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TOMOKAZU: A FINE WOOD NETSUKE OF A RATBy Tomokazu, signed Tomokazu 友一Japan, Gifu, early 19th century, Edo period (1615-1868)Finely carved as a rat (nezumi) tightly gripping its tail which curls around underneath its body, forming a compact composition, the fur finely incised and the wood bearing a fine patina. The eyes are inlaid in dark lustrous horn and the two visible incisors underneath are inlaid in bone. The underside with the signature within the typical oval reserve TOMOKAZU. Natural himotoshi through the tail.LENGTH 4.3 cmCondition: Few tiny chips, a section of the tail repaired. Otherwise, good condition with minor wear.Provenance: From a noted private collection in California, USA. Purchased at Bonhams, Fine Japanese Works of Art including selections from the collection of Ruth and Carl Barron, 16 September 2014, New York, lot 2067.Auction comparison:Compare to a closely related wood netsuke signed Tomokazu, at Lempertz, Asian Art, 11 December 2021, Cologne, lot 362 (sold for 4,250 EUR).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

AN OSAKA SCHOOL IVORY NETSUKE OF GAMA SENNIN ON A HUGE TOADUnsignedJapan, Osaka, c. 1800, Edo period (1615-1868)The hermit Gama seated on a large, bloated toad, its warty skin beautifully rendered with clever stippling, the toad's eyes inlaid in ebony. Gama's expression is amusingly grim, as the toad usually sits on his shoulder, now their positions are reversed. Good, deep himotoshi to the underside. The ivory bearing a fine yellowish patina. Unsigned, however likely by either Masakazu or Masatomo.HEIGHT 4.3 cmCondition: Very good condition, some typical wear to the sumi-stained details, few natural age cracks.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam.Museum comparison:Compare to a closely related ivory netsuke, by Masakazu, in the collection of The British Museum, accession no. F.890.Auction comparison:Compare to a closely related ivory netsuke, by Masatomo, sold at Van Ham, Asian Art, 8 December 2016, Cologne, lot 2303 (sold for 3,612 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0043). 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.

MASANAO: A FINE WOOD MINIATURE OKIMONO OF A TOADBy a member of the Masanao family, signed Masanao 正直Japan, Yamada, Ise province, late 19th centuryThe netsuke-sized okimono finely carved as a fat warty toad, the skin minutely detailed with raised bumps above the neatly stippled surface, the eyes inlaid in ebony wood. The underside shows the webbed feet and signature MASANAO.LENGTH 5 cmCondition: Good condition with minor wear. Tiny chip to one toe.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, purchased from Kunsthandel Klefisch, Asian Art, 12 October 2013, Cologne, lot 868.

TENMIN: A KAGAMIBUTA NETSUKE DEPICTING A NIO PULLING A GRIMACEBy Asama Tenmin, signed Tenmin 天民Japan, Tokyo, late 19th centuryThe solid shibuichi plate fitted into a lustrously polished ivory bowl, the disc worked in takazogan with highlights of gold, silver and suaka, depicting a muscular nio temple guardian pulling an amusing grimace. Central himotoshi to the back, the cord attachment to the back of the plate.DIAMETER 4.5 cmCondition: Some fine age cracks to the bowl, otherwise in excellent condition with minor expected wear.Provenance: Belgian collection, purchased from Lempertz, Cologne.Auction comparison:Compare to a related kagamibuta netsuke by Tenmin, depicting a pensive rakan, at Zacke, Asian Art Discoveries - Japanese Art, 1 September 2022, Vienna, lot 184 (sold for 1,896 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0124). 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.

AN IMPRESSIVE PAIR OF SIX-PANEL BYOBU SCREENS DEPICTING A DOG-CHASING EVENT (INOUMONO)Japan, 18th century, Edo period (1615-1868)Finely decorated with ink, watercolors, and gold foil on paper to depict a large dog-chasing event (inoumono) watched by numerous spectators standing outside the fenced area, along with street vendors and entertainers as well as other contestants, amid gnarled pine and maple trees, as horse-mounted archers chase dogs of all stripes and colors, pointing their large padded arrows at the fleeing canines, with some dogs held by leashes by attendants on foot, including two attendants and three dogs resting under a tree as the chaotic scene unfolds, framed by thick clouds.SIZE 171.8 x 63.5 cm (each panel) and SIZE (when opened) 171.8 x 367 cmCondition: Very good condition with minor wear and little soiling, some expected tears and creases, the wood screen with minor nicks and scratches and some old repairs.Provenance: From the collection of L. Harrison Bernbaum, Chicago, Illinois, USA. L. Harrison Bernbaum is a Chicago businessman who co-founded the outdoor company High Sierra with his father Harry Bernbaum (1917-2015), who had been one of the first American businessmen to travel to Japan in 1956, helping to pioneer manufacturing relationships between America and Japan for the American sporting goods industry.With a silk brocade frame and mounted to a brown-lacquered screen with parcel-gilt fittings decorated with blossoming flowers and foliate scroll.Shooting dogs from horseback was a form of samurai training that began in the Muromachi period (1392-1573). During the peaceful 1600s this activity was revived as a samurai sporting event that attracted many spectators. As a sport, dog chasing involved two teams of seventeen participants each. The riders used softly padded arrows in order not to seriously hurt the dog, which was released within a circle of rope to begin the game. A strike on the dog's torso scored points; strikes on the head or legs did not count. The winning team usually received prizes of lengths of white silk cloth. The present screen shows the game in progress, with the judges sitting in the building at the left of the field. As many as eighteen pairs of screens on this subject are known in Japan and the West. Later examples, such as this pair, show greater numbers of spectators, probably reflecting the growing popularity of the sport.Literature comparison: Compare a closely related six-panel folding screen, also depicting a dog-chasing event, dated approx. 1640, in the collection of the Asian Art Museum of San Francisco, object number B60D1.Auction comparison: Compare a closely related single six-panel folding screen, also depicting a dog-chasing event, dated 17th-18th century, 171.5 x 370.8 cm, at Bonhams, Fine Japanese Works of Art, 19 March 2014, New York, lot 3098 (bought-in at an estimate of USD 20,000-30,000).

KAWASE HASUI (1883-1957), ROAD TO NIKKOBy Kawase Hasui (1883-1957), signed Hasui and sealed SuiJapan, dated 1930Color woodblock print on paper. Vertical Oban. Signed Hasui with seal “sui” (bottom-right) in the image along with a black Watanabe publisher seal below it. Entitled Nikko gaido (The Road to Nikko). Vertical inscription along the left margin. A road through the deep forest of large cryptomeria trees in Nikko. The sun rays cast dappled patterns on the sides of the ancient trees and on the shaded forest road. A villager is walking toward the opening, where the blue sky with white clouds and the brightly lit trees are seen.SIZE of the sheet 39.3 x 26.8 cmCondition: Great impression, vivid colors and registration with two very small binding holes on the left margin.Provenance: The Chaplain Collection, USA. Sylvia and Philip Chaplain were involved in the business of art and antique collecting for over six decades. Their interest in Asian arts and antiques began with the purchase of Japanese woodblock prints. After selling one for $90 and then discovering it was worth more than $500, they realized the value of their acquisitions and dedicated themselves to learning more. They traveled throughout Asia, acquiring items for their growing collection, and participating in American antique shows including the Arts of Pacific Asia shows in New York City and San Francisco. Kawase Hasui (1883-1957) was a prominent Japanese artist and printmaker of the shin-hanga ("new prints") movement. He is best known for his landscape prints depicting scenes of Japan, which were highly detailed and often captured the beauty and tranquility of the country's natural landscapes. Hasui's works were characterized by their delicate colors and sophisticated composition, and his legacy as a master of shin-hanga continues to influence Japanese art and culture today.Museum comparison:An identical print is in the collection of the Museum of Fine Arts, Boston accession number 50.2852.Auction comparison:Compare a closely related print by Kawase Hasui at Christie's, From Artist to Woodblock: Japanese Prints from 18th-20th Century, 28 June 2016, London, lot 102 (sold for 2,000 GBP).

