833.1-30 and Ga.7052.1-24. 

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting three Buddhas, one in the center seated in dhyanasana on a lotus throne, showing the bhumisparsa mudra, and wearing a samghati draped over the left shoulder, flanked by two smaller Buddhas, each kneeling on a lotus pedestal with their hands clasped together, all with calm expressions and subtle smiles, the central figure with an ushnisha, all within a shrine surmounted by seven stupas.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 7.0 gDimensions: Size 7.9 x 6.7 cm 

Champa, 10th-12th century. The hairpin with a finial in fine repoussé showing a dancing apsara on both sides, each with a decorative gemstone at the top.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear as well as few soil encrustations.Weight: 23.8 gDimensions: Length 17.3 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Southeast Asia, 1st millennium AD. The coins were excavated in Myanmar, in what was formerly the territory of Champa, each of circular shape and with fine repoussé showing Vedic symbols, Sanskrit characters, bulls, conches, and two with the rising sun motif commonly found in Pyu coins.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, little verdigris to some coins. Weight: 141.1 gDimensions: Diameter 3.8 cm (the largest) and 2.1 cm (the smallest) 

Pyu city-states, 2nd-10th century. The semi-translucent stone of a mottled spinach-green tone with natural light and dark inclusions, skillfully carved and neatly incised to depict a tiger looking forwards with a short tail and almost straight back. Pierced through the tiger’s mouth and tail to allow suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is an aventurine and the talisman is original, ancient, cut by hand with carving, boring and grinding. The color is original and natural. There are no traces of dye in the recesses or on the surface of the stone. There are clearly visible traces of ancient primitive tools on the surface. The stone has been cleaned by hand and re-polished; the fine ancient patina has been preserved. The holes are ancient, irregular, and funnel-shaped. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 74.8 gDimensions: Length 9 cmLiterature comparison: Similar tiger talismans are published throughout Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), Budapest 2016. 

Pyu city-states, 2nd-10th century. The translucent stone of an iron red color with natural yellow to orange inclusions, skillfully carved and neatly incised to depict a tiger with the back arched and the front paws extended forwards as if preparing to pounce at its prey. Pierced through the tiger’s neck and tail to allow suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is an aventurine with a rare iron-red color and the talisman is original, ancient, cut by hand with carving, boring and grinding. The color is original and natural with rare yellow inclusions. There are no traces of dye in the recesses of the stone. There are clearly visible traces of primitive tool marks on the surface. The stone has been cleaned by hand; the fine ancient patina has been preserved. The holes are ancient, irregular, and funnel-shaped, with traces of wear. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 32.0 gDimensions: Length 7.4 cmLiterature comparison: Similar tiger talismans are published throughout Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), Budapest 2016. 

Southeast Asia, 1st millennium AD. The coins were excavated in Myanmar, in what was formerly the territory of Champa, each of circular shape, of varying size and thickness, and with fine repoussé showing Vedic symbols, Sanskrit characters, conches, mythical beasts, and deities.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, soil encrustations, one coin has broken in several pieces.Weight: 141.1 g (total)Dimensions: Diameter 3 cm (the largest) and 0.7 cm (the smallest) 

Indonesia, Tanimbar, 19th century or earlier. The small shallow gold dish executed in fine repoussé, showing three phoenixes in the center of the well surrounded by a scroll border, with another scroll border around the rim.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of wear, few miniscule losses around the rim.Weight 14.8 gDimensions: Diameter 12.6 cmLiterature comparison: Similiar dishes are published in The Zelnik Istvan Southeast Asian Gold Museum, page 220, Budapest 2013. 

Persia, Hellenistic period, 4th-1st century BC. The ancient necklace consisting of 27 garnets of irregular shape, the semi-translucent stones of a fine dark bloodred color. The stones were found near Persepolis, the ancient capital of Persia. They are held together by a modern plastic string and gold clasp. This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stones are antique red garnet of very high quality from Yemen or Ethiopia and traded to the Persian Empire. The stones are original, ancient, cut, bored, and ground. The color of the stones is original and natural. The stones have been cleaned by hand while preserving the fine original ancient patina. The holes are ancient, handmade, and irregular. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.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.Condition: Very good condition with expected minor traces of age and wear.Weight: 128.8 gDimensions: Length 39 cm 

Champa, 10th-12th century. The hairpin with a finial in fine repoussé showing a recumbent elephant on both sides, each with a decorative gemstone at the top, and richly decorated with gold thread and small gold beads. Not only is the elephant the mount of the Hindu god Indra – elephant heads were also a very common architectural ornament in Cham architecture and consequently a beloved design motif in Cham jewelry.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear as well as few soil encrustations.Weight: 22.7 gDimensions: Length 17.9 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Champa, 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. The three eyes are set with gemstones, the third eye with an almandine and the other two with amethysts. 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.Condition: Very good condition with minor traces of age and wear.Weight: 425.0 gDimensions: Height 20.5 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 174, Budapest 2013. Art of Champa, Arts of Southeast Asia, page 9, Issue 4, 2020. 

