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A REMARKABLY FINE THANGKA DEPICTING SIX ARHATS, TIBET, 18TH CENTURYThe upper section with Kanaka Bharadvaja seated on a throne with a kundika, alms bowl, and lotus leaves beside him, his hands held in dhyana mudra, flanked below by Pindola Bharadvaja seated on a cushion holding a manuscript and alms bowl as well as Cudapanthaka seated with his hands folded in front, all above the central Rahula holding a foliate crown. The lower section depicts Panthaka seated on an elaborate throne with his right hand in vitarkamudra while the left holds a manuscript, beside Nagasena placed on a bench resting against a cushion holding a khakkhara in his right hand and a vase in his left.Provenance: From a private collection in southern Corsica, France, acquired 1992 or earlier, and thence by descent in the family. The back of the frame with a signed label from the Corsican framer, dated 10 September 1992.Condition: Good condition with old wear, some soiling and abrasions, light creasing, minor losses. Not inspected outside the frame.Dimensions: Image size 63.4 x 46 cm, Size incl. frame 72 x 51 cm Each arhat with an identifying inscription, the border with further inscriptions. All are clad in monk's garments, surrounded by worshipers or attendants, and placed in a verdant mountain landscape with deer, a tiger, and long-tailed birds perched on a fruiting tree, with exquisite rockwork and trickling streams that roll elegantly down the hillside. The lower section with a Nagini emerging from the water holding a sacred jewel. Ushnishavijaya is seated on a lotus cushion, backed by a mandorla and halo, in the upper right corner amid swirling clouds.Distemper and gold on cloth. Framed behind glass. (2)The present painting belongs to a noted group of thangkas, always depicting several of the Sixteen Arhats. The grouping of sixteen Arhats was brought to Tibet from India and they are well represented in Tibetan art. They are also known as the sixteen sthaviras (elders) and are the subject of a liturgical practice associated with the festival of the Buddha's birth, composed by the Kashmiri teacher Shakyahribhadra (1127-1225).Literature comparison:Compare a six-part set of related arhat thangkas dated to the 19th century, from the Alice S. Kandell Collection and now in the National Museum of Asian Art, Smithsonian Institution, accession numbers S2013.28.1-6.Auction result comparison: Type: Related Auction: Christie's London, 7 November 2014, lot 490 Price: GBP 30,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A thangka depicting four arhats, Tibet, ca. 17th century Expert remark: Compare the related subject and manner of painting. Note the size (59.1 x 41.9 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2012, lot 354 Price: USD 15,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A pair of arhat thangkas distemper on cloth laid on boar, Tibet Expert remark: Compare the related subject and manner of painting. Note this lot comprises a pair. Note the size (56.5 x 36.2 cm). 西藏十八世紀六羅漢唐卡半部分是迦諾迦跋厘尊者坐在寶座上，身旁有軍持壺、施捨缽和蓮葉，雙手結禪定印；賓度羅跋囉尊者坐在坐墊上，手裡拿著經書和施捨缽，而注荼半吒迦尊者雙手合十，坐於中央羅睺羅之上，手持葉冠。下半部分描繪了半託迦尊者坐在精緻的寶座上，右手結了維塔卡手印，而左手則拿著一份經文，旁邊的那迦犀那尊者坐在長凳上，右手拿著錫杖，左手拿著花瓶。來源：法國科西嘉島南部的私人收藏，1992 年或更早購得，家族傳承。框架背面帶有科西嘉框架製造商的簽名標籤，日期為 1992 年 9 月 10 日。 品相：狀況良好，有磨損，一些污垢和擦傷，有輕微摺痕。未在框架外進行檢查。 尺寸：畫面63.4 x 46 厘米，總72 x 51 厘米 文獻比較: 比較一件相近的十九世紀羅漢唐卡，來自Alice S. Kandell收藏，現藏於史密森學會國立藝術博物館，館藏編號S2013.28.1-6。 拍賣比較： 形制：相近 拍賣：倫敦佳士得，2014年11月7日，lot 490 價格：GBP 30,000（相當今日EUR 52,000） 描述：約十七世紀四羅漢唐卡 專家註釋：比較相近的主題和繪畫風格。請注意尺寸 (59.1 x 41.9 厘米)。 拍賣比較： 形制：相近 拍賣：紐約蘇富比，2012年3月21日，lot 354 價格：USD 15,000（相當今日EUR 18,500） 描述：西藏一對布製羅漢唐卡 專家註釋：比較相近的主題和繪畫風格. 請注意此為一對，以及尺寸 (56.5 x 36.2 厘米)。

A GILT-BRONZE STANDING FIGURE OF BUDDHA, UNIFIED SILLA DYNASTY, KOREA, 8TH - 9TH CENTURYFinely cast standing with his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing thickly cast voluminous robes which drape from his chest to his ankles in neatly carved U-shaped folds. His serene face with heavy-lidded eyes below gently arched brows, his full lips forming a calm smile, flanked by long pendulous earlobes. The hair arranged in tight curls over the domed ushnisha.Provenance: From the collection of Mr. and Mrs. John Marsing, and thence by descent in the same family. John Marsing (1918-1998) was a Danish businessman who, at the age of 20, had established a pharmaceutical company, Marsing & Co. The firm expanded during the mid-20th century and had branches all over Europe, Canada, and Korea. Marsing was very interested in Asian culture and a passionate collector of Asian works of art, particularly from the Himalayas, China, and Korea. He built a substantial collection over decades, buying in Asia and from antique dealers in Denmark as well as auction houses all around Europe.Condition: Good condition, commensurate with age. Extensive wear, particularly to gilt, signs of weathering and erosion, minor fatigue cracks to the neck, nicks, scratches, losses, casting flaws, encrustations. The bronze with a fine, naturally grown, dark patina.Weight: 1,511 g (incl. stand) Dimensions: Height 25.6 cm (incl. stand) and 20.6 cm (excl. stand) Mounted on a wood stand. (2)The backside of the figure is hollowed with an oval opening at the back of the head above a second, oblong opening at the body, the latter with remnants of a peg inside.The present figure exemplifies the refined style of Buddhist sculpture from the Unified Silla dynasty, which lasted from the late seventh through the ninth centuries and was a period of political stability when an international style held sway throughout East Asia.Literature comparison: For a related figure in the collection of the Nezu Museum, see Matsubara Saburo, ed., Kankoku kondobutsu Kenkyu (Study of Korean gilt bronze Buddhist figures), 1985, page 167 b. Auction result comparison: Type: Closely related Auction: Christie's New York, 25 April 2017, lot 82 Price: USD 106,250 or approx. EUR 122,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze standing figure of Buddha, Unified Silla dynasty, 8th-9th century Expert remark: Compare the closely related manner of casting and modeling with similar robes and pose, as well as the similarly hollowed reserve at the backside, with three openings. Note the similar size (18.4 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 16 March 2021, lot 252Price: USD 162,500 or approx. EUR 173,000 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze standing figure of Buddha, Unified Silla to Early Goryeo dynasty, 9th-10th centuryExpert remark: Compare the closely related manner of casting and modeling with similar robes and pose, as well as the similarly hollowed reserve and extensive wear to gilt. Note the larger size (25.4 cm). 韓國八至九世紀新羅王朝鎏金銅佛立像佛陀立像，右手舉起施無畏印，左手低垂，結與願印；身穿寬大袈裟，從胸前垂至腳踝，衣紋流暢。他面容平靜安詳，雙眼微閉，嘴唇露出微笑，兩側是長耳垂，頭髮在頭頂成螺髻。 來源：John Marsing私人收藏，在同一家族保存至今。 品相：狀況良好，嚴重磨損，尤其是鎏金、風化和侵蝕跡象、頸部輕微裂紋、刻痕、劃痕、結殼。自然包漿。 重量：1,511 克 (含底座) 尺寸：高 25.6 厘米 (含底座) 與20.6 厘米 (不含底座) 木底座 (2) 造像背面為空心，頭後部與身體上個有一個橢圓形開口，有一個釘子的殘餘。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2017年4月25日，lot 82 價格：USD 106,250（相當今日EUR 122,000） 描述：八至九世紀新羅王朝鎏金銅佛立像 專家註釋：比較非常相近鑄造風格、相似的長袍、姿勢，以及背面空心有三個洞。請注意相似的尺寸 (18.4 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2021年3月16日，lot 252 價格：USD 162,500（相當今日EUR 173,000） 描述：九至十世紀新羅王朝製高麗王朝鎏金銅佛立像 專家註釋：比較非常相近鑄造風格 、相似的長袍、姿勢，以及背面空心和鎏金磨損。請注意尺寸較大 (25.4 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GOLD REPOUSSE PECTORAL PENDANT DEPICTING TWO GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYPublished: The Zelnik Istvan Southeast Asian Gold Museum, Budapest, 2013, page 49.The crescent-shaped pectoral is finely chased, embossed, and incised, with a band of lotus petals along the upper rim above two mirroring Garuda flanking a neatly inlaid, central chalcedony intaglio depicting a four-armed deity, all surrounded by repeating stylized sword designs. Provenance: Ex-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.Condition: Very good condition, commensurate with age. Some old wear, small manufacturing irregularities, very minor old repairs, and light tarnishing, all as to be expected for a gold object more than a thousand years old.Weight: 24.6 g Dimensions: Length 14.9 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents, is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita, or soma. Garuda performed that feat, thus giving the snakes the ability to slough off their old skins, and, on his way back from the heavens, Garuda met Vishnu and agreed to serve him as his vehicle and also as his emblem. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes Images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on ritual vessels and jewelry, like this lot. Garuda, also referred to as Garula, are golden-winged birds in Buddhist texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 4 December 2020, lot 22 Price: EUR 13,904 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: An extremely rare and fine Cham gemstone-set gold repousse crown with Garudas Expert remark: Compare the closely related material, repousse decoration, and Garuda motif. Note the different form and the size (14.5 cm). Note this crown was also previously in The Zelnik Istvan Southeast Asian Gold Museum.

AN IMPORTANT SILVER-INLAID GOLD REPOUSSE BOWL DEPICTING GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYSuperbly worked, the deep rounded sides supported on a tall faceted foot and flaring to a beaded rim, finely decorated to the exterior with overlapping trefoil-arched panels enclosing rosettes and scrolling foliage, below interlocking scrolling vines. The foot with square panels and indented corners enclosing rosettes, all against ring-punched grounds. The interior with a circular silver-inlaid base depicting a winged Garuda with human face, wearing a richly incised dhoti, foliate crown, and fine jewelry, his arms raised as if about to take flight, surrounded by leafy lotus blossoms, enclosed by a beaded border. Provenance: Ex-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. Condition: Good condition, commensurate with age, with old wear and casting flaws, small losses, some tarnishing, and dents, all exactly as expected of a gold object more than a thousand years old.Weight: 243.9 g Dimensions: Diameter 18.8 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita or soma. Garuda performed the feat, thus giving the snakes the ability to slough off their old skins, and on his return Garuda met Vishnu, agreeing to serve him as his vehicle. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on jewelry and ritual vessels, like this lot. Garuda, also known as Garula, are golden-winged birds in Buddhist religious texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Expert's note: Depictions of Garuda with a human face like on the present lot are considerably rarer than their bird-faced counterparts, but are found across different cultures and materials. Compare an ivory relief depicting Garuda from Nepal, 10 cm high, dated to the 14th century, in the Victoria & Albert Museum, accession number IS.124-1999. Compare a bronze plaque depicting Garuda from East Java, 12.7 cm high, dated c. 1300, in the Norton Simon Museum, accession number P.2003.01.10. Compare a terracotta sculpture of Garuda from Western Thailand, 48 cm high, dated to the first half of the 7th century, excavated from site 40, Khu Bua, Ratchaburi Province, by the Fine Arts Department, Thailand, in 1962, and now in the National Museum, Bangkok, exhibited by the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April-27 July 2014. Compare a granite figure of Garuda from India, Tamil Nadu, 137.8 cm high, dated second half of the 8th to early 9th century, in the Metropolitan Museum of Art, accession number 1983.518. Compare a gray schist turban ornament with Garuda from Gandhara, 11.4 cm high, dated 2nd-3rd century, at Christie's New York, 18 March 2015, lot 4009.