An Islamic bronze tripod ewer,in the 10th/11th century Fatimid style, with a broad cylindrical body and angular shoulders on three slightly waisted feet, with stamped stippling decoration to the rim and below the handle,18cm wide32cm deep42cm highProvenance: From the collection of Dr Jonathan Broido.Dr Jonathan Broido (1941-2008) was a professor of mathematics and philosophy. He received his PhD from the University of Pittsburgh and lectured in the US, Israel and the UK, in philosophy, mathematics, AI and interdisciplinarity. He was also an avid collector and lecturer on antiques and rugs - known in particular for his expertise and love of Asian ceramics and rare and archaic Turkoman weavings. He travelled throughout Asia acquiring pieces, as well as making finds in London's antique markets and the US.For a similarly decorated example, see Christie’s, 'Art of the Islamic and Indian Worlds', 17 April 2007, lot 80.Condition ReportThere are a few small dents and misshapen areas. One foot very slightly misshapen. Some imperfections to the surface and a fine crack to the shoulder. There's a reddish patina across the body. Some corrosion and verdigris to the inside of the spout. Overall in good condition and structurally sound.

IMPORTANT ET RARE VASE COUVERT EN JADE BLANCXIXe siècleA SUPERB AND RARE WHITE JADE VASE AND COVER WITH AN ARABIC INSCRIPTION 19th centuryOf baluster form raised on a short splayed foot and tapering to a cylindrical neck set with a pair of stylised archaistic dragon handles, finely carved around the exterior with a large taotie mask on each side, above a band of lotus lappets around the base and below a band of stylised archaistic dragons around the shoulder, the sides set with a pair of animal mask handles suspending loose rings, the straight neck carved with a wide band featuring an Arabic inscription reading سلام which may be translated as 'for peace', flanked by a pair of stylised archaistic dragon handles, the domed cover with a finial in the form of lion, the translucent stone of even white tone, silver-inlaid wood stand. 12.5cm (4 7/8in) high. (3).Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品十九世紀 白玉刻阿拉伯文雕饕餮紋象耳活環獅鈕蓋瓶Provenance:Acquired by the parents of the present owners, and thence by descent來源:現任藏家父母獲得，並由後人保存迄今The body of this superb vase is carved from a single piece of white jade, the cover made of a stone of the same fine quality. The brilliant white colour, flawless stone and exceptional translucency all represent qualities that were highly sought after at the Qing court.The vase is highly unusual in its shape and also in its decoration. The bulbous body has sloping shoulders with rounded edges and is surmounted by a cylindrical neck wider at the top than at the bottom. The neck is carved with an Islamic inscription which alludes to the Islamic influence of this vase, as demonstrated by a 15th century jade ewer with an arabic inscription around the neck, from the collection of the Fundaçao Calouste Gulbenkian, Oeiras, Portugal, published in J.P.Palmer, Jade, London, 1967, pl.38. The very particular form immediately brings to mind the shape of Islamic glass and metal vessels. Compare, for instance, a 12th century Syrian yellowish green glass bottle, published in Stefano Carboni and David Whitehouse, Glass of the Sultans, New York, 2001, p.97,cat.no.23, or a 9th century Egyptian transparent glass and green overlay bottle, op.cit. p. 183, cat.no.89.Glass, metal ware and jades arrived in China from Western Asia and beyond as early as the Sui and Tang periods. It was under the Qianlong emperor that the Islamic and Mughal jades became highly collectible. The magnificent Shah Jehan jade cup in the collection of the Victoria and Albert Museum, London, (accession number IS.12-1962) is an example of a Western Asian jade object that was directly copied by the artists working in the imperial jade workshops under the Qianlong emperor, as an example in the National Palace Museum collection in Taipei illustrates, see Teng Shu-p'ing, Exquisite Beauty: Islamic Jades, Taipei, 2007, cat.no.266. This particular vessel demonstrates how the artists working in the Palace Museum workshops were skilled at adopting foreign shapes and design and adapting and interpreting them to suit contemporary taste. While there seems to be no direct Chinese prototype for the shape of this vase, the carved design around the main body is purely Chinese, and inspired by the classical decoration found on archaic bronzes. The Qianlong emperor was fascinated by antiquity and archaic bronzes. An avid collector, he published his extensive collection of 1500 ancient bronze vessels and utensils in an illustrated catalogue under the titel Catalogue of Xiqing Antiquities (Xiqing gujian. Many jade vessels made for the Qianlong emperor in the workshops within the Zaobanshu, the Imperial Palace Workshop, drew inspiration from the archaic bronzes, their shapes and designs, illustrated in the Xiqing gujian, including the present white jade vase. The quality of the execution of the taotie masks on this vase is sublime and reflects the high technical standards of these workshops which produced jade wares for imperial court, compare a white jade altar set, similarly decorated with taotie masks in the collection of the National Palace Museum, Taipei, published in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), Hong Kong, 1995, pp. 136 and 137, cat.no.113. Hence this wonderful small vase and cover shows the impressive skills and imagination of the Qing craftsmen who used a flawless white jade and merged a rare shape with an archaistic design to create a visually compelling and possibly unique work of art with jewel-like qualities.For further information on this lot please visit Bonhams.com