Vietnam, 19th century. Naturalistically cast in the form of a leaf with finely executed veins, the elegantly curved stem cast separately.Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (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.Condition: Very condition with minor traces of age and wear. Fine copper-red patina.Weight: 13.2 gDimensions: Length 9.5 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 72, Budapest 2013 (erroneously described as Cambodia, 13th-15th century). 

Pyu city-states, 10th century. The small coins of circular shape and crafted from solid gold with fine repoussé showing Vedic symbols, including two with conches, all with hooks on the reverse, likely added later, for use as buttons.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear. Fine copper red patina.Weight: 3.9 g (total)Dimensions: Diameter 1.2 cm (the largest) and 1 cm (the smallest)Literature comparison: Silver pyu coins are in the collections of the Metropolitan Museum of Art in New York, exhibited in Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century from 14 April 2014 to 27 July 2014, cat. 36A and 36B, as well as the British Museum, museum numbers 1983,0118.10 and 1884,0510.1. 

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting Buddha standing on a lotus dais, his right hand raised in abhaya mudra, wearing a samghati draped over the left shoulder, showing a calm expression with almond eyes, long earlobes, a broad nose, and a benevolent smile, and wearing a crown.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with some minor bending, traces of age and wear, as well as soil encrustations.Weight: 3.5 gDimensions: Size 8.8 x 3.6 cm 

Champa, 10th-12th century. The pendant of rhombic shape with fine repoussé depicting Ganesha seated cross-legged in a meditative position, surrounded by scrolling cloud designs, and set with three gemstones above the deity’s head and one gemstone below him.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as some verdigris and soil encrustations.Weight: 17.9 gDimensions: Size 8.5 x 5.8 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %.Literature comparison: A similar piece is published in Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 1, no. 84 (page 114), Budapest 2007. 

Pyu city-states, 10th century. The small coins of circular shape and crafted from solid gold with fine repoussé showing Vedic symbols, including one with a dharmachakra, all with hooks on the reverse, likely added later, for use as buttons.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear. Fine copper red patina.Weight: 4.1 g (total)Dimensions: Diameter 1.1 cm (the largest) and 0.9 cm (the smallest)Literature comparison: Silver pyu coins are in the collections of the Metropolitan Museum of Art in New York, exhibited in Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century from 14 April 2014 to 27 July 2014, cat. 36A and 36B, as well as the British Museum, museum numbers 1983,0118.10 and 1884,0510.1. 

Indonesia, Tanimbar, 19th century or earlier. The dish executed in fine repoussé, showing a star-shaped flower in the center of the well surrounded by two scroll borders, with another scroll border around the rim. Two gold hooks below the rim allow for mounting.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of wear, few small tears and associated losses to the well.Weight: 64.1 gDimensions: Diameter 16.8 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 220, Budapest 2013. 

Champa, 10th-13th century. The richly decorated ring set with a rectangular amethyst at the top and two small oval amethysts flanking the central stone, the shoulder with fine repoussé showing on both sides the head of Kala (kirthimukha), the demon of passing time, a common motif in Cham art intended to evoke fear and dispel evil.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected traces of age and wear as well as soil encrustations, the central stone with some natural inclusions.Weight: 8.5 gDimensions: Size 3.0 x 3.0 cm, Inner Diameter 2.2 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 2, no. 49 (page 113), Budapest 2008.Assay data: Gold 67-68 %, Silver 30-31 % (traces of copper, iron, and zinc).Literature comparison: An almost identical piece is published in Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 1, no. 30 (page 95), Budapest 2007. Another similar ring is published in Art of Champa, Arts of Southeast Asia, page 66, Issue 4, 2020. 