A SILVER-INLAID BRONZE FIGURE OF BUDDHA VAIROCANA, SWAT-VALLEY, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 1 September 2020, based on sample number N120d91, confirms the object is “consistent with the suggested period of manufacture." A copy of the report, issued by Oxford Authentication, accompanies this lot.Depicted in the sambhogakaya form, Vairocana holds his hands in the bodhyagrimudra while sitting atop a pedestal supported by two anthropomorphic Buddhist lions. The lions have humanized faces, silver-inlaid eyes, snail-curled hair, and are standing atop a lotus base. The Vairocana wears an ornate crown, tied on both sides with ribbons which drape down around his arms and hang from the pedestal. His face is serene, set with almond-shaped eyes with silver inlays to the pupils and central urna. The back with a tang for attachment to a temple structure.Provenance: From the private collection of Michael Phillips. 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 art, 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: Very good condition, commensurate with age. Expected signs of wear, corrosion and weathering with only small remnants of gilt remaining. The naturally grown patina has distinct malachite and cuprite encrustations and was at some point coated with a layer of varnish or wax for conservation purposes. Some losses, dents and scattered nicks.Weight: 3,090 g Dimensions: Height 26.3 cm The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.The iconography of the crowned Buddha Vairocana has been a subject of dispute amongst scholars due to the lack of clear lines of interpretation within the imagery. Many conclude the crown is intended to denote Sakyamuni as a cakravartin or universal Buddha while some suggest it represents a sambhogakaya Buddha in Mahayana Buddhism. In her 2018 article Images of the Crowned Buddha along the Silk Road, Rebecca Twist examines the iconography of Silk Road crowned Buddhas and concludes the recurring evidence points to the crowned Buddha as sambhogakaya as an early esoteric meditational construct. Many of the Buddha Vairocana that Twist examines are closely related to the present lot. According to Twist, these similar figures which appear from various locations along the Silk Road “demonstrate a systematic form of transmission and religious syncretism in both iconography and ideology." The present lot is a part of the clear pattern of deliberate core iconographic elements which recur in crowned Buddha Vairocana figures along the Silk Road. These elements included the sambhogakaya form, the embodiment of dharmakaya, the bodhyagrimudra, and the similarly styled crown.Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2021, lot 306 Price: USD 50,312 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of a Bodhisattva, Swat Valley, circa 8th century Expert remark: Note the similar patina, the roves with a single narrow sash across the chest, the silver inlaid eyes and urna, and the closely related crown. Note the much smaller size (13 cm).Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 3009 Estimate: USD 450,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Vairocana, Swat Valley, 8th/9th century Expert remark: Note the closely related pose, the similar crown and garments, the Buddhist lions which support the Vairocana atop the lotus pedestal, and the single ring molded to the back of the figure for mounting. Note the size (17.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 七至八世紀斯瓦特谷銅錯銀毘盧遮那佛毘盧佛施智拳印，全跏趺坐。半圓形台座正面有毘盧佛的坐騎--兩頭獅子（立姿）。毘盧佛頭戴華麗王冠，兩側飾有絲帶，從他的手臂上垂下，並懸掛在底座上。面容安詳，瞳孔鑲銀，雙眉之間有白毫。背面有支腳，用於固定到寺廟結構上。 科學檢測報告：牛津認證公司於 2020 年 9 月 1 日出具了一份基於樣品編號 N120d91 的熱釋光分析報告確認該造像“與建議的製作日期一致"。該拍品隨附一份報告副本。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A FINE PAINTING OF A BODHISATTVA OF THE DIAMOND REALM, TABO STYLE, 10TH CENTURYExpert's note: The present lot was once a part of an illuminated manuscript, likely from a Prajnaparamita sutra. This has been confirmed by Tibetologist Dr. Amy Heller, who points towards several comparable works, all dating from the 10th century, and all originating from related manuscripts from this region.To receive a PDF copy of this dossier, please refer to the department. Northern India, Himachal Pradesh. Watercolors and ink on paper. Depicting a Mahabodhisattva seated in dhyanasana upon a cushioned lotus-petaled throne with the hands held in dharmachakra mudra, the palms and soles stained red, wearing a five-pointed crown, and adorned with elaborate jewelry. The figure with an hour-glass shaped torso, surrounded by flowing celestial scarves, and backed by a flaming halo. Provenance: From the collection of Michael Phillips. 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 art, 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, loss to margins, soiling, minimal fading to colors, small tears to edges.Scientific Analysis Report: An “Initial Condition Survey" with a microscopic and UV-light examination was conducted by Podany Conservation Services, USA. The examination report concludes: “Given the lack of modern materials there appears to be no clear evidence that this object is an intentional modern forgery or copy." A copy of the signed examination report, dated 18 May 2021, accompanies this lot.Dimensions: Image size 17.3 x 16.4 cm, Size incl. frame 34 x 33.8 cm Framed behind glass. (2) Constructed in 996, the Tabo Monastery was built by the Buddhist king Yeshe-OE (c. 959-1040), who was a descendant of ancient Tibetan nobility that expanded into the Spiti Valley when connecting trade routes between Ladakh and Mustang. The monastery was part of the dynasty's successful political effort to reintroduce Mahayana Buddhism throughout the region, and thus was once richly decorated with paintings and sculptures. While some of the monastery's paintings date to around 1040, we know that there have been restoration campaigns over the centuries. Prajnaparamita refers to an enlightened means of seeing the nature of reality and it is part of the Mahayana scriptures or sutras which discusses this form of transcendental knowledge. It consists of several sutra, the earliest of which is the Aṣṭasahasrika Prajnaparamita Sutra or 'Perfection of Wisdom in 8,000 Lines.' The Prajnaparamita sutras were first brought to Tibet during the reign of Trisong Detsen (742-796) by scholars Jinamitra and Silendrabodhi and the translator Ye shes De. A key theme of the Prajnaparamita sutras is the Bodhisattva, the 'awakening-being,' which is defined in the 8,000-line Prajnaparamita sutra as, “One who trains in all dharmas without obstruction, and knows all dharmas as they really are." The paintings which illuminate these manuscripts had a meditative purpose, delivering illumination through the images. Literature comparison: Compare a related 11th century wall painting in the assembly hall of the Tabo Monastery in the Spiti Valley of Himachal Pradesh. The two paintings are so similar that the present lot possibly served as an inspiration for the Tabo Monastery painting. Compare several paintings of bodhisattvas inside Tabo Monastery, depicted within identical roundels and with similar iconography. The painting also bears a close resemblance to a painting at the White Temple of Tsaparang, which belongs to the Guge style of Western Tibet. Auction result comparison: Type: Related Auction: Bonhams, New York, 27 September 2020, lot 505 Price: USD 16,325 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: An illuminated sutra page with Buddha underneath the bodhi tree, Kashmir or West Tibet, 12th/13th century Expert remark: From Kashmir or neighboring Western Tibet, this comparable is one of a small number of paintings on the market that have a large undecorated section around the central scene, possibly suggesting a similar use for the current lot. The comparable also shares the same vibrant use of color.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A GILT CLOISONNE ENAMEL 'BAJIXIANG' VASE, CHINA, EARLY 19th CENTURYThe exterior brightly enameled on a deep turquoise ground with four registers separated by stylized bands, the body decorated with a band of four lotus blossoms interspersed by stylized shou characters, the shoulder with the Eight Buddhist Emblems (bajixiang). The globular body supported on a spreading foot rising to a waisted neck and garlic mouth. The base, foot, neck and two waist bands all finely gilt.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. An old collector's label to the base, '5.6'. 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 minor wear and firing irregularities, including glaze recesses, minimal pitting, dents and losses to enamel, and few dark spots. Small nicks around the rim and scratches to the base.Weight: 941 gDimensions: Height 19.3 cm The Eight Buddhist Emblems (bajixiang) are a set of traditional symbols that represent the offerings made by the gods to Buddha upon his enlightenment. The symbols include the parasol, the golden fish, the conch shell, the endless knot, the lotus flower, the victory banner, the Dharma wheel, and the treasure vase. Each symbol has its own significance and is used in various contexts, such as in religious rituals, on prayer flags, and in artwork. Together, these symbols are believed to bring good fortune, prosperity, and happiness to those who use or encounter them. 十九世紀初鎏金銅胎掐絲琺瑯八吉祥紋瓶深綠松石色地，釉色明亮。蒜頭形狀瓶口，頸部鎏金銅凸紋，器身飾有四朵纏枝蓮紋，頸部壽字紋，肩部飾有八吉祥圖案。圈足。口部、頸部、肩部和足部鎏金。 來源：Mara與Johannes Nickl收藏，在同一家族保存至今，收藏標籤上可見“5.6."。Maria (1926-2022年) 與 Johannes Nickl (d. 2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。 這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。 品相：狀況良好，有輕微磨損和燒製不規則，包括釉面凹陷和琺瑯缺損，輕微黑點，邊緣周圍有小刻痕，底部有劃痕。 重量：941 克 尺寸：高 19.3 釐米 佛教八吉祥包括寶瓶、寶蓋、雙魚、蓮花、寳螺、盤長、法幢、法輪，是佛教中象徵吉祥的、圓滿、幸福八件法物。

A LARGE SILVER 'DRAGON' RETICULATED PUNCH BOWL, MARKS OF SUI CHANG AND WANG HINGExpert's note: During the 19th and early 20th century, entertaining in Europe and America became a fashionable and prestigious habit amongst the society elites. Chinese export porcelains and silver articles played a significant role in these events as they showcased the owner's level of wealth, refined taste, and culture.China, late 19th to early 20th century. The circular body richly cast, embossed and chased with dragons writhing between a pierced ground of swirling clouds around a flaming pearl cartouche, raised on three dragon supports.Inscriptions: Stamped 'Sui Chang', 'WH' (mark of Wang Hing & Co), and '90' (for 90% silver purity).Provenance: Chicago trade.Condition: Superb condition with minor old wear and manufacturing irregularities. Light scratches and occasional minuscule losses and dents. The glass liner with light scratches and manufacturing irregularities as well.Weight: 4,376 g (incl. glass liner) and 2,379 g (excl. glass liner)Dimensions: Diameter 33 cm With a matching glass bowl to the inside. (2)Probably the greatest and finest Chinese Export retailer of the period, Wang Hing started trading in Canton soon after 1842 when, with the end of the First Opium War and the treaty of Nanking, China opened its ports to foreign merchants and Hong Kong became a British colony.Wang Hing was the trading name chosen by the Lo family who established the business and passed it down for generations until 1941. Although little is known about the founder of the company, we know that the Lo's were a wealthy merchant family living in one of the richest areas of Canton, the district of Xiguan.Thanks to the fine quality of the pieces and to the entrepreneurial abilities of the family members, the reputation of the firm grew. In the 1920's Lo Hung Tong, grandson of the founder, opened a store on Queen's Road, Hong Kong and another in Shanghai.Literature comparison: For further information on Wang Hing, see David Chan, Chinese Export Silver: The Chan Collection, Asian Civilizations Museum, Singapore, 2005. See a related silver dragon punch bowl, retailed by Hung Chong & Co., Shanghai, with Koopman Rare Art, London, illustrated in Roland Arkell, “Silver Linings", Antiques Trade Gazette, October 2019.Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 12 May 2015, lot 158Price: GBP 15,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A Chinese export silver bowl, Wang Hing, Canton and Hong Kong, late 19th/early 20th CenturyExpert remark: Compare the closely related form, cast and chased decoration on a pierced ground, and dragon motif. Note the smaller size (28.4 cm). 大型鏤空龍紋三足銀碗，“遂昌“與"宏興“款中國，十九世紀末至二十世紀初。 碗身滿工鏤空鑄造，浮雕和雕刻龍紋，飛龍騰雲；三龍托碗。 款識：遂昌；宏興；90 來源：芝加哥古玩交易。 品相：狀況極佳，有輕微磨損和製造缺陷，輕微劃痕和微小缺損和凹痕。玻璃內襯有輕微劃痕且製造不規則。 重量：4,376 克 (含玻璃碗) ，2,379 克 (不含玻璃碗) 尺寸：直徑33 厘米 内部配置玻璃碗。 (2) 文獻比較： 更多關於宏興公司介紹，見David Chan，《Chinese Export Silver: The Chan Collection》，新加坡亞洲文明博物館，2005年。一件相近銀製龍紋碗 ，鴻昌公司出品，上海，見Roland Arkell，《Silver Linings》，《Antiques Trade Gazette》，倫敦，2019年10月。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2015年5月12日，lot 158 價格：GBP 15,000（相當於今日EUR 25,500） 描述：十九世紀末和二十世紀初鴻昌款銀製碗 專家評論：比較非常相近的外形，在穿孔的底部鑄造和雕刻裝飾，以及龍紋主題。請注意尺寸較小(28.4厘米)。

A CHINESE CARVED RED CORAL FIGURE OF A MEIREN WITH BOYSChina, early to mid-20th century. The tall beauty is finely carved standing and reaching her arms out to one side, holding a fan as a young boy clings to her right arm and a little girl peaks out from behind her excitedly raising her arms. The skillfully carved flowing garments of the lady and children are decorated with floral designs, the meiren's finely incised hair tightly tied with a ribbon. The exquisite coral is of a beautiful and even reddish-orange hue with scattered white inclusions.Provenance: The collection of Ted Adameck, USA, and thence by descent in the same family. A copy of an old expertise from Adameck's Asian Art accompanies this lot. Ted Adameck (1924-2019) was a legendary collector of Japanese Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Condition: Good condition with minor wear, some small chips and minor losses to the head decoration.Weight: 380 g (excl. stand) Dimensions: Height 22.6 cm (incl. stand) With a fitted wood stand finely carved in openwork. (2)Auction result comparison: Type: Closely related Auction: Bonhams Sydney, 10 August 2022, lot 61 Price: AUD 17,220 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A coral figure of a courtesan and a child, early to mid 20th century Expert remark: Note the similar size (21.2 cm).Auction result comparison: Type: Related Auction: Bonhams San Francisco, 7 June 2005, lot 2040 Price: USD 16,450 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A fine carved coral figural group Expert remark: Note the size (23.5 cm).Auction result comparison: Type: Related Auction: Christies New York, 18 June 2014, lot 76 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A Chinese carved red coral figure of a maiden with birds and flowers Expert remark: Note the larger size (26 cm).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. 珊瑚雕夫人童子像中國，二十世紀早期至中期。美人線條流暢優美，一手持扇子，一個小男孩抱住她的右臂，一個小女孩從她身後探出，興奮地舉起雙臂。婦人與兒童的衣著精雕細刻，飾花卉紋理；婦人的頭髮刻畫分明，佩戴絲帶。珊瑚呈美麗均勻的紅橙色，帶有散落的白色紋理。 來源：美國Ted Adameck收藏，自此同一家族世代相傳。隨附一份Ted Adameck 藝廊的鑒定複印件。Ted Adameck (1924-2019) 是Netsuke的傳奇收藏家，活躍了幾十年，在檀香山經營兩家古董店，寫了無數有關該主題的文章和書籍，以及許多其他有關亞洲藝術和文化的文章。 品相：狀況良好，有輕微磨損、小刻痕、小缺口，頭部裝飾有輕微損失。 重量：380 克 (不含底座) 尺寸：高 22.6 釐米 (含底座) 鏤空雕刻木底座。(2) 拍賣結果比較： 形制：非常相近 拍賣：雪梨邦瀚斯，2022年8月10日，lot 61 價格：AUD 17,220（相當於今日EUR 11,500） 描述：二十世紀早至中期提籃仕女童子像及座、盒 專家評論：請注意相似的尺寸 (21.2 釐米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2005年6月7日，lot 2040 價格：USD 16,450（相當於今日EUR 24,000） 描述：珊瑚仕女像 專家評論：請注意尺寸 (23.5 釐米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2014年6月18日，lot 76 價格：USD 23,750（相當於今日EUR 28,500） 描述：珊瑚雕刻花鳥少女像 專家評論：請注意尺寸較大 (26 釐米)。

A HARDWOOD FIGURE OF AN EMACIATED LUOHAN, CHINA, 17TH-18TH CENTURYThe ascetic figure finely carved seated with his right knee raised and his left leg crossing underneath, resting his head in his left hand, the skeletal rib cage and garment folds well carved, his gaunt face detailed with a long nose, thick furrowed brows, and thin lips, the almond-shaped eyes framed by long pendulous earlobes and narrow chin.Provenance: From the collection of Dr. Aurel Gonda, acquired in Shanghai circa 1937-1947, and thence by descent to the present owner. Dr. Aurel Gonda (1885-1964) was an Austro-Hungarian physician who served as a councilman and health official in Vienna. A street in Inzersdorf, in the 23rd district of Vienna, is named after him. He was the brother of architect Charles Henry Gonda, who was active in Shanghai between the 1920s and 1940s. As C. H. Gonda rose to be a renowned architect, he ran in the same circles as foreign elites, including Shanghai's top oligarch Victor Sassoon. In 1938, Aurel Gonda and his family escaped fascist Vienna and joined C. H. Gonda in Shanghai. After the Communist victory in China in 1949, the brothers and their families left for the US and settled in Lakewood, New Jersey.Condition: Very good condition with minor old wear, few minuscule chips, expected age cracks, fine ancient patina overall.Weight: 225.1 gDimensions: Height 11.6 cm Literature comparison:Compare a similarly posed ascetic from the 18th-19th century in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.4412.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 26 May 2014, lot 21Price: HKD 275,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: A carved wood seated luohan, Qing Dynasty, 18th/19th centuryExpert remark: Compare the closely related pose and expression. 十七至十八世紀木雕羅漢坐像羅漢眉骨高聳，深目突顴，身微左傾，左手托腮，右手垂下輕撫右膝，呈思惟狀，唯妙唯肖。人物雕刻精緻細膩，刻畫出羅漢面貌精瘦而矍鑠，前胸骨胳隱約可見。 來源：Dr. Aurel Gonda收藏，約於1937-1947年間購於上海，保存在同一家族至今。Dr. Aurel Gonda (1885-1964) 曾是來自奧匈帝國的醫生，曾在維也納擔任議員和衛生部官員。維也納第 23 區 Inzersdorf 的一條街道以他的名字命名。他的兄弟Charles Henry Gonda 曾是一位建築師，在 1920 年代至 40 年代活躍於上海。隨著 C. H. Gonda 成為著名建築師，他與外國精英打交道，其中包括上海的頂級寡頭Victor Sassoon。1938 年，Aurel Gonda 和他的家人逃離了法西斯維也納，並在上海與 C. H. Gonda 會合。1949 年共產黨在中國取得勝利後，兄弟倆和他們的家人前往美國，定居在新澤西州萊克伍德。 品相：狀況極好，有輕微磨損，微小的缺口，年代裂縫，整體細膩包漿。 重量：225.1 克 尺寸：高11.6 釐米 文獻比較： 比較一件相似的十八至十九世紀苦行僧像，收藏於史密森學會國立亞洲藝術博物館, 館藏編號S2012.9.4412。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比, 2014年5月26日, lot 21 價格：HKD 275,000（相當於今日EUR 40,000） 描述：十八至十九世紀清代木雕羅漢坐像 專家評論：比較非常相近的姿勢和表情。

