Pacita Abad (1946–2004) was a pioneering Filipino artist known for her vibrant and colorful mixed-media works. Here are key points about Pacita Abad:1. **Early Life:** Pacita Abad was born on October 5, 1946, in Basco, Batanes, Philippines. She initially studied law at the University of the Philippines but later decided to pursue art.2. **Art Education:** Abad received her Bachelor of Fine Arts from the University of the Philippines College of Fine Arts. She continued her studies in the United States, earning a master's degree in Asian Studies from the University of the Philippines and a Master of Fine Arts from The Catholic University of America in Washington, D.C.3. **Migration Series:** Abad moved to the United States in the 1970s and began her career as an artist. One of her notable early works is the "Migration Series," inspired by her experiences as an immigrant in the U.S.4. **Trapunto Paintings:** Abad developed a unique technique called "trapunto" painting, involving the layering of fabrics and materials on the canvas to create a textured and three-dimensional effect. This technique became a signature element of her work.5. **Global Artistic Practice:** Abad's art was deeply influenced by her extensive travels. She lived and worked in various countries, including the Philippines, India, Bangladesh, Sudan, Mexico, and the United States. Her art reflects a global perspective and a commitment to social issues.6. **Social and Political Themes:** Abad's work often addressed social and political themes, including human rights, cultural identity, and environmental concerns. She used her art as a platform for advocacy and raising awareness.7. **Painted Bridge Project:** One of Abad's notable projects was the "Painted Bridge," where she collaborated with over a thousand children to paint colorful and imaginative designs on a bridge in Singapore. This project aimed to promote community engagement and creativity.8. **Sari Series:** Abad's "Sari Series" is a collection of paintings featuring the traditional saris of Indian women. These works celebrate the diversity and beauty of Indian textiles.9. **Awards and Recognition:** Pacita Abad received various awards for her contributions to the arts, including the Ten Outstanding Young Men (TOYM) award in the Philippines.10. **Death:** Pacita Abad passed away on December 7, 2004, at the age of 58, due to complications from lung cancer. Her legacy continues through her innovative artistic practice and the impact of her socially engaged artworks.11. **Legacy:** Pacita Abad's legacy is marked by her pioneering spirit as a female artist from Southeast Asia, her experimentation with materials and techniques, and her commitment to using art as a means of cultural exchange and social commentary. Her works are part of major collections and exhibitions worldwide.Measures 29.75 x 40.
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A collection of largely Christie's and Sotheby's catalogues relating to Japanese art, design and arms and armour including Christie's London, Arts of the Samurai and Japanese Art Design, 6-7 June 2000, Christie's London, The Lundgren Collection, 18 November 1997, Sotheby's London, Japanese Prints, Paintings and Works of Art, 13 - 14 November 1996, Christie's New York, Japanese Swords and Sword Fittings from the Collection of Walter A Compton (Part II) 22 October 1992, Christie's New York, Japanese and Korean Art, 22 March 2004, Bonhams, Fine Japanese Art, 6 November 2012, Christie's New York, Japanese and Korean Art, 17 March 2009, Christie's London, Japanese Art and Design, 12-13 July 2005, Bonhams, Fine Japanese Art, 11 May 2010, Christie's New York, Fine Japanese Works of Art, 6 Volumes, 21 March 1985, Christie's South Kensington, Asian Art, 12 May 2005, Christie's London, Japanese Art and Design 12-13 July 2006, Sotheby's London, Japanese Prints, Paintings, Screens and Works of Art, 16-17 November 1995, Sotheby's London Japanese Works of Art, 13 March 1986, Christie's London, Japanese Works of Art, 11 November 1991, Christie's London, Japanese Works of Art, 18 & 20 November 1987, Christie's South Kensington, Oriental Ceramics and Works of Art, 28 September 2000, Christie's London, A European Collection of Japanese Prints, 13 July 2005, Christie's South Kensington, Asian Art, 23 June 2005, Christie's New York, Japanese Swords and Sword Fittings from the Collection of Walter A Compton, Part III, 17 December 1992, Christie's London, The Arts of the Samurai, 15 June 1998, Christie's London, Japanese Art and Design, 11 November 2008, Christie's London, Japanese Art and Design, 13 November 2002, Christie's London, Japanese Works of Art, 20 June 1994, Christie's London, A Fine Collection of Japanese Sword Fittings, 10 November 2004, Christie's London, Important Swords from the Museum of Japanese Sword Fittings, 10 November 2004, Sotheby's London, Japanese Works of Art, 10 April 1997, Christie's London, The Duncan Beresford -Jones Collection, 7 June 2000, Christie's New York, Arts of the Samurai. 22 October 2009. (qty).
A TUBULAR TIBETAN BANDED AGATE BEAD, c. 500-1000 CEHimalayan region, presumably Tibet or India, around 500-1000 CE or later. The long tubular bead carved from semi-translucent agate, brilliantly polished, of a fine black color with milky white, grey, and clear bands. Drilling through the sides.Condition: Good condition with some surface wear, few notches and nicks.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 14.2 gDimensions: Length 6.4 cm
SIMON BIRCH (BORN 1969): CITIES ON THE MOVE-IHong Kong, c. 2004. Oil on canvas. Expressively painted with a barefoot woman caught mid-stride, the shadows and colors rendered to enhance her toned body as she gracefully moves forward.Inscriptions: To the bottom-right signed, 'Birch'. The reverse with an abstract seal.Provenance: Gajah Gallery, Singapore, 2004. Austrian private collection, acquired from the above. A copy of the certificate of authenticity, stating that Gajah Gallery sold the present lot on 4 August 2004, accompanies this lot.Condition: Very good condition with minor surface wear.Dimensions: Size 200.5 x 115 cmSimon Birch was born in Brighton, England in 1969, and has lived and worked in Hong Kong for over twenty years. Birch has won the 2007 Louis Vuitton Asian Art award and is represented internationally by London gallery, Ben Brown Fine Arts. His work has been featured and reviewed in many international publications, including Artforum, The Guardian, The International Herald Tribune, Time Out and the New York Times. Birch has had solo exhibitions in Beijing, Miami, and Singapore and has participated in group shows at the Hong Kong Museum of Art and the Museum of Contemporary Art, Tokyo, and has been included in the Los Angeles Museum of Contemporary Art's (LACMA) permanent collection.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 22 December 2021, lot 18Price: HKD 138,600 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: Simon Birch, UntitledExpert remark: Note the size (216 x 174.8 cm).
A FINE LOPBURI BANDED AGATE PENDANT, c. 13TH CENTURYThailand, Lopburi period, c. 13th century. The wing or comb shaped pendant carved from semi- translucent agate, well-polished, showing attractive variegated tones of dark-chocolate and caramel with milky white, and transparent bands. Pierced for suspension as a pendant, showing ancient toolmarks.Condition: Good condition with minor surface wear and few small nicks and notches.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 22.5 gDimensions: Length 5.8 cm
A FINE LOPBURI BANDED AGATE PENDANT, c. 13TH CENTURYThailand, Lopburi period, c. 13th century. The wing or comb shaped semi- translucent stone well-polished, showing attractive variegated tones of black and brown, with milky white and grey bands. Pierced for suspension as a pendant, showing ancient toolmarks.Condition Good condition commensurate with age, minor wear, few nicks and notches.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 14.2 gDimensions: Length 4.6 cm
A FINE LOPBURI BLACK AGATE PENDANT, c. 13TH CENTURYThailand, Lopburi period, c. 13th century. Of wing or comb form, carved from semi-translucent agate, brilliantly polished, of a fine black color with milky white and transparent bands. Pierced for suspension as a pendant, showing ancient toolmarks.Condition: Good condition with minor traces of wear and minimal nicks and notches.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 18.6 gDimensions: Length 6.7 cm
A FINE LOPBURI BLACK AGATE PENDANT, c. 13TH CENTURYThailand, Lopburi period, c. 13th century. The wing or comb shaped semi- translucent stone well-polished, of an attractive black color with milky white bands. Pierced for suspension as a pendant, showing ancient toolmarks.Condition: Overall good condition with expected age-related wear, and tiny chips along the exposed areas.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 14.3 gDimensions: Length 5.5 cm
A LOPBURI BANDED AGATE PENDANT, c. 13TH CENTURYThailand, Lopburi period, c. 13th century. The wing or comb shaped semi-translucent stone well-polished, of a fine black color with milky white and brown bands. Pierced for suspension as a pendant, showing ancient toolmarks.Condition: Good condition with minor traces of wear and few miniscule chips along the edges.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 16.2 gDimensions: Length 5.8 cm
A SEMICIRCULAR LOPBURI AGATE PENDANT, c. 13TH CENTURYThailand, Lopburi period, c. 13th century. Of a flattened semicircular form, carved from semi- translucent agate, well-polished, of a fine black tone with a milky white band. Pierced for suspension as a pendant, showing ancient toolmarks.Condition Good condition with minor traces of wear and age, few nicks and notches, and some chips.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 9.1 gDimensions: Length 4.1 cm
A FINE LOPBURI BANDED AGATE BEAD, c. 13TH CENTURYThailand, Lopburi period, c. 13th century. Of elongated crescent shape, carved from translucent agate of a light grey color with amber, white, and orange bands, as well as black inclusions. Central drilling allowing for suspension as a pendant.Condition: Good condition with minor surface wear as well as few small nicks and notches to the ends. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 54.2 gDimensions: Length 10.8 cm
A FINE THAI RUBY CARVING OF BUDDHAThailand, 20th century. Of oval form, the translucent ruby of a beautiful purplish pink hue, carved with a seated figure of Buddha. With a box.Scientific Analysis Report: A signed and stamped report from the Gemological Laboratory Thailand (AGL), no. 0049445, dated 10 July 2023, confirms that the present lot is natural ruby. The original report accompanies this lot.Condition: Very good condition with minor traces of wear, and few tiny nicks along the border.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 15.5 gDimensions: Height 3.1 cm
A FINE LOT WITH 25 ETCHED PYU CARNELIAN BEADS, c. 7TH - 9TH CENTURYPyu city states, c. 7th - 9th century. Consisting of 25 small carnelian beads, each varying in shape and size, delicately etched with linear designs. Accompanying them are two additional hardstone beads.Condition: Good condition with some wear, signs of weathering, and small chips here and there.Provenance: Estate of Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born Paolo Bertuzzi as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 48 g in totalDimensions: Length 0.5 - 3 cm
A LOT WITH FIVE PYU CARNELIAN BEADS, c. 7TH - 9TH CENTURYBurma / Myanmar region, Pyu city states, c. 7th - 9th century. Comprising five tubular beads with faceted sides, carved from translucent carnelian of a fine red color. Central drilling showing ancient toolmarks.Condition: Overall good condition commensurate with age, small chips, few nicks and notches.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 68.5 g (in total)Dimensions: Length 7.2 cm - 7.7 cm
A COPPER AND SILVER-INLAID BRONZE SPHERICAL CENSER, MAMLUK REVIVALEgypt, 19th century or earlier. Finely cast in two parts joined by a single brass hinge, the body decorated with six bands of Arabic script made separated by gold-inlaid borders with an engraved foliate ground. Four openwork roundels for ventilation with stylized trees detailed with silver inlays.Condition: Good condition with wear, casting flaws, signs of weathering and erosion, minor losses to inlays, and small nicks. The bronze has a fine patina with malachite and cuprite encrustations.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 772.3 gDimensions: Diameter 16.2 cm
BANKOZAN: A FINE AND LARGE SATSUMA CERAMIC VASEBy Bankozan, signed BankozanJapan, Meiji period (1868-1912)Of baluster shape, finely potted and painted with a deep cobalt-blue ground embellished with gilt plants and mon-emblems save for two large central reserves painted in polychrome enamels and rich gilt depicting idyllic figural scenes and cherry blossoms in full bloom. Signed within a gilt reserve BANKOZAN below the Shimazu crest mark. The artist produced fine quality work in the style of Kinkozan and is rarely encountered.HEIGHT 46 cmCondition: Excellent condition with only very minor wear and rubbing to gilt.Provenance: Austrian private collection, purchased at Dorotheum Auctions, Vienna, in the 1990s. Old inventory number to the underside.Auction comparison:Compare a related large satsuma vase by Bankozan at Bonhams, Fine Works of Asian Art, 18 June 2007, San Francisco, lot 6100 (sold for 3,300 USD).