LIN, RICHARD (LIN SHOW YU) LIN, RICHARD (LIN SHOW YU) Taichung/Taiwan 1933 - 2011 Titel: "Early Spring". Datierung: 1971. Technik: Öl auf Leinwand. Maße: 63,5 x 63,5cm. Bezeichnung: Signiert, betitelt, datiert sowie mit Angaben zum Werk auf der umgeschlagenen Leinwand verso: Richard LIN "EARLY SPRING" 1971 oil/canvas 25" x 25". Rahmen/Sockel: Rahmen. Die Echtheit dieses Werkes wurde vom Estate of Richard Lin Show Yu bestätigt. Es wird in das in Vorbereitung befindliche Werkverzeichnis des Künstlers aufgenommen. Wir danken dem Estate für die freundliche Unterstützung. Provenienz: - Marlborough Fine Art, London (Aufkleber) - Galerie Teufel, Köln (Stempel) - Privatsammlung Nordrhein-Westfalen Das Werk des in Taiwan geborenen Künstlers Richard Lin steht in einem Spannungsfeld zwischen fernöstlicher Tradition und den künstlerischen Strömungen Europas und Amerikas der 1960er und 1970er Jahre. So finden sich in seinen Gemälden oft nur wenige geometrische Formen, die meist auf einer weiß-grundierten Leinwand angeordnet sind. Diese reduzierte Formensprache, die seit den frühen 1960er Jahren in den USA entsteht und Ende der 1960er Jahre durch erste Ausstellungen auch in Europa immer bekannter wird, lässt durchaus eine Einordnung von Lins Arbeiten zum Minimalismus zu. Doch findet sich in den Gemälden Lins auch etwas Kontemplatives über die bloße Form Hinausgehendes. Betrachtet man unser Gemälde genauer, so sieht man, dass in der harmonischen Anordnung der Rechtecke eine subtile Tiefenwirkung erkennbar ist. Lins Bildtitel, wie bei unserem Werk "Early Spring", deuten darauf hin, dass der Künstler sich nicht nur mit der Form im Raum als Grundprinzip des Minimalismus auseinandersetzt, sondern dass sein Schaffen tief in seiner fernöstlichen Herkunft und Tradition verwurzelt ist. Die Ausbildung in Kalligraphie, die er als Kind erfährt, ist in der Präzision im Farbauftrag wiederzufinden, die fast keinen Pinselduktus erkennen lässt. Die Abstufung verschiedener Weiß-Töne sowie die Verwendung von Gelb in Verbindung mit Braun legen nah, dass der Künstler sich mit dem Wandel der Jahreszeiten, des Lichts und der Natur auseinandersetzt - es ist hier die Lehre des Taoismus, die sich mit dem Lauf der Welt und insbesondere der Natur, sowie der Wandlungsfähigkeit und der Harmonie beschäftigt, die den Künstler beeinflussen. Erläuterungen zum Katalog Richard (Lin Show Yu) Lin Großbritannien Minimal Art Asiatische Kunst Nachkriegskunst Unikate 1970er Abstrakt Malerei Öl LIN, RICHARD (LIN SHOW YU) LIN, RICHARD (LIN SHOW YU) Taichung/Taiwan 1933 - 2011 Title: "Early Spring". Date: 1971. Technique: Oil on canvas. Measurement: 63,5 x 63,5cm. Notation: Signed, titled, dated as well as with details about the work on the folded canvas verso: Richard LIN "EARLY SPRING" 1971 oil/canvas 25" x 25". Frame/Pedestal: Framed. The authenticity of this work has been confirmed by the estate of Richard Lin Show Yu. It will be included in the artist's catalogue raisonné which is currently being prepared. We thank the estate for their kind support. Provenance: - Marlborough Fine Art, London (label) - Galerie Teufel, Cologne (stamp) - Private collection North Rhine-Westphalia. Explanations to the Catalogue Richard (Lin Show Yu) Lin Great Britain Minimal Art Asian Art Post-War Art Post War 1970s Abstract Painting Oil

17th century AD. A substantial bronze Buddha figure standing barefooted and wearing a long robe; hair dressed in tight curls and wrapped around ushnisha, lentoid eyes, broad nose, full lips, elongated earlobes, ornamentation worn at the neck, both hands forming mudras; integral round-section lug below, forming an arc between the feet. See Lutz, A. et al., The Return of the Buddha. The Qingzhou Discoveries, London, 2002, for discussion. 5.5kg, 46cm (18 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. In Thailand statues of the Buddha can be found in a variety of poses, with those standing being particularly popular. The position of the hands relate to various episodes in the life of the Buddha and help the devotee in their mindful practice. Fine condition.

New York Arts of Pacific Asia Show, Arts of Pacific Asia New Arts of Pacific Asia Show, Arts of Pacific Asia The International Asian Art Fair, Asian Art Fair, 2004 The International Asian Art Fair, Asian Art Fair, 2003 Ben Janssens Oriental Art, Treasures from China's Golden Age 500-1000AD Baur Geneva, Collections Baur Geneva Bulletin 63. 2001 1er Salon International D'Art Asiatique. October 2001 Ikutaro Itoh, Masterpieces of Chinese Ceramics from the Percival David Collection, the Yomiuri Shimbun, Osaka, 1998 The International Ceramics Fair & Seminar London. 2001 Selected Chinese Art from the Oriental Museum,Durham, Phillips Auctioneers. 2000 Eldon Worrall, Precious Vessels 2000 years of Chinese Pottery, Merseyside County Council/Museum, 1980 Shanghai Museum, Shanghai Museum Shanghai Museum Ancient Chinese Ceramics Gallery, Shanghai Museum Chinese Ceramics and Works of Art, The Chinese Porcelain Co. Jades of the Qijia and Related Northwestern Cultures, Throckmorton Fine Art Ancient Chinese Tomb Sculpture, JJ Lally & Co. 2004 Chinese Archaic Bronzes, Sculpture & Works of Art, JJ Lally & Co. 1992Provenance: The Professor Conrad Harris Collection

ÜBERLEBENSGROßER BUDDHA-KOPF. ÜBERLEBENSGROßER BUDDHA-KOPF. Herkunft: Khmer. Dynastie: Bayon-Zeit (1180-1230). Technik: Rötlich-beige-farbener Sandstein, fein behauen und poliert. Beschreibung: Das Antlitz mit feinem Lächeln, die Augenbrauen als elegante Bögen über den gesenkten Augen geschwungen. Die Haare als kleine Erhebungen, die Spitze mit Flammen und Spirale. Maße: Höhe 34cm. Rahmen/Sockel: Auf einem Metallsockel montiert. Aufbewahrungskiste. Provenienz: Deutscher Privatsammler, erworben bei Kunsthandel Venzke, Berlin, 1996. Erläuterungen zum Katalog Asiatika - Südostasien Bayon-Zeit (1180-1230) Buddhistische Kunst Skulptur Khmer ÜBERLEBENSGROßER BUDDHA-KOPF. OVER LIFE-SIZE BUDDHA HEAD. Origin: Khmer. Dynasty: Bayon period (1180-1230). Technique: Reddish beige sandstone, finely carved and polished. Description: The face with a fine smile, the eyebrows curved as elegant arches over the lowered eyes. The hair as small elevations, the tip with flames and spiral. Measurement: Height 34cm. Frame/Pedestal: Mounted on a metal base. Storage case. Provenance: German private collection, acquired at Kunsthandel Venzke, Berlin, 1996. Explanations to the Catalogue Asian Art - Southeast Asia Bayon period (1180-1230) Buddhist art Sculpture Khmer