A RED-LACQUERED WOOD FIGURE OF BUDDHA, LATE MING DYNASTYChina, 16th-17th century. Carved from hardwood, probably Zitan. Seated in dhyanasana with the hands folded in dhyana mudra and his head bowed slightly creating wrinkles beneath the neck, wearing robes that elegantly drape over the shoulders and fold along the resting arms, the serene face with heavy-lidded eyes below gently arched brows, and pursed bow-shaped lips, the hair arranged in tight curls over the ushnisha.Provenance: A private collection in Vienna, Austria. Galerie Zacke, Vienna, 1996. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original invoice from Galerie Zacke, dated 30 October 1996, addressed to the Nickls, and stating a purchase price for the present lot of ATS 7,000 (or approx. EUR 900 converted and adjusted for inflation at the time of writing), accompanies this lot. 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 minor wear, small chips, losses, light scratches, remnants of gilt, minor signs of weathering, few expected age cracks. The lacquer commensurate with age and with several layers which have been renewed over a long period of time.Weight: 116 gDimensions: Height 13.5 cm Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 December 2021, lot 29Price: EUR 9,375 or approx. EUR 11,000 adjusted for inflation at the time of writingDescription: A brown and gilt lacquered wood figure of Buddha, Ming dynasty, 16th centuryExpert note: Compare the similar reddish-brown lacquer. Note the larger size (29.5 cm).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. 明末紅漆木雕坐佛中國，十六至十七世紀。用硬木雕刻而成，也可能是紫檀木。佛陀禪定坐，雙手交叉施禪定印，頭微微低下，面容平靜，雙眼微閉，嘴唇豐滿，頭上有螺髻。 來源：奧地利維也納私人收藏； 維也納 Zacke藝廊，1996年；Maria 與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份於1996年10月30日由 Zacke藝廊出局的原始賬單複印件，收件人為Nickls ，當時價格為 ATS 7,000 （根據通貨膨脹約為EUR 900）。Maria (1926-2022) 與 Johannes Nickl (d.2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。品相：品相良好，有輕微磨損、小缺口、缺損、輕微劃痕、金彩餘留、輕微風化跡象，輕微老化裂紋。漆層有多次更新。重量：116 克 尺寸：高13.5 厘米 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2021年12月8日 ，lot 29 價格：EUR 9,375（相當於今日EUR 11,000） 描述：十六世紀明代棕漆木雕坐佛 專家評論：比較相似的類似的紅棕色漆。請注意尺寸較大 (29.5厘米)。

A WHITE JADE 'BUTTERFLY' SNUFF BOTTLE, POSSIBLY IMPERIAL, 18TH CENTURYChina. Well hollowed, the flattened globular body supported on a flat oval foot and rising to a short waisted neck with a straight lip. Finely carved on either side in relief with a strictly formalized design showing a pair of confronted butterflies, their antennas interlocked and resplendent wings spread out, a style typical of the workshops in Suzhou. The smoothly polished and translucent stone of a fine white tone with very few icy inclusions. Good polish overall, rendering an unctuous feel.Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Very good condition with minor wear and minuscule nibbling.Butterflies are a popular motif in China for their highly auspicious meaning, representing the wish for 'accumulation of blessings' (fudie). Designs with pairs of butterflies suggest the duplication of an auspicious wish, since the character for butterfly (die) is a homophone for 'repeat' (die). It also a homophone with 'die' meaning 'over seventy or eighty years of age', and thus expresses a wish for longevity. Butterflies also symbolize happiness in marriage and everlasting romantic love. The latter interpretation is due to a number of traditional Chinese stories in which butterflies play a significant part. Feng Menglong (1574-1646), for example, narrates the popular story of the 'butterfly lovers' Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. The philosopher Zhuangzi's famous dream of being a butterfly also made them symbols of the boundary between dream and reality.Stopper: Carnelian with gilt-metal collarWeight: 51.3 g Dimensions: Height including stopper 63 mm. Diameter neck 21 mm and mouth 6 mm Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2013, lot 133 Price: HKD 400,000 or approx. EUR 60,500 converted and adjusted for inflation at the time of writing Description: A white jade 'kui dragon' snuff bottle, possibly Imperial, Qing dynasty, mid-18th / early 19th century Expert remark: Compare the closely related white color and the highly formalized design, here with interlocked dragons instead of interlocked butterflies. 十八世紀白玉蝴蝶紋鼻煙壺中國，掏膛良好，壺口外撇，束頸，四角圓肩，扁平壺身，橢圓形足。兩側精雕細琢，一對蝴蝶，觸角交錯，羽翼展開，這是蘇作的典型風格。白玉光滑半透明，細膩瑩潤，内含細微絮狀物。來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。 品相：狀況非常好，有輕微磨損和磕損。 壺蓋: 玉髓，金屬托片 重量：51.3 克 尺寸：總高63 毫米，頸部直徑 21毫米，壺口直徑6毫米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年5月26日，lot 133 價格：HKD 400,000（相當於今日EUR 60,500） 描述：清十八世紀中葉 / 十九世紀初白玉仿古「夔龍」紋鼻煙壺或御製 專家評論：比較非常相近的白玉顏色、外形，但僅有相連的龍而不是相連的蝴蝶。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN INSIDE-PAINTED SMOKEY CRYSTAL SNUFF BOTTLE BY YE BENGQI, CHINA, 1920-1940Of flattened form, the rounded rectangular body supported on a thick foot and surmounted by a short cylindrical neck. Delicately painted in a crisp color palette with a bird about to land on a lychee branch to one side and a long-tailed bird resting and singing on a peach bough to the other.Inscriptions: To one side, signed 'Ye Bengqi'. One seal.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. The base with an old collector's label, '5'. 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: Very good condition with minor wear and expected manufacturing irregularities, two tiny nibbles to the edge of the foot.Stopper: Jadeite Weight: 53.8 g Dimensions: Height including stopper 66 mm, Diameter neck 18 mm and mouth 6 mm Ye Bengqi was the son of the famous snuff bottle painter Ye Zhongsan (1875-1945) and the artist who revitalized the Beijing school of painting in the late 1950s. After World War 2, Ye Bengqi took on Wang Xisan (born 1938) as his student.Literature comparison: For another stylistically similar bottle signed Ye Zhongsan, see Lilla S. Perry, Chinese Snuff Bottles, The Adventures and Studies of a Collector, 1960, pp. 135-37, no. 131.Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2018, lot 618 Price: USD 5,250 or approx. EUR 5,900 adjusted for inflation at the time of writing Description: An inside painted crystal snuff bottle, attributed to Ye Benqi, 1920-1940Expert remark: Compare the related style of painting and color palette. Note that this bottle is signed Ye Zhongsan but attributed to Ye Benqi. 1920-1940年葉蓁祺款內畫煙晶鼻煙壺扁平瓶，平口，圓柱形頸，削肩，橢圓形圈足。內畫，一面為飛向荔枝樹枝頭的小鳥，另一面則是一隻在桃樹枝上停留的喜鵲。 款識：葉菶祺作 來源：Maria 與Johannes Nickl收藏，在同一家族保存至今。底部有藏家舊標簽，上可見 '5'。Maria 與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份於1996年10月30日由 Zacke藝廊出局的原始賬單複印件，收件人為Nickls，當時價格為 ATS 7,000 （根據通貨膨脹約為EUR 900）。Maria (1926-2022年) 與 Johannes Nickl (d. 2020) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的 榮譽榜上。 品相：狀況極好，有輕微磨損和製造不規則性，足部邊緣有兩個小磕損。 壺蓋：翡翠 重量：53.8 克 尺寸：含壺蓋高66 毫米，頸部直徑18 毫米，壺口直徑 6 毫米 文獻比較： 一件風格相同的葉仲三鼻煙壺，見Lilla S. Perry，《Chinese Snuff Bottles，The Adventures and Studies of a Collector》，1960年，頁135-37，編號131。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2018年9月12日，lot 618 價格：USD 5,250（相當於今日EUR 5,900） 描述：1920-1940年葉仲三仿葉菶祺內畫鼻煙壺 專家評論：比較相近的內畫風格和顏色。請注意此壺雖是葉仲三簽名，但是是仿葉菶祺

A ROOT AMBER SNUFF BOTTLE, MID-QING DYNASTYExpert's note: Fine 'Root Amber' snuff bottles of an early date are quite rare. The present example with its distinct honey-toned swirls, somewhat reminiscent of the 'ghost eyes' found in huanghuali wood, is of the most desirable type.China, 1750-1850. The ovoid body supported on an oval foot with concave base and rising to a cylindrical neck with a flat lip. The shoulders boldly carved with lion masks suspending mock-ring handles, the remaining surfaces unadorned to best display the swirled and variegated material with patterns resembling an ancient piece of burl wood.Provenance: The Maurice Fry Collection, Illinois, USA. Maurice Fry (1931-2019) was an American entrepreneur and businessman. He discovered Asian art during his time in the US Army, when he served in the Korean War. In 1956, Maurice found his life partner in Elizabeth C. Fry (1934-2022), and together they embarked on a decades-long and captivating journey of collecting.Condition: Good condition with significant old wear and expected natural imperfections, one with a minuscule fill. Natural inclusions and fissures overall, some of which have developed into fine hairline cracks over time. One shallow chip to the lip. Fine naturally grown patina.Stopper: Glass Weight: 43.7 g Dimensions: Height including stopper 76 mm. Diameter neck 17 mm and mouth 6 mm. One of the more exotic materials used for snuff bottles, amber is the translucent fossilized resin of ancient coniferous trees from the Tertiary period. Three main varieties of amber were used during the Qing Dynasty: a range of transparent brown, golden-brown and reddish amber; a yellow, cloudy amber associated with the Baltics; and 'root amber', such as the present bottle, where the range of material has inclusions of opaque yellow-ochre and brown colors. 'Root' amber, is so called because it was believed that the resin combines with clay at the root of the tree to obtain its distinct color. Amber was valued long before the snuff-bottle era and was considered to be a symbol of longevity, since it was known to have laid in the ground being transformed over millennia.Literature comparison: For a similar root-amber bottle still in the Imperial Collection see Chang Lin-Sheng, 'Snuff Bottles in the Collection of the National Palace Museum', Taipei, 1991, p. 252, no.374.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 19 March 2018, lot 144Price: USD 3,125 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A root amber snuff bottle, 1780-1850Expert remark: Compare the closely related manner of carving, decoration, with similar lion mask and mock ring handles, and color. Note the size (6.7 cm). While the two bottles likely date to different ends of the 1750-1850 period, with the current lot possibly being the older example, the Bonham's bottle provides a good basis for comparison based upon the form and material. 清代中期根珀鼻煙壺中國，1750-1850 年。 鼻煙壺圓柱體頸部，削肩，收腹，橢圓形圈足。肩部兩側各有一個輔首圓環。除此之外鼻煙壺表面未加任何裝飾，展示出材料獨有的紋理，如老樹根。 來源：Maurice Fry收藏，美國伊利諾伊州。 Maurice Fry（1931-2019）是一位美國企業家和商人。他在美國陸軍服役期間，在朝鮮戰爭中服役期間發現了亞洲藝術。 1956年，Maurice找到了自己的人生伴侶Elizabeth C. Fry（1934-2022），他們一起踏上了長達數十年的收藏之旅。 品相：品相良好，有磨損和自然瑕疵，輕微填充物，有天然內沁和裂隙，其中一些隨著時間的推移已發展成細小的裂紋。 壺口上有一個淺淺的缺口。自然精美包漿。 壺蓋：玻璃 重量：43.7 克 尺寸：含蓋高76 毫米，頸部直徑17 毫米，壺口直徑6 毫米 文獻比較： 一件相似的宮廷所藏琥珀色鼻煙壺，Chang Lin-Sheng，《故宮鼻煙壺》，台北，1991年，頁252，編號374。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2018年3月19日，lot 144 價格：USD 3,125（相當於今日EUR 3,500） 描述：1780-1850年雀腦琥珀鋪首耳鼻煙壺 專家評論：比較非常相近雕刻風格，裝飾，具有類似的輔面和手柄，以及顏色。請注意尺寸(6.7厘米)。雖然這兩件鼻煙壺可能生產於 1750-1850 年間的不同時期，而我們拍品可能年代較早。