KOZAN: A LARGE AND IMPRESSIVE TOKYO SCHOOL IVORY OKIMONO OF A CORMORANT FISHERMAN WITH CHILDRENJapan, Tokyo, Meiji period (1868-1912)The elderly fisherman holding a young child in one arm with a second child attempting to remove a sweetfish (ayu) from the mouth of the cormorant while holding a lantern at his feet. The elderly fisherman barefoot and dressed in simple robes with a grass apron, his face bearing a charming expression of great satisfaction at having the children with him as he fishes. The large cormorant tied with a harness attached to the belt of the fisherman, the bird detailed with fine feathers. The figures are finely carved with impressive incision work and staining. The base signed in a square reserve KOZAN.HEIGHT 30.9 cmCondition: Very good condition with minor wear, expected age cracks, and natural flaws including one nerve channel to the base. The handle of the lantern re-stuck.Provenance: From an old private collection in southern Germany, assembled between 1975 and 1982. An old collector's label to the base of the figure, 'OKIMONO, Komeran-Fischer Ivory. Jap. Meiji ca. 1880. Sign Naga-san. DM 9,000.'Cormorant fishing (ukai) was at one time the primary method of catching ayu (sweetfish). It is first attested in the Book of Sui (636 AD), an official history of the Sui Dynasty in China, and was said to be a method invented in ancient Japan. To control the birds, the fishermen tie a loose snare near the base of the bird's throat. The snare prevents the bird from swallowing large fish, which are held temporarily in their gullet. When a cormorant has caught a fish in its throat, the fisherman brings the bird back to the boat and has it regurgitate the fish. Cormorant fishing was often most effective at night when the fish would swarm to the surface causing the fishermen to use large torches for lighting and to draw the fish in.Auction comparison:Compare a related Tokyo school ivory okimono of a cormorant fisherman with his cormorant, signed Eizan, at Bonhams, Fine Japanese Art, 16 May 2013, London, lot 305 (sold for GBP 6,259). Compare a closely related composition of an elderly man catching turtles with two children, signed Kakihan, at Zacke, Asian Art Discoveries, 27 January 2022, Vienna, lot 644 (sold for EUR 6,320).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number DE-K-221108-374). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
KEIUN: A FINE IVORY OKIMONO OF A PAIR OF CRANESBy Keiun, signed Keiun toJapan, Meiji period (1868-1912)Naturalistically carved as a pair of cranes, one pausing mid-step with its head turned as it looks on and the other standing flatfooted, drawing its head in towards its body. Their feathered bodies exquisitely defined in fine lines and accents of black pigment, supported on ribbed legs on webbed feet rendered in iron, the eyes inlaid in mother-of-pearl. Signed underneath the body of the larger crane KEIUN to [carved by Keiun].HEIGHT 13.7 cmCondition: Very good condition, the base with a large age cracks. Very light chipping to the edge of tail feathers of the smaller bird.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 17.Auction comparison:Compare a closely related ivory okimono of a single crane at Bonhams, Fine Asian Works of Art, 23 June 2008, San Francisco, lot 8351 (sold for USD 5,700).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2022/BE04286/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
TOSHIMUNE: A FINE IVORY OKIMONO DEPICTING A RESTING FLOWER SELLERBy Toshimune, signed ToshimuneJapan, Meiji period (1868-1912)Exquisitely carved with naturalistic detail, the flower seller seated on a carrying pole (tenbinbo), propped between his two baskets, leaning forward with an amused look. Holding his narrow tobacco pipe (kiseru) in one hand and his inro with manju netsuke in the other, wearing several layers of elaborately patterned robes. Large peony and hibiscus blossoms wrapped in reed mats, one resting in a finely carved basket, are attached to both ends of his carrying pole. The man rests on a reed mat set on a naturalistically rendered ground. The base signed within an engraved and stained rope on a red lacquer tablet TOSHIMUNE.LENGTH 10.7 cmCondition: Very good condition with only minor wear and a plugged natural nerve channel.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 37. The base with several old labels.Auction comparisonCompare a related signed ivory okimono of a flower seller, at Christie's, Asian Art, 23 February 2006, London, lot 2413 (sold for GBP 4,560).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00398/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A LACQUER CYLINDRICAL HOKAI (COVERED FOOD CONTAINER) WITH AGARIFUJI MONJapan, late Edo (1615-1868) to early Meiji period (1868-1912)The body with horizontal raised bands and supported on four tapering square-section legs which support the sides of the box, bearing a fine roiro ground and decorated continuously in gold hiramaki-e with Agarifuji mon (ascending wisteria crest) with the character 光 among scrolling blossoms. The cover, edges, and feet mounted with chased metal mounts decorated with foliate designs, secured with twine rope, the interior of black lacquer.HEIGHT 47 cmCondition: Very good condition with minor wear. Light scratches, tiny nicks, and minor rubbing.Auction comparison:Compare a related pair of hokai similarly formed and decorated with a mon, 49 cm, dated to the late 19th century, at Christie's, Important furniture and objects of art, goldsmithing, European ceramics, Asian art, 21 June 2006, lot 263 (sold for EUR 9,000).
A FINE AKAGANE AND SHAKUDO MANJU NETSUKEUnsignedJapan, 19th century, Edo period (1615-1868)The two-part manju netsuke of rounded square form, inlaid with bands of akagane and shakudo, stimulating woven rattan to form a rinzu diapered ground. The interior with a looped cord attachment passing through the exterior.LENGTH 3.4 cmCondition: Good condition with minor wear and few losses to the inlays.Provenance: Collection of Robert and Isabelle de Strycker, acquired from the above. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Auction comparison:Compare a closely related manju netsuke with rinzu pattern, at Van Ham, Asian Art, 7 December 2017, Cologne, lot 2394 (sold for 2,451).
A RARE MARINE IVORY NETSUKE BY TANUKI HARA TSUZUMI, ATTRIBUTED TO MASATAMIAttributed to Masatami, unsignedJapan, Tokyo, second half of the 19th century, Meiji period (1868-1912)Depicting tanuki no hara tsuzumi (belly drumming raccoon dog), the fur finely incised, the lustrous marine ivory beautifully stained, the spine expressively carved, the face with sharp fangs, upwards turned snout, double-inlaid eyes in mother-of-pearl and black horn, and a jovial expression - he is visibly delighted as he drums on his large and smooth belly, with his left front paw raised in a dynamic posture. Himotoshi to the underside and to the back.HEIGHT 3.8 cmCondition: Very good condition with only minor surface wear and a flaw to the material by the creature's shoulder.Provenance: Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 202. German private collection, acquired from the above.The tanuki possesses magical powers and can change forms, sometimes into Buddhist monks; they are jovial, but also dangerous, as they have been known to suffocate hunters with their enormous scrotums. The act of drumming on the belly, according to legend, was used by tanuki to beguile travelers and hunters and to lead them astray. However, it has also been said that tanuki would get together just for fun, drumming on their bellies under the moonlight, perhaps even with some sake involved.Museum comparison: Compare a closely related ivory netsuke, signed Masatami, at the Asian Art Museum, San Francisco, object number B70Y1039.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0363). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A FINE LACQUER HAKO NETSUKE DEPICTING AUTUMNAL FLOWERSUnsignedJapan, 19th century, Edo period (1615-1868)The two-part hako (box) netsuke bearing a highly attractive roiro ground and lacquered in rich gold takamaki-e and e-nashiji with blooming autumn flowers amongst leaves, the details embellished with kirigane flakes. The interior of dense nashiji with gold fundame rims. Central himotoshi to the back, the cord attachment within.LENGTH 3.2 cmCondition: Very good condition with minor wear, the kirigane with typical wear and some losses.Provenance: Tamenne Gallery, Brussels, December 26, 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. An old collector's label, 'N 289 bis.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).
AN ANTLER MASK NETSUKE OF HANNYAUnsignedJapan, 18th century, Edo period (1615-1868)Boldly carved from a tubular section of naturally hollowed antler, the elongated face set with a devious expression with sharp fangs, and two small horns protruding from its finely incised hair. The eyes and nostrils pierced and the forehead extending in an exaggerated arch. Large central himotoshi to the thick bar in the back. The antler finely stained and bearing a superb, deep patina.HEIGHT 6 cmCondition: Very good condition with minor wear and typical natural flaws to the materialProvenance: Ex-collection Richard R. Silverman. European collection P. Jacquesson, acquired from the above on 29 September 2005. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. From the 1970s onward, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Museum comparison:Compare a related antler mask netsuke, formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 18928.
A LOT WITH 20 HARDSTONE BEADS, 19TH CENTURY OR EARLIERChina, 19th century or earlier. Comprising 20 barrel and drum shaped beads, all different in size, carved from translucent hardstone of a fine lime green tone.Condition: Good condition with traces of wear and shallow surface scratches. Few beads with chips.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 178.8 g (total)Dimensions: Length 1.2 cm - 3.4 cm
A LARGE GREEN AND BROWN CEREMONIAL JADE BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BC An amazing example of a long ceremonial blade, trapezoidal in shape, with slightly slanting short sides, faintly arched at the top edge, and with a straight cutting edge. The top pierced with three holes. The softly polished stone of an amazing, translucent blueish green tone and with large areas of darker, semi-translucent brown inclusions to the top and sides.According to the Cleveland Museum of Art, recent recoveries of similar blades from a pit of a Qijia cultural site located in northwest China reveal that they were originally standing on their edges and were arranged in parallel formations at the ritual ground. Condition: Very good condition with age-related wear, and tiny chips.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 612 g Dimensions: Length 39 cmLITERATURE COMPARISON: Compare to closely related blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 134, 135, 136, pages: 114-117. Compare to a closely related Ceremonial Blade with Three Perforations (Dao), 2000-1700 BC, Northwest China, late Neolithic period to early Bronze Age, Qijia culture exhibited at Cleveland Museuam of Art, Severeance and Greta Milikin Colllection 2009.83.AUCTION RESULT COMPARISON: Type: Related Price: Sold at 30,000 GBP approx. 35,000 EUR Auction: Christie's, A Private English collection of White Jade Carvings and Fine Chinese Ceramics and Works of Art including Export Art, Lot 118, 4th of November 2008 Description: A greyish-green jade blade, Dao, Neolithic period, Qijia culture, circa 2050-1700 BC
A FINE MOTTLED JADE DAO BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCA fine ceremonial blade, trapezoidal in shape, with slightly slanting short sides, faintly arched top edge, and curved cutting edge. The top pierced with three holes. The softly polished semi-translucent stone showing an intense color play of white, ochre, brown and black hues and whitish alterations.According to the Cleveland Museum of Art, recent recoveries of similar blades from a pit of a Qijia cultural site located in northwest China reveal that they were originally standing on their edges and were arranged in parallel formations at the ritual ground.Condition: Very good condition with age-related wear, calcification, and small chips.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 331 g Dimensions: Length 31 cmLITERATURE COMPARISON: Compare to closely related DAO blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 134, 135, 136, pages: 114-117.