AN IMPORTANT ARCHAIC BRONZE RITUAL FOOD VESSEL, YA CHOU FU XIN GUILate Shang dynasty/early Western Zhou dynasty, ca. 11th century BCheavily cast with a deep rounded body raised on a high splayed foot, rising to a flared rim, the sides set with a pair of handles issuing from streamlined flat-eared bovine heads, and issuing short hooked tabs, the body cast on east side with a large taotie mask flanked by a pair of taloned and quilled dragons, below a narrow neck band containing two beaked single-bodied dragons centering on a raised animal head in axial position on each side, the foot similarly decorated with two beaked confronting dragons on either side of a ridge with a taotie shield, the inside cast with a four-character inscription reading 'ya chou fu xin', the bronze a smooth, dark brownish-red colour.30cm (11 3/4in) wide; 15.8cm (6 1/4in) high.Footnotes THE PROPERTY OF A LADY 女士藏品商晚期/西周早期，約公元前十一世紀 亞醜父辛簋Provenance:Collection of Huang Jun (1880-1951), Zungu Zhai, Beijing, by 1936Collection of Hans-Jürgen von Lochow (1902-1989), Beijing, by 1943Dr. Ernst Hauswedell & Co., Hamburg, 5 May 1958, lot 3A German private Collection since 1958, and thence by descentPublished, Illustrated and Exhibited:Huang Jun, Zungu zhai suojian jijin tu , Beijing, 1936, chapter 1, fol.47Luo Zhenyu, Sandai jijin wencun, Beijing, 1936, chapter 6, fol.17Gustav Ecke, Sammlung Lochow: Chinesische Bronzen, Beijing 1943, pl.XI a-dYin Chih-yi, 'Shandong Yidu Subutun mudi de Ya Chou tongqi', in Kaogu xuebao, 1977 (2), pp.23-33, p.24, fig.5, and p.25Vadime Elisseeff, Bronzes Archaïques Chinois au Musée Cernuschi. Archaic Chinese Bronzes , Vol. I - Tome 1, Paris, 1977, p.141Yan Yiping, Jinwen zongji (Corpus of Bronze Inscriptions), Taipei, 1983, vol.3, no.1049Minao Hayashi, In Shū Jidai seidōki no kenkyū: In Shū seidōki souran (Research on Bronze ware of the Shang and Zhou Dynasties), Tokyo, 1984, p.94, no.113Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, vol.1, p.362, fig.38.1Zhongguo shehui kexueyuan kaogu yanjiusuo, Yin Zhou jinwen jicheng shiwen, Hong Kong, 2001, vol.3, p.58, fig.3332Shandong Museum, Shandong jinwen jicheng, Jinan, 2007, p.262來源：黃濬 (1880-1951）舊藏，尊古齋，北京，1936年入藏馮洛侯（1902-1989）舊藏，鐃齋，北京，1943年入藏Dr. Ernst Hauswedell & Co.，漢堡，1958年5月5日，編號3德國私人收藏，1958年入藏，並由後人保存迄今出版：黃濬，《尊古齋所見吉金圖卷》，北京，1936，卷1，圖版47羅振玉，《三代吉金文存》，北京，1936, 卷6，圖版17艾鍔風，《鐃齋吉金錄》，北京，1943年，圖版XI a-d殷之彝（张长寿）：《山東蘇埠屯墓地和"亞醜"銅器》，《考古学报》1977年第2期，頁23-33，頁24-25，圖25， 頁25Vadime Elisseeff，《塞努奇博物館藏中國古代青銅器》，巴黎，1977年，卷1，頁141嚴一萍，《金文總集》，臺北，1983，卷3，編號1049林巳奈夫，《殷周時代青銅器的研究》，東京，1984年，頁94，編號113杰西卡·罗森，《赛克勒所藏西周青銅禮器》, 華盛頓，1990年，卷1，頁362, 圖38.1中國社會科學院考古研究所編, 《殷周金文集成釋文》， 香港，2001年，卷3， 頁58，圖三三三二山東省博物館，《山東金文集成》，濟南，2007年，頁262Cast in Brilliance: The von Lochow 'Ya Chou Fu Xin Gui'This archaic bonze gui, which may be referred to as the Ya Chou Fu Xin gui, was acquired by the father of the present owner in 1958 when he bought it at auction from Dr. Ernst Hauswedell & Co., a long-established auction house in Hamburg, Germany (Dr. Ernst Hauswedell, Hamburg, 5th May 1958, lot 3). In the 1950s, the market for Chinese art in Germany was insignificant yet between 1955 and 1959 Hauswedell in Hamburg sold several important Chinese archaic bronzes. Like the present gui , quite a few of these vessels had illustrious late 19th and early 20th century provenances, at least one bronze vessel had been in the Imperial collection, see Dr. Ernst Hauswedell & Co, Hamburg, 9th December 1957, lot 4. Similarly, the provenance of this bronze gui can also be traced back to the first half of the 20th century.The 1958 Hauswedell catalogue entry notes that the Ya Chou Fu Xin gui had first been published by Huang Jun (1880-1951), a prominent Beijing dealer in Chinese antiquities and owner of Zungu Zhai, a well-known Beijing antique shop founded by his uncle. Huang Jun, also known by his literary name Huang Bochuan, had been trained in foreign languages, and was fluent in German, English and French. He was well acquainted with Western collectors and dealers living in Beijing at the time. Huang Jun handled, studied, collected, and eventually sold many important archaic bronzes. His interest was academic as well as commercial, and he published several catalogues on archaic bronzes including the Zungu zhai suojian jijin tujuan (1936) and Ye zhong pianyu erji/sanji (1937 and 1942).These catalogues were printed in small numbers and were made using the most advanced techniques. Objects were illustrated in collotype technique, a laborious photomechanical flat printing process that allowed to reproduce the fine lines and varying tones and shades of the works more accurately than traditional rubbings used to duplicate archaic bronzes in older catalogues. A collotype print of the Ya Chou Fu Xin gui appears in the Zungu zhai suojian jijin tujuan next to a rubbing of the inscription cast on the interior, see Zungu zhai suojian jijin tujuan, Beijing, 1936, vol. I, 47. Subsequently, the collotype technique was used by other collectors and researchers documenting archaic bronzes including Duan Fang and Rong Geng. Gustav Ecke, another German living and collecting in Beijing at the time also adopted the collotype technique in his publications of two important German collections of archaic bronzes, and it is in one of these that the Ya Chou Fu Xin gui reappears in 1943. It was included in Gustav Ecke's seminal catalogue of twenty-two archaic bronzes from the important collection of Hans-Juergen von Lochow (1910-1989) and is illustrated in collotype and with several detail rubbings as well as the inscription , compare Gustav Ecke, Sammlung Lochow: Chinesische Bronzen, Beijing, 1943, pl. XI a-d. Hans-Juergen von Lochow was a German railroad engineer who lived and worked in Beijing between 1921 and 1955. He formed an important collection of Chinese art which comprised modern and classical Chinese paintings, furniture, and archaic bronzes, many of which are now in the Asian Art Museum in Cologne. Von Lochow acquired many pieces in his collection in Beijing from fellow German Otto Burchard (1893-1951), a renowned Berlin Chinese art dealer who had emigrated to China in the 1932. Other pieces were bought from Huang Jun (1880-1951). Of the twenty-two archaic bronzes illustrated in his catalogue, many later found their way into Western museum collections, very few remained in private hands, the present Ya Chou Fu Xin gui being one of them.The Ya Chou Fu Xin gui that was documented in the von Lochow collection in 1943 disappeared after it was last published, and only briefly reappeared in the 1958 Hauswedell sale catalogue. When he returned to Germany in 1955, Hans-Juergen von Lochow was officially allowed bring what was left of his collection of Chinese art including the remaining archaic bronzes. There is no information whether the Ya Chou Fu Xin gui remained in the von Lochow collection or if it changed hands. The provenance information on several archaic bronzes in the Hauswedell catalogues formerly in the von Lochow collection is surprisingly detailed and matches the information noted in Gustav Ecke's catalogue, suggesting that these bronzes may have been consigned by von Lochow at the time. For further information on this lot please visit Bonhams.com