SELTENER UND BEDEUTENDER SITZENDER BUDDHA. SELTENER UND BEDEUTENDER SITZENDER BUDDHA. Herkunft: Thailand. Dynastie: Dvaravati-Zeit (ca. 6.-11. Jh.). Datierung: 7.-9. Jh. Technik: Bronze mit grüner und rostbrauner Patina, teils Spuren von Oxidation. Beschreibung: Sitzend in padmasana mit den Händen in Lehrgeste (Vitarka Mudra) mit bei der rechten Hand zusammengelegtem Daumen und Zeigefinger. Das Antlitz ausdrucksstark gestaltet mit vollen Lippen und verbundenen, hoch geschwungenen Augenbrauenbögen über fast geschlossenen Augen. Die Ohren mit lang gezogenen Ohrläppchen, die Haare in ausgestalteten Locken und einer kugeligen Bekrönung. Unter dem dünnen Gewand, das nur in feinen Relieflinien auf Brust und über den Beinen angegeben ist, werden die Körperformen deutlich sichtbar. Über das linke Handgelenk ist der Saum des Gewandes in Falten gelegt. Die Figur steht auf drei kurzen Füßen, die vermutlich zur Verankerung in einem Sockel dienten. Auf dem Rücken eine Öse für den Baldachin bzw. die Mandorla. Maße: Höhe 33cm, Breite 24cm, Tiefe 14cm. Obwohl Figuren aus Bronze aus der Dvaravati-Zeit wesentlich seltener zu finden sind, als solche aus Stein, zeigt diese Figur doch eine große zurückhaltende Eleganz in der Gestaltung. Provenienz: Norddeutsche Privatsammlung. Seit ca. 30 Jahren im Familienbesitz. Erläuterungen zum Katalog Asiatika - Südostasien 7.-9. Jahrhundert Buddhistische Kunst Bronze Thailand SELTENER UND BEDEUTENDER SITZENDER BUDDHA. RARE AND IMPORTANT SITTING BUDDHA. Origin: Thailand. Dynasty: Dvaravati period (ca. 6th-11th c.). Date: 7th-9th c. Technique: Bronze with green and rust brown patina, partly with residue of oxidation. Description: Sitting in padmasana with the hands in teaching gesture (Vitarka Mudra) with thumb and index finger touching at the right hand. The face is expressively formed with full lips and connected, high arched eyebrows over almost closed eyes. The ears with elongated ear lobes, which have open slits, the hair in full curls with a spherical crowning. Beneath the thin robe, which is only indicated in fine relief lines on the chest and over the legs, the body features are clearly visible. Over the left wrist the hem of the garment is draped in folds. The figure sits on three short feet, which probably served to anchor it in a pedestal. On the back an eyelet for the canopy or mandorla. Measurement: Height 33cm, width 24cm, depth 14cm. Although figures made of bronze from the Dvaravati period are much rarer than those made of stone, this figure shows a great restrained elegance in its design. Provenance: North German privte collection. Family owned for about 30 years. Explanations to the Catalogue Asian Art - Southeast Asia Buddhist art Bronze Thailand