A LARGE AND IMPRESSIVE MOTTLED CELADON JADE ZHANG BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCStriking in its form, this long ZHANG blade boasts a curved cutting edge, thus creating a double-pointed form. The asymmetrical, inner curvature is typical for long ceremonial ZHANG blades. Two neatly carved flanges flank the tang pierced with one circular hole. A strong, perfectly straight line runs along the blade. The semi-translucent jade is of a celadon hue with cloudy inclusions of brownish colors, green spots, and darker veins.Condition: Very good condition with natural inclusions, calcification, and fissures. A small chip to the pointy edge of the blade. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 189 g Dimensions: Length 29 cmLITERATURE COMPARISON: Compare to closely related ZHANG blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 137, 138, 139, pages: 118-121 AUCTION RESULT COMPARISON:Type: Related Price: 32,500 USD approx. 30,000 EUR Auction: Christie's, Fine Chinese Art from the Arthur M. Sackler Collections, 18th of March 2009, Lot 289. Description: A blackish-green jade ceremonial blade, Zhang, Northwest China, Qijia culture, circa 1500 BC
A CELADON AND RUSSET QI JADE BLADE, QIJIA CULTUREChina, early Bronze Age, Qijia culture, c. 2200-1600 BCA fine arched blade, with straight cutting edge and a triangularly tapered, narrow handle with one pierced hole. The sides are embellished with four symmetrical notches. The surface is neatly polished and almost lustrous. The celadon hue of the jade is enriched by russet and dark brown inclusions, as well as near black- and ivory-colored areas along the border of the cutting edge.Condition: Very good condition with expected traces of weathering, and tiny notches.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 137 g Dimensions: Length 21.5 cmLITERATURE COMPARISON: Compare to closely related Bronze Age QI blades in 4000 Years of Chinese Archaic Jades, by Prof. Filippo Salviati, Nos. 140, 141, pages: 122-123
A PALE CELADON JADE 'ELEPHANT' SEAL, QING DYNASTYChina, Qing dynasty (1644-1912). The rectangular seal surmounted by a finial finely carved as an elephant standing foursquare, the head gently turned to the right, incised with narrow eyes, a long curling trunk, and curved tusks. The translucent stone of a pale celadon color with a russet streak and icy inclusions. The seal face is carved with four characters, two reading 'Wen Xiang'. Condition: Very good condition with minor wear, the seal with minor smoothened chips, the stone with natural inclusions and fissures.Provenance: Collection of Stephen Poulin, Toronto, acquired in 1990 from Shakris Fine Asian Works of Art, San Francisco. Mr. Poulin is a renowned professional in the art conservation industry who has been an avid collector of archaic jades for over 40 years.Weight: 160.8 gDimensions: Height 5.4 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
‘Almost a single-handed endeavour of extremely bold pattern, one day these exploits will be disclosed, and they will read stranger than fiction.’ Admiral Christie, Commander of the United States Pacific Submarine Operations, on the success of Operation Jaywick. The historic and important Second War ‘Operation Jaywick’ M.M., ‘Special Operations Executive - Orient Mission’ B.E.M. group of nine awarded to Acting Sergeant, later Major R. G. Morris, Royal Army Medical Corps, attached S.O.E. and Special Operations Australia, who was awarded the Military Medal for his gallantry and distinguished service as Medical Orderly in the MV Krait during her hazardous and highly audacious 48-day 4,000 mile round trip Commando raid, under the Command of Major Ivan Lyon, Gordon Highlanders, on Japanese occupied Singapore Harbour in September 1943, resulting in the sinking and destruction of seven enemy ships totalling 37,000 tons - the deepest surface waterborne penetration behind enemy lines undertaken by special forces in the Second World War. With no uniforms, no identity tags, and flying the Japanese flag, there would only have been one outcome for the crew if they were captured - failure was not an option. Remarkably, Morris had previously been awarded the B.E.M. for his services in the South-West Pacific, almost certainly for his devotion to duty during the Fall of Singapore when, having helped establish an escape route through Sumatra, and with his medical skills to the fore, he tended to the hundreds who came ashore at Durian during the exodus from Singapore in February 1942, before finally evacuating the island with Ivan Lyon in a tale of daring-do, first by sail to Sumatra, then by car across the mountains, before securing passage on the last ship out of Padang Military Medal, G.VI.R. (7264507 A/Sjt. R. G. Morris. R.A.M.C.); British Empire Medal, (Military) G.VI.R., 1st issue (7264507 Pte. Ronald George Morris); 1939-45 Star; Pacific Star; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Malaya, G.VI.R. (7264507 Sjt. R. G. Morris. M.M. B.E.M. R.A.M.C.); General Service 1962-2007, 1 clasp, Borneo (Lt. R. G. Morris. M.M. B.E.M. RAMC.); Army L.S. & G.C., E.II.R., 1st issue, Regular Army (7264507 W.O. Cl.2. R. G. Morris. B.E.M. M.M. R.A.M.C.) mounted court-style as worn, cleaned and lacquered, light contact marks, generally very fine and better (9) £60,000-£80,000 --- M.M. London Gazette 19 September 1946: ‘In recognition of gallant and distinguished services in the field (to be dated 23 November 1944).’ The Operation Jaywick File at the PRO (ADM 1-16678 gives the following Recommendation: ‘Corporal R. G. Morris, R.A.M.C., and Corporal A. Crilly, A.I.F. These two men were members of the ship’s crew, Corporal Morris the Medical Orderly, and Corporal Crilly as cook. Both performed their duties with great cheerfulness and their bearing throughout was of the highest standard in most trying and hazardous conditions. I recommend that if awards to the above men are approved, their published citation should only state that these awards are for outstanding conduct in the presence of the enemy, but that no fuller citation can be published for reasons of military secrecy.’ Morris’ Military Medal was approved by H.M. the King on 17 May 1944, on the Secret List, with the instruction that it was not to be published in the London Gazette until it had been taken off the Secret List. B.E.M. London Gazette 4 May 1943: ‘In recognition of gallant and distinguished services in the South West Pacific.’ Ronald George ‘Taffy’ Morris was born at Pentre, in the Rhondda Valley, on Christmas Day 1918, and after leaving school at the age of 14 was employed as a miner. After five years in the South Wales pits he attested for the Royal Army Medical Corps on 30 May 1938, and after Japan entered the War he was recruited as a Medical Orderly to join the Special Operations Executive, Orient Mission, arriving in Singapore on 19 April 1941. Here he met fellow S.O.E. Operative, the charismatic old Harrovian Captain Ivan Lyon, Gordon Highlanders. The pair of them were soon part of an unorthodox group undertaking clandestine missions, training up local groups in the art of sabotage to be undertaken behind enemy lines, as well as establishing an escape route through Sumatra, should the unthinkable happen, and Singapore fall to the Japanese. In early February 1942, Lyon and Morris, together with a handful of other operatives, were ordered to leave Singapore to establish a base on Pulau Durian, one of the handful of small islands between Singapore and Sumatra. Here they acted as a makeshift staging post for the mass exodus out of Singapore, with Morris’ medical skills to the fore, as many who came ashore had severe injuries from Japanese bombing raids. ‘He set about making splints, setting broken bones, stemming bleeding, suturing gashes, and removing shrapnel embedded in flesh. all without anaesthetic.’ (The Tiger’s Revenge, by the recipient’s son, Evan Morris, refers). The work undertaken by the various S.O.E. teams saved hundreds stranded on the islands during this period, and on Durian Lyon and Morris worked tirelessly for days without a break. Then, on 17 February, two small ships arrived at Durian with the bad news. Singapore had fallen. The last of the survivors from Singapore having been evacuated, Morris and Lyon then left themselves in a small sailing vessel, and made their way by boat to the mouth of the Indragiri River, up the river to Rengat, and then across the Sumatran mountains by car, to Padang. Here, Morris, owing to his medical skills, was ordered onto what was the last ship to leave the island, on board the Dutch steamer the S.S. Palopo, bound for Ceylon. Against all odds, the ship made it to Ceylon on 11 March, from where Morris was posted to No. 55 Combined Military Hospital in Colombo. He was advanced Acting Sergeant on 10 July 1942 and, for his gallant and distinguished services in the South West Pacific, was awarded the British Empire Medal. Understandably, given the secretive nature of his work, no citation exists. Lyon, meanwhile, had also made it, via an extraordinary 1,000 mile journey in a fishing ketch, to Ceylon, from where he proceeded by steamer to Bombay. It was from here that he, along with Major Jock Campbell, King’s Own Scottish Borderers, and a 61 year old Australian civilian, Bill Reynolds, conceived an enterprising idea to have their revenge upon the Japanese in Singapore. Operation Jaywick Under the plans hatched by Lyon, Campbell, and Reynolds in Bombay, commandos would travel to Singapore harbour in a vessel disguised as an Asian fishing boat. They would then use collapsible canoes (folboats) to attach limpet mines to Japanese ships. General Archibald Wavell, Commander-in-Chief, India, known for his enthusiasm for unconventional warfare, approved the plan. However, given the necessary secrecy required for the operation, and the fact that India was known to harbour an extensive network of Japanese spies, to embark from the sub-Continent was out of the question. Instead, another embarkation point was require, and in July 1942, Lyon set off for Australia to organise the operation. But first he had to secure the services of a key member of his team - Ronald Morris. Flying to Colombo, Lyon attempted to secure Morris’ release from his hospital duties, but his meeting with the Commanding Officer of No. 55 Combined Military Hospital in Colombo for once did not go to plan, and the C.O. refused to agree to Morris’ release. Undaunted, Lyon then flew back to Delhi and, having obtained an official order sanctioning Morris’ release,...
Lin Fengmian 林风眠 (1900 - 1991) Birds and Wisteria 紫藤小鸟 Oil on canvas Signed and mounted. 80 x 60cm (31.5” x 23.5”） Lin Fengmian was a pioneer of modernism known for his brilliant hybridization of Chinese and European styles, subjects and methods. In his role as a prominent educator, Lin laid the foundation for Chinese modern art. Throughout his long and productive life, Lin absorbed a wide array of stylistic approaches into his paintings, and was one of the earliest Chinese artists to make a serious study of European modern art along with traditional ink paintings. By 1920 Lin was working as a signboard painter in Marseilles, sketching and studying French in his spare time. Lin’s work as a sign painter would help develop the steadiness and clarity of his later brushwork. Following six months of study at the School of Fine Arts in Dijon, Lin left for Paris where he studied at the École des Beaux Arts and the studio of Fernand Cormon (1845-1924). He had a highly eventful year in Germany, where he saw the works of German Expressionists and held a one-man exhibition, married his first wife, and exhibited 42 paintings in an Exhibition of Traditional and Modern Chinese Art. Soon after, with the untimely and sudden death of his wife and first-born child, the stunned Lin’s art and outlook were transformed. He remarried in 1925 and then returned to Beijing in 1926, committed to revitalizing Chinese art through education. After serving as the first principal of the National Beijing Fine Art School he founded the Hangzhou National College of Art where he taught Western style painting to students including Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Lin Fengmian’s life was marked by numerous upheavals and tragedies including the destruction of may of his works during the Sino-Japanese War and Cultural Revolution. After leaving China in 1977 to reunite with family members Lin Fengmian ultimately settled in Hong Kong where he died in 1991 at the age of 90 years old. His work can be found in many museum collections including the Metropolitan Museum of New York, the Cernuschi Gallery of Asian Arts of Paris, and the Art Gallery of New South Wales. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A RARE PAIR OF GILT BRONZE CLOISONNÉ ENAMEL "WU DU TU"（FIVE POISONOUS CREATURES）NARCISSUS BOWLS清中期 銅鎏金掐絲琺瑯 '五毒圖'水仙盆一對China, mid 19th century. each applied with gilt metal Greek key rims over a lobed panel body decorated with flowers, fruits and the five poisons: snake,scorpion, centipede, toad and spider, against a rich blue ground, on short scroll feetL: 24 cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.Publication: Inventory of Fine period furniture, porcelain, bronzes and effects, by Richard J.Lattimore, auctioneer and valuer of James Adams & Sons, July 1984, page 13出处：瑪麗安·紐曼（Marianne Newman）和布蘭奇·漢德爾曼（Blanche Handelman）的愛爾蘭私人收藏在 1960 年代充滿活力的時代，瑪麗安 ·紐曼 （Marianne Newman） 和布蘭奇·漢德爾曼 （Blanche Handelman） 在都柏林開設位于莫爾斯沃思街 4 號和奧蒙德碼頭的古董店。Handelman夫人以對Belleek瓷器的熱情而著稱，成為這種精緻藝術形式的傑出轉銷商。 除了在Belleek的專業知識外，她還是一位狂熱的藝術品收藏家，對亞洲艺术品情有獨鍾。 经营的三十年來他们的古董店成为艺术愛好者和收藏家的中心，他们夫妇二人成為都柏林乃至爱尔兰的古董界的重要角色。 奧蒙德古董店于1990 年結束。出版：《精美时期家具、瓷器、青铜器和效果清单》，由本公司的拍卖师兼估价师理查德·J·拉蒂莫尔编写，1984年7月，第13页。NOTE-a similar decoration on a Qianlong period copper box, in the collection of National Palace Museum, reference故琺000995N000000000In ancient China, the fifth day of the fifth month, known as Duanwu, marked the start of summer and was considered dangerous due to the emergence of poisonous animals. To protect against this, people used customs like drinking realgar wine, hanging Zhong Kui pictures, and employing "Five Poison" charms featuring snakes, scorpions, centipedes, toads, and spiders, believed to be "poisonous" creatures.People thus display objects adorned with motifs of the Five Poisons and wear clothing with patterns depicting these creatures during the Duanwu Festival to ward off evil and invite good fortune. Our pair of finely crafted cloisonné narcissus bowls should be considered as a festive display item for affluent families during this auspicious time.