STATUETTE D'AVALOKITESHVARA EN ALLIAGE DE CUIVRE AVEC INCRUSTATION D'ARGENTCACHEMIRE, VERS XE SIÈCLE Himalayan Art Resources item no. 1453 42 cm (16 1/2 in.) highFootnotes:A SILVER INLAID COPPER ALLOY FIGURE OF AVALOKITESHVARA KASHMIR, CIRCA 10TH CENTURY 克什米爾 約十世紀 銅錯銀觀音像 Standing tall over a lotus plinth, Avalokiteshvara grips the stem of a flower blossoming over his left shoulder. An effigy of Amitabha seated within the crown's center and the antelope skin draped around his muscular torso confirm the deity's attribution as the bodhisattva of Compassion (see von Schroeder, Buddhist Sculpture in Tibet, Vol. I, 2001, p. 163, no. 45C). Kashmir bronzes echo earlier styles of the Gupta period (4th-6th centuries), demonstrated by its contrapposto, pronounced lower lip, and fleshy cheeks. These images are also noted for their silver inlaid eyes, flaming aureoles, and foot placement over the pedestal's edge, as seen on a bronze sold at Bonhams, Paris, 14 June 2022, lot 29, as well as two images published in von Schroeder, Indo-Tibetan Bronzes, 1981, pp. 123-4, nos. 18F & 19B. Lastly, compare the stupa dome in the crown and the flattened lotus petals of the plinth to a seated Buddha image in the Pan-Asian collection (ibid, p. 20, no. 19E).Exhibited: Rossi and Rossi, Fine Art Asia, Hong Kong, 3-7 October 2011 Provenance: Private Collection, Switzerland, acquired early 1990sThis lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUE D'UN BODHISATTVA EN SCHISTE GRISANICENNE RÉGION DE GANDHARA, VERS IIIE SIÈCLE115 cm (45 1/4 in.) highFootnotes:A GREY SCHIST FIGURE OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY犍陀羅 約三世紀 片岩菩薩像Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1998 & 2003, p. 15, no. 17.Provenance:With Claude de Marteau, Brussels, by 1970sThis majestic figure of a standing bodhisattva evokes both strength and grace. He bears the qualities of a youthful prince, indicated by his jewelry and noble, smooth physiognomy. His pronounced musculature, circular nimbus, and lofty expression convey an idealized image of a divine and enlightened being. He likely represents Maitreya, who in Mahayana Buddhism is destined to succeed Shakyamuni as the next and final Buddha. Maitreya in Gandharan art is frequently depicted with a loosely folded topknot, a right hand raised in the gesture of reassurance (abhaya mudra), and a water flask that was presumably clutched by the lost lowered left hand. Reflecting the cosmopolitan attitude of Gandharan art, which fused Indic content with Iranian and Greco-Roman aesthetics, Maitreya is carved with long wavy locks, standing with a gentle contrapposto in the right knee. Located in what is today northwest Pakistan and southern Afghanistan, the ancient region of Gandhara was once a vibrant economic and cultural hub with an integral position within both overland and maritime silk routes around the 1st century BCE. The vast influx of wealth and commerce enabled Gandhara's urban centers to serve as the crossroads connecting China, Central Asia, the Indian peninsula, and the Mediterranean. However, Gandhara's advantageous geography meant the region fell repeatedly to invasion from powerful ancient empires. Alexander the Great conquered the ancient capital of Taxila in 326 BCE and the region was, for a brief time, absorbed into the Macedonian empire. After the death of Alexander, the Mauryans subsequently ruled for approximately one hundred and fifty years (c. 305-180 BCE). Greco-Bactrian invasions around 180 BCE then turned the region into an independent Indo-Greek kingdom (c. 185-97 BCE). One of its most famous rulers, King Menander I (r. 165/55-130 BCE), became a great patron of Buddhism and is still remembered for his dialogues with the Buddhist sage Nagasena, as recorded in the Milinda Panha, 'The Questions of Menander'. The Kushans, who were originally of Central Asian descent and adopted Greek and Iranian elements in their material culture, later established themselves in Gandhara in the early 1st century CE. The most accomplished of these kings was Kanishka I (r. 127-151 CE), who not only ruled a vast empire extending from Bactria to Pataliputra in Northeast India, but also followed the tradition of religious patronage set by the Indo-Greek kings and actively engaged in the creation and transmission of Buddhist literature, architecture, and art. It was during this cultural landscape of stone monuments and statuary, particularly once Mahayana Buddhism attained popularity in Gandhara by the late 2nd/early 3rd century CE, that images like the following sculpture were instrumental in the eastern transmission of early Buddhist art. Other standing images of Maitreya with similar attributes and stylistic features are found in several museum collections, published in Zwalf, A Catalogue of the Gandharan Sculpture in the British Museum, 1996, p. 38, nos. 51 & 52; Dye, The Arts of India: Virginia Museum of Fine Arts, 2001, p. 97, no.7; and Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, 2007, p. 54, no. 42. For instance, the beaded jewelry adorning the present sculpture's hair and the floral medallions carved on the sides of the platform closely relate to the example in the Metropolitan Museum of Art, New York (13.96.17). Moreover, the acanthus leaves decorating the front of the present figure's platform, the large tassel hanging by the left arm, the sharp angular folds suspended over the left leg, and the deep ripples of the robe around the raised right forearm are striking in appearance to the example in Virginia. Also located beneath Maitreya's feet is an iconic trope illustrating a seated bodhisattva venerated by a congregation, as seen on two Gandharan statues of the Buddha, one sold at Bonham's, Hong Kong, 2 December 2021, lot 1036, and the other also from the Claude de Marteau Collection, Part 1, sold at Bonhams, Paris, 14 June 2022, lot 26.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Tang Haiwen (T'ang Thien Phuoc Haywen, Zeng Haiwen, 1927-1991)China/Vietnam/Paris15 x 12 cm, R.Ohne Titel. Aquarell auf Papier, unter Glas gerahmt. Unten rechts signiert "T'ang" in pinyin und "Haiwen" auf Chinesisch.Ehemals aus einer Schweizer Privatsammlung, vor 2007 erworbenTang Haiwen (Zeng Haiwen) wurde 1927 in Xiamen der Provinz Fujian geboren une hieß Tseng (Zeng) Tianfu. Seit seiner Kindheit lernte er Kalligrafie von seinem Großvater. Nach Ausbruch des Antijapanischen Krieges 1937 zog seine Familie nach Vietnam und er bekam dort den vietnamesischen Namen T'ang Thien Phuoc. 1948 ging er auf eine Studienreise nach Paris. Durch den geschickten Einsatz von Linien stellen seine Werke die traditionelle chinesische Philosophie über östliche und westliche Techniken hinweg dar. Nachdem er 1955 seine erste Einzelausstellung abgehalten hatte, reiste er weiter und stellte an verschiedenen Orten aus. Nach seinem Tod im Jahr 1991 veranstaltete das Taipei Fine Arts Museum 1997 eine „Retrospektive Ausstellung“ für ihn; das Paris Asian Art Museum veranstaltete eine große retrospektive Ausstellung im Jahr 2002. Seine Werke befinden sich in den Sammlungen vieler französischer Museen für moderne Kunst und Privatsammlungen, darunter das Pariser Museum für Moderne Kunst und das Musée Senousil

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 navy-glazed robe with contrasting accents on the sides, which are painted in red. The robe is tied with a sash of pale blue color, which enhances the elegance of the ensemble. The figure's 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:50mm ; 260gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Sawlaram Laxman Haldankar (Indian, 1882-1969)Untitled (Landscape from Panhala Fort,Kolhapur) signed 'S.L.H' lower right; further inscribed Panhala Fort/ 22.5 x 17.4 cms/ SH1/ l5184.B, 839 A BW, 920 A indecipherable, 823A stone, Plain 8/ 55 (on the reverse)watercolour on paper18 x 23.4cm (7 1/16 x 9 3/16in).Footnotes:ProvenanceProperty from a private collection, Sri Lanka. Acquired by LTP Manjushri from the artist in India;Acquired from the above;Thence by decent to the present owner.Born in Maharashtra, India, in 1882, Haldankar began his art education at the J. J. School of Art in Mumbai, where he studied under notable Indian artists like John Lockwood Kipling and and Cecil Burns.After completing his studies, Haldankar went on to work as a professional artist. Celebrated for their realism and attention to detail, his works often depicted women in traditional Indian attire, and he became famous for his ability to capture the grace, beauty, and inner strength of his subjects. The present lot is a fine example of his landscapes, specifically that from Panhala Fort, Kolhapur and is beautifully rendered in watercolour with splashes of wash to add depth to the background and the clouds. The fort itself is an important historical site. A hill fortress, it was built during the medieval period and is known for its impressive fortifications, stunning views, and rich history. It played an important role in the history of Maharashtra, as it was the site of several significant battles and events. To see a similar work sold at auction see Sotheby's, Modern & Contemporary South Asian Art, London, 25th October 2022, lot 57.For further information on this lot please visit Bonhams.com