AN INSCRIBED AND TRANSLUCENT JADE 'ORCHIDS' BOWL, CHINA, 18th CENTURYInscription: 'Although the orchids belong to the grass, they are graceful and fragrant.'The deep rounded sides rising from a slightly splayed, massive ring foot to a gently everted rim, with a neatly slanted lip, a distinct hallmark of 18th century jade bowls. The remarkably well-polished stone is of a fine white color with hues of pale celadon and some cloudy inclusions. To one side, raised in high relief, we find a single orchid growing from a craggy rock next to a small lingzhi mushroom. The masterfully incised calligraphy is well-defined in gilt and highlighted in red lacquer. Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco. Isidore Cohn, Jr., MD, New Orleans, USA, acquired c. 2002 from the above and thence by descent in the same family. Label to the foot: 'S. Bernstein & Co, San Francisco 2787.' Isidore Cohn (1921-2015) was a prominent surgeon in New Orleans. Dr. Cohn served as the first Vice President of the American College of Surgeons (1993). He was a passionate collector of art, with several exhibitions of pieces from his collection conducted by The New Orleans Museum of Art, including 'Chinese Jades from the Collection of Marianne and Isidore Cohn, Jr.' in 2013-2014. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including 'The Emperor's Jade Suit' and 'Chinese Jade: The Immortal Stone'. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Superb condition with only minor old wear. The stone with natural inclusions.Weight: 145.6 gDimensions: Diameter 9 cm Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2013, lot 1697Price: USD 32,500 or approx. EUR 39,000 converted and adjusted for inflation at the time of writingDescription: An Inscribed Pale Olive-White Jade Bowl, Late 18th/19th CenturyExpert remark: Compare the inscription.Auction result comparison:Type: RelatedAuction: Christie's London, 6 November 2012, lot 143Price: GBP 27,500 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A Pair Of Inscribed And Gilt-Decorated Pale Celadon Jade Bowls, 18th CenturyExpert remark: Compare the inscriptions. Note that this lot is for two bowls. 十八世紀詩文蘭草玉碗侈口，深圓腹，圈足。碗口邊緣整齊，這是十八世紀玉碗的明顯標誌。 玉石經過精心打磨，呈現出細膩的白色，帶有淺青色調和一些絮狀物。在碗的一側高浮雕一朵蘭花從崎嶇的岩石中生長出來，旁邊是一朵小靈芝。詩句鎏金雕刻精美，並以紅漆突出。款識：蘭雖為草秀而香 來源：舊金山S. Bernstein & Co.Jade & Oriental Art藝廊；. Isidore Cohn，M.D收藏，2002年購於上述藝廊，自此保存在同一家族中。足部可見藝廊標籤“S. Bernstein & Co, San Francisco 2787"。品相：狀況極佳，只有輕微磨損，具有天然內沁。 重量：145.6 克 尺寸：直徑 9 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年9月20日，lot 1697 價格：USD 32,500（相當於今日EUR 39,000） 描述：清十八/十九世紀青白玉御題詩文盌 專家評論：比較款識。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2012年11月6日，lot 143 價格：GBP 27,500（相當於今日EUR 51,000） 描述：青白玉雕石榴紋題詩盌一對 專家評論：比較款識。請注意此為一對。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GOLD-, SILVER- AND TURQUOISE-INLAID BRONZE 'DRAGON' GARMENT HOOK, WARRING STATES PERIODChina, 475-221 BC. Superbly cast with a dragon-head hook with neatly inlaid turquoise eyes and crest, finely decorated with a central floral design composed of a turquoise-inlaid circle surrounded by a gold-inlaid band and four ruyi petals, further decorated with turquoise-inlaid angular scroll, terminating in a second dragon head with laidback ears and long snout, the underside with a circular button.Provenance: Collection of Miklos Grunberg, and thence by decent in the same family. Mossgreen Auctions, Melbourne, Australia, 2 June 2008, lot 127. A private collection in Melbourne, Australia, acquired from the above. Miklos Grunberg (1918-1988) was born in Budapest, Hungary, and immigrated to Australia in the 1940s. In the early 1950s, he founded a mining consulting firm in Sydney, where he worked for various mining projects including the Uranium mine in Silver Valley. He was an avid collector of Chinese artifacts and works of art, and he donated several pieces to the National Library of Australia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, minor losses, tiny nicks, light scratches, small dents, encrustations. The finely polished silver and bronze surface with a rich, naturally grown patina with malachite and cuprite encrustations.Weight: 121.8 gDimensions: Length 20.4 cm Literature comparison:Compare a related turquoise inlaid belt hook of thin elongated shape, dated to the Warring States period, published in Julia White et al., Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection, Hong Kong 1999, p. 109. Compare a related garment hook with geometric decorations, 21 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1948.27. Compare a closely related belt hook with a similar four-petal design in the center, albeit inlaid in turquoise, illustrated in Chinese Art from the Collection of H.M. King Gustaf VI Adolf of Sweden, Tokyo and Osaka, 1971, no. 32. Compare a related turquoise-inlaid gilt-bronze belt hook, dated to the 4th century BC, in the Museum of East Asian Art, Bath, record number BATEA : 238.Auction result comparison: Type: RelatedAuction: Bonhams New York, 21 September 2020, lot 308Estimate: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare inlaid bronze garment hook, Warring States/Western Han dynastyExpert remark: Note the size (21.3 cm). 戰國錯金銀嵌綠松石龍頭鈎中國，西元前475-221 年。鑄工精良，龍頭鉤，一頭眼部和頭部鑲綠松石，鑲嵌工整，龍身錯金銀，飾綠松石，形如龍爪；第二個龍頭可見耳朵和長鼻子。身下有一個圓形鈕。來源：Miklos Grunberg收藏，自此在同一家族保存；澳洲墨爾本Mossgreen 拍賣行，2008年6月2日，lot 127；墨爾本私人收藏購於上述拍賣。Miklos Grunberg (1918-1988) 出生於匈牙利布達佩斯，二十世紀四十年代移居澳洲。二十世紀五十年代初，他在雪梨創立了一家採礦諮詢公司，負責多個採礦項目，包括銀穀的鈾礦。他收藏中國文物和藝術品，並向澳洲國家圖書館捐贈了多件作品。 品相：狀態良好，與年齡相稱。廣泛磨損、風化和侵蝕跡象、鑄造缺陷、輕微損失、微小刻痕、輕微劃痕、小凹痕、結殼。精細拋光的銀和青銅表面具有豐富的自然生長的銅綠，帶有孔雀石和赤銅礦結殼。 重量：121.8 克 尺寸：長 20.4 厘米 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2020年9月21日，lot 308 估價：USD 20,000（相當於今日EUR 22,000） 描述：戰國/西漢局部鎏金銅錯銀嵌松石雙獸首帶鈎一件 專家評論：請注意尺寸(21.3 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A SILVER-INLAID BRONZE CROSSBOW FITTING, WARRING STATES PERIODChina, 475-221 BC. Of rounded rectangular form, the hollow fitting has a square base and an aperture at the back for mounting it to the weapon. It is decorated overall with a geometric design of lozenge silver inlays with C-scrolls and stylized leafy scrolls. The top has a raised oval that extends down the side and is covered in the same design.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Good condition, commensurate with age. Signs of wear and weathering, dents, scratches, extensive rubbing to one side, soil encrustations, losses, corrosion. The inside seems to bear small remnants of fabric. Naturally grown patina with solid malachite encrustations overall.Weight: 201.4 g Dimensions: Width 5.5 cm Literature comparison:Compare a related corner fitting, 5.8 cm long, dated 4th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1605. Compare a related finial with gold and silver inlays, 6.3 cm long, dated 5th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2236. Compare a pair of bronze finials with silver inlays decorated with a similar geometric design, 6 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1677.1-2.Auction result comparison: Type: Related Auction: Christies New York, 16 March 2017, lot 865 Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Silver-Inlaid Bronze Circular Ornament, Warring States Period (475-221 Bc) Expert remark: Note the similar inlay work and size (6 cm). 戰國錯銀銅十字弓配件中國，公元前475-221年。中空配件呈圓角矩形，有一個方形底座，背面有一個孔，用於將其安裝到武器上。 整體裝飾採用菱形銀色鑲嵌幾何設計，帶有卷葉紋。頂部有一個凸起的橢圓形，向下延伸到側面，並覆蓋有相同的紋飾。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：品相良好，有磨損和風化跡象、凹痕、劃痕、一側有大面積磨損、土壤結殼、損失、腐蝕。內部似乎有少量織物殘留。自然包漿，整體帶有堅固的結殼。 重量：201.4 克 尺寸：寬 5.5 厘米 文獻比較： 比較一件相近的西元前四至三世紀十字弓配件，5.8 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1605。比較一件相近的西元前五至三世紀錯金銀鑲嵌矛，6.3 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.2236。比較一對西元前五至四世紀錯銀鑲嵌相似的幾何設計頂端，6 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1677.1-2。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年3月16日，lot 865 價格：USD 9,375（相當於今日EUR 10,500） 描述：戰國銅錯銀圓飾 專家評論：請注意相似的鑲嵌和尺寸(6 厘米)。

A GILT-BRONZE VOTIVE PLAQUE DEPICTING THE MAITREYA, JIN DYNASTY, CHINA, 5TH CENTURYScientific Analysis Reports: 1.A technical examination was conducted by Podany Conservation Services, USA. The examination report concludes: “The characteristics observed by visual examination only of the corrosion patina and the encrustation, as well as the relationship between them and the base metal, as well as the remains of gilding and pigment suggest that the object is ancient." A copy of the signed examination report, dated 15 May 2021, accompanies this lot. 2.A scientific and technical examination was conducted by John Twilley, art conservation scientist. The report concludes that “The results of these tests show that the disk retains its as-cast microstructure and consists of a simple leaded tin bronze…Considering two likely origins, Korea or China, Buddhist sculptures from Korea have been noted to often be cast from unalloyed copper or leaded copper with minimal tin content, making a Korean origin somewhat less likely for the disk." A copy of the examination report, dated 29 December 2021, accompanies this lot. 3.An expert report was conducted by Antiques Analytics at the Institute for Scientific Authenticity Testing, Professor Robert Neunteufel. The examination concluded, “The results of the metal analysis are not in contradiction to a manufacture within the 5th" A signed copy of the report, dated 19 May 2023, accompanies this lot.The circular plaque is molded with a central Buddha Maitreya, seated on a lotus in dhyanasana with his hands raised in the abhayamudra and flanked by a flaming mandorla. The robed buddha is surrounded by a pair of acolytes at his feet, bodhisattva to his left and right, and two apsara flying above him. The surrounding figures are accompanied by two small rosettes and scrolling clouds. The remnants of three iron nail heads remain along the rim of the plaque.Provenance: From the private collection of Michael Phillips. 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: Very good condition, commensurate with age. Expected signs of weathering and erosion, soiling, flaking, dents, losses from corrosion, casting irregularities, remnants of red pigment, and loss to the gilding. The naturally grown patina has vibrant malachite and cuprite encrustations.Weight: 5,030 gDimension: Diameter 41.3 cmMaitreya, also known as the Buddha of the Future, may be considered as a Bodhisattva according to the sutras, or a Buddha according to the tantras. In Tibet, when represented as a Bodhisattva, he may be depicted standing or seated in European style with the feet resting on a small lotus throne, as in the present lot. The princely seated appearance of the figure, as in the present lot, is one of the most popular manifestations of Maitreya.Merchants trading in Silk Road goods, South and Central Asian Buddhist proselytizers, and pilgrims who had traveled to India to study Buddhism at its source brought countless paintings, scriptures, and small bronze sculptures and plaques to China and Tibet. These later served as the inspirations for works commissioned by local patrons. Few early Chinese and Tibetan bronze plaques survive, as later generations melted them down to make coins, weapons, or new icons.Literature comparison:Compare a closely related plaque depicting Maitreya surrounded by acolytes, bodhisattva, and apsaras, 17.2 cm high, dated to 460 AD through an inscription left by the devotee Faliang, in the Asian Art Museum of San Francisco, accession number B60B643. Compare a later related plaque depicting Maitreya similarly surrounded by acolytes, bodhisattva, and apsaras, 15.2 cm high, dated to the Sui dynasty (518-618), in the Harvard Art Museums, accession number 1943.53.74.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 晉代銅鎏金彌勒佛鎏金銅許願牌由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT-BRONZE 'XINIU' WEIGHT, MING DYNASTYChina, 1368-1644. Finely cast, the legendary beast seated in a recumbent position with its head turned back over its body. The tail of the creature flicked across its haunches as its hooved feet are tucked up underneath it. The hair of the xiniu's mane flowing down the back of its neck parallel to its single horn. The eyes, ears, nose, and mouth are detailed in bold lines, and the ribs are indicated by a series of deep striations.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. 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 some casting flaws. Small nicks, light scratches, minor dents. Expected signs of weathering. Patches of fine patina with extensive wear to the gilding, small spots of cuprite and malachite encrustation.Weight: 162 gDimensions: Length 5.4 cm Animal-form weights have been used since antiquity, with numerous examples surviving from the Han dynasty, from which they continued to be essential for scholars in subsequent periods. The Guyu Tu, found in the Illustrated Compendium of Ancient Jades, notes that Zhao Mengfu once bought an ancient jade bixie for use as a paperweight, indicating that scholars would sometimes appropriate favorite antiquities to serve this utilitarian function. The Xuande period in particular witnessed a renewed interest in bronze wares for the scholar's desk, including bronze animal-form weights such as the present lot. The xiniu is a legendary Chinese animal. In ancient Chinese texts, the term xiniu originally meant rhinoceros. In later periods, the creature became increasingly mythologized after the rhinoceros was extinct in post-archaic China. By the Song dynasty, it had become a beast of legend, known only through literary references.Literature comparison: For a Xuande mark and period mythical beast-form weight from the Xiaogushan Guan Studio Collection, see Rochers de Lettres, Itineraires de l'Art en Chine, Musee des Arts Asiatiques Guimet, Paris, 2012, cat. no. 58. Two weights, one cast as a scaly mythical beast and another of leonine form, were included in the exhibition Arts from the Scholar's Studio, Fung Ping Shan Museum, Hong Kong, 1986, cat. nos 194 and 195. See a comparable example in the Victoria and Albert Museum, London, illustrated by Rose Kerr, Later Chinese Bronzes, London, 1990, p.101, no. 87.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 26 May 2013, lot 372Price: HKD 56,250 or approx. EUR 8,500 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze 'tianlu' paperweight, late Ming/early Qing dynastyExcerpt: Compare the size (5.6 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 18 March 2014, lot 254Price: USD 16,250 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze lion-form paper weight, Ming dynastyExpert remark: Observe the similar wear, recumbent pose, and ribs. 明代銅鎏金犀牛鎮紙中國，1368-1644年。銅製犀牛，轉首仰視，四腿臥於身下，鬃毛細長，披撒在頸兩側，周身鎏金，雄健之神態自然流露。此器形態意趣憨樸，法度古拙。 來源：Maria 與Johannes Nickl收藏，在同一家族保存至今。Maria (1926-2022) 與 Johannes Nickl (d.2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。 品相：品相良好，有一些鑄造缺陷，小嗑損、輕微劃痕、輕微凹痕，有風化跡象。鎏金大面積磨損，包漿細膩，紅褐色藍綠色結殼。 重量：162 克 尺寸：長 5.4 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 7th-9th century. Sensitively carved with heavy-lidded downcast eyes and finely incised pupils, thick ridged brows, a narrow nose, elongated earlobes, and full lips forming a calm smile, the hair in snail-shell curls.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: Good condition, commensurate with age. Old wear, losses, nicks, scratches, signs of weathering and erosion, encrustations, cracks. Very minor old fills. Fine, naturally grown patina overall.Weight: 1,772.1 g (incl. stand) Dimensions: Height 18.7 cm (incl. stand), 12.5 cm (excl. stand)Mounted on an associated stand. (2)While there is great variation within the Mon-Dvaravati tradition, the sensitivity paid to the modeling of these facial features is in keeping with the period's focus on the purity and fluidity of form. As expressed by Jean Boisselier in The Heritage of Thai Sculpture, 1975, page 73, “The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia."Literature comparison:Compare a closely related sandstone head of Buddha in the National Museum Bangkok, dated 8th-10th century, with nearly identical facial features. Compare a related head of a Buddha, 19.5 cm high, dated to the 8th century, in the Metropolitan Museum of Art, accession number 1983.13.Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2019, lot 874 Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writing Description: A Blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th century Expert remark: Note the related facial features and hair style. Also note the slightly larger size (23.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 15 March 2016, lot 318 Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writing Description: A gray sandstone head of Buddha, Thailand, Mon-Dvaravati period, 9th century Expert remark: Compare the related facial features and material. Note the slightly larger size (24 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A SANDSTONE STELE OF AMBIKA, INDIA, 11TH-12TH CENTURYSeated beneath a floral canopy with a central Buddha figure, the goddess wraps her arm around a child seated on her lap. In her right hand she holds a lotus stem, and around her neck is a torc and a beaded necklace which extends down between her shapely breasts. She is adorned with a large headdress, and above the child hovers a single apsara.Provenance: From the private collection of Dr. Rainer Kreissl, and thence by descent in the same family. Dr. Rainer Josef Kreissl (1924-2005) was a German-Czech art collector and the recipient of the Czech Republic's Medal of Merit. Born in Bohemia, Dr. Kreissl's family was permitted to remain in Czechoslovakia after World War II because of his father's efforts in smuggling jews out of the Third Reich. Dr. Kreissl studied business in Žatec and became an antiquities dealer in the late 1950s. Due to his association with various foreign diplomats, Dr. Kreissl emigrated to west Germany after becoming a person of interest to the KGB. Dr. Kreissl continued to work as an antiquities dealer, assembling an impressive collection which he donated to the various museums in the Czech Republic. In 1995, Dr. Kreissl received an honorary Doctorates from Charles University and was later awarded honorary citizenship of the city of Prague. His broad collection can be seen in the Thimble Museum, the National Gallery, and in Prague Castle. Condition: Fine condition, commensurate with age, and presenting remarkably well. Extensive weathering, erosion, losses, cracks. Good care was taken to fit the sculpture into a solid stand, backing some of the losses with a nicely grained wood. Good natural patina overall.Weight: 22.7 kg (incl. stand) Dimensions: Height 63.5 cm (incl. stand), 52.8 (excl. stand) With a fitted wood stand from the 20th century. (2)In Jainism, Ambika is the yakshi (attendant deity) or sasana devi (protector goddess) of the 22nd Tirthankara, Neminatha. She is often shown with one or more children and sometimes under a tree. The name Ambika literally means 'mother,' hence she is the Mother Goddess.According to Jain text, Ambika is said to have been an ordinary woman named Agnila who became a goddess. She lived with her husband Somasarman and her two children Shubhanakar and Prabhankara in Girinagar. One day, Somasarman invited Brahmins to perform Sraddha (funeral ceremony) and left Agnila at home. Varadatta, the chief disciple of Neminatha, was passing by and asked for food from Agnila to end his month-long fast. Somasarman and Brahmins were furious at her as they considered the food to be impure now. Somasarman drove her out of the house along with her children; she went up to a hill. She was blessed with power for her virtue, and the tree she sat down under became a Kalpavriksha (wish-granting tree). The gods were angry at the treatment of Angila and decided to drown everything in her village but her house. After seeing this, Somasarman and Brahmins felt this was because of Angila's saintliness and went to beg for her forgiveness. Upon looking at her husband, afraid of his punishment, Angila committed suicide by jumping off a cliff, but was instantly reborn as the goddess Ambika. Her husband was reborn as a lion and he came to her, licked her feet, and eventually became her vehicle. Neminatha initiated her two sons and Ambika became Neminatha's yakshi.Literature comparison:Compare a precursor sandstone figure of Ambika, 68.6 cm high, dated 6th-7th century, in the Los Angeles County Museum of Art, accession number M.90.165. Compare a precursor sandstone figure of Ambika to this lot, 25.7 cm high, dated 9th-10th century, in the Norton Simon Museum, accession number P.2004.01.1. Compare a closely related sandstone figure of Ambika, 83.8 cm high, dated 11th-12th century, in the Asian Art Museum of San Francisco, accession number B62S37+. Compare a related sandstone frieze with Ambika, 29 cm high, dated to the 11th century, in the Victoria & Albert Museum, accession number IM.83-1916. Compare a related gray sandstone figure of Ambika, 55.8 cm high, dated 11th century, in the British Museum, registration number 1962,1113.2. Compare a related sandstone figure of Ambika, 16 cm high, in the British Museum, registration number 1887,0717.64.