BEDEUTENDER UND GROßER BEKRÖNTER BUDDHA MAITREYA. BEDEUTENDER UND GROßER BEKRÖNTER BUDDHA MAITREYA. Datierung: 16.-17. Jh. Technik: Bronze, teils mit fein gravierten Mustern. Lackvergoldung und teils farbig mit Lack bemalt. Innen wie für solche alten Bronzen mit Mennige-Rot bestrichen. Beschreibung: Der auch als Budai oder Milefo bekannte Buddha sitzt in maharajalilasana auf einem Kissen, auf dem die Gürtelschnur mit Quasten plastisch dargestellt ist. Er ist mit einem leichten Lächeln auf den Lippen dargestellt, mit offenem Gewand über dem vollen Oberkörper. Das Kissen und die Gewandborten graviert mit feinen Lotosranken, die auf dem Gewand von Goldlack überdeckt sind. In der Rechten hält er eine Gebetskette, mit der Linken den offenen Schatzsack, aus dem Goldbarren und weitere Schätze hervorlugen. Von der Bügelkrone schwingen lange Bänder auf die Schultern, vorne sind in den Blättern kleine Darstellung der fünf transzendenten Tathagata-Buddha. Maße: Höhe 38,5cm, Breite 30,5cm, Tiefe 23,5cm. Provenienz: Rheinische Privatsammlung. Lt. Vorbesitzer in den 1970er Jahren bei Kunsthandel Klefisch in Köln erworben. Erläuterungen zum Katalog Asiatika - China Kunsthandwerk Ming-Dynastie (1368-1644) Buddhistische Kunst Bronze China BEDEUTENDER UND GROßER BEKRÖNTER BUDDHA MAITREYA. IMPORTANT AND LARGE CROWNED BRONZE BUDDHA MAITREYA. Date: 16th-17th c. Technique: Bronze, partly with finely engraved patterns. Lacquer gilt and partly painted with lacquer. Inside painted with minium red as typical for old bronzes. Description: The Buddha, also known as Budai or Milefo, sits in maharajalilasana on a cushion on which his belt cord with tassels is shown. He is depicted with a light smile on his lips, with an open garment over his full belly. The pillow and the robe borders are engraved with fine lotus tendrils, which are mostly covered by gold lacquer on the robe. In the right hand, he holds prayer beads; in his left hand, the open treasure bag, from which gold ingots and other precious objects are peeking out. Long ribbons swing from the bow crown to the shoulders, in the front of the leaves are small representations of the five transcendental Tathagata Buddha. Measurement: Height 38.5cm, width 30.5cm, depth 23.5cm. Provenance: Rhenish private collection. According to the previous owner, acquired in the 1970s from Kunsthandel Klefisch in Cologne. Explanations to the Catalogue Asian Art - Chinese Applied Arts Ming dynasty (1368-1644) Buddhist art Bronze China

BEDEUTENDE ROTE SCHNITZLACKDOSE. BEDEUTENDE ROTE SCHNITZLACKDOSE. Herkunft: China. Dynastie: Qing-Dynastie. Datierung: 18. Jh. Technik: Holzkern mit Papier. Roter Schnitzlack. Innen schwarz lackiert. Beschreibung: In abgeflacht runder Form. Auf dem Deckel in einer runden Kartusche eine Szene aus dem Roman "Die Räuber vom Liang-Shan-Moor" (Shui Hu Zhuan). Auf den Seiten jeweils vier schmale Kartuschen mit jeweils einem Gelehrten und einem Dienerknaben in einer Landschaft, dazwischen die Attribute der Acht Unsterblichen. Den Hintergrund füllt ein feines Rautenmuster mit Blüten. Maße: H.19cm, Ø 34cm. Provenienz: Privatsammlung Bergisches Land. 1975 in Saint-Tropez im Kunsthandel erworben. Seitdem im Privatbesitz. Erläuterungen zum Katalog Asiatika - China Kunsthandwerk 18. Jahrhundert Lack Kunsthandwerk China BEDEUTENDE ROTE SCHNITZLACKDOSE. IMPORTANT BOX WITH RED CARVED LACQUER. Origin: China. Dynasty: Qing dynasty. Date: 18th c. Technique: Wooden body with paper layer. Red carved lacquer. Inside lacquered black. Description: In flattened round form. On the lid in a round cartouche a scene from the story "Outlaws in the Marsh" (Shui Hu Zhuan). On each side four narrow cartouches with a scholar and a servant boy in a landscape, between them the attributes of the Eight Immortals. The background is filled with a fine diamond pattern with blossoms. Measurement: H.19cm, Ø 34cm. Provenance: Private collection Bergisches Land. Acquired 1975 in St. Tropez in the art trade. Since then in private property. Explanations to the Catalogue Asian Art - Chinese Applied Arts 18th century Lacquer Crafts China

SELTENER UND FEINER STEHENDER BODHISATTVA. SELTENER UND FEINER STEHENDER BODHISATTVA. Herkunft: Gandhara. Datierung: 3. Jh. n. Chr. Technik: Hellgrauer Schiefer. Beschreibung: Da die Attribute nicht erhalten sind, kann dieser majestätische, sehr fein gearbeitete Bodhisattva mit Mandorla nicht eindeutig identifiziert werden. Aufgrund seines kunstvollen Turban kann man davon ausgehen, dass die Skulptur Bodhisattva Avalokiteshvara oder Bodhisattva Siddhartha Gautama, also Prinz Siddhartha vor Erlangung der Buddhaschaft, darstellt. Die beschädigte linke Schulter seines kräftigen nackten Oberkörpers war mit einem Gewand (sanghati) im hellenistischen oder provinzialrömischen Stil bedeckt. Die feinen Falten seines Dhotis fallen rhythmisch auf seine Knöchel, und er trägt Sandalen. Die schweren Ohrringe und Armbänder (hier ist nur eine Armband erhalten), mehrere Halsketten und die Gebetskette mit Amulettbehältern sind charakteristische Merkmale von Bodhisattva-Skulpturen aus Gandhara. Sein spirituelles und sehr subtil gestaltetes Gesicht, das tiefste Ruhe und Versenkung ausstrahlt, steht in einem schönen Kontrast zu seinem athletischen Körper. Maße: Höhe 61cm, Breite 20cm, Tiefe 9cm. Rahmen/Sockel: Montiert auf einem Metallsockel. Provenienz: Europäische Privatsammlung. Literatur: Christies New York: Devotion in Stone, 23. Sept. 2020, Lot 613, vgl. für ein größeres Beispiel. Erläuterungen zum Katalog Asiatika - Südostasien 3. Jahrhundert Buddhistische Kunst Skulptur Gandhâra SELTENER UND FEINER STEHENDER BODHISATTVA. RARE AND FINE STANDING LIGHT GREY SCHIST BODHISATTVA. Origin: Gandhara. Date: 3rd c. A.D. Technique: Light grey schist. Description: Because the attributes are not preserved, this majestic, very finely carved haloed Bodhisattva can not be conclusively identified. Due to its elaborate turban, one can assume that the sculpture represents Bodhisattva Avalokiteshvara, or Bodhisattva Siddhartha Gautama, that is prince Siddhartha before attaining Buddhahood. The damaged left shoulder of his powerful naked torso was covered with a robe (sanghati) in Hellenistic or provincial Roman style. The finely carved folds of his dhoti fall rhythmically to his ankles, and he his wearing sandals. The heavy earrings and armbands (only one armband is preserved here), multiple necklaces, and prayer chain with amulet containers are signature features of Gandharan Bodhisattva sculptures. His spiritual and very subtle face, radiating deepest calmness and immersion, contrasts beautifully with his athletic body. Measurement: Height 61cm, width 20cm, depth 9cm. Frame/Pedestal: Mounted on a metal base. Provenance: European privat collection. Literature: Christies New York: Devotion in Stone, 23rd Sept. 2020, Lot 613, compare for a larger example. Explanations to the Catalogue Asian Art - Southeast Asia 3rd century Buddhist art Sculpture Gandhâra