Zubeida Agha (Pakistani, 1922-1997)Female Composition signed 'Z. Agha Dec '45' lower right; further inscribed 'Female Composition'/ 1945 / Ms Hameeda Khan on the reverse oil on canvas, framed65.4 x 80.2cm (25 3/4 x 31 9/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan. Acquired from the artist.The Collection of Imran R. Sheikh; family of the artist.PublishedMusarrat Hasan, Zubeida Agha: A Pioneer of Modern Art in Pakistan, 2004, p.31, Illustration. 8.There is a label on the reverse with the title of the picture, competition number, medium, price and name and address of the artist. 2022 marked Zubeida Agha's birth centenary and it is fitting that the grand dame of Pakistani Art was the first artist in 1949 to hold a solo exhibition of modern art in newly formed Pakistan. Born in Faisalabad in 1922, she obtained her degrees in philosophy and political science at Kinnaird College, Lahore after which she pursued art at the Lahore School of Fine Art. Here, she was introduced to Western art, specifically that of Pablo Picasso, which would have a profound effect on her works. Composition, painted in 1945, the year Pakistan was born, is one of her early works and is a fine example of the amalgamation of experiences and ideas that influenced her. She married abstraction with rich colours and focussed on painting the conceptual, to evoke the viewers emotions. Composition has not entirely given way to abstraction and elements of figuration are visible on closer inspection. There appear to be eight females, all wearing hijabs who are inexplicably intertwined in a dance of sorts. They are conversing with each other, in two groups perhaps and completely engrossed in their respective conversations. There is a rhythm to the composition, and the complementary colours capture the mood of her subjects. Structurally, the work illustrates Agha's ability to respect and enhance the two-dimensionality of the canvas and despite the absence of depth, the tonal gradations and sophisticated brush strokes imply a continuity to the group of women, beyond the limits of the canvas. To see a similar work sold at Sotheby's dating from 1946, see Modern & Contemporary South Asian Art, New York, 20th March 2023, lot 67.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Zarina Hashmi (American-Indian, 1937-2020)A thousand knots (c.1980s) signed 'Zarina' lower right and edition 2/10 lower leftcast paper pulp/mixed media, framed61.6 x 61.6cm (24 1/4 x 24 1/4in).Footnotes:ProvenanceProperty from a private collection, New York.Gifted to the vendor by a Prominent Collector;Acquired from the artist.'Paper is an organic material, almost like human skin,' the artist Zarina Hashmi has said. 'You can scratch it, you can mold it. It even ages.' Zarina in Reveling in the Multicultural Possibilities of Paper by Karen Rosenberg, 31st January 2013, The New York Times'Watching paper being made and seeing the liquid paper pulp gave me all sorts of new ideas: What if I pour this pulp into my plate? Will my plate act like a mold? Will the paper dry in that shape? Can I cast paper? The papermakers said it couldn't be done, but I kept thinking about it.'Zarina, Zarina with Sarah Burney, Directions to my house, Asian/Pacific, American Institute, New York University, 2018, p.63Born in the university town of Aligarh, India in 1937, Zarina Rashid was the youngest of four children, two boys and two girls and grew up in a traditional Muslim home. She was closest to her elder sister, Rani and enjoyed sleeping outdoors 'under the stars and plotting our journeys in life' in the scorching summer heat of her childhood home, whose walls enclosed a fragrant garden. (Holland Cotter, Zarina Hashmi, Artist of a World in Search of Home, Dies at 82, New York Times, 5th May 2020). This all changed in 1947, when aged 10 she witnessed the Partition of India. Her idyllic life ended abruptly. She saw mass atrocities being committed by both Hindu's and Muslims and the memories of the ensuing violence, fear of separation, migration, and longing for home, would haunt her and mould her life and career. During this turbulent time, her father sent the family to Karachi, in the newly formed Pakistan for their safety. She would however later return to India to obtain her degree in mathematics and statistics at the university of Aligarh, although the place would never be home again.Shortly after graduating, aged 21, she married Saad Hashmi, a foreign service diplomat, which commenced a new chapter in her life. The nature of Saad's career meant frequent travel, and over the ensuing years she would end up living in over 25 countries across the continents of Asia, the Middle East, Europe, Latin America and finally the United States where she would reside permanently from 1975 onwards. Zarina also studied in London, England when she enrolled at St. Martin's School of Art in London, England. This was a turning point in her career as it cemented her desire to become a fully-fledged artist. She returned to India, and in the ensuing half decade participated in group and solo exhibitions. Her works were showcased at the likes of Gallery Chanakya, Delhi, Kunka Chemould and Pundole Art Gallery in Bombay. It was during this time, that she went to Bonn, Germany where along with studying silk-screening, she was captivated by the prints of Dürer. In Tokyo, her two-week stint turned into a year long stay as she immersed herself in studying the woodblock techniques with Toshi Yoshida. It was here that she began to experiment with printmaking styles and abandoned colour. She printed the grain textures found on scraps of wood that she collected on the roadside, having cleaned, oiled, and inked them herself. She identified with the resilience of the damaged organic material and wanted to capture its inherent beauty. She also either slashed and punctured the surface of handmade paper or built it up sculpturally with pulp.She relocated to the United States in 1975, having arrived in Los Angeles, before moving to New York in 1976, where she would reside for the remainder of her life. Here, she broadened her horizons further by teaching papermaking at the Feminist Art Institute, and being part of the of Heresies Collective, a feminist publication on art and politics. She was part of their issue on Third World artists and it was the first time she encountered works by other discriminated minorities including the Afro-Americans, the native Americans and the Hispanics. This experience fundamentally altered her perception of her own experiences and made her realise how her plight was universal. Questions pertaining to notions of 'home,' 'geographical boundaries' and 'nation' would now be examined in her prints, and the amalgamation of her learnings would come to the fore. She would simplify these complex experiences in the precise and uncluttered works that she would produce, which would be the culmination of all her experiences; the influence of artists such as Sol LeWitt, Yves Klein and Jean Arp, her own background of mathematics, and adherence to Islamic notions of geometry. The two works on offer in this auction are exquisite examples from her oeuvre and illustrate Zarina's lifelong adherence to the creation of 'multiples.' The multiplicity of prints appealed to her sensibilities, as they were the mainstays of printmaking, but also allowed for a plurality of ownership. Having grown up being surrounded by books, multiples of the original, meant that she could have access to something that might hitherto have been inaccessible. She therefore applied the aesthetic and mechanics of printmaking onto other mediums that had previously been the preserve of a singular work. In 'A thousand knots,' (lot 8) Zarina's sculptural work we see the continuation and extension of her works on paper. It retains the expertise she had been cultivating in propagating a geometric purity and lyrical form. What makes it unique is that it is injected with colour which is reminiscent of the red sandstone of the Buland Darwaza and Jodha Bai Mahalat Fatehpur Sikri. Having lived in 25 cities and inculcated numerous experiences and cultures, she was simultaneously at home and not at home. She was likely aware of the inscriptions that surmount the doorway of the Buland Darwaza, one of which reads, 'Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it.'Known for being deeply interested in Sufism, the title of the work might allude to a line in the Sufi poem, Tum Ek Gorakh Dhanda Ho by Naz Khialvi, rendered beautifully by Ustad Nusrat Fateh Ali Khan, a world-renowned singer of qawwalis, a form of devotional Sufi music. The line in the poem mentions that one is looking to untangle the cord but fails to find top. The title might therefore be self-referential, as Zarina was constantly 'searching' for home. Structurally, much like her white works on paper from the 60s and 70s, this work is about shadows. As you approach the work, you'll see thousands of tiny holes which pierce the pulp, and the work keeps changing based on which angle you approach it from. It's a sculpture made of shadow, caught in the interstices of each fine hole. It recalls the notion of home and is perhaps best explained by Zarina in her own words: 'I often wonder what my life would have been like had I never left my house of four walls in India [...] I do not feel at home anywhere, but the idea of home follows me wherever I go. In dreams and on sleepless nights, the fragrance of the garden, image of the sky, and sound of language returns. I go back to the roads I have crossed many times. They are my companions and my solace.' (Zarina Hashmi, Cities I called home, 2010.)