KETNA PATEL (B.1968) - 'ANOTHER ASIAN' (1999) Mixed media: Photographs; oil; ink and paper collage Signed and dated lower right, titled to Philip Morris Group Asean Art Awards label verso 187 x 184cm Provenance: London Fine Arts, Tudor Court, Singapore Condition: Fine condition, very minor abrasion/wear to collage on underside bottom edge and left corner, otherwise no visible damage. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Ca. 1368-1644 AD or later .A glazed terracotta mingqi depicting a standing attendant on a tiered, integral base. He is portrayed in a noble and dignified manner, with an upright posture and an expression of calm composure. The gentle contours of the figure's face, including the high cheekbones, a prominent nose, and small lips, are carefully crafted with fine details such as the almond-shaped eyes, and the delicately arched eyebrows. The figure is dressed in a long, flowing green robe with contrasting accents on the sides, which are painted in red. The robe is tied with a sash of ochre color, which enhances the elegance of the ensemble. The figure carries an object under his left arm and his both hands are clenched. Mingqi, or "spirit objects," were created to be buried with the deceased and were believed to accompany the soul into the afterlife. These objects were often crafted with great attention to detail and were intended to represent the various aspects of life that would be important in the afterworld. Cf. Christie's Live Auction 5564, Asian Art, 15 September 2005, Lot 407. Size: L:190mm / W:60mm ; 280g Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

[A PRIVATE SCOTTISH COLLECTION, EDINBURGH] COLLECTION OF ART REFERENCE BOOKS ON CHINESE ART: MUSEUM COLLECTIONS AND EXHIBITIONS 中國藝術參考書籍：館藏及展覽（約五十三本） Including but not limited to:Art Chinois: Musée Cernuschi acquisitions 1993-2004. Paris: Paris-Musées, 2005.Asiatic art in the Seattle Art Museum: a selection and catalogue. Seattle: Seattle Art Museum, 1973.Bruckner, Christopher. Chinese Imperial Patronage: Treasures from Temples and Palaces. London: Asian Art Gallery, 1998.Catalogue of the International Exhibition of Chinese Art: 1935-6. London: Royal Academy of Arts, 1935.Chinese Art from the Cloud Wampler and Other Collections in the Everson Museum. New York: Frederick A. Praeger, 1968.Chinese Art in the Royal Ontario Museum. Toronto: Royal Ontario Museum, 1972.Christie, Anthony. Chinese Mythology. Feltham: The Hamlyn Publishing Group Limited, 1968.City of Edinburgh Arts Centre. Gateway to the Silk Road: Relics from the Han to the Tang dynasties from Xi'an, China. Edinburgh: City of Edinburgh Museums and Galleries, 1996.Clunas, Craig and Harrison-Hall, Jessica et al. Ming: 50 Years That Changed China. London: British Museum Press, 2014.Clunas, Craig. Superfluous Things: Material Culture and Social Status in Early Modern China. Chicago: University of Illinois Press, 1991.Cook, Brian. Chinese Art. London: B. T. Batsford Ltd, 1935.Crawford, John M. The Crawford Bequest: Chinese Objects in the Collection of the Museum of Art, Rhode Island School of Design. Rhode Island: Brown University, 1993.Edmunds, Will H. Pointers and Clues to the Subjects of Chinese and Japanese Art. London: Sampson Low, Marston & Co., Ltd.Fang, Jing Pei. Symbols and Rebuses in Chinese Art: Figures, Bugs, Beasts, and Flowers. Berkeley: Ten Speed Press, 2004.Feng shui: gli oggetti dell'equilibrio. Milan: La Galliavola, 1998.Fong, Wen C. and Watt, C. Y. Possessing the past: treasures from the National Palace Museum, Taipei. New York: Metropolitan Museum of Art, 1996.Gombrich, Richard and Bechert, Heinz. The World of Buddhism. London: Thames and Hudson Ltd, 1991.Hay, Jonathan. Sensuous Surfaces: The Decorative Object in Early Modern China. London: Reaktion Books, 2010.Lawton, Thomas. Asian Art in the Arthur M. Sackler Gallery: The Inaugural Gift. Washington: Arthur M. Sackler Gallery, 1987.Ledderose, Lothar. Ten Thousand Things – Module and Mass Production in Chinese Art (The A. W. Mellon Lectures in the Fine Arts). Princeton: Princeton University Press, 2000.Lee, Sherman E. A History of Far Eastern Art. New York: Harry N. Abrams, 1982.Lee, Sherman E. et al. Eight Dynasties of Chinese Painting: Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 1980.Lin, James C. S. (Ed.). The Search for Immortality: Tomb Treasures of Han China. New Haven: Yale University Press, 2012.Ma, Baojie (Ed.). The Liaoning Museum. Hong Kong: London Editions, 2008.Michaelson, Carol. Gilded Dragons: Buried Treasures from China's Golden Ages. London: British Museum Press, 1999.Musée Cernuschi. Promenade Dans Les Collections Chinoises. Paris: Musée Cernuschi, 1983.Musée du Petit Palais. La Cité Interdite: Vie publique et privée des empereurs de Chine 1644-1911. Paris: Paris-Musées, 1996.National Museums of Scotland. Ming: The Golden Empire. Edinburgh: NMS Enterprises Limited, 2014.Rawson, Jessica and Rawski, Sakakida. China - the Three Emperors 1662 – 1795. London: Royal Academy of Arts, 2005.Rawson, Jessica (Ed.). Mysteries of Ancient China: New Discoveries from the Early Dynasties. London: British Museum Press, 1996.Rawson, Jessica (Ed.). The British Museum Book of Chinese Art. London: British Museum Press, 1992.Rawson, Jessica. Chinese Ornament: The Lotus and the Dragon. London: British Museum Publications Ltd., 1984.Rawson, Jessica. Ancient China: Art and Archaeology. London: British Museum Publications, 1980.Selected Masterpieces of Asian Art: Museum of Fine Arts Boston. Boston: Museum of Fine Arts Boston, 1992.Scott, Hugh. The Golden Age of Chinese Art: The Lovely T'ang Dynasty. Rutland: Charles E. Tuttle Company, Inc., 1966.Schloss, Ezekiel. Foreigners in Ancient Chinese Art; From Private and Museum Collections. New York: China House Gallery, 1969.Smith, Lawrence and Hulton, Paul. Flowers in Art from East and West. London: British Museum Publications Ltd., 1979.Splendeurs des Han: Essor de l'empire celeste. Paris: Flammarion, 2014.The Charles B. Hoyt Collection: Memorial Exhibition February 13 - March 30, 1952. Boston: Museum of Fine Arts.The Mount Trust Collection of Chinese Art. London: Victoria and Albert Museum, 1970.The Schiller Collection: illustrated catalogue. City Art Gallery Bristol, 1948.Thorp, Robert L. and Blower, Virgina. Spirit and Ritual: The Morse Collection of Ancient Chinese Art. New York: Metropolitan Museum of Art, 1982.Treistman, Judith. Pre-History of China: An Archaeological Exploration. Exeter: David & Charles, 1972.Watson, William. The Genius of China: An Exhibition of Archaeological Finds of the People's Republic of China. London: Times Newspapers Ltd, 1973.Watt, James C. Y. and Patry Leidy, Denise. Defining Yongle: Imperial Art in Early Fifteenth-Century China. New York: Metropolitan Museum of Art, 2005.Watt, James C. Y. (Ed.). Exhibition of Paintings, Calligraphy and Porcelain of the Ming Period, 1368-1644. Min Chiu Society. Hong Kong: City Hall Museum and Art Gallery, 1966.Watt, James C. Y. The Arts of Ancient China. New York: Metropolitan Museum of Art, 1990.White, Julia M. and Otsuka, Ronald Y. Pathways to the Afterlife: Early Chinese Art from the Sze Hong Collection. Honolulu: University of Hawaii Press, 1993.Whitfield, Susan. The Silk Road: Trade, Travel, War and Faith. London: The British Library Publishing Division, 2004.Yang, Xiaoneng (Ed.). The Golden Age of Chinese Archaeology – Celebrated Discoveries From the Peoples Republic of China. New Haven: Yale University Press, 1999.Zhang, Wenjun (Ed.). Henan Museum. Hong Kong: London Editions, 2009.中華歷史文物. Taipei: The Globe International Corporation, 1977.Zwalf, W. Buddhism: Art and Faith. London: British Museum Publications Ltd, 1985 Provenance:Provenance: Private Scottish collection, Edinburgh Note: Note: Please note this lot will be offered with no reserve. 本拍品不設底價

MICHAEL BIRCH: A WALRUS IVORY NETSUKE OF A STYLIZED DARUMABy Michael Henry Birch (1926-2008), signed with artist's initials 'MHB'20th centuryOf crescent moon or c-shape, finely polished. The front side inlaid with shell and abalone depicting the nose and yawning mouth of a daruma in a stylized and subtly concealed manner. The backside with two himotoshi and the signature 'MHB' within a gold-inlaid rectangular reserve. LENGTH 4 cm Condition: Excellent condition with minimal wear. Provenance: Ex-collection Richard R. Silverman, sold to benefit Brandeis University. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture. 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.