A rare ochre glazed 'Parrot' cupTang DynastyOf shallow oval form, one end formed as a parrot lying on its back, the finely incised tail and wing feathers fanning out to form the cup, the head with large curling beak between sharp piercing eyes, all covered in a warm yellow-ochre glaze, stand. 13cm (5 1/8in) long. (2).Footnotes:唐 褐釉鸚鵡杯Provenance: Berwald Oriental Art, LondonProfessor Conrad Harris, UK, purchased on 20 February 2003 from the above.Published: Berwald Oriental Art Facing East, Expressions in Chinese Art, London, no.16.The result of Oxford Authentication Ltd. thermoluminescence test no.C101u72, dated 31 August 2001, is consistent with the dating of this lot.來源：英國倫敦古董商Berwald Oriental Art英國康拉德・哈里斯教授舊藏，於2003年2月20日購自前者出版：Berwald Oriental Art，「Facing East, Expressions in Chinese Art」，倫敦，圖錄編號16Oxford Authentication Ltd.公司熱釋光檢測結果（2001年8月31日，編號C101u72）顯示年代與本拍品年代一致。Conrad Harris became interested in Chinese pottery in the late 1990s, around the time he retired as Professor of General Practice at Leeds University. Having moved on from a career in medical academia, he took an academic approach to learning about the styles and artefacts of different periods - from the Neolithic to the great dynasties of China. Harris was a highly erudite collector, who travelled extensively in China, pursuing his interest in ancient pottery wares through many provincial museums. He gave regular lectures and, in 2002, gained a Diploma in Asian Art from the British Museum. He was an active member of the Oriental Ceramic Society and, in the 2003/04 Oriental Ceramic Society Transactions, he contributed the lecture 'Chinese ceramic horses and how they changed'. Most importantly, he gained immense pleasure from seeing his collection take pride of place on the shelves all around his study.The term yingwu bei, literally 'parrot cup', is first mentioned as early as the Sui dynasty, in a poem by Xue Daoheng: 'Together pour the fine buttery wine; together tip the parrot cup'共酌瓊酥酒，同傾鸚鵡杯。And it occurs again in a Tang poem by Luo Binwang:'The playing of flutes on the Phoenix Tower has ceased, the urgings to drink wine from the parrot cup has stopped.'鳳凰樓上罷吹簫，鸚鵡杯中休勸酒。The contemporary dictionary interpretation of the term 'parrot cup', which comes from a Tang source, is that it is a cup made from yingwu luo 'parrot snail', meaning perhaps a nautilus shell, named for its supposed resemblance to a parrot. As the exterior form of this cup resembles the shape and size of a nautilus shell, but the piece is fashioned from a representation of a parrot, cups such as this may have been produced as an amusing play on words. Although the parrot was a bird native to southern China, those most admired in the Tang court were the more colourful ones imported from South-East Asia. The later Tang emperor Taizong (r.627-649) commissioned a rhapsody poem to be written about a prized parrot that was a gift from the kingdom of Champa. Furthermore, the Tang emperor Xuanzong (r.712-756) adopted a talking parrot as a pet. Compare with a similar cup, but covered in a white glaze, Tang dynasty, which was exhibited in the Tokyo National Museum, Special Exhibition of Chinese Ceramics', Tokyo, 1994, pl.136. See also a Xingyao white glazed 'parrot cup', Tang dynasty/ Five dynasties, which was sold at Bonhams Hong Kong, 9 October 2014, lot 140.For further information on this lot please visit Bonhams.com