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Bhupen Khakhar (Indian, 1934-2003)Residency Bungalow signed and dated in Gujarati 'Bhupen 69' centre right; further signed 'A. Gupta 30/5/1969 Bhupen' and titled 'Residency Bungalow' (sic) verso oil on canvas, framed130.5 x 122.5cm (51 3/8 x 48 1/4in).Footnotes:Property from the Estate of Robert & Janice ShawProvenanceAcquired by Robert & Janice Shaw from India in the early 1970s.ExhibitedX Bienal Setembro-Dezembro 1969 (Sao Paolo Biennale), Work 23. Bangalô Residencial, 1969. 130 x 122 X Bienal Setembro-Dezembro 1969 (Sao Paolo Biennale), Work 23. Bangalô Residencial, 1969. 130 x 122, pg. 109. Lines of Descent: The Family in Contemporary Asian Art, Queensland Art Gallery, June 2000-February 2001 https://www.visualarts.qld.gov.au/linesofdescent/works/bhupen.html Timothy Hyman, Bhupen Khakhar, Chemould Publication & Arts, 1998, pg. 118 , Referred to as Sheikh at Residency Bungalow(not illustrated)There is a 'Biennial of São Paulo' label on the reverse with the name and surname of the artist (Bhupen Khakar), title of the work (Residency Bungalow), category and dimensions (painting and 130 x 122 cm), technique (oil), sale price (US 1500), owner (artist) and address (Lalit Kala Akademi, Rabindra Bhavan, New Dehi, India). There is an additional price of RS 3500 Rupees Three thousand five hundred written on to the label. This label is overlaid on top of another label, through which we can read 'For Sao Paolo Exhibition.' 'Bhupen Khakkar paints naively humorous or satirical works. His flat colours are broken by stiff characters and ornamental vegetation. Vast spaces are contrasted with little doll like figures.' (X Bienal Setembro-Dezembro 1969, p. 108)Making its auction debut, 'Residency Bungalow' is an exquisite example from Khakhar's early oeuvre and is a masterful and intimate work. Painted in 1969, two years prior to 'Portraits of my mother and my father going to Yatra,' it is not only referenced in Timothy Hyman's book, Bhupen Khakhar, as 'Sheikh at Residency Bungalow,' but was also exhibited at the September-December 1969 X São Paulo, after which it was acquired by Robert and Janice Shaw in India in the early 1970s. Robert L. Shaw had a dual career as an army intelligence offer and lawyer. He graduated from the University of Oregon in 1955, where he was president of the Chi Psi fraternity, after which he was commissioned as a regular U.S. Army officer and served as an adviser to the King's Royal Guard in Saudi Arabia. He also served two tours in Vietnam. During his career, he earned a master's and doctorate degree. His career took him to India, where he resided from 1969 until at least 1974. He served as a foreign area specialist and travelled extensively in India, Pakistan, and Afghanistan. The Bhupen Khakhar and B. Prabha (Lot 15) were acquired during his stay in India, along with carpets, and works by the Vietnamese artist Le-Minh, the latter of which is also being offered in Bonhams' future Hong Kong sale. He learnt to speak Hindi whilst in India and was the first American to travel to Tibet and have an audience with the Dalai Lama. He wrote about the experience in an article which was published in Liberty Magazine in the 1980s. Considered a political-military scholar, he became the director of the South Asia Bureau of the Defence Intelligence Agency in Washington D.C. and retired from the army in 1977. He took a sabbatical for a year, and then enrolled at the University of Oregon's law school, from where he obtained his law degree in 1981. He subsequently joined the Eugene law firm, Luvaas, Cobb, Richards & Fraser, and was a member of the Oregon State Bar, American Bar Association, Oregon Association of Defence Counsel and the Eugene Country Club. He passed away in 1989, having battled cancer for a year and was survived by his wife, Janice, and son Scott both of whom passed away in 2022. An avid sportsman, he enjoyed polo, skiing, fly fishing and golf and spent many years sailing in Chesapeake Bay and in Hawaii, from where he collected local works of art.'Residency Bungalow' measures 130.5 x 122.5 cm and depicts a sprawling bungalow set against a vibrant blue sky. This house was Khakhar's first significant home away from Bombay and is important because it was symbolic of the new 'artistic,' 'home' and 'family' that Khakhar adopted from 1962 in Baroda. (Bhupen Khakhar in Lines of Descent: The Family in Contemporary Asian Art, a Queensland Art Gallery travelling exhibition (visualarts.qld.gov.au). Khakhar was a qualified chartered accountant and worked as such but was drawn towards art and would spend his free time pursing the subject. His interest in art can be traced to his teenage years, when aged 18 he attended an evening art class in Grant Road. Here he was taught free hand drawings and flower studies. In his 20s, he would begin to visit contemporary art exhibitions and acquired a group of intellectually minded friends who were drawn towards literature. It was during this time that he befriended Gulammohammed Sheikh, who had attended the newly Founded Faculty of Fine Arts at Baroda, and this relationship would alter the course of his career. In 1958, while taking his accountancy exams, Khakhar met a young Gujarati painter-poet, Gulammohamad Sheikh...Sheikh had attended the newly founded Faculty of Fine Arts at Baroda and spoke of it in a way that fired Khakhar's imagination. By 1960, Khakar was still helpless; he was attending an evening class at the main Bombay Art College, the Sir J.J. School of Art, which offered 'absolutely no teaching' and 'hardly any direction.' He remembers his teacher, Palsikar, speaking only to the girl students. 'He never came to instruct me, even once in six months...I was very cheesed off.' In 1961, he joined the graphics and woodcut class of Vasant Para who Khakhar considers 'my first teacher.' It was around this time that he finally took the step of showing Sheikh – by now part of the Baroda Faculty – his portfolio. The response was guarded but sympathetic. 'Why don't you come to Baroda? You are now a fully qualified accountant; if it doesn't work out well, you can always resume.' (Timothy Hyman, Bhupen Khakhar, Chemould Publication and Arts, 1998, p. 9)Residency Bungalow becomes the starting point in many ways for Bhupen, as this is his first proper home away from Bombay and where the style of work he becomes known for flourishes; he did live with GM Sheikh at the Shivmahal Palace Farmhouse and later rented a room in a bazaar, before moving into Residency Bungalow in 1968. The old house of a one-time 'British Resident' it was divided into five residential quarters and the inhabitants included the artists, K.G Subramanyan and his family, Bhupen Khakhar, Gulammohammed Sheikh, Jeram Patel, and Krishna Chhatpar. They lived here for about a year, and it was during this time that Khakhar travelled around India, to Bundi-Kota, Udaipur, Nathdwara and Chandigarh along with Sheikh and began to absorb the techniques of traditional Indian paintings. Upon his return from these travels, his style had altered, and there was a marked difference in his works. For further information on this lot please visit Bonhams.com