CHINESE ART BOOKS - CHEN YIFEI Comprising; Chen Yifei, Hammer Publishing, Huayi Publishing house and Asian Art Blooming Publishing Ltd., 1990 Chen Yifei, Chen Yifei, 2010 Chen Yifei, Chen Yifei, Shanghai Art Museum, 2010 Chen Yifei: First London Exhibition. Catalogue of Exhibition of Chinese Paintings, Liu Zhi, Marlborough Fine Art (London) Ltd. 1997 Chen Yi Fei, Liu Jianchao (ed.), 天津楊柳青畫社, 2008 Chen Yifei A Retrospective, Chen Yifei, Plum Blossom (International) Ltd., Hong Kong 1992 (6) The largest: 39.5cm high x 34.3cm wide Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

John Scott Bradstreet (American, 1845-1914). Entire room of Asian inspired "jin-di-sugi" carved cypress wood paneling including a fireplace and the ceiling. The fireplace with a carved panel of a sun among waves and two monopodial faux-legs with dragon heads and ball and claw feet. The wainscoting with carved panels, each depicting unique flora and fauna including: a crab, a dragon, lotus pods and flowers, water lilies, a bat, a kingfisher, chrysanthemums, and a turtle. There are a total of eight panels along the walls; two along each wall. The wainscoting is divided into three registers: a low horizontal lower register; a tall rectangular divided middle register; and a square upper register with alternating plain and carved panels. The ceiling with three beams and 12 panels; six panels slightly shorter than the length of the room due to the presence of the fireplace.Please note that this lot must be removed from its location by the end of August, 2023.Born in Massachusetts in 1845, John S. Bradstreet moved to Minnesota in 1873 and began working for the furniture firm Barnard, Clark, and Cope. With a heavy emphasis on late Victorian styles, Bradstreet felt that the items they were selling were too old-fashioned. Throughout the late 1870s and into the turn of the century, he worked with various partners to create furniture more in line with the growing popularity of the Gothic Revival and English Arts & Crafts movements. By 1901 he had founded his own business which focused primarily on his growing love of Asian inspired furniture and architecture - in particular, Japan. After opening the Minneapolis Crafthouse he was able to finally display and design his own works including his favorite line called "jin-di-sugi." This was a combination of Japanese carving techniques and American Arts & Crafts style, shown in the room offered in this lot.With his involvement in the growing aesthetic style of Minneapolis and as a heavy promoter of the arts in the city, he would go on to become one of the founders of the Minneapolis Fine Arts Society in 1883. This society would eventually evolve into the Minneapolis Institute of Art. He died only five months short of the institute's opening, and a room was opened in his honor, the John Scott Bradstreet Memorial Room, on January 7th, 1915.(Entire Room) 12 ft 2 in x 13 ft 2 in. (Mantle) height: 54 1/4 in x width: 76 in x depth: 25 in. Carved panel on mantle; height: 10 in x width: 13 1/4 in. (Wainscoting, 8 total panels) height ranges from 24 in to 54 1/2 in. [height ranges include below the window and include variance from panel to panel due to the room settling]. Total length of all wainscoting excluding the fireplace: 25 ft 10 in. (Carved panels excluding fireplace panel) height ranges from 10 in to 10 1/4 in; width ranges from 10 in to 11 in. (Chair rail) depth: 1 1/4 in.Condition: The wood in the room is in overall fairly good condition. There is light wear throughout as expected with a room of this age. Dust collected in the recessed areas of the works. There are small finishing nails throughout the wainscoting to affix the paneling to the wall of the room. There are four spaces for outlets, two spaces for light switches, and four areas where lights have been affixed to the panels. Several small areas where cord clips have been nailed/drilled into the paneling. There is one panel with an approx. 2 inch chip to the wood along the lower edge. The following carved panels have splits to the wood: the crab, the water lilies, the bat, and the chrysanthemums. The carved panel depicting a sun and waves along the mantle also has several splits along the center. There is wear to the top of the mantle. Numerous wax accretions, likely from candles, light scratches, a few small divots, dust, and an approx. 1 inch chip. Wear to the edges of the mantle throughout. There appears to be an extension added to the back of the mantle where it has been extended outwards to accommodate for modern use. This addition along the back measures approx. 8.75" x 63.25". There are six vents on the fireplace; two on either side and two along the top in the addition area.

Victorian Davenport desk, likely mahogany. Well-carved with profuse scrollwork panels and two monopodial scrolling supports in the form of winged women. With a six drawers along one side, hidden by a panel, and a slant-top leather writing service that hinges open to reveal a space for storing writing supplies. A fine and excellent example of this type of desk.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Height: 36 1/2 in x width: 21 in x depth: 24 1/2 in.Condition: The desk is structurally sound and stable. The carved/pierced decoration along the back along the top is broken and shows signs of previous attempted repairs. The finials are detached but included. Several other small losses to the carved decoration throughout. There are several large splits to the wood: along the leather writing top there is a notable split, visible in the lot listing; along the interior of the writing desk there is a large horizontal split to the bottom, visible in the lot listing; there is a short split extending vertically downwards along the front panel from the top; there are short splits along the top border along the three side panels. Splits and losses to the veneer along the interior of the desk and the drawers. All drawers open, though some are somewhat tight. Heavy wear, splits, and bowing to the veneer along the interior of the door that hides the drawers. 

Unusually large Chinese Han dynasty green-glazed pottery boshan lu hill-form incense burner or lian. The lid molded in the shape of hills or mountains, depicting five sacred mountains between earth and paradise. The exterior molded with a landscape filled with beasts, likely big cats, birds, and monkeys. Resting on a tripod of three bear-form legs.Provenance: Tai Sing Fine Antiques Ltd., Hong Kong, 2000; From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Height: 12 in x diameter: 9 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Indian portrait drawing of a seated man, 18th or 19th century. He is well rendered with fine lines and features.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Sight; height: 5 in x width: 4 1/2 in. Framed; height: 12 1/2 in x width: 10 3/4 in.Condition: The sheet is toned and the ink is somewhat faded. There is a large C-shaped hole near the figure's feet. There are numerous marks along the surface, notably the orange marks along the right edge. Some undulation to the surface throughout. Some light wear to the frame; framed under glass; not inspected out of frame.

Devkaran Nanjee 10 tolas fine .999 sterling silver ingot bar. Produced in Bombay, India ca. 1901-1910.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Height: 1/4 in x width: 2 1/4 in x depth: 1 1/2 in. Weight: 3.755 Troy oz.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Utagawa Kunisada (Japanese, 1786-1865). Ukiyo-e woodblock print titled "The Syllable Ki: for Kisshoji" from the series "Seisho nanatsu iroha (Seven Calligraphic Models for Each Character in the Kana Syllabary)," depicting two figures, one woman in a fine robe printed with flowers and a man holding a pipe, 1856.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Unframed; height: 14 in x width: 9 in. Board; height: 15 in x width: 10 in.Condition: The sheet is toned. The colors are somewhat subdued. All corners show minute losses or tears. There is an oblong hole along the upper right corner. There is a minute hole along the upper top center edge. There is a small hole near the lower right corner. There is a small red-colored stain along the lower figure's top hand, possibly original to the artistic production. Throughout the sheet there are numerous light creases. The artwork is plastic wrapped and the verso could not be inspected due to this.

Alya Hatta The Kingdom of Mr Chungus, 2023 Colour pencil and marker on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alya Hatta (b.1999, Malaysia) is an interdisciplinary artist based between London and Kuala Lumpur. She graduated from her BA Fine Art at Goldsmiths, University of London before finding herself in the MA Painting Course at Royal College of Art. She has exhibited internationally in London, Milan, Kuala Lumpur, Tokyo, Tübingen and Sydney amongst others. Hatta is a member of 'Unamed Collective' and 'FloorFive' collective, who are currently part of a year long residency at Goldsmiths CCA. Drawing on personal experiences and memories, Hatta uses the dynamism of colour, form, sound and space to explore the realm of digital and physical in representing her Southeast Asian identity, and to portray the colourful intimacies of the diasporic human condition. She takes inspiration from the communities of both her South-London and Kuala Lumpur residences as well as Southeast Asian mythology to create alternate realities in an attempt to find new spaces in which she can call home. Alya recently took part in our 2023 International Women's Day Auction - read her interview with FAD Magazine as part of the auction. Education BA Fine Art at Goldsmiths, University of London MA Painting Course at Royal College of Art Select Exhibitions/Awards Solo Exhibitions 2022 Up on Stilts, The Room, London 2020 Playground, ZHAN Art | Space, Selangor 2017 Aphrodisia, Minut Init Gallery, Kuala Lumpur SELECTED GROUP EXHIBITIONS 2021 Tate Collective: Finding Home Digital Display, Tate Britain, London 2021 Young Artist Incubator Show, Wei-Ling Gallery, Kuala Lumpur 2021 In Other Company, Deptford X Festival, London   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Sinéad Rice Geometric Study In Black + Blue II (1), 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born Ireland, 1975. Now lives and works in Dublin. Exhibits mainly in London. Mainly a painter, the artist uses a variety of mediums including painting, drawing, sculpture, ceramics and most recently photography has become important in her work. She is interested in nature, meditation and the sea, and loves to travel the world with her camera, scuba diving whenever possible. Education B.A. ARTS ENGLISH AND PHILOSOPHY (HONOURS) NATIONAL UNIVERSITY OF IRELAND, GALWAY 2001 NATIONAL DIPLOMA IN FINE ART (WITH DISTINCTION) CRAWFORD COLLEGE OF ART AND DESIGN 2002 B.A. FINE ART PAINTING (FIRST CLASS HONOURS) CRAWFORD COLLEGE OF ART AND DESIGN 2007 M.A. ARTS - CERAMIC DESIGN NATIONAL COLLEGE OF ART AND DESIGN Select Exhibitions/Awards 2004 - Impressions - National Open Print Exhibition - Galway Arts Centre. 2005 - Studio Artists Exhibition - Customs House Gallery. 2007 - 40 Year Retrospective Exhibition - Lavit Gallery. 2008 - Winter Exhibition - Lemonstreet Gallery. 2010 - Backwater Twenty 10 - Crawford Art Gallery. Curated by Stephen Brandes and Vera Ryan. 2010 - Impressions, National Open Print Exhibition - Galway Arts Centre. Curated by Chris Orr R.A. 2011 - Summer Exhibition - Leitrim Sculpture Centre. 2013 - Small is Beautiful, Who's afraid of Red Yellow and Blue - Flowers East Gallery, Kingsland Road, London. 2014 - 184th Royal Hibernian Academy Annual Exhibition, Royal Hibernian Academy Dublin. 2015 - AIB Eigse - Visual Centre For Contemporary Art, Carlow. Curated by Lewis Biggs. 2016 - DRAW 2016 - Backwater Artists Studio's, Cork 2017 - Small is Beautiful XXXV - Flowers Central Gallery, Cork Street, London 2018 - Small is Beautiful XXXVI - Flowers Central Gallery, Cork Street, London. 2019 - Small is Beautiful XXXVII - Flowers Central Gallery, Cork Street, London. 2020 - Small is Beautiful XXXVIII - Flowers Gallery, London. 2021 - Small is Beautiful XXXIX - Flowers Gallery, Cork Street, London. 2022 - In and of Itself, Abstraction in the Age of Images - RHA Gallery, Dublin. 2022 - Small is Beautiful XL - Flowers Gallery, Cork Street, London. Statement about AOAP Submitted Artwork These minimal, geometric paintings are non representational, concerned with reductive colour and are a series. The surfaces are built up through intense layering over time to achieve physical depth in the paintings. The layers relate to the way in which layers are built up and worn down through the natural processes of time in nature. This process also helps to create a sense of "Yugen" an Asian concept which means inexpressible depth or invisible beauty. This idea arises from the Japanese aesthetic of Wabi - Sabi which describes the inexpressible beauty which things especially natural objects attain with the passage of time. It incorporates the idea of the beauty of imperfection and irregularity or roughness and avoids ornamentation in structure.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Sinéad Rice Geometric Study In Black + Blue II (2), 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born Ireland, 1975. Now lives and works in Dublin. Exhibits mainly in London. Mainly a painter, the artist uses a variety of mediums including painting, drawing, sculpture, ceramics and most recently photography has become important in her work. She is interested in nature, meditation and the sea, and loves to travel the world with her camera, scuba diving whenever possible. Education B.A. ARTS ENGLISH AND PHILOSOPHY (HONOURS) NATIONAL UNIVERSITY OF IRELAND, GALWAY 2001 NATIONAL DIPLOMA IN FINE ART (WITH DISTINCTION) CRAWFORD COLLEGE OF ART AND DESIGN 2002 B.A. FINE ART PAINTING (FIRST CLASS HONOURS) CRAWFORD COLLEGE OF ART AND DESIGN 2007 M.A. ARTS - CERAMIC DESIGN NATIONAL COLLEGE OF ART AND DESIGN Select Exhibitions/Awards 2004 - Impressions - National Open Print Exhibition - Galway Arts Centre. 2005 - Studio Artists Exhibition - Customs House Gallery. 2007 - 40 Year Retrospective Exhibition - Lavit Gallery. 2008 - Winter Exhibition - Lemonstreet Gallery. 2010 - Backwater Twenty 10 - Crawford Art Gallery. Curated by Stephen Brandes and Vera Ryan. 2010 - Impressions, National Open Print Exhibition - Galway Arts Centre. Curated by Chris Orr R.A. 2011 - Summer Exhibition - Leitrim Sculpture Centre. 2013 - Small is Beautiful, Who's afraid of Red Yellow and Blue - Flowers East Gallery, Kingsland Road, London. 2014 - 184th Royal Hibernian Academy Annual Exhibition, Royal Hibernian Academy Dublin. 2015 - AIB Eigse - Visual Centre For Contemporary Art, Carlow. Curated by Lewis Biggs. 2016 - DRAW 2016 - Backwater Artists Studio's, Cork 2017 - Small is Beautiful XXXV - Flowers Central Gallery, Cork Street, London 2018 - Small is Beautiful XXXVI - Flowers Central Gallery, Cork Street, London. 2019 - Small is Beautiful XXXVII - Flowers Central Gallery, Cork Street, London. 2020 - Small is Beautiful XXXVIII - Flowers Gallery, London. 2021 - Small is Beautiful XXXIX - Flowers Gallery, Cork Street, London. 2022 - In and of Itself, Abstraction in the Age of Images - RHA Gallery, Dublin. 2022 - Small is Beautiful XL - Flowers Gallery, Cork Street, London. Statement about AOAP Submitted Artwork These minimal, geometric paintings are non representational, concerned with reductive colour and are a series. The surfaces are built up through intense layering over time to achieve physical depth in the paintings. The layers relate to the way in which layers are built up and worn down through the natural processes of time in nature. This process also helps to create a sense of "Yugen" an Asian concept which means inexpressible depth or invisible beauty. This idea arises from the Japanese aesthetic of Wabi - Sabi which describes the inexpressible beauty which things especially natural objects attain with the passage of time. It incorporates the idea of the beauty of imperfection and irregularity or roughness and avoids ornamentation in structure.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

A FINE ORDOS SILVER 'HORSE' ORNAMENTChina, Inner Mongolia, Ordos, presumably 5th -3rd century BC. Crafted in openwork with a horse standing foursquare, its head lowered towards the ground. Condition: Good condition with some wear, casting flaws, erosion, and tiny nicks here and there. 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: 19.2 g Dimensions: 4.2 x 5 cm

A RARE TANG DYNASTY BRONZE MIRROR WITH WOLFESChina, presumably Tang Dynasty (618-907). Of circular form, the central knob surrounded by three canine creatures chasing each other, all within an outer border of joined arcs. Condition: Fine condition, commensurate with age, presenting well. With wear, a crack to one arc, minor nicks, and tiny losses. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born 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: 315 g Dimensions: Diameter 13 cm

A FINE AGATE INSET HIMALAYAN GOLD RINGHimalayan region, presumably Tibet, around 500-1000 CE or later. The gold ring inset with a fine agate cabochon of dark-chocolate color with milky-white inclusions.Alloy composition analysis: Gold 16% karat. Silver 23.5% purity. The ring was tested by the Zelnik Istvan Southeast Asian Gold Museum.Condition: Very good condition with minor traces of wear commensurate with age. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 9.1 g Dimensions: Inner diameter 1.8 cm

AN INLAID WOOD BRUSHPOT, BITONG, c. 1920sChina, late Qing Dynasty (1644-1912) to Republic period (1912-1949). Of cylindrical form with a flat base, the rim and foot slightly raised, inlaid with fine mother-of-pearl details of yellow, blue, and pearl colors, depicting two boys holding double gourds issuing from leafy branches. The wood is of an attractive deep-reddish brown tone with natural striations and graining. Condition: Overall good condition with minor wear, small nicks, dents, light surface scratches, few expected minor age cracks. Naturally grown patina overall. Few small inlays missing. The base with a central opening. 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: 1487 g Dimensions: Height 18 cm