A LARGE IMARI AND GILT BRONZE BOWLJapan, Meiji period (1868-1912)of compressed globular form with flared rim, decorated alternating floral and diaper banding above a fan-shaped reserve with Chinese figures in a garden landscape, set against a blue and gilt floral ground, applied with elaborate gilt metal serpent handles and a pierced scrollwork foot.Size: 64 x 27 x 26cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.Publication: Inventory of Fine period furniture, porcelain, bronzes and effects, by Richard J.Lattimore, auctioneer and valuer of James Adams & Sons, July 1984, page 11.
Full title: A pair of fine Chinese famille rose trembleuse stands or 'mancerina', QianlongDescription:L.: 25,5 cm – H.: 4 cm (the stands)Dia.: 7 cm – H.: 4,5 cm (the cups) Provenance:- The collection of Tove and Karl Emil Stromstad (born 1936), Norway. - Acquired in 1894 by or from Thomas WU (?), for the price of GBP 5.50 each, according to the label on the base. Ref.:- Christie's, The Tibor Collection, New York, April 10, 2019, for a nearly identical pair. (sold USD 5.000) (External link available on rm-auctions.com)The accompanying text states:The mancerina is closely associated with the Hispanic market and with the Spanish custom of chocolate drinking. Both chocolate and silver of course came from the Spanish New World, so it is fitting that this form was often made in silver as well as in Spanish maiolica. It is said that the 2nd Marques de Mancera, Viceroy of New Spain 1664-1673, had a palsied hand and thus needed the all-in-one cupstand, which took his name, though none survive from this early period. Interestingly, a very similar form exists in Chinese ceramics of the Song period, which may have influenced the development of the export examples.For a Mexican silver mancerina see H.R. Borrell et al, The Grandeur of Viceregal Mexico, p. 380. An almost identical single export mancerina is in the Museo Nacional de Historia, Mexico City, and illustrated by M. Priyadarshini, Chinese Porcelain in Colonial Mexico, p. 123. - Denver Art Museum, Accession Number 2017.143, for a similar yet less elaborate example. (External link available on rm-auctions.com)The accompanying text by Jorge Rivas Perez states: This large Chinese famille rose mancerina decorated with flowers is a specialized item found in chocolate services. The mancerina is a deep, wide saucer, often in the shape of a seashell, with a cup holder in the center to hold the jÃcara (chocolate cup) in place and prevent it from tipping over. It was invented in Mexico in the mid-1600s and named after Don Antonio Sebastian alvarez de Toledo Molina y Salazar, 2nd Marquis of Mancera, and Grandee of Spain (c. 1608 - 1715), a Spanish nobleman who was Viceroy of New Spain (Mexico) from 1664 to 1673.Mancerinas became very fashionable across the Spanish empire during the colonial period and were manufactured in both silver and ceramic. In the 18th C., thanks to the trade with Asia via the Manila Galleon, porcelain mancerinas were also produced in China for the Mexican market. This example, a Qianlong period (1736-1795) famille rose mancerina decorated with flowers from circa 1760-70, is representative type of the Asian export wares for the Spanish market.Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
A RARE CARVED WOOD TEMPLE STRUT (VIGRAHA) DEPICTING A YOGINI 寺廟木柱雕刻瑜伽士Nepal, 13th-14th century or earlier. Finely carved standing in tribhanga, the left hand raised in the healing gesture of prithvi mudra, the right holding a skull cup. The emaciated body adorned with a garland of severed heads, the gaunt face with large eyes protruding from cavernous sockets, the head surmounted by an elaborate tiara.Provenance: From the estate of Richard S. Ravenal (1927-2022), Livingston Manor, New York, USA. The former owner of both the Asian Gallery in New York, Richard Ravenal was an avid collector and connoisseur of East Asian antiquities. Pieces formerly in his possession can be found today in several prominent institutions, including the Brooklyn Museum.Condition: Good condition, commensurate with age. Ancient wear, expected age cracks and splits, losses, signs of weathering and erosion, minor worming, nicks, scratches. Overall presenting remarkably well. A magnificent, naturally grown patina overall.Weight: 13.4 kg (incl. stand)Dimensions: Height 73 cm (excl. stand) and 88.5 cm (incl. stand) Mounted on a fitted stand. (2)Nepalese temple struts, known as tunala or vigraha, are considered fine works of art and are often made by highly skilled craftsmen using traditional techniques. They are an important part of the cultural heritage of Nepal and can be found in many different styles and designs throughout the country. These struts are found in traditional Nepalese architecture, particularly in religious structures such as temples and shrines, ornately carved and often painted, serving both structural and symbolic purposes.Structurally, the struts help support the roof of the temple or shrine, which is made of heavy timber or stone. The struts are typically placed at regular intervals along the eaves of the roof, and their weight helps to counterbalance the weight of the roof, making the structure more stable.Symbolically, the struts are often carved with intricate designs and figures from Nepalese mythology, and are believed to have religious significance. They are thought to represent various deities or supernatural beings, and are intended to offer protection and blessings to the structure and its occupants.Literature comparison: Compare a related wood temple strut depicting a yakshi, 128 cm high, dated to the 13th century, formerly in the Art Gallery New South Wales, accession number 33.2000.a-b, recently repatriated to Nepal in May 2003 and currently on display at the Patan Museum. Compare a related wood temple strut depicting Varaha, 74.5 cm high, dated to the 15th century, previously in the James W. and Marilynn Alsdorf Collection and now in the Art Institute of Chicago, reference number 1984.1495. See a comparable set of temple struts dated to the 15th century, still in place at Gunakar monastery in Jyatha Tol, Chhusyabaha, Kathmandu, Nepal.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 8 May 2001, lot 531 Price: NLG 25,850 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A Nepalese wood temple strut, circa 14th century Expert remark: Compare the related manner of carving. While the present lot appears significantly older than the Christie's example, both have comparable iconography. The Christie's example also shows that the current lot may possibly be missing a lower portion. Note the size (101 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 15 December 2022, lot 154 Estimate: EUR 50,000 or approx. EUR 51,500 converted and adjusted for inflation at the time of writing Description: A sandalwood figure of Lokeshvara, Nepal, 11th/13th century Expert remark: Compare the related manner of carving. Note the size (66 cm). 寺廟木柱雕刻瑜伽士尼泊爾，十三至十四世紀或更早。精雕細刻，呈三曲式，左手舉起，結地手印治療姿勢，右手拿著一個骷髏杯。 瘦弱的身體上戴著骷髏花環，憔悴的臉龐，大眼突出，頭上戴著頭飾。 來源：Richard S. Ravenal (1927-2022年) 舊藏，美國紐約利文斯頓莊園。Richard Ravenal是紐約亞洲藝廊的前任所有者，他是一位熱心的東亞古董收藏家和鑑賞家。 如今，包括布魯克林博物館在內的幾個著名機構中都可以找到他以前擁有的藏品。 品相：狀態良好，磨損、裂縫和裂口、缺損、風化和侵蝕、輕微的蟲蛀、刻痕、劃痕，自然包漿。 重量：13.4 公斤(含底座) 尺寸：高 73 厘米 (不含底座) 與 88.5 厘米 (含底座) 固定支架 (2) 文獻比較: 比較一件相近的十三世紀寺廟木雕藥叉女，高128 厘米，曾藏於Art Gallery New South Wales，館藏編號33.2000.a-b，2003年5月已被送回尼泊爾，現藏於Patan 博物館。比較一件相近的十五世紀寺廟木雕婆羅訶，高74.5 厘米，曾藏於James W.和Marilynn Alsdorf Collection，現藏於芝加哥藝術博物館，館藏編號1984.1495。見一件十五世紀寺廟木雕像，仍在尼泊爾加德滿都Jyatha Tol的Gunakar修道院。 拍賣比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2001年5月8日，lot 531 價格：NLG 25,850（相當今日EUR 18,500） 描述：約十四世紀尼泊爾寺廟木雕 專家註釋：比較相近的雕刻風格。 雖然我們的拍品看起來比佳士得的木雕年代更久遠，但兩者的圖像具有可比性。佳士得的例子還表明，我們的拍品可能缺少下部部分。請注意尺寸 (101 厘米)。 拍賣比較： 形制：相近 拍賣：巴黎邦翰斯，2022年12月15日，lot 154 估價：EUR 50,000（相當今日EUR 51,500） 描述：尼泊爾十一/十三世紀檀香木雕聖觀自在菩薩像 專家註釋：比較相近的雕刻風格。請注意尺寸 (66 厘米)。
A RARE WHITE MARBLE CARVING OF A PHALLUS, WESTERN HAN DYNASTY 西漢漢白玉玉勢China, 206 BC-8 AD. The realistically carved elongated phallus is decorated with rings along the shaft and with a cross-hatched decorative band at the base. The base has a domed recess inside that is pierced horizontally for suspension. This recess has a second aperture that extends to the tip of the phallus.Provenance: Bonhams, Hong Kong, December 16th, 2022, lot 351. Note that Bonham's experts originally dated this lot to the Tang dynasty.Condition: Good condition commensurate with age. Signs of wear, weathering, and erosion. Minor nicks and losses. Soil encrustations overall, issuing from an extended period of burial. These encrustations cannot be easily removed, and they have left distinct marks to the mineral. The stone with natural inclusions and fissures, some of which have developed into hairline cracks. Fine, naturally grown golden-brown patina overall.Weight: 431.7 g Dimensions: Length 18.9 cm Expert's note: Similar to the few known phallus sculptures from ancient China, the heavy encrustation from extensive burial is evidence of its (eventual) use as a grave good. The elaborate carving with great attention to detail and the two apertures, one for suspension and one for added realism, suggest the elite status of the person with which this was buried. Phallic objects carved from stone, or cast from metal or terracotta, are common subjects of any major ancient culture. Throughout time, the phallus was seen as an emblem of life and procreation. Not only did it have the power to induce fertility, but it also had an equally important role as an auspicious emblem which would ward off diseases. The practice of castration and the employment of court eunuchs, likely established in China during the Sui dynasty, added a secondary role of model phalli: the restoration of manhood after death (court eunuchs would be buried with their detached genitalia). However, this multifaceted subject remains somewhat of a taboo, which has contributed to relatively scarce publications about ancient Chinese erotic sculpture.Phalluses of various materials, believed to be associated with fertility rites, have been made in various prehistoric cultures in the Yellow River basin. Later in the Shang dynasty, when pictographic language emerged, the character zu (ancestor) closely resembled the male sexual organ, indicating the significance of the male role in ancient Chinese ancestry.Literature comparison: Compare two similar bronze phallus excavated from a tomb in the Dayun Mountain, Xuyi, Jiangsu, dated to the Western Han dynasty, in the Nanjin Museum, included in the exhibition Tomb Treasures: New Discoveries from China's Han Dynasty, Asian Art Museum, San Francisco, 17 February-28 May 2017. Compare two bronze V-shaped double-phalli, excavated in the tomb of Prince Zhongshan (Liu Sheng), dated to the Han dynasty, published in Mancheng Han mu Fajue Baogao (Excavation Report of the Han Dynasty tomb at Mancheng), Beijing, 1980, vol. 1, pp. 100. The former was unearthed together with a pair of matching stone pebbles, illustrated ibid., vol. 2, pl. LXI, fig. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 April 2022, lot 3670 Estimate: HKD 140,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A bronze phallus, Han dynasty Expert remark: Note the similar wrinkle-like rings at the top of the shaft. Note the size (17.2 cm). 西漢漢白玉玉勢中國，公元前206年至公元八年。雕刻逼真的細長陽具，底部飾有交叉紋飾帶。底座內部有一個圓頂凹槽，水平穿孔用於懸掛。凹出有延伸至陰莖尖端的第二個孔。 來源：香港邦翰思，2022年12月16日。請注意邦翰思專家認爲這件拍品來自唐代。 品相：狀況良好，有磨損、風化和侵蝕的跡象，輕微劃痕和缺損。總體而言，土壤結殼是由於長期在地下而產生的。這些結殼不容易去除，並且在大理石上留下了明顯的痕跡。石料具有天然内沁和裂隙，有的已發展成裂紋。整體呈精美的金棕色包漿。 重量：431.7 克 尺寸：長18.9 厘米 文獻比較： 比較兩件戰國時期青銅勢，出土於江蘇大雲山江都王陵，收藏於南京博物館，展覽於《Tomb Treasures: New Discoveries from China's Han Dynasty，Asian Art Museum》，舊金山，2017年2月17日 -5月28。比較兩件漢代V形雙陽具，出土於中山王墓，出土於《滿城漢墓發掘報告》，北京，1980年，卷1，頁100。其中一件與一對相配的鵝卵石一起出土，見上書，卷2，圖LXI，圖2。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年4月29日，lot 3670 估價：HKD 140,000（相當於今日EUR 16,500） 描述：漢青銅祖 專家評論：請注意相似的環。請注意尺寸(17.2 厘米)。