A FINE WHITE GLAZED BEEHIVE WATER POT, TAIBAIZUN, LATE QING DYNASTYChina, 19th century. Well potted with rounded sides rising to a short flaring rim, molded with three archaistic dragon roundels on the body, and covered with a translucent white glaze.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear and firing irregularities.Weight: 412.2 g Dimensions: Height 9.4 cm, Diameter 12.6 cmThe recessed base with an apocryphal six-character mark da Qing Kangxi nianzhi.Literature comparison:Compare a related waterpot illustrated by J. Ayers, Chinese Ceramics: The Koger Collection, p. 167, pl. 139, where the glaze is described as “moon-white” and the medallions are of “a dragon biting another creature, and a bat”.清末白釉太白尊中國，十九世紀。太白尊小口微撇，短頸，圓肩，豐底內凹。通體施白釉。外壁三組團螭紋。 來源：已故Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損和燒製不規則。 重量：412.2 克 尺寸：高 9.4 厘米，直徑 12.6 厘米 圈足内有“大清康熙年製”款。 文獻比較： 比較一件相近的太白尊，見J. Ayers，《Chinese Ceramics: The Koger Collection》，頁167，圖139。此件太白尊得釉色被描述為「月白色」，飾有「龍和蝙蝠紋」。

A SUPERB BRONZE FIGURE OF A DRAGON, EASTERN ZHOU DYNASTY, CHINA, 770-256 BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Finely cast as a dragon standing foursquare with the head turned back. The elegantly curved tail with a curled tip, the body with raised and finely incised S-scroll, clouds, and spiral designs. The bronze with a solid and naturally grown, rich patina with malachite and cuprite encrustation.Provenance: Sotheby's London, 1995. Friedrich Georg Zeileis, acquired from the above, according to his publication, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Remarkably well preserved, commensurate with age. Extensive wear, minor losses, some nicks, scratches, signs of weathering and erosion, soil encrustations. Fine naturally grown patina overall, with small areas of faint cuprite and various shades of malachite green.Weight: 288.2 g Dimensions: Length 16 cmLiterature comparison: Compare a near identical bronze in the form of a dragon, 16.2 cm long, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2118.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 28 July 2022, lot 3031 Price: HKD 352,800 or approx. EUR 41,500 converted at the time of writing Description: A rare bronze figure of a winged tiger, Eastern Zhou dynastyExpert remark: Note the much smaller size (11 cm)Auction result comparison: Type: Closely related Auction: Christies New York, 22 March 2013, lot 1233 Price: USD 62,500 or approx. EUR 72,500 converted at the time of writing Description: A Very Rare Bronze Tiger-Form Applique, Late Eastern Zhou Dynasty, 5th-4th Century BCExpert remark: Note the much smaller size (11.1 cm)西元前770-256年青銅龍鑄造精良，龍頭後轉，龍尾捲曲，造型美觀，龍身飾雲紋和螺旋紋。表面銅鏽堅固且自然，並有綠色紅色結殼。 出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three和a Half Millenia of Chinese Bronze)》，1999年，第318頁，圖118。 來源：倫敦蘇富比，1995年；Friedrich Georg Zeileis，根據他出版的書上記載，購於上述拍賣。Dr. Friedrich Georg Zeileis博士（生於 1939 年）是一位退休醫生，收藏了大量中國古代玉器和青銅器。他還是一位鋼琴家和作曲家，出版了數本書籍與大量藝術收藏品目錄，其中包括精美的中國玉器和青銅器。 品相：保存完好，年代久遠。嚴重磨損、輕微缺損、一些刻痕、劃痕、風化和侵蝕跡象、土壤結殼。整體有自然美麗的銅綠，帶有小面積的微弱紅色和各種深淺不一的綠色結殼。 重量：288.2 克 尺寸：長16 厘米 文獻比較： 比較一件幾乎相同的青銅龍，長16.2 厘米，收藏於Arthur M. Sackler Gallery in the National Museum of Asian Art，史密森學會，館藏編號S2012.9.2118。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年7月28日，lot 3031 價格：HKD 352,800（相當於今日EUR 41,500） 描述：東周銅翼虎 專家評論：請注意尺寸小很多(11 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月22日，lot 1233 價格：USD 62,500（相當於今日EUR 72,500） 描述：公元前五至四世紀東周青銅虎 專家評論：請注意尺寸較小很多(11.1 厘米)。

AN OVAL BRONZE FOLDING OIL LAMP, DENG, HAN DYNASTY China, 206 BC to 220 AD. The lamp is made in the shape of an ear cup and raised on a narrow foot ring. One side of the cover is hinged and has a spout at one end and a pricket on the interior. The cover is divided into quadrants cast with dragons and tigers separated by a central panel with inscriptions and set with tiny loops similar to a third at one end of the lamp. The dragon and tiger motifs are repeated on the handles.Inscriptions: To the central panel, '[…] zi ji'.Provenance: Guy Portier, Paris, France, 22 February 1969. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.1.1. Guy Portier (1919-2005) was an important French auctioneer and Asian art expert. His father Andre specialized in the import of silk from the Far East and later served as an expert in the sales of major French collections of Asian art. Guy was in charge of the silk department of the family company until he took over in 1942, gradually focusing on Far Eastern works of art, Japanese prints being one of his passions. In 1967, he included a list of estimates for the objects put up for sale in one of his catalogs for the first time, back in these days a revolutionary change. The family company, Cabinet Portier, still exists to this day. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. Condition: Very good condition, commensurate with age. Extensive wear, minor losses, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown, rich patina with malachite and cuprite encrustations.Weight: 287.6 g Dimensions: Length 10 cmDr. Wou's immense passion and superior knowledge sometimes allowed him to pick up unusual and exquisite Chinese works of art with rare inscriptions, right under the noses of the most experienced dealers and collectors of his days, simply because most of them were unable to read Chinese. The present lot is yet another testimonial to this fact.Literature comparison: A closely related bronze oil lamp, also dated to the Han dynasty, is illustrated in Bronze Articles for Daily Use: The Complete Treasures of the Palace Museum, Hong Kong, 2006, no. 90. It is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover. Note that two of these characters ('zi' and 'ji') are also found on the present lot. A closely related bronze oil lamp, 13 cm long, also dated to the Han dynasty, is in the Art Institute of Chicago, reference number 1930.907, illustrated by C.F. Kelley and Chen Mengjia in Chinese Bronzes from the Buckingham Collection, 1946, p. 199, pl. LXIX.Auction result comparison: Type: Near-identical Auction: Christie's New York, 22 March 2013, lot 1245 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A small bronze oval oil lamp, Han dynastyExpert remark: Compare the near-identical form, decorations, and size (10.2 cm). Note that the oil lamp is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover, with two of these characters ('zi' and 'ji') also found on the present lot.漢代銅燈中國，公元前206 年至公元220 年。燈做成耳杯狀，橢圓形淺圈足上。蓋子的一側是鉸接的，一端可以上翻。燈罩分為龍紋和虎紋，由帶有銘文的中央面板隔開，並在燈的一端設置類似於三分之一的小環。手柄上重複出現龍虎圖案。 款識：[…] 子 吉 來源：法國巴黎Guy Portier，1969年2月22日；吳權博士購於上述藝廊。吳蓮伯美術館，館藏 H.1.1.號。Guy Portier (1919-2005) 是法國重要的拍賣師和亞洲藝術專家。他的父親Andre專門從事從遠東進口絲綢，後來成為法國主要亞洲藝術收藏品的銷售專家。Guy在 1942 年接任之前負責家族企業的絲綢部門，逐漸專注於遠東藝術作品，收藏日本版畫是他的愛好之一。1967 年，他首次在自己的目錄中列出了待售物品的估價清單，這在當時是一個革命性的變化。家族企業 Cabinet Portier 至今仍然存在。吳權博士(1910-1997) 是一位中國外交家和知名中國藝術學者。 品相：品相極好，與年齡相稱。嚴重磨損、風化和侵蝕跡象、小刻痕、輕微劃痕。細膩包漿，帶有紅綠色結殼。 重量：287.6 克 尺寸：長10 厘米 吳博士對收藏有著巨大的熱情和豐富的知識，他能夠在他那個時代最有經驗的經銷商和收藏家的眼皮子底下挑選到不尋常且精美的帶有罕見銘文的中國藝術品，僅僅因為他們中的大多數人都看不懂中文。現在的拍品是這一事實的又一證明。 文獻比較： 一件非常相近的漢代銅油燈漢代銅油燈，見《故宮博物院藏文物珍品大系‧青銅生活器》，香港，2006年，編號90。此銅燈蓋上刻有銘文「宜子孫吉」。請注意其中兩字銘文「子」和「吉」，和我們的銅燈相同。一件非常相近的漢代銅油燈，13 厘米長，收藏於芝加哥藝術學院，收藏編號1930.907，見C.F. Kelley和Chen Mengjia，《Chinese Bronzes from the Buckingham Collection》，1946年，頁199，圖LXIX。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2013年3月22日，lot 1245 價格：USD 30,000（相當於今日EUR 36,000） 描述：漢「宜子孫」銘燈 專家評論：比較幾乎相同的外形、裝飾和尺寸(10.2 厘米)。請注意此銘燈蓋上刻有「宜子孫吉」。