A fine white and grey jade carving of a boy on hobby-horse17th/18th century Deftly carved as a standing boy with finely incised patch of hair atop his pate, carrying a spray of lotus in his right hand extending over his back, his left hand holding the reins of a hobby-horse between his legs, the stone of pale white tone with a grey patch. 8.5cm (3 3/8in) high. Footnotes:十七/十八世紀 白玉雕騎竹馬童子擺件Provenance: Gerard Arnhold (1918-2010) Born in 1918 in Dresden, Germany, Gerard Arnhold was from a well-known family of Jewish philanthropists. His family left Germany in 1936, after the Nazis came to power and seized their assets. He served in the British Army during the Second World War, before starting a successful technology company in Brazil. He and his family supported rebuilding efforts in Germany and many charitable causes, always working anonymously. Arnhold was also a generous supporter of the Durham Oriental Museum for many years.來源：Gerard Arnhold（1918-2010年)Gerard Arnhold，1918年出生於德國德累斯頓的著名猶太慈善家族。 1936年，在納粹上台並沒收其家族財產後，全家離開德國。他曾於第二次世界大戰期間效力於英軍，之後在巴西成功創立了一家科技公司。二戰後，Gerard及其家人長期匿名支持德國重建工作及其他慈善事業，他也是達勒姆東方博物館的長期捐贈者。Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasised by the lotus (lian 蓮) he carries which is a homophone of 'continuous' (lian 連) and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby-horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' (mashang 馬上) means 'immediately'.Compare with a similarly finely-carved figure, but holding a rattle instead of a lotus stem, in the Museum of East Asian Art, Bath, (museum no.BATEA 1218); and a related figure of a boy holding a lantern on a pole, from the collection of Florence and Herbert Irving and now in the Metropolitan Museum, New York (acc.no.2015.500.5.14).For further information on this lot please visit Bonhams.com

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.

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

Artist: Mark Tobey (American, 1890 - 1976). Title: "Raindrop Prism". Medium: Oil and tempera on board. Date: Composed 1965. Dimensions: Overall size: 13 3/4 x 10 in. (349 x 254 mm).Lot Note(s): Signed lower right. Fine condition with no issues noted. Provenance: Estate of a private collector, Basel, Switzerland. Comment(s): An oil on paper work with a similar composition but much smaller size sold for $3,750 at Christie's New York, July 16, 2012, lot #120. Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29806-2-4000]

Good quality auction catalogues, mostly Sotheby's, Christie's and Bonhams pertaining to Carpets, rugs, textiles, Fine Art; Asian Art, 1980s to the present day, approximately 300 catalogues including some provincial auction house catalogues. (Approx. 300 catalogues in 8 boxes)

11th-12th century AD. A Byzantine or possibly Fatimid gold armlet with ribbed hollow-form D-section shank tapering towards the discoid bezel, triangular collars with filigree granulation to the finials; the bezel a sheet gold disc with granulated chevron border, above a hollow medallion with ribbed outer edge, each rib interspersed with a single granule to the upper face; two crescentic mother of pearl inserts flanking the central band set with two teardrop-shaped garnets and a central iridescent glass insert, each with a granulated border. See National Museum of Asian Art, accession no.F1948.25, for a similar type; see also The Metropolitan Museum of Art, accession no.58.37, for type; see also Price, J., Masterpieces of Ancient Jewelry. Exquisite Objects from the Cradle of Civilization, Philadelphia, 2008, p.107, for type. 27.28 grams, 91mm (3 1/2"). Property of a London lady, part of her family's Swiss collection; formerly acquired in the 1980s; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.160611/01/09/2020. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Northern Qi Dynasty, 5th-6th century AD. An imposing carved fossiliferous limestone stele surmounted by four entwined grimacing dragons, their bodies curled around a canopy with standing Buddha in the act of blessing; a central large figure of Buddha in shallow canopied niche below, seated on a lotus throne, his right hand raised to his chin and left hand resting on his knee with palm facing down; surrounded by ten bodhisattvas or disciples, each seated in a niche, four at the front of the stele and three to each narrow side, each with individual facial features, dressed in long robes with hands tucked inside the sleeves; two further bodhisattvas flanking the Buddha's head with their hands in vajrapradama mudra and in a greeting pose; below the Buddha two guardian lions flanking a censer; the reverse with a shallow niche with two monks; the lower section dived in two parts: the top with engraved image of two entwined dragons, each with a mythical bird on its back, the lower half with devotional inscription 'Emperor Wenxuan of Northern Qi, 559 years...This stone is made in the hope that all from emperor to commoner will be one with Buddha'; the stele resting on a rectangular base with a seated bodhisattva to each short edge, the front with low relief scene of two monks before a large censer, a regardant guardian lion to each side. See Musée Cernuschi, Paris, France, for a votive stele with six dragons; see also Sotheby's New York, 18 March 2014, Lot 169, for a less elaborate example. 190.6 kg, 1.1m (43 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; much of the collection was 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, Buddhist Art News, and a scholarly note TL 5284 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163522-10079. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Eastern Wei, 6th century AD. A carved sandstone architectural panel comprising an aureole with flying deva figures to the upper edge, central standing robed Buddha with hands raised in the gesture of reassurance; flanked by two smaller bodhisattva figures in similar pose; mounted on an orb attached to a rectangular base with (later?) inscription to the reverse reading "Made by Xing Changzhen in memory of his two sisters deceased, Eastern Wei Dynasty, (April 22nd 536)". 67 kg total, 87cm including stand (34 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; much of the collection was 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, Buddhist Art News, and a scholarly note TL 5284 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163523-10080. Fine condition.