A LARGE GREEN AND RUSSET JADE FIGURE OF A THREE-LEGGED TOAD, MING DYNASTY 明代大型三足玉蟾China, 1368-1644. The pebble boldly carved in the round as a crouching toad with its single hind leg tucked beneath. The animal well detailed with wrinkles on its back, large protruding eyes, and incised feet. The opaque stone is of a mottled green and dark-gray tone with russet patches and distinctive veins.Provenance: Ute Asboth, Galerie Asboth, Vienna, c. 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of an expertise written and signed by Ute Asboth, with a stamp from Galerie Asboth, confirming the dating above, accompanies this lot. Ute Asboth (c. 1927-2018) began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Some pieces from Ute Asboth's private collection reside now in the Museum of Ethnology, Vienna (today the Weltmuseum). Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with old wear, minor signs of weathering and erosion with associated small losses. The stone with natural fissures, some of which have developed into small hairline cracks. Few minor nicks.Weight: 724 gDimensions: Length 12 cm The toad enjoyed popularity in late Ming jade carving due to its association with Daoism and continued into the Qing dynasty. The three-legged toad in particular became so popular an image that its meaning became synonymous with the Daoist immortal Liu Hai. The word for toad is homophonous with offspring (wa), which means the toad came to symbolize the wish for multiple offspring to continue the family line.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 June 2016, lot 25Estimate: HKD 300,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A sage-green jade figure of a toad, late Ming dynasty to the early Qing dynasty Expert remark: Compare the related pebble-form and pose. Note the color of the jade.Auction result comparison: Type: Related Auction: Christie's London, 11 November 2011, lot 1221Price: GBP 11,875 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A celadon jade carving of a toad, 17th century Expert remark: Note the size (6.3 cm).Auction result comparison: Type: RelatedAuction: Sotheby's London, 13 December 2021, lot 109Price: GBP 5,040 or approx. EUR 6,900 converted and adjusted for inflation at the time of writingDescription: A celadon and black jade figure of a toad, Ming dynastyExpert remark: Compare the pose. Note the size (6 cm). 明代大型三足玉蟾中國，1368-1644年。玉料雕刻成一隻臥蟾，一條後腿藏在身下，背部有皺紋，大眼突出，細節十分精細。不透明玉料呈斑駁的綠色和深灰色調，帶有黃褐色斑紋理。 來源：Ute Asboth ，維也納Asboth藝廊，約2000年；Maria與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份由Ute Asboth出具的鑒定書複印件，上還可見 Asboth藝廊印章，確認斷代。Ute Asboth (約1927-2018) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯，之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版，她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作，並策劃了幾個著名的展覽。Ute Asboth 的一些私人收藏品現在收藏在維也納民族學博物館（現為世界博物館）。品相：狀況良好，有磨損，輕微風化，小缺損和小劃痕。玉料有天然裂隙，有的已發展成細小的裂紋。 重量：724 克 尺寸：長 12 厘米 蟾蜍因與道教有關，在晚明玉雕中極受歡迎，一直延續到清代。其中，“劉海戲金蟾”的故事廣爲流傳。蟾蜍即蛙，字與“娃”諧音，意思是蟾蜍來了，象徵著多子多孫。拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2016年6月1日，lot 25 估價：HKD 300,000（相當於今日EUR 40,500） 描述：明末至清初青玉蟾蜍 專家評論：比較相近大眼突出和姿勢。請注意玉石顏色。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年11月11日，lot 1221 價格：GBP 11,875（相當於今日EUR 21,500） 描述：十七世紀青白玉蟾蜍 專家評論：請注意尺寸(6.3厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2021年12月13日，lot 109 價格：GBP 5,040（相當於今日EUR 6,900） 描述：明青玉蟾蜍 專家評論：比較姿勢。請注意尺寸(6厘米)。
A JIZHOU PAPERCUT RESIST-DECORATED 'PRUNUS' BOWL, SOUTHERN SONG DYNASTY 南宋吉州貼花碗China, 1127-1279. The rounded conical body detailed to the interior with twelve prunus blossoms arranged in two tiers around a single blossom in the center, all reserved in dark brown on the finely mottled buff and dark-brown ground, the exterior covered with a dark brown glaze that falls irregularly to the foot.Provenance: Yue Gu Zhai Antique Co., Hong Kong, 2001. A private collector in North Berwick, Scotland, who has been collecting Asian ceramics for 25 years, acquired from the above. Copies of the original receipt and a signed and sealed Certificate of Authenticity, both from Yue Gu Zhai Antique Co., dated 19 September 2001, and confirming the dating above, accompany this lot.Condition: Very good condition with expected old wear, weathering, and firing irregularities, small chips to the foot, minor fritting to the rim.Weight: 147.9 gDimensions: Diameter 10.2 cm Among the daring and innovative techniques the Jizhou kilns in Jiangxi province are most famous for is the technique of using paper cut-outs as stencils to create resist designs. Not only did the use of the papercut stencil facilitate the replication of individual motifs, it also permitted considerable variation in the interpretation of the standard design.Almost always arranged in two tiers, stylized plum blossoms appear as decoration both on conical bowls and yankou wan type bowls. Conical bowls generally support seventeen blossoms, including the one on the floor, however, numbers vary from bowl to bowl as do flower types.Literature comparison:Compare a related bowl from the Charles B. Hoyt Collection in the Museum of Fine Arts, Boston, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1980, vol. 10, no. 171, and another related bowl from the Avery Brundage Collection in the Asian Art Museum of San Francisco, illustrated by R. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown and Black-Glazed Ceramics, 400-1400, Cambridge, Massachusetts, 1996, pp. 250, no. 101. Also compare another related Jizhou paper-cut 'prunus' bowl, Southern Song dynasty, illustrated in Song Ceramics from the Kwan Collection, Hong Kong, 1994, p. 382, no. 173.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 14 September 2018, lot 1304Price: USD 11,250 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A Jizhou paper cut resist-decorated tea bowl, Southern Song dynasty, late 12th-13th centuryExpert remark: Compare the closely related form, decoration, and glaze. Note the size (12.1 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams London, 9 November 2017, lot 30Price: GBP 10,625 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare Jizhou paper-cut-out 'prunus-blossoms' bowl, Southern Song DynastyExpert remark: Compare the closely related form, decoration, and glaze. Note the size (12.3 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 3 December 2015, lot 205Price: HKD 118,750 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: A Jizhou 'papercut' 'prunus' bowl, Southern Song DynastyExpert remark: Compare the closely related form, decoration, and glaze. 南宋吉州貼花碗中國，1127-1279年。此碗外壁敷黑釉，足部露胎。碗內部窯變花斑釉色，其上以剪紙貼花技法燒製出花紋，花朵小巧可愛，上下兩圈，相互錯落排開，中央一朵。其釉色均勻，紋飾巧俊，渾樸天然。 來源：香港悅古齋，2001年；蘇格蘭北伯利克私人收藏，25年來，他一直在收集亞洲陶瓷，這些陶瓷都是從上述古玩店購得的。此拍品附有悅古齋古董有限公司出具的原始收據副本，以及簽名蓋章的真品證書副本，日期為 2001 年 9 月 19 日，並確認了上述日期。 品相：狀況極好，有磨損、風化和燒製不規則，足部有小缺口，邊緣有輕微磨損。 重量：147.9 克 尺寸：直徑 10.2 厘米 文獻比較： 比較一件相近的吉州花碗，收藏於Charles B. Hoyt Collection in the Museum of Fine Arts，波士頓，見Oriental Ceramics，《The World's Great Collections》，東京，1980年，卷10，編號171。另一件相近的吉州花碗 ，見Avery Brundage收藏於舊金山亞洲藝術博物館，見R. Mowry，《Hare's Fur，Tortoiseshell，and Partridge Feathers: Chinese Brown and Black-Glazed Ceramics，400-1400》，劍橋，麻塞諸塞州，1996年，頁250，編號101。另一件相近的南宋吉州梅花紋碗，見《Song Ceramics from the Kwan Collection》，香港，1994，頁382，編號173。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年9月14日，lot 1304 價格：USD 11,250（相當於今日EUR 12,500） 描述：南宋吉州窯剪紙貼花盌 專家評論：比較非常相近外形，裝飾和釉面。請注意尺寸 (12.1厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2017年11月9日，lot 30 價格：GBP 10,625（相當於今日EUR 17,000） 描述：南宋吉州窯剪紙貼梅花紋盌 專家評論：比較非常相近外形，裝飾和釉面。請注意尺寸 (12.3厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2015年12月3日，lot 205 價格：HKD 118,750（相當於今日EUR 16,000） 描述：南宋吉州窰剪紙貼花梅花盌 專家評論：比較非常相近外形，裝飾和釉面。
A LARGE AND IMPORTANT BRONZE OF SHIVA NATARAJA AND PARVATI, CHOLA PERIODSouth India, 9th-13th century. Superbly cast as a dancing Shiva and Parvati, each atop a double lotus base supported on a rectangular plinth with circular and rectangular apertures. The Lord of Dance performing Ananda Tandava, balancing atop of a dwarflike figure, his consort, Parvati, performing Lasya, joyously dancing and balancing on one leg with one arm outstretched.Provenance: SS Raghavachari, Vepay (Vepery), Madras, India, 29 March 1954. Mary Mark Merrill, acquired from the above (purchased for USD 2,000 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing). Taj (nee Merrill) Gilligan, acquired from the above in the early 1980s. The present lot is accompanies by a copy of the original agreement of sale between SS Raghavachari, resident of Sambanda Vilas, Vepay Madras, South India, and Mary Mark Merrill, Washington, United Kingdom, dated 29 March 1954, with a photograph of the present lot; a copy of the correspondence between Leslie Olmstead Merrill and his mother, dated 12 April 1954, detailing his travels in South India with his wife Mary and their purchase of the present lot; a copy of an appraisal from Wallace Thompson, noted patron of the Asian Art Museum, San Francisco, dated 20 October 1974, stating the value of the present lot as USD 20,000 or approx. EUR 113,000 (converted and adjusted for inflation at the time of writing); and a copy of a provenance statement written and signed by Taj Gilligan, dated 15 July 2023. Mary Mark Merrill was the daughter of real estate and broadcasting tycoon LeRoy Mark, who established the American Broadcasting Corporation (ABC). She married Leslie Olmstead Merrill, professor of Fine Arts at the University of Colorado, in March of 1953. The pair decided to travel the world in 1954, starting in Japan and eventually finding their way to India. Patrons of Asian arts, their love of India never waned, to the extent that they named their daughter Taj. Condition: Good condition with extensive natural wear, both from weathering and centuries of worship. Expected casting irregularities. Losses, cracks, nicks, scratches, all commensurate with age. The base somewhat warped in areas. Obvious heat damage, probably from a temple fire that happened long time ago. Overall displaying exceptionally well.Weight: 135.5 kgDimensions: Height 114 cm, Width 91 cmAnanda Tandava (masculine) dance to express happiness and joy is performed by Lord Shiva, while goddess Parvati is performing Lasya (soft/ feminine) offering a balance of cosmic energies — the male and the female. Together they symbolize the harmonious union of energies without which the universe would be in a state of flux.As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva's role as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Shiva holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear). The dwarflike figure being trampled by his right foot represents apasmara purusha (illusion, which leads mankind astray). Shiva's front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. These symbols imply that, through belief in Shiva, his devotees can achieve salvation.Literature comparison:Compare a related bronze group of Shiva and Parvati, dated c. 950-960, in the Cleveland Museum of Art, accession number 1961.94. Compare a related bronze group of Shiva, Uma, and Skanda (Somaskandamurti), 53 cm high, dated to the early 11th century, in the Metropolitan Museum of Art, accession number 1982.220.10.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A BRONZE FIGURE OF THE JAIN HERO BAHUBALIIndia or Nepal, 18th - 19th century. Standing in kayotsarga atop a circular base with leafy vines wrapped around his arms and legs. The serene face with heavy-lidded almond-shaped eyes below curved brows as well as an aquiline nose and full lips forming a subtle smile, flanked by long pendulous earlobes, the hair arranged in tight curls.Provenance: Collection of Gerard Wahl-Boyer and thence by descent within the same family. French private collection, acquired from the above. Gerard Wahl-Boyer (d. 2014), better known to most as 'Bebe Rose', was an insatiable collector whose interests spanned a wide range of religious and tribal art from South and East Asia as well as Africa. He was a fixture in Parisian auction rooms, known as a great picker.Condition: Very good condition with old wear and minor casting flaws, few losses, dents, nicks, and scratches as well as signs of weathering and erosion. Remnants of pigment. Fine, naturally grown, dark patina with small areas of malachite encrustation.Weight: 2,440 gDimensions: Height 39 cmThe torso and lower body are cast separately, though not detachable, suggesting the possibility of relics contained within, indicated also by the circular aperture to the back of the head.Bahubali was the son of Rishabhanatha (the first tirthankara of Jainism) and the brother of Bharata Chakravartin. He is said to have meditated motionless for a year in a standing posture (kayotsarga) and that during this time, climbing plants grew around his legs. After his a year of meditation, Bahubali is said to have attained omniscience (Kevala Gyana).In 948 AD the Ganga general Chavundaraya commissioned a monumental sculpture of Bahubali at Shravanbelagola, Karnataka. The Gommateshwara statue is the tallest monolithic statue in the world today and was carved out of a single block of granite. It is 17 meters and can be seen from 30 kilometers away. This image inspired the production of smaller devotional images of Bahubali that became popular in southern India. Such images were for household use and were often bought back by pilgrims from one of the Jain tirthas (pilgrimage sites) or centers of Jainism.Literature comparison: Compare a closely related but smaller bronze figure of Bahubali, also dated 1500-1700, in the Victoria and Albert Museum, accession number IM.14-1922. Compare also a larger and older carved chlorite figure, dated to the 14th century, in the British Museum, museum number 1880.241, and a much earlier and smaller bronze figure, dated late 6th to 7th century, in the Metropolitan Museum of Art, accession number 1987.142.339.Auction result comparison: Compare a related but earlier figure of a Jina, dated 10th-11th century, at Christie's New York in Indian and Southeast Asian Art on 23 March 2010, lot 166, sold for USD 62,500.