AUTUMN MOUNTAIN LANDSCAPE', BY HUANG JUNBI (1898-1991), CHINA, DATED 1951Boldly painted with a scholar seated amid bamboo stalks near a bridge in a vast misty landscape with towering mountains, pines and other trees, two waterfalls, and small huts.Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper left, signed 'Huang Junbi', titled 'Landscape', and dated 'In the Summer of the Year of Xinmao' (corresponding to 1951). Two seals of the artist, 'Huang Junbi yin' and 'Jun Weng'.Provenance: The Oliver Impey Collection of Modern Paintings. Sotheby's Hong Kong, 3 October 2011, lot 1836, sold for HKD 300,000 or approx. EUR 49,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s.Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 115 x 54 cm, Size incl. mounting 217 x 64 cmHuang Junbi (1898-1991) was an important Chinese master painter, who strongly believed in the inheritance of traditional brushwork while reforming it constantly to express one's personal feelings. He moved to Taiwan together with Pu Ru and Zhang Daqian in 1949, the group thus becoming known as the 'The Three Masters Crossing The Sea'. Huang studied both Chinese and Western painting in Guangzhou and Japan, eventually teaching at the National University in Chongqing (Guoli zhongyang daxue) during the Second Sino-Japanese war. After 1949, he became the head of the Fine Arts Department at the National Taiwan University.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 16 December 2014, lot 8401 Price: USD 75,000 or approx. EUR 88,500 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Waterfall Landscape, dated 1943 Expert remark: Note the size (102.9 x 59.4 cm)Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2012, lot 1339 Price: HKD 800,000 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Mountainous Landscape, dated 1941 Expert remark: Note the size (96 x 40.6 cm)黃君璧《松壑秋閒》，1951年紙本水墨設色，掛軸。山岩矗立，由前至後，草葉繁茂，苔點細密，山林之間文人靜坐觀瀑。用筆愈趨凝重剛強。 款識：松壑秋閒，辛卯夏黃君璧；鈴印：黃君璧印，君翁 來源：Oliver Impey 現代繪畫收藏；香港蘇富比，2011年10月3日，lot 1836，售價 HKD 300,000 或相當於EUR 49,000 (根據通貨膨脹率)；私人收藏，購於上述拍賣。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。 他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品于2000年後期香港佳士得拍賣會上售出。品相：品相非常好，稍微磨損和汙積。 尺寸：畫面115 x 54 厘米，總217 x 64 厘米 黃君璧 (1898-1991) 是一位重要的中國繪畫大師，他繼承傳統筆法的，同時不斷改革以表達個人情感。1949年與溥儒、張大千移居台灣，被譽為“渡海三家”。黃君璧在廣州和日本學習中國和西方繪畫，最終在第二次中日戰爭期間在重慶國立國立中央大學任教。 1949年後任台灣大學美術系主任。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2014年12月16日，lot 8401 價格：USD 75,000（相當於今日EUR 88,500） 描述：黄君璧《山水》設色紙本，立軸一九四三年作 專家評論：請注意尺寸(102.9 x 59.4 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1339 價格：HKD 800,000（相當於今日EUR 124,000） 描述：黃君璧《山水》設色紙本，鏡框一九四一年作 專家評論：請注意尺寸(96 x 40.6 厘米)。

A STONE FIGURE OF VISHNU, PRE-ANGKOR PERIOD, PHNOM DA STYLEAncient region of Funan, Mekong Delta, 7th century. Well carved standing, holding a conch and disk in his uppermost hands, each connected by carved brackets to the cylindrical headdress, wearing a pleated sampot, the serene face with almond-shaped eyes and full lips forming a calm smile, flanked by long pierced pendulous earlobes.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Dimensions: Height 50 cm (excl. base) and 75 cm (incl. base)Mounted on an associated base. (2)The present figure encapsulates the subtle elegance of the late Funan style; the confident, noble presentation represents an established local aesthetic, although some aspects of its appearance recall the Indian Gupta tradition. Nevertheless, the embellishment one would find in north Indian sculpture of the period is absent, enhancing the svelte physique and cerebral strength, without reducing the sense of majesty. The slender body form replicates the ethnic Southeast Asian appearance, being both fine boned but physically powerful. Vishnu stands in a slightly relaxed pose, with his right knee bent; his chest and shoulder muscles are enlarged to accommodate the four arms and the effect is elegant both at the front and the back, illustrating an understanding of human anatomy, which is not always evident in sculptures of the period. The short, thick neck is widened further by the long ears and strengthens the otherwise vulnerable area around the head. The face has strong features, arched eyebrows and a generous, sensitive mouth encapsulating the beauty of the finest Funan images.Vishnu wears a knee-length garment, a practical local fashion, unlike the long robes of earlier sculptures that maintain the Gupta, Indian tradition. This garment, the sampot can kpin, is created from a long length of cloth wound once around the body and then pleated to form a scarf that passes between the legs from back to front, fastening at the waist. The central pleat provides additional reinforcement to the sculpture. Stone images from the late Funan period reflect an extraordinary degree of confidence and technical expertise; this suggests that sculptors followed prototypes evolved during earlier centuries that have not survived. Unlike their Indian contemporaries, who preferred to work in the relatively easily carved sandstones, Funan's sculptors seem to have deliberately chosen hard, difficult-to-work stones. There was a shortage of workable stone in the region; the earliest stone sculptures were possibly fashioned from boulders retrieved from the River Mekong and carried downstream during the annual floods. Later on, stone was carefully sourced and brought to the delta region.Almost all found stone sculptures in the Phnom Da style seem to belong to the realm of Vishnu and his incarnations, like this example. The Phnom Da style also seems rather homogenous compared to other stylistic phases.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Vishnu images in the Mekong Delta, and showing many further comparisons to examples in both public and private collections, is available upon request. To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison:Compare a related sandstone figure of Vishnu, attributed to Southern Vietnam and dated late 6th to early 7th century, 56 cm high, in the collection of the Fine Arts Museum, Ho Chi Minh City, reference number BTMT 187, exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 67. Compare a closely related stone figure of Vishnu, dated to the second half of the 7th century, 96.5 cm high, also originally with structural supports between the crown and attributes which are lost, in the Metropolitan Museum of Art, accession number 1992.53. Compare a related stone figure of Harihara, dated to the first half of the 8th century, 94 cm high, in the Metropolitan Museum of Art, accession number 1993.387.5.Auction result comparison: Type: Closely related Auction: Christie's Paris, 20 November 2003, lot 407 Price: EUR 43,475 or approx. EUR 63,500 adjusted for inflation at the time of writing Description: A sandstone figure of Vishnu, pre-Angkor, Phom Da style, 7th century Expert remark: Note that the figure is carved from soft sandstone (unlike the present lot) and is of slightly smaller size (43 cm). 13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.

A KHMER BRONZE FIGURE OF GARUDA, ANGKOR PERIODKhmer Empire, 12th century. Garuda is shown standing on a rectangular base with both hands raised before his spread wings, an anchor-shaped symbol to his chest, the face with a fierce expression and bulging eyes, the beak pointing upwards, his head surmounted by a conical headdress. The plumage finely incised.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition overall, commensurate with age and as expected for a bronze from this period. Extensive wear, signs of weathering and corrosion, encrustations, and minor losses. Fine, naturally grown malachite and cuprite patina.Weight: 335.2 g Dimensions: Height 14.5 cmLiterature comparison:Compare a related Khmer bronze figure of Garuda, 25.1 cm high, dated ca. 1150, in the Detroit Institute of Arts, accession number 43.419. Compare a related bronze figure of Garuda with Vishnu, dated to the Angkor period, 12th century, in the collection of the Art Institute Chicago, reference number 1980.270. Compare also a related bronze figure of Garuda with Vishnu, dated to the late 11th century, in the collection of the Walters Art Museum, accession number 54.2722.Auction result comparison:Type: RelatedAuction: Bonhams Paris, 25 October 2022, lot 82Price: EUR 7,650Description: A copper alloy group depicting Vishnu