A FINE YELLOW-GLAZED PORCELAIN BOWLChina, Qing Dynasty (1644-1912). With deep rounded sides rising from a short foot to a straight rim, covered overall with a rich egg-yolk yellow crackled glaze.Condition: Very good condition, minor wear, and firing flaws including dark spots. Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. Theodor "Teddy" Hahn was a well-known and respected collector of netsuke and other Asian works of art.Weight: 273 gDimensions: Diameter 15.6 cm

A GRAYISH-WHITE GLAZED BOTTLE VASE, JOSEON DYNASTY 朝鮮王朝灰白釉瓶Korea, 18th century or earlier. The pear-shaped body supported on a short tapered foot and rising to a waisted neck with everted rim. The vase covered in a rich grayish-white glaze with densely scattered black specks, stopping unevenly below the interior of the mouth. The vase left undecorated save for five small dimples at the shoulder. Provenance: The collection of Teddy Hahn (1933-2012), and thence by descent to the present owner. The base with an old label, inscribed 'Korea. 14./15. Jhd. […]'. Theodor "Teddy" Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking "I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been."Condition: Very good condition with minor wear and some firing flaws, including kiln grit and firing cracks, possibly with a small, smoothened chip to the foot. The interior and exterior with distinct pottery lines.Weight: 633.9 gDimensions: Height 18 cmAs strict followers of Neo-Confucianism, Koreans of the Joseon dynasty embraced an austere aesthetic vision, their porcelains sporting only limited decoration. In fact, many Joseon porcelains, such as this fine vase, are near-unembellished, relying on the tautness of form and beauty of glaze for their aesthetic appeal.Literature comparison: Compare a related vase dated to the 18th century in the collection of the British Museum, museum number 1899,0612.1.朝鮮王朝灰白釉瓶韓國，十八世紀或更早。梨形瓶瓶口外撇，細頸、頸部中央微微收束，頸部向下逐漸加寬，過渡為杏圓狀之下垂腹，曲線變化圓緩，圈足。瓶身覆蓋著優雅的灰白色釉，黑色斑點不均勻地停在口內下方。 除了肩部的五個小酒窩外，這個花瓶沒有任何裝飾。 來源：德國達姆斯達特Teddy Hahn私人收藏，保存至今。底部收藏標籤上注明"Korea. 14./15. Jhd. […]"Theodor "Teddy" Hahn 曾是知名的根付和亞洲藝術收藏家。他參觀了很多博物館，研究世界早期文化，對造像產生了特別的興趣，他開始收藏，他說："我不知何故知道它會對我的生活產生深遠的影響。 我是多麼正確。 以及我有多開心。" 品相：品相極好，有輕微磨損和一些燒製缺陷，包括窯砂和燒製裂紋，足部有小而光滑的磕損部位。內外陶紋分明。 重量：633.9 克 尺寸：高18 厘米 文獻比較： 比較相近的十八白磁瓶，見大英博物館，館藏編號1899,0612.1。

A SILVER AND JADE SNUFF BOTTLE, c. 1900sChina / Mongolia, late Qing dynasty (1644-1912) - Republic period (1912-1949). Of moon flask form, with a jade medallion to both sides, centered with a metal ringed turquoise cabochon, the silver sides showing fine floral decor, the base inlaid with coral and turquoise. With a matching stopper.Condition: Overall good condition with some surface wear, few chips along the jade edges, as well as with some inlaid stones missing. Minor nicks here and there. Provenance: Spanish private collection. Stopper: Matching stopper made from aquamarine blue glass with silver fitting and spoon. Weight: 69 g Dimensions: Height including stopper 7.8 cmAuction result comparison: Compare a closely related snuff bottle sold in this rooms in Asian Art discoveries - Moving Sale! on 29 June 2022, lot 262, sold for EUR 885.

A RATTANAKOSIN SILVER REPOUSSE FIGURE OF A 'WALKING BUDDHA'Thailand, 18th - 19th century. Cast as the walking Buddha, the left hand raised in abhaya mudra, the right elegantly lowered at the side, wearing a long samghati robe, covering his left shoulder. The face showing a serene expression with downcast eyes below elegantly arched brows, flanked by elongated earlobes, his hair tightly curled rising to a domed ushnisha with flame. Condition: Fine condition with traces of wear and age, some casting flaws, few nicks and dents, and a crack to the right leg. 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: 257.7 g Dimensions: Height 23.2 cm (the figure)

AN IMPRESSIVE LACQUER GILT BRONZE FIGURE OF BUDDHA, RATTANAKOSINThailand, Bangkok/ Rattanakosin Kingdom, 1782-1851. Seated in dhyanasana on an elaborate four-tiered pedestal decorated with geometric and lotus designs, with the hands lowered in dhyana mudra. Clad in royal attire with extensive adornments, reflecting the fashion of the Thai royal court, the serene face with downward gazing eyes inlaid with glass and mother of pearl, below elegantly arched eyebrows, flanked by long earlobes, the hair arranged in small spikes and surmounted by a removable high ushnisha.Condition: Good condition with some old wear, particularly to the lacquer gilding, small nicks, few minuscule losses, minor dents, light scratches and touch-ups. A larger loss to the top of the base. Provenance: A notable private collector in Kensington, London, United Kingdom. Once offered at Bonhams Hong Kong, in RITUAL + CULTURE FINE SOUTHEAST ASIAN ARTS on 29 March 2019, lot 55, bought in at an estimate of EUR 36,000 - 48,000. Dimensions: Height 120 cm, Width 80 cm, Depth 42 cm Auction result comparison: Compare a closely related figure of Buddha at Bonhams Hong Kong in Fine Southeast Asian Arts on 29 March 2018, lot 46, sold for EUR 74,258.Literature comparison: See a comparable example of a Standing Buddha at the Walters Art Museum accession number 54.3000, as well as a seated example depicting maravijaya (Victory over Mara) accession number 54.2987.See further examples of Rattanakosin-period gilt-lacquer bronze Buddha images discussed in Rod-Ari, "The Buddha as Sacred Siamese King: Brocaded Buddhas of the Third Reign", in The Walters Art Museum Journal, Vol. 73, 2018, figs.1-5.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A FINE LOT WITH SEVEN LOPBURI AGATE BEADSThailand, Lopburi period, c, 13th century. Comprising five tubular beads of different lengths, the half-translucent stones of dark-chocolate hues with milky-white inclusions, the larger fully translucent and of an interesting color palette of gray tones. Together with two wing or comb shaped semitranslucent pectorals, the stones are brilliantly polished and show attractive variegated tones of dark-chocolate and caramel with milky white and gray inclusions, drilling through the sides.Condition: Good condition with some notches and minor weathering commensurate with age. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born 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: 120 g Dimensions: Length 3.6 cm - 8.1 cm

A FINE PYU BURIAL NECKLACE WITH 122 AGATE BEADSPyu city-states, c. 10th century. The necklace composed of 100 round and few disc-shaped beads increasing in size towards the center, the semitranslucent stones of pale to deep red tones with irregular etched decoration, on a modern wire string. Condition: Very good condition, the beads with expected traces of wear and weathering. 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: 76 g Dimensions: Length 46 cm (when fastened)

A FINE PAIR OF ANTIQUE BRONZE RAIN DRUMS, KHALaos, 19th century or earlier. Each heavy, round, drum with a waisted base, the top and side finely cast in relief with concentric bands of decoration, the top with a star symbol in the center and four groups of frogs piled on top of one another applied at the rim, the sides with pairs of strap handles. One with two processions of frogs in relief descending one side, the other with two processions of ´Hamsa´ birds. Condition: Good condition with minor dents, some warping, natural malachite-green encrustations, all commensurate with age. Provenance: French trade. Dimensions: Height 38 cm, and 39.5 cm, diameter 50 cm, and 51 cmAuction result comparison: Compare with a related bronze rain drum also featuring piles of three frogs at Christie's New York in The Collection of Robert Hatfield Ellsworth Part V - European Decorative Arts, Carpets, Old Master Paintings and Asian Works of Art on 21 March 2015, lot 1011, sold for USD 32,500.Kha drums in Laos, also known as fertility drums, are adorned with bronze frogs at the top, symbolizing water and rain. When the drum is suspended by its handle, its sound resembles thunder or the bellowing of a bullfrog, signaling the approach of rain.

A CHAM GEMSTONE-SET GOLD REPOUSSE PECTORAL DEPICTING GANESHA DANCINGChampa, Tra Kieu style, 10th-12th century. The richly decorated gold pectoral with fine repousse work, depicting Ganesha dancing, surrounded by floral and scrolling cloud designs, and set with garnets, including three above the deity's head. Two gold hooks are attached to the pectoral, allowing it to be worn on a necklace. Condition: Good condition with some minor bending and tears, few miniscule losses, and minor traces of age and wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 28.3 g Dimensions: Size 10.5 x 7.5 cmLiterature comparison: Compare to a closely related pectoral in The Zelnik Istvan Southeast Asian Gold Museum, pages 150-151, Budapest 2013.

A BRONZE BRACELET, DONG SONVietnam / Southern China, Dong Son Culture, c. 800 BC - 200 AD. Of cylindrical from with a lateral split, displaying eight bands incised with geometric patterns. Condition: With some wear, erosion, and corrosion. Minor casting flaws, fine malachite-green patina with encrustations overall. 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: 2 kg Dimensions: Length 18.7 cm

A FINE GOLD PENDANT SET WITH A GANDHARAN INTAGLIOThe seal ancient region of Gandhara, c. 6th to 7th century, the gold setting later c. 18th century. The pendant inset with an intaglio, engraved with a kneeling hunter holding a spear, within a gold mounting with fine filigree and a loop for suspension, the reverse decorated with the profile of a bearded man and flower sprays, within a droplet reserve. The banded agate of a gray hue with brown bands. Condition: Very good condition, the gold with minor dents and nicks, the stone with some surface wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 28 g Dimensions: Height 5.2 cm

A FINE GARNET INTAGLIO SET GANDHARAN GOLD RINGAncient region of Gandhara, c. 6th - 7th century. The gold ring with an oval bezel surmounted by a garnet intaglio engraved with a figural motif, the ring with fine floral and animal designs, further inset to each side with a turquoise cabochon. Condition: Good condition with expected traces of use and wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 14.5 g Dimensions: Height 4.3 cm, inner diameter 1.7 cm

JEAN-BAPTISTE CARPEAUX (1827-1875)Le Chinois (BU 23 - Esquisse)buste en bronze signé sur l'épaule gauche « JB te Carpeaux » et sur la droite « Fonte spéciale./Susse Frs Edt/Paris/ » avec le cachet circulaire « SUSSE FRERES EDITEURS. PARIS. » et au dos le cachet rectangulaire « SUSSE PARIS/CIRE PERDUE »reposant sur un socle en marbre vert veiné quadrangulaire probablement d'époque postérieurefonte posthume à la cire perdue réalisée vers 1920A bronze bust of Le Chinois Esquisse (the sketched Chinese man), Jean-Baptiste Carpeaux (1827-1875)signed on the left shoulder 'JB te Carpeaux' and on the right 'Fonte spéciale./Susse Frs Edt/Paris/' with the circular stamp 'SUSSE FRERES EDITEURS. PARIS.' and on the back the rectangular stamp 'SUSSE PARIS/CIRE PERDUE'standing on a green veined marble base probably later periodposthumous cire perdue cast circa 192055 x 48.5 x 29 cm (21 5/8 x 19 1/8 x 11 7/16 in); hauteur totale: 67 cm (26 3/8 in)Footnotes让·巴普帝斯蒂·卡尔波(1827-1875)中国人(BU 23 - 草图)青铜，失蜡铸造法，雕塑家死后被铸1920年完成ProvenancePar tradition, ancienne collection Robert Spira.ExpositionParis, Didier Imbert Fine Art, "20 ans de Passion" Alain Delon, Sculptures, Printemps 1990, no 5, p. 20, ill. p. 21.Bibliographies comparativesExposition des œuvres de Carpeaux et de Ricard, Catalogue Salle du Jeu de Paume, 15 mai-15 juin, 1912.S. Lami, Dictionnaire des Sculpteurs de l'Ecole Française au dix-neuvième siècle, Paris, 1914, Vol. I, pp. 265-9.J. G. Lovett, A Romance with Realism : The Art of Jean-Baptiste Carpeaux, Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 1989, p. 30.M. Poletti, A. Richarme, Jean-Baptiste Carpeaux, Sculpteur, Catalogue raisonné de l'œuvre édité, Paris, 2003, BU23, pp. 122-5.J. Draper, L. de Margerie, The Passions of Jean-Baptiste Carpeaux, The Metropolitan Museum of Art, Exhibition Catalogue, New York and Paris, 2014, pp. 156-167.Dans le cadre de la restructuration de Paris par le Baron Georges-Eugène Haussmann, de nombreuses commandes publiques sont faites par la ville ; le quartier du Luxembourg bien que protégé par son jardin voit le prolongement de l'avenue de l'Observatoire et la création du Parc des Explorateurs. Pour ce parc, Haussmann préfet de la Seine en 1867, commande à Jean-Baptiste Carpeaux la fontaine des Quatre parties du monde, pour la pièce centrale. Quatre grandes figures féminines représentant, l'Europe, l'Asie, l'Afrique et l'Amérique soutenant la Sphère Céleste.Carpeaux veut s'assurer de l'exactitude culturelle de ses personnages et s'inspire notamment des bustes ethnographiques que réalise son confrère Charles Cordier (1827-1905). Carpeaux recrute des modèles africains et chinois afin de restituer avec la plus grande exactitude les allégories africaines et asiatiques. Travaillant dans le Paris du XIXe siècle, l'artiste n'a pas pu trouver de femme d'origine chinoise prête à poser pour lui. Il a donc employé un homme chinois, dont il a ensuite greffé la tête sur le corps d'une femme occidentale nue afin de créer sa figure allégorique de l'Asie. La qualité androgyne du Chinois devient ainsi facilement compréhensible lorsqu'elle est considérée dans le contexte d'une création d'après un modèle masculin et pourtant destinée à une forme féminine.Carpeaux a réalisé deux versions du Chinois. Le buste Le Chinois (Esquisse) est une étude préparatoire de 1868 pour la version Le Chinois N°1 exécutée en 1872, et le Chinois N°2 une réduction à demi-grandeur.Le plâtre original Le Chinois (Esquisse) a été exposé à l'Ecole nationale supérieure des Beaux-Arts à Paris en 1894, puis a figuré en 1912 à l'Exposition de la salle du Jeu de Paume; il a été vendu 27.000 francs, à la galerie Manzi, le 30 mai 1913 lors de la vente Carpeaux. Il a été ensuite exposé au Salon à Bruxelles en 1874, et a été édité en plus petit, et souvent présenté en paire avec le Buste Négresse. Il est intéressant de noter que lorsqu'un modèle du buste Le Chinois de 1868 est apparu aux enchères à Amsterdam le 19 octobre 1874, il était déjà considéré comme une "esquisse".Cette œuvre, bien qu'à l'état d'esquisse, est considérée par l'artiste comme achevée, dès 1870, elle est éditée en terre cuite a seulement quelques exemplaires et Carpeaux l'imposait dans ses ventes. Les tirages en bronze sont posthumes et réalisés par la maison Susse Frères à partir de 1914. La fonderie Susse a produit un catalogue pour les œuvres de Carpeaux et a édité les deux versions du buste Le Chinois. Identifiés comme les modèles N° 1 et N° 2, les bustes sont répertoriés dans le catalogue sous les numéros 7 et 8 respectivement. L'esquisse en bronze figure dans le catalogue Susse de 1914 au prix de 800 francs.La version esquissée du buste Le Chinois compte parmi les plus beaux exemples de l'art du portrait de Carpeaux. Il présente une multiplicité de facettes, notamment dans le costume, ce qui lui confère une surface vibrante et spontané. Véritable démonstration de virtuosité artistique, Carpeaux a saisi les traits dans les moindres détails. Par son modelé sensuel, notre buste traduit admirablement le travail de la main du sculpteur, suggérant ainsi un précurseur de la sculpture moderniste d'Auguste Rodin qui suivra peu de temps après.As part of the renovation of Paris by Baron Georges-Eugène Haussmann, many public commissions were implemented by the city; the Luxembourg district, although protected by its garden, saw the extension of the Avenue de l'Observatoire and the creation of the Parc des Explorateurs. For this park, Haussmann, Prefect of the Seine in 1867, commissioned Jean-Baptiste Carpeaux to create the fountain of the Quatre parties du monde, for the central piece: four large female figures representing Europe, Asia, Africa and America supporting the Celestial Sphere.Carpeaux wanted to ensure the cultural accuracy of his characters and was inspired by the ethnographic busts made by his colleague Charles Cordier. Carpeaux recruited African and Chinese models in order to render the African and Asian allegories with the greatest veracity. Working in 19th century Paris, the artist could not find a woman of Chinese origin willing to pose for him. So he employed a Chinese man, whose head he then grafted onto the body of a naked Western woman to create his allegorical Asian figure. The androgynous quality of the Chinaman thus becomes easily understood when considered in the context of creating a female form from a male model.Carpeaux created two versions of the Chinaman. The bust of Le Chinois (Esquisse) is a preparatory study from 1868 for the version Le Chinois N°1 executed in 1872, and Le Chinois N°2 is a half-size reduction.The original plaster cast of Le Chinois (sketch) was exhibited at the Ecole Nationale Supérieure des Beaux-Arts in Paris in 1894, then in 1912 at the Exposition de la Salle du Jeu de Paume; it was sold for 27,000 francs at the Galerie Manzi on May 30, 1913 at the Carpeaux auction. It was then exhibited at the Salon in Brussels in 1874, and was produced in smaller editions, and often presented in pairs with the Buste Négresse. It is interesting to note that when a model of the 1868 bust Le Chinois appeared at auction in Amsterdam on October 19, 1874, it was already considered a to be a "sketch."For further information on this lot please visit Bonhams.com