A GRAY SCHIST FIGURE OF MAITREYA, ANCIENT REGION OF GANDHARACirca 5th-7th century. Well carved standing, dressed in a finely pleated robe draped elegantly over his left shoulder, richly bejeweled wearing a foliate collar and beaded necklaces. His face bears a serene, introspective expression, marked by almond-shaped eyes, gently arched brows, full lips, and wavy mustache, the face flanked by elongated earlobes suspending large earrings. His wavy hair is gathered in a high chignon secured by a band, backed by a nimbus.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Condition commensurate with age. Some old fills. Extensive wear, obvious losses, nicks, significant signs of weathering and erosion, expected encrustations, few structural cracks. Weight: 70.6 kgDimensions: Height 84 cm (excl. stand), 117 cm (incl. stand)Mounted on an associated metal stand. (2)Maitreya is one of the most popular bodhisattvas depicted in Gandharan sculpture. Also known as the Loving One, he is identified by the kundika, or sacred water flask, held in his lowered left hand. His rise in popularity coincided with the tenants of Mahayana Buddhism, for which the role of the bodhisattva, and his ability to transfer his own merit to others became paramount. In his preordained role as the Buddha of the Future, Maitreya promises redemption and salvation for devoted practitioners of the faith.Images of bodhisattvas reveal the syncretism of Indic and Hellenistic styles, as Maitreya is depicted as an Indian noble bedecked with a jeweled crown and necklace. The almond-shaped eyes, sandals, and naturalistic modeling of the body nevertheless underscore the influences of the Classical traditions of art.Literature comparison: Compare a related figure of a bodhisattva, 102 cm high, dated 2nd-3rd century, in the Museum fuer Indische Kunst, Berlin-Dahlem.Auction result comparison: Type: Related Auction: Sotheby's New York, 19 September 2008, lot 261 Price: USD 37,500 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: Bodhisattva, probably Maitreya, gray schist, ancient region of Gandhara, Kushan period Expert remark: Compare the related manner of carving and modeling. Note the size (70 cm). 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A MONUMENTAL AND HIGHLY IMPORTANT SANDSTONE FIGURE OF BUDDHA, PRE-ANGKOR PERIODMekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha. Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall. Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region's hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, is available upon request..To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison: Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musee Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musee Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 151 Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writing Description: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th century Expert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2015, lot 35 Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writing Description: An important stone figure of Buddha, Thailand, Dvaravati period, 8th century Expert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.
A BLACK STONE FIGURE OF DURGA MAHISHASURAMARDINI, PRE-ANGKOR PERIOD, KHMER, 7TH CENTURYOpinion: Looking at Phnom Da style sculptures, one can see a great degree of cross-cultural influence. While one could argue that this sculptural style is distinctly of Khmer origin, with such early sites present in Vietnam, we are more likely seeing the spread of sources of foreign cultural influence, bringing things like Hinduism, coming from outside the region and merging with local cultures. Certain attributes of this sculpture in particular can be seen in early Gupta sculpture, such as the 4th century Harihara in the National Museum of New Delhi. It is also interesting to note that the earliest known written texts in Southeast Asia are from Vietnam, written during the 4th century, predating the first Khmer texts by hundreds of years.Finely carved in relief with four arms holding symbols of power, positioned above the severed head of a buffalo, with a tall crown and pendulous earlobes, backed by a striated nimbus.Provenance: Spink & Son, London, by 2 November 1999 (according to Christie's record). Christie's New York, 20 September 2000, lot 154 (according to Christie's record). Property from a West Coast collection, acquired from the above (according to Christie's record). Christie's New York, 13 September 2016, lot 245, estimate of USD 30,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). Michael Phillips, acquired from the above in an after-sale transaction. A copy of a Christie's record, accessed on 1 October 2018, confirming the provenance above, and stating an after-sale purchase price for the present lot of USD 18,750 or approx. EUR 21,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, old fills.Dimensions: Height 89 cm (excl. stand) and 97 cm (incl. stand)Mounted on an associated stand. (2)Mahishasura was a shape-shifting king who was granted the power of immortality by Lord Brahma. After years of tormenting his people, he was vanquished by a manifestation of the demon-fighting form of Parvati known as Durga. Durga fought Mahishasura over a period of fifteen days during which he kept changing his shape into different animals. She finally vanquished him when he took the form of a buffalo, slaying him with her trident. It is just after this victorious moment that we see Durga depicted here, with the severed head of Mahishasura laying at Durga's feet and her four arms holding the conch shell, the wheel, the ball, and the club, symbolizing the powers given to her by Vishnu. It is an ancient story of good versus evil.Literature comparison:Compare with a stone image of a female deity from the Da Nang Museum of Cham Sculpture, exhibited in Arts of Ancient Viet Nam: From River Plain to Open Sea at the Houston Museum of Fine Arts, both statues showing an unusual and rare striated nimbus. Also, compare with a stone image of a reclining figure of Vishnu in the Da Nang Museum of Cham Sculpture, both statues showing very similar facial characteristics.Auction result comparison:Type: Closely RelatedAuction: Christie's New York, 13 September 2016, lot 249Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A gray sandstone figure of Durga Mahishasuramardini, Khmer, pre-Angkor period, Phnom Da style, 6th centuryExpert remark: This is an important comparable of Durga from an early period in Southeast Asian history, not only because it is “rare to find a sculpture of the demon-slaying goddess from the pre-Angkor period” (as noted in the catalog description for the lot), but also because it was in the same Christie's sale. Note the much smaller size (51.5 cm).
A RARE BRONZE FIGURE OF MAITREYA, PRE-KHMER PERIODThailand or Western Cambodia, 7th-9th century. The Future Buddha standing on a flat base in a slight tribhanga. The slender body clothed only in a short sarong tied simply with a cord, his serene face with almond-shaped eyes and full lips flanked by elongated earlobes, the hair arranged in a jatamukuta with finely incised, towering locks centered by a small stupa.Provenance: From the private collection of Darwin Freeman, collected between the 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Good condition with some wear and casting flaws, minor losses, one arm with two small fatigue cracks, the attributes held in his hands lost. The bronze with a rich, mottled, naturally grown patina with vibrant malachite encrustations.Weight: 1295.8 g (excl. stand) and 2839.7 g (incl. stand)Dimensions: Height 36 cm (excl. stand) and 43.2 cm (incl. stand)With a modern stand. (2)Literature comparison: Compare a closely related bronze figure of Avalokiteshvara, dated to the 8th-9th century, 38.1 cm tall, in the Walters Art Museum, Baltimore, accession number 54.2963. Compare a closely related bronze figure of Avaolkiteshvara, dated to the second half of the 7th-8th century, 34.9 cm tall, in the Metropolitan Museum of Art, accession number 1987.145. Compare a related four armed Maitreya, much larger in size (122.5 cm), dated to the late 8th century, in the Kimbell Art Museum, accession number AP 1965.01.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 19 September 2008, lot 291Price: USD 92,500 or approx. EUR 123,000 converted and adjusted for inflation at the time of writingDescription: Maitreya, Eastern Thailand, Buriram Province, Prakhon ChaiExpert remark: Compare the closely related casting and the similar arrangement of hair, short saronh, and pendulous earlobes. Note the size (32.4 cm). Note that this lot is now in the collection of the National Museum of Asian Art, Smithsonian Institution, accession number S2015.24.Auction result comparison: Type: Closely relatedAuction: Lempertz Cologne, 9 December 2016, lot 633Price: EUR 74,400 or approx. EUR 92,500 adjusted for inflation at the time of writingDescription: A fine and rare Buriram bronze figure of Avalokiteshvara. Thailand, Khorat plateau. Early 8th centuryExpert remark: Compare the closely related casting and the similar arrangement of hair, short saronh, and pendulous earlobes. Note the size (53.5 cm).
AN EXTREMELY RARE AND MONUMENTAL SANDSTONE STATUE OF VISHNU, ANGKOR PERIODKhmer Empire, 10th-12th century. The Preserver of the Universe standing in samapada on a rectangular base, holding the conch in his one remaining hand, wearing a short pleated sampot, tied at the front below the navel with the folds splayed across the left thigh and secured with a butterfly sash at the back, the extra material folding over at the waist. The serene face sensitively modeled with neatly incised details, such as the almond-shaped eyes, full lips, and wavy mustache. The hair piled up into an elaborate conical chignon secured by a foliate tiara. Provenance: The collection of Beowulf Klebert. An Austrian private collection, acquired from the above circa 1980 and thence by descent in the same family. Beowulf K. Klebert (1948-2008) was a noted Austrian collector of Asian sculpture and works of art as well a respected contributor to Arts of Asia magazine. He was known for his scholarly expertise and extensive travels through all of Asia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches, structural cracks, expected old repairs. The stone with a fine, naturally grown, smooth patina overall. Scientific Analysis Report: An Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 21-03064, dated 5 May 2022, written and signed by Dr. R. Neunteufel, analyzing the surface alterations after examination by scanning electron microscopy (SEM) and element analysis with attached energy-dispersed X-ray micro element analyzer (EDX), concludes that the observed surface alterations are not in contradiction with the dating above. A copy of the report accompanies this lot.Dimensions: Height 207 cm (incl. base)With an associated wood base. (2)Literature comparison: Compare a closely related sandstone figure of Vishnu, dated to the 12th century, in the Tokyo National Museum, collection reference no. TC-382. Compare a related sandstone figure of Vishnu, dated c. 1050, 105.4 cm high, in the Norton Simon Museum, accession number M.2004.1.S. Compare a related sandstone figure of Vishnu, dated to the 11th century, 104.1 cm high, formerly in the collection of John D. Rockefeller and now in the Asia Society Museum, New York, object number 1979.064.Auction result comparison: Type: Related Auction: Christie's Paris, 11 December 2013, lot 342 Price: EUR 121,500 or approx. EUR 144,000 converted and adjusted for inflation at the time of writing Description: A rare and important sandstone figure of Vishnu, Cambodia, Khmer, Pre-Rup style, mid-10th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (121 cm).Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 385 Price: EUR 145,000 or approx. EUR 178,000 converted and adjusted for inflation at the time of writing Description: An important sandstone torso of a male deity, Cambodia, Khmer, Baphuon style, 11th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (130 cm).