Tang Dynasty, 618-906 AD. A carved marble head of Buddha with hair composed of tight coils, finely carved facial details, serene expression; mounted on a custom-made stand. 28.2 kg total, 56cm including stand (22"). 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 was 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, Buddhist Art News. and a scholarly note TL 5296 by Dr Ronald Bonewitz. Fine condition.

Northern Wei Dynasty, 386-534 AD. A gilt bronze figure, after the statuary of Gandhara or neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha.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 TB005, p.58 & 160; accompanied by copies of the relevant exhibition catalogue pages.86 grams, 70mm (2 3/4").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.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. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with hands clasped together in dhyana mudra and seated in dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha, incised inscription to the reverse in four columns, translating approximately as: a 'dedication by Kang Shen requesting a peaceful life for his family', with Sutra on front legs of four-legged podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB007, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.211 grams, 14cm (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.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. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Later Yan Dynasty, 384-407 AD. A gilt-bronze statuette, with Gandharan stylistic influence, featuring Buddha standing against an aureole and lotus-flower nimbus, on a lotus podium with flared legs, flanked by attendants or donors; hatched ornament to the podium, incised text here and to the reverse of the aureole which translates approximately as: 'A disciple of Buddha had this made to keep his family safe', and the 'Buddha Disciple' with the years for Later Yan (384-407 [389]) to the right.235 grams, 13.4cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB011, p.161; accompanied by copies of the relevant exhibition catalogue pages.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 384-407 (389), Later Yan era.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. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

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', and dates to the Western Qin (385-431 AD), 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.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 Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Tang Dynasty, 618-907 AD. A bronze octofoil mirror with lotus flowers, tendrils, phoenixes and other details to the scooped upper face. 1.2 kg, 21cm (8 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. Fine condition.

2nd-4th century AD. A schist statue fragment with bust of Buddha with large aureole behind the head, emaciated face with hollow cheeks and sunken eye sockets, ushishna covered by wavy hair, urna flanked by raised veins; mounted on a custom-made stand. 8.4 kg total, 37cm including stand (14 1/2"). Douglas, Nik., Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit BG010, p.94; accompanied by copies of the relevant exhibition catalogue pages. 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, Buddhist Art News, and a copy of the relevant exhibition catalogue pages. Asian art expert Nik Douglas wrote: 'The portrayal is intense; the Buddha has a small beard, the eyes are just sockets, the cheeks sunken, veins mark the forehead above the urna. The hair is pulled back from the brow, forming rivulet-like waves, piled onto the top of the head and forming a bun which covers the ushnisha (cranial sign of spirituality). A large circular aureole behind the Buddha's head... NOTE: Very few heads of Fasting Buddhas have survived to such a fine and complete degree. Several, in museum collections, are without an attached aureole. This is a particularly fine and important example of the moving subject.' Fine condition.

Kashmir, 6th century AD. A powerful schist figure of a bodhisattva, possibly bodhisattva Maitreya, standing on a rectangular base with lotus-flower aureole behind, wearing a dhoti, and artfully draped scarves, sumptuous necklaces and other jewellery decorating his nude upper body, carefully dressed and bejewelled hair with curls above the temples, curls to the ushnisha, raised right hand absent, originally most likely in the abhaya gesture; the base with seated Buddha in meditation with a devotee at either side in obeisance. 32.9 kg, 62cm (24 1/2"). Douglas, Nik., Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit BG015, p.103; accompanied by copies of the relevant exhibition catalogue pages. 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, Buddhist Art News, and copies of the relevant exhibition catalogue pages. Asian art expert Nik Douglas wrote: 'This unusual and powerful stone sculpture most likely depicts Bodhisattva Maitreya - the Future Buddha. He stands frontally, in sandals, upon a wide podium the front of which is decorated by columns and a central seated Buddha in meditation with a devotee at either side in obeisance. The Bodhisattva is portrayed as an extremely handsome idealized divine being, the head large, hair piled high and bejeweled, the body largely bare to the waist which is wrapped with an Indian-style dhoti cloth. He wears sumptuous necklaces, arm-bands, ear-rings and scarves which are draped artfully. The raised right arm is missing the hand, which most likely was in the abhaya 'fear not' gesture. The left hand, also missing must have been by the lower left side. Gandhara-culture in Kashmir, circa 6th century AD.' Fine condition.

Books: Seven reference books and literature on Chinese history and Asian Art. Titles1. Selected Masterpieces of Asian Art. Published by the Museum of Fine Arts Boston. 2. Journeys into the past, Life behind the Great Wall.3. Chinese Domestic Furniture in photographs and measured drawings, by Gustav Ecke.4. The decorative arts of The China Trade, Paintings, furnishings and exotic curiosities, by Carl L Crossman.5. Chinese Export Art and Design, Victoria and Albert Museum 6. Chinese Export Porcelain, Standard Patterns and Forms, 1780-1880, by Herbert, Peter and Nancy Schiffer7. The Chinese Potter, A practical History of Chinese Ceramics, by Margaret Medley.