MASATSUNE: A SUPERB AND LARGE BRONZE OKIMONO OF A HAWK ON ROOTWOOD BASEBy Masatsune, signed Masatsune chuJapan, Meiji period (1868-1912)The majestic bird superbly cast with neatly detailed plumage, its wings folded back and its body leaning forwards, the details picked out in gilt and shakudo, the bird set on a large and naturalistically carved root wood base. Signed within a rectangular reserve underneath MASATSUNE chu [made by Masatsune]. The artist was particularly well known for the quality of his productions of birds.HEIGHT total 82 cm, HEIGHT hawk 28 cm, LENGTH hawk 40 cmWEIGHT hawk 6,956 gCondition: Good condition with minor casting irregularities, few tiny nicks, light surface scratches. The right leg has been restored.Provenance: From an old French private collection.Auction comparison:Compare a closely related bronze okimono of a hawk depicted in a similar position, by Masatsune and set on a lacquered wood perch, at Bonhams, Fine Japanese and Korean Art, including the Crawford Collection of Surimono, 22 September 2021, New York, lot 1055 (sold for 16,562 USD). Also compare another closely related model of an eagle depicted in a similar position, by Masatsune and set on a bronze base, at Christie's, The Meiji Aesthetic: Selected Masterpieces from a Private Asian Collection, 27 November 2018, Hong Kong, lot 3841 (sold for 275,000 HKD).

YABU MEIZAN: A VERY FINE SATSUMA VASE WITH BIRDS IN AUTUMNBy Yabu Meizan (1853-1934), signed Yabu MeizanJapan, late 19th to early 20th century, Meiji period (1868-1912)The baluster-shaped body with broad shoulders rising from a recessed foot to an everted flat rim, finely enameled and gilt to the sides and around the neck with a flock of birds flying around and perched on a trailing branch in autumn. The image stands out beautifully against the pure ivory-white crackled ground. Signed to the base YABU MEIZAN within a gilt seal.HEIGHT 16.5 cmCondition: Excellent condition with only minor wear to gilt.Auction comparison:Compare a related vase by Yabu Meizan with bird and autumn design, 23.6 cm high, at Zacke, Asian Art Discoveries - Japanese Art, 1 September 2022, Vienna, lot 55 (sold for 8,216 EUR).

HONDA SYORYU: SPRINGBy Honda Syoryu (Shoryu, born 1951), signed SyoryuJapan, 2004Of abstract from, intricately carved from madake bamboo and rattan, signed on an inlaid bamboo tablet to the underside. With the original box.SIZE 29 x 25.4 x 30.5 cmCondition: Excellent condition.Provenance: Tai Modern, Santa Fe, USA, 2004. Collection Robert and Ruth Vogele, Chicago, USA, acquired from the above. Robert and Ruth Vogele were avid collectors of fine art, folk art, and modern design. More than patrons, the Vogeles believed in establishing personal relationships with artists to better understand the artwork and inform their collecting. Tai Modern regularly features artworks by Honda Syoryu and has published several catalogs on the artist.Honda Syoryu himself remarks about his work: “I create sculptures about space and time, about the magnificence and mystery of the universe. Six years ago, I moved to the city of Matsumoto, where the sky and mountains spread out before my eyes. I am becoming more and more inspired by the beauty of this area. Working with bamboo, it is almost impossible to have total control over the form that you intend to make. When I make my art, I am in constant dialogue with the bamboo. This material's unique pliability allows me to draw beautiful, naturally curving lines in space. The textures I create cannot be achieved with any other medium. I feel great satisfaction when working together with the bamboo leads me to create a sculpture beyond my imagination.”Syoryu has virtually abandoned traditional ideas about the function of basketry acquired during his early training, choosing instead to create dramatic curvilinear sculptures from fine stained bamboo strips woven in nawame (twining) technique. Once a few rows of twining have been completed, he leaves the verticals exposed for several inches at both ends, uses hot water to soften the entire piece, and then kneads it into shape, pulling up some of the rows to form the gaps seen in the finished work. The free ends of the verticals are then plaited and secured with a binding of rattan.Syoryu works are held in various museum collections such as The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Boston, MA, and The Asian Art Museum, San Francisco. He has received many prizes for his bamboo sculptures.Auction comparison:Compare a related bamboo sculpture by the artist, titled Galaxy (Seiun) 2001, at Christie's, The Collection of Victoria, Lady de Rothschild, 9 December 2021, London, lot 161 (sold for 18,750 GBP).

KOSUGE KOGETSU: A FINE WOVEN BAMBOO AND RATTAN HANAKAGO (FLOWER BASKET)By Kosuge Kogetsu (1932-2016), signed Kogetsu sakuJapan, Showa period (1926-1989)Of cylindrical shape, the composition reminiscent of a tsuzumi (hand drum), finely woven in bamboo and rattan, signed underneath KOGETSU saku [made by Kogetsu]. With an otoshi (water holder).The wood storage box with hakogaki at the top reading Hounsai, Kōgetsu-saku with seal Kogetsu.HEIGHT 31.5 cmCondition: Excellent condition.The son and pupil of the famed Kogetsu Chikudo (1895-1966), the versatile Kogetsu here shows the influence of the Iizuka lineage of bamboo weavers working in Tochigi Prefecture and Tokyo, who pioneered this style of basket that relies for its aesthetic impact on the contrast between fine plaiting and plain, lighter-colored structural elements.Kosuge studied tea ceremony and created baskets that expressed his earnest, charismatic personality. Among his prestigious awards are the Minister of Economy, Trade, and Industry Prize at Japan's Flower and Tea Ware Art Exhibition and the Niigata Nippo Prize at the 16th Prefectural Art Exhibition. In 1972, the Niigata Governor commissioned the artist to create a basket as a gift to the Emperor of Japan and six years later he became a full member of the Japan Craft Art Association. Kosuge's work is in the collection of the San Francisco Asian Art Museum.

NAGAKURA KEN'ICHI: STRIPESBy Nagakura Ken'ichi (1952-2018), signed to a washi label applied to the box Kago hanaire, Shima, Nagakura Ken'ichiJapan, Showa period (1926-1989)Of abstract shape, the composition titles 'Stripes', finely worked in woven bamboo and rattan. With an otoshi (water holder).The large cardboard box with an applied label: Kago hanaire, Shima, Nagakura Ken'ichi [A flower basket, entitled Stripes, by Nagakura Ken'ichi] with a seal.LENGTH 60 cmCondition: Excellent condition.The first recipient of the Cotsen Bamboo Prize in 2000, Nagakura Ken'ichi (1952-2018) studied under his grandfather but was mostly self-taught, drawing on a wide range of sources for his creative inspiration, from European sculpture through American pop art to traditional Japanese forms.Nagakura's organic, contemporary pieces are rooted in the functional baskets and flower arranging vessels made for centuries in Japan but also borrow from wide-ranging sources, including the richly material paintings of Anselm Kiefer and the rough-hewn statues made by the itinerant 17th century Buddhist monk Enku. However, throughout the entirety of his career, Nagakura's primary inspiration has been the natural world. “For me, inspiration comes from the workings of nature, both large and small, near and distant,” the artist states. “My desire is to share with other human beings the silent voice of nature.”Nagakura's works are held in various museum collections such as The Metropolitan Museum of Art, New York, and The Asian Art Museum, San Francisco.Auction comparison:Compare a related bamboo hanakago of twisted design by Nagakura Ken'ichi at Bonhams, Fine Japanese Works of Art, 25 March 2010, New York, lot 2222 (sold for 3,050 USD).

HIROCHIKA: A FINE SENTOKU TSUBA WITH LUNAR HAREBy Hirochika after a design by Tsuchiya Yasuchika, signed Yasuchika zu and Hirochika choJapan, Nara school, 19th century, Edo period (1615-1868)The sentoku tsuba of mokko-gata shape, the kozuka and kogai hitsu-ana with silver sekigane and some copper sekigane to the nakago hitsu-ana, finely worked in ito-sukashi depicting a lunar hare looking up at the moon, partially obscured by engraved clouds, all amongst zenmai and bamboo grasses worked in iro-e takazogan. Signed to the front Yasuchika zu, HIROCHIKA cho [engraved by Hirochika, after a design by Yasuchika].HEIGHT 7.3 cm, LENGTH 6.7 cmWEIGHT 81 gCondition: Very good condition with minor typical wear, some light scratches and bruising.Auction comparison:Compare a closely related tsuba with a similar design, with gold seal Hirochika, at Lempertz, Asian Art, 11 December 2021, Cologne, lot 259a (sold for 5,000 EUR).

HAGIYA KATSUHIRA: A FINE IRON TSUBA WITH FUJIN AND GEISHABy Hagiya Katsuhira (1804-1886), signed Seiryoken Suimin with kakihanJapan, Mito school, c. 1860Of rounded square shape, with some sekigane, decorated in superb iro-e takazogan of sentoku, gold, silver and shibuichi depicting an amusing scene of the Wind God Fujin releasing gusts of wind from his bag in order to lift the kimono of a Geisha who bends over protecting herself struggling to keep her modesty. Fujin's expression is carved with intricate detail, lustfully awaiting results, the eyes of gold with shakudo pupils. The verso shows a man seeking cover from the wind, worked in copper hirazogan with katakiri details. Signed to the back in fluent calligraphy SEIRYOKEN SUIMIN and with the artist's kakihan (cursive monogram). Seiryoken is the art name of Hagira Katsuhira and Suimin 醉眠 literally means 'drunken sleepy man'.HEIGHT 8.3 cm, LENGTH 7.3 cmWEIGHT 181 gCondition: Very good condition with minor wear, some light surface scratches and discoloration.Provenance: Austrian private collection, Vienna, purchased at Dorotheum, Asian Art, 26 April 1994.Hagiya Katsuhira, art name Seiryoken, is recorded in the Haynes Index of Japanese Sword Fittings and Associated Artists on p. 566 (H 02759.0). In 1844, the Matsudaira Daimyo of Mito Domain appointed him an official metal artist to the Tokugawa government.Auction comparison:Compare a related iron tsuba by the same artist, signed Seiryoken Katsuhira, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 44 (sold for 4,200 GBP).

KAJIKAWA: A FINE LACQUER SUZURIBAKO (WRITING BOX) DEPICTING BOYS AT PLAYBy a member of the Kajikawa family, signed Kajikawa saku and with pot seal EiJapan, Edo (Tokyo), 19th century, Edo period (1615-1868)Of rectangular form with a flush-fitting (inrobuta) cover and silver rims. The exterior with a gyobu nashiji ground, the cover with a shaped panel bearing a mirror-black ground, finely decorated in colored takamaki-e and hiramaki-e with three karako, two of which are mischievously drawing with brushes on their sleeping companion, an inkstone and lesson book on the ground beside them.The interior of the cover with a rich gold hirame ground similarly decorated with five boys wearing elaborate patterned robes, one riding a hobby horse, three playing musical instruments, and one standing behind a tsuitate (standing screen) depicting a misty mountain landscape superbly rendered in sumi-e togidashi-e and bearing the signature and seal of the Kano painter Isen'in (Naganobu, 1775-1828).The interior bearing a nashiji ground and fitted with a nine-section board (ita) with two raised sections above and below the inkstone (suzuri), the upper section cut with a recess for the lozenge-shaped gilt-copper and silver waterdropper (suiteki), signed underneath the inkstone KAJIKAWA saku [made by Kajikawa] with a red 'tsubo' seal Ei.SIZE 4.6 x 21 x 23 cmCondition: Very good condition with minor wear and few small losses to lacquer.Provenance: Christie's, 18 September 2013, New York, lot 680. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.With a wood storage box (tomobako).The Kajikawa family were Japanese lacquerware artists whose school in Edo flourished for more than 200 years. Kyujiro is generally acknowledged as the founder of the family and the inaugurator of its traditions. He excelled in designing particularly delicate lacquer inro. Kajikawa artists also designed lacquer netsuke. Suzuribako by this school are considerably rarer than inro and netsuke.Museum comparison: Compare a lacquer suzuribako, also signed Kajikawa saku and with a red seal, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1955.24a-e.Auction comparison: Compare a lacquer suzuribako, also signed Kajikawa saku and with a red pot seal, at Christie's, 1 October 2020, New York, lot 21 (sold for 18,750 USD).