A MONUMENTAL SANDSTONE HEAD OF A MALE DEITY, ANGKOR WAT STYLEKhmer Empire, 12th century. The face with a serene expression marked by almond-shaped eyes below ridged brows, a broad nose, and full lips, flanked by elongated earlobes, one with a pendeloque earring. The neatly incised hair with a diadem in front surmounted by the conical headdress.Provenance: Dr. J. Macken, Antwerp, Belgium.Expert Authentication: A signed certificate on the letterhead of Galerie de Ruimte, Oude Aziatische Kunst, Jean en Marcel Nies, addressed to Dr. J. Macken, confirming the attribution and dating stated above, accompanies this lot. Marcel Nies is a Belgian art expert and dealer who specializes in important works of art from Southeast Asia, India, and the Himalaya regions. Active since 1975, he has built an internationally recognized expertise and advises numerous vetting committees worldwide. Apart from the annual exhibitions held at his gallery, Marcel Nies has taken part in TEFAF Maastricht for over 30 years, showcasing some of the finest pieces in his collection. He has supplied works of art to important private collections and museums, including the Rijksmuseum in Amsterdam, the museum for Ostasiatische Kunst Koeln, the Victoria and Albert Museum London, the Rietberg Museum Zurich, the Metropolitan Museum New York, the Asian Art Museum San Francisco, the Barbier-Mueller Museum Dallas, and the Asian Civilization Museum in Singapore.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches. Fine, naturally grown, smooth patina.Weight: 50.2 kg (incl. stand) Dimensions: Height 45 cmMounted to an associated wood base. (2)The present head dates to the Angkor Wat period, in the twelfth century, when the Khmer Empire was at its territorial zenith. This starts with the reign of Suryavarman II (1113-1145), who ordered the construction of Angkor Wat, the largest temple of the Angkor period, dedicated to Vishnu. The present head's expression, however, is more reminiscent of the Bayon style, built in the late 12th or early 13th century as the state temple of the Mahayana Buddhist King Jayavarman VII, and perhaps represents a transition from the Angkor Wat style to the later Bayon.Stylistically, the sculpture of the Angkor Wat period is marked by a return to the somewhat angular and upright modeling of the periods preceding the Baphuon style of the eleventh century. The size of sculpture from the Angkor Wat period, however, is generally in line with the more diminutive Baphuon period works, in contrast to the monumental sculpture of the tenth century and earlier.
A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. A French "certificat d'exportation d'un bien culturel" (export license), issued 12/12/2022, number 237595, is accompanying this lot. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)
A RARE GILT COPPER ALLOY FIGURE OF VISHNU, JAVA, 14TH-15TH CENTURY OR EARLIERFinely cast standing in samapada atop a circular lotus base with beaded edge, his main left hand resting on the handle of his mace, his main right holding a lotus stem, his secondary hands raised and holding the conch and disk. He is wearing a long diaphanous dhoti and the upavita (sacred thread) across his left shoulder, his body richly adorned with floral jewelry, his face bearing a serene expression, his hair pulled up into a high chignon secured by a band and topped by a jewel, behind the foliate tiara. Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition with expected wear and manufacturing irregularities, minute nicks and small dents here and there, the gilding possibly later. The bronze with a fine, naturally grown patina with malachite encrustations. Weight: 105.6 gDimensions: Height 10 cmVishnu is the preserver and protector of the universe, called upon to save it from great calamity. In the current attitude, he is a martial deity, holding the mace and discus, and a conch to call troops to arms.Literature comparison: Compare a related earlier bronze of Vishnu, 13.8 cm high, dated late 9th to first half of the 10th century, in the Metropolitan Museum of Art, accession number 1987.142.15. Compare a gilt bronze figure of Shiva, 27.9 cm, dated 8th-9th century, in the Metropolitan Museum of Art, accession number 2004.556.Auction result comparison: Type: RelatedAuction: Christie's New York, 21 March 2018, lot 327Price: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: A gilt silver figure of Jambhala, Indonesia, Java, 14th/15th centuryExpert remark: Compare the related modeling, with similar floral jewelry and expression, and manner of casting and gilding, with a similar patina to the gilded figure. Note the smaller size (5.2 cm). Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 March 2018, lot 11 Price: HKD 375,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: A copper alloy figure of Vishnu, Java, 9th/10th century Expert remark: Note the larger size (29 cm).
A FINE THANGKA OF AKSHOBHYATibet, 18th-19th century. Distemper and gold on cloth, with a brocade frzaame and mounted as a hanging scroll. The blue-skinned deity seated in dhyanasana on a lotus throne with offerings before him, his right hand lowered in bhumisparsha mudra and his left holding a vajra, wearing monastic robes draped over his left shoulder, backed by a green and red aureole, a small figure of his consort Lochana seated beside him, all below Buddha Amitabha flanked by White Tara and Manjusri, the lower register painted with a small image of a devotee flanked by Vajrapani and Mahakala, all within a verdant mountainous landscape.Provenance: From the collection of Indrani and Yogaraj Yogasundram. Yogaraj Yogasundram (1927-2011) was a native Sri Lankan who served as ambassador of Sri Lanka in New York, and deputy permanent representative of Sri Lanka to the UN in the 1970s and 80s. His wife Indrani (nee Coomaraswamy) was an avid collector of Asian art, amassing a large collection during her time in China, Sri Lanka, and Iraq during her husband's assignments in the 1960s and in New York thereafter.Condition: Good condition with minor wear, light soiling, minor creasing, minimal staining, and light fading. The brocade frame in similar condition with minor wear, some loose threads, and small tears.Dimensions: Image size 54.9 x 74.3 cm, Size incl. frame 81 x 129.5 cmAkshobhya's name literally means 'Immovable One'. As each Transcendental Buddha adopts one of the canonical hand gestures (mudras) referring to a key moment in Shakyamuni's life, it is apt that Akshobhya should recall Shakyamuni's unshakeable determination against the armies and temptations of Mara. In mandalas relating to his 'vajra' clan, and the Unexcelled Yoga tantras (Anuttarayoga), he occupies the center, but in the earliest tantric mandalas where the Five Transcendental Buddhas first appear, he is the Lord of the eastern quadrant, and represents the transmutation of anger into wisdom.
A RARE AND IMPORTANT LIMESTONE FIGURE OF A BODHISATTVA, LONGMEN GROTTOES, NORTHERN WEI DYNASTY 北魏罕見石灰石菩薩立像，龍門石窟 China, 386-534. Finely carved standing on a circular lotus dais, the right hand held in front of the chest and the left lowered at his side, the head slightly tilted to his right. Wearing long flowing robes secured at the waist and billowing scarves falling loosely over the body. The face sensitively carved with a serene expression marked by heavy-lidded eyes, gently arched brows, and full lips, flanked by long pendulous earlobes. A simple tiara with a central flower separates the braids of hair pulled up in front of the head, and equally serves as the base for a hairdo that forms an almost crown-like design on top.Provenance: A private collection in Cleveland, Ohio, USA, pre-1983. Anunt Hengtrakul, New York, USA, acquired from the above c. 1984. Michael B. Weisbrod, Inc., New York, USA, acquired from the above, c. 1992. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Anunt Hengtrakul was a collector of fine Chinese works of art, active in the US and Canada during the 1980s and 1990s. In the early 2000s, he began to gift objects to museums, including the Joslyn Art Museum in Omaha, Nebraska, and the Middlebury College Museum of Art in Middlebury, Vermont. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Published: Michael B. Weisbrod, Inc., Brochure, New York, 1992.Condition: Excellent condition, commensurate with age, and presenting remarkably well. Extensive wear, minor losses and cracks, small nicks, light scratches, signs of weathering and erosion, some encrustations. Fine, naturally grown patina with a subtle luster overall, worn from centuries of exposure to the natural elements.Weight: 5,796 g (excl. stand)Dimensions: Height 53.5 cm (excl. stand) and 59 cm (incl. stand)Sculptures of this type are known to be from the Longmen Grottoes in Luoyang, Henan, China. They are all fragmentary, and of a dark and mottled color, alternating from gray to black, as seen on the back of the present statue where the raw stone becomes visible. Occasionally, a light brown color appears on the carved surface in the front. All figures were cut from the caves in a particular manner, leaving the present statue with a V-shaped cross-section.Of all the caves in the Longmen Grottoes, those completed during the Northern Wei and Tang dynasties make up around 30 % and 60 %, respectively. Naturally, these two dynasties show widely different styles of carving. Those of the Northern Wei are vivacious, slim, and sensitively carved, while the Tang figures are more plump. The Wei figures are some of the finest examples of Chinese Buddhist art.Literature comparison: Several illustrated examples, found in different collections and museums around the world, have been published in The Lost Statues of Longmen Cave, Longmen Grottoes Research Institute, by C. K. Chan, Wen Yucheng, and Wang Zhenguo, numbers 6, 9, 11, and 22, all of which have characteristics similar to the present lot including the long upper torso, low waist, S-shaped folds on the robes or sleeves, and the shallow but confident carving of the details, as well as a similar patina and encrustation. Compare two closely related limestone figures of attendant bodhisattvas, dated to the Northern Wei dynasty, early 6th century, in the Metropolitan Museum of Art, accession numbers 48.176 and 48.182.4. Compare a related limestone figure of a seated Buddha, dated to the Northern Wei dynasty, in the Asian Art Museum of San Francisco, object number B60S40. Compare a related sandstone figure probably depicting Avalokiteshvara, dated Six Dynasties period, middle Northern Wei dynasty, about 470-480, in the Los Angeles County Museum of Art, accession number 47.37. Compare two related limestone bodhisattvas, each 88.9 cm high, with similarly carved lotus daises, previously attributed to the Northern Wei dynasty but now thought to be from the Northern Qi dynasty, in the Victoria & Albert Museum, accession numbers A7-1913 and A.8-1913.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 北魏罕見石灰石菩薩立像，龍門石窟中國，386-534年。菩薩立於圓形蓮台上，右手抱於胸前，左低垂於身側，頭略偏右。表情平靜，雙眼低垂，豐滿的嘴唇，平靜恬雅；兩側是長長的下垂耳垂，髮髻華麗，頭戴花飾。本像身軀婀娜，線條柔雅，身體重心置於一側，腹腰豐滿細緻，衣袍纖薄貼身，隱露雙腿。 來源：1983年前美國俄亥俄克利夫蘭私人收藏；紐約Anunt Hengtrakul約在1984年購於上述收藏。紐約Michael B. Weisbrod藝廊1992年購於上述收藏； 紐約J. Abraham Cohen收藏，購於上述收藏。Anunt Hengtrakul 1980 年代和 1990 年代活躍於美國和加拿大的中國藝術品收藏家。 在 2000 年代初，他開始向博物館贈送物品，包括內布拉斯加州奧馬哈的喬斯林藝術博物館和佛蒙特州米德爾伯里學院藝術博物館。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 出版：Michael B. Weisbrod，Inc.，《Brochure》，1992年，紐約。 品相：狀況極佳，大面積磨損、輕微缺損和裂縫、刻痕、小劃痕、風化和侵蝕跡象、一些結殼。細膩的包漿。 重量：5,796 g (不含底座) 尺寸：高53.5 厘米(不含底座) ，59 厘米(含底座) 這種類型的石雕造像風格來自中國河南洛陽的龍門石窟。石像表面顏色呈暗色和斑駁，從灰色到黑色交替變化，從現在的雕像背面可以看到原石。偶爾，正面的雕刻表面會出現淺棕色。在龍門石窟的全部洞窟中，北魏和唐代建成的洞窟分別佔30%和60%左右。自然，這兩個朝代表現出截然不同的雕刻風格。北魏人物活潑、苗條、雕琢細膩，而唐人人物則較為豐滿。 文獻比較： 在世界各地不同的收藏品和博物館中發現的幾個圖例，見龍門石窟研究所編，《龍門流散雕像集》中發表，編號6、9、11和22，它們都具有與現拍品相似的特徵，包括長上身、低腰、長袍或袖子上的S形褶皺，以及淺而自信的細節雕刻，還有類似的銅銹和包漿。比較兩件非常相近的六世紀初北魏時期石灰石菩薩像，收藏於大都會藝術博物館，收藏編號為48.176和48.182.4。比較一件相近的北魏時期石灰岩坐佛像，收藏於三藩市亞洲藝術博物館，文物編號B60S40。比較一件相近的約470-480年六朝時期北魏中期可能描繪觀音菩薩的砂岩造像，收藏於洛杉磯縣藝術博物館，收藏編號為47.37。比較兩尊相近的石灰岩菩薩，每尊高88.9釐米，雕刻有類似的蓮台，以前認為是北魏時期的，但現在被斷為是北齊時期的，收藏於維多利亞和亞伯特博物館，收藏編號為A7-1913和A.8-1913。
A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTY 西周中期罕見青銅壺 Expert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request) China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米 文獻比較： 比較一件來自同樣收藏的青銅壺，見紐約佳士得，2003年3月26日，lot 155，現藏英國瓦立克郡Compton Verney Art Gallery，編號CVCSC 0303.A。比較一件類似的帶蓋青銅壺，1975年出土於陝西扶風白家，現藏於扶風縣博物館，圖見《中國美術全集》，卷四，〈青銅器1〉(The Great Treasury of Chinese Fine Arts，Arts and Crafts，volume 4，Bronzes (1))，北京，1987年，頁192，編號213；此青銅器器身的花紋被描述為魚鱗。不過，這有可能是羽毛，這與青銅器頸部上的鳥紋有關。不管怎麼說，現拍品的圖案和已發表的例子是一樣的。比較一件相近的西周中期青銅壺，它的形狀更細長，頸部有一圈對峙的鳥紋，身體上有一排重疊的羽毛或小尺寸的魚鱗紋，收藏於上海博物館，曾展覽於1983年2月1日至4月3日香港藝術館，《中國古代青銅器》，編號28。13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A BRONZE 'TIGER' HALBERD BLADE, ZHONGHU GE, EASTERN ZHOU DYNASTY, WARRING STATES PERIOD 東周戰國虎紋中胡銅戈Published: Religion and Ritual in Chinese Art, Michael B. Weisbrod, Inc., New York, USA, 8 December 1987, no. 12, page 40.China, 480-220 BC. Finely worked with an elongated triangular blade (yuan) flaring gently into the flat blade guard. Cast in relief with the profile of the ferocious feline with a gaping mouth, baring fangs, and an extended long curling tongue, all in high relief. The ears and forelimbs bent with the body incised on the shank. The end of the yuan pierced with two rectangular chuan (apertures), the tang (nei) with a circular chuan. A rectangular tang with foliate incisions projects from the guard ending in a double curve 'E'-shaped edge.Provenance: Michael B. Weisbrod, New York, USA. The private collection of an American north-east collector, acquired from the above, c. 1987-1988. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Very good condition, commensurate with age. Extensive wear, weathering and erosion, nicks and cracks, shallow surface scratches, possibly minor old fills. Fine, solid patina with distinct malachite and cuprite encrustations. Presenting remarkably well overall.Weight: 396.4 g (excl. stand)Dimensions: Length 27.4 cm With a modern stand. (2)The ge dagger-axe was found in burials from the early Shang through the Warring States period. It came to be a ritual object and a part of the requisite ceremonial paraphernalia of a courtier. According to James Menzies, by the early Western Zhou, “its inclusion in the attire of nobles and officials at all formal functions may be presumed”; and in addition to other Shang and Western Zhou rituals, it may have been used in ceremonial war dance, celebrating the Zhou conquest of the Shang (Menzies, the Shang Ko, pp. 314-316). The ge was also frequently pictured on bronze vessels possibly as a clan emblem.Although the tiger appears on blades of the late Shang and early Western Zhou periods, the feline and the shape of the tang on the present lot indicate a product of a different culture. Manufacture of ge with triangular blades discontinued in the Central Plains area of China by the middle Western Zhou period. The type seems to have persisted in the kingdoms of Ba and Shu in modern Sichuan province through the Warring States period. Many of these excavated ge from this area have E-shaped tang which did not appear among the Shang or Western Zhou blades. Tigers are frequently seen as motifs on the various types of ge and other weapons of the Ba-Shu area. This may be related to the legend that when Lin Jun, first ancestor of the Ba tribe, died, his soul was transformed into a white tiger.Literature comparison:Compare profile tigers similar to this lot which are reproduced in Tong Enzheng's “Investigations of the bronze ge from Southwest China” (Kaogu Xuebao 1979, no. 4, pp. 442, fig. 1:6, pp. 447, fig. 3; see also Wenwu 1976 no. 3, p. 41 fig.2 and pl. I, no. 6; Wenwu 1976 no. 7, p. 82-85; Kaogu 1986 no. 11, pp. 986, fig. 6). Compare with a Zhonghu Ge with tiger pattern, China, unearthed at Dubaishu, Pixian County, Chengdu City, Warring States period, 475 - 221 BC, bronze Sichuan Provincial Museum Chengdu, China, accession number DSC04243. 東周戰國虎紋中胡銅戈中國，公元前480-220 年。戈，流行於商代至漢代的一種格鬥兵器，最早出現於先秦時期。因作戰需要和使用方式不同，便分為長、中、短戈三種。此戈長援中胡，長方形內，近欄處有三穿。援後部至內兩面飾半浮雕虎頭，張口吐舌，口中一穿；援的末端穿有兩個長方形的穿，內有一個圓形的穿。 帶有葉狀切口的矩形柄腳從防護裝置中伸出，末端為雙曲線“E”形邊緣。出版：Michael B. Weisbrod, Inc.，《Religion and Ritual in Chinese Art》，紐約，1987年12月8日，編號12，第 40頁。 來源：美國紐約Michael B. Weisbrod收藏；美國東北私人收藏，1987-1988年購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在 過去五十多年的時間裡就該主題發表了大量著作。1972年，Michael加入了他父親Gerald Weisbrod博士在加拿大多倫多的亞洲藝廊。 這對父子團隊於1977 年在麥迪遜大道開設了他們的紐約分店，在接下來的四十五年裡，藝廊舉辦了大量展覽，向全球各地的博物館和私人收藏家出售作品，最終在上海和香港開設了分店。 品相：狀況非常好，大面積磨損、風化和侵蝕、刻痕和裂縫、表面淺劃痕，可能有輕微的小修。細膩、堅實的包漿，帶有明顯的紅綠色結殼。 重量：396.4 克 (不含底座) 尺寸：長27.4 厘米 現代支架。 (2) 從商初到戰國時期的墓葬中都發現了戈，它是朝臣必備的禮儀用具的一部分。根據James Menzies的說法，到了西周早期，“可以推測，它已經出現在貴族和官員在所有正式場合的服裝制式中”； 除了商朝和西周之外，它還被用於儀式性的戰舞，慶祝週征服商朝（Menzies，《the Shang Ko》，第 314-316 頁）。青銅器上也經常出現戈的圖案，可能是作為氏族的徽章。此類虎紋戈似乎在戰國時期一直存在於現代四川省的巴蜀王國中。該地區出土的許多戈刀都具有商或西周刀中所沒有的“E”形刀柄。巴蜀地區的各種戈具和其他武器上都以老虎為圖案。這或許與巴族始祖林俊死後靈魂化為白虎的傳說有關。文獻比較： 比較一件相似的，同恩正《西南青銅考》（《考古學報》1979，第4期，第442頁，圖1：6，第447頁，圖3。見《文武》1976年第3期，頁41，圖2和第6期，圖一）。 比較一件戰國時期西元前475 - 221年虎紋虎戈，出土成都市郫縣杜拜樹，四川省博物館，館藏編號DSC04243。
IMPORTANTE ET RARE STATUETTE DE PARVATI EN ALLIAGE DE CUIVREInde du Sud, période Cola, vers XIIe siècle A RARE LARGE COPPER ALLOY FIGURE OF PARVATISouth India, Cola Period, ca. 12th centuryThe goddess is portrayed here standing in an elegant tribhanga pose. Her graceful figure is of slender yet voluptuous modelling with high rounded breasts, a pinched waist, and a supple belly. Her beguiling gaze, through long half-moon eyes, set within her gentle oval face. Her left arm lingers seductively in lolahasta mudra, mimicking the tail of a cow. Her right is bent, raising her hand in katakamukha mudra, once holding a separately cast flower. She wears a tall crown, called a karanda mukata, of piled rings diminishing in size and culminating in a lotus bud. The concentric patterns within her crown are repeated throughout her necklaces, armbands, girdle, and garment, embellishing the bronze's texture. 60cm (23 5/8in.) highFootnotes:南印度 朱羅王朝 約十二世紀 銅雪山女神立像While the subject is modelled in the classic Chola idiom, this particular figure distinguishes itself by the lifelike fluidity of its stance, its amiable countenance, and the attention to detail its creator has lavished on the goddess's ornamentation. Bijoux cup the back of her ears. Luxurious locks of hair brush against her shoulders. Her tresses direct our gaze down towards the auspicious marriage string (mangalasutra) tied around her neck. A fine garment is tied with a fan-shaped splay above the small of her back, and decorative ribbons swirl across the front of her thighs. Uma—whose suprasensuous form embodies shakti, the primordial cosmic energy—is portrayed here in a sensitive and intimate interpretation of divine femininity. The sculpture is a testament to the technical genius of the artist, epitomizing the confident and time-honored aesthetic canon of the Chola empire.Following Sivaramamurti's stylistic chronology, the figure exemplifies the mature Chola style of the 12th century. Her elongated makara earrings and shoulder tassels that no longer terminate in the shape of a pipal leaf are generally indicative of the 11th century or later (Sivaramamurti, South Indian Bronzes, New Delhi, 1963, pp.29-31). The lines accentuating her solar plexus and the relatively simple treatment of her bangles and necklaces are customary in the 12th and 13th centuries. A good, close stylistic comparison for this bronze is a 12th-century seated Uma which is part of a Somaskanda ensemble, published in Vidya Dehejia, The Sensuous and the Sacred: Chola Bronzes from South India,, New York, 2002, p.131, no.16.Provenance:John & Berthe Ford Collection, Baltimore, by 1970Robert Bigler, Zurich, 2008Published:Diran Dohanian, The Art of India: Sculpture, 1st century B. C. to 18th century A.D., Rochester, 1961, no. 56.Pratapaditya Pal, Indo-Asian Art: The John Gilmore Ford Collection, Baltimore, 1971, no.19.Exhibited:The Art of India, The Memorial Art Gallery of the University of Rochester, 1961.來源：福特伉儷（John and Berthe Ford）珍藏，巴爾的摩，1970年Robert Bigler，蘇黎世，2008年出版：Diran Dohanian，《The Art of India: Sculpture, 1st century B. C. to 18th century A.D.》，羅徹斯特，1961年，編號56帕爾博士（Pratapaditya Pal），《Indo-Asian Art: The John Gilmore Ford Collection》，巴爾的摩，1971年，編號19展覽：《The Art of India》，羅徹斯特大學紀念美術館，1961年This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
TOSHIMUNE: A FINE IVORY OKIMONO DEPICTING A RESTING FLOWER SELLERBy Toshimune, signed ToshimuneJapan, Meiji period (1868-1912)Exquisitely carved with naturalistic detail, the flower seller seated on a carrying pole (tenbinbo), propped between his two baskets, leaning forward with an amused look. Holding his narrow tobacco pipe (kiseru) in one hand and his inro with manju netsuke in the other, wearing several layers of elaborately patterned robes. Large peony and hibiscus blossoms wrapped in reed mats, one resting in a finely carved basket, are attached to both ends of his carrying pole. The man rests on a reed mat set on a naturalistically rendered ground. The base signed within an engraved and stained rope on a red lacquer tablet TOSHIMUNE.LENGTH 10.7 cmCondition: Very good condition with only minor wear and a plugged natural nerve channel.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 37. The base with several old labels.Auction comparisonCompare a related signed ivory okimono of a flower seller, at Christie's, Asian Art, 23 February 2006, London, lot 2413 (sold for GBP 4,560).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00398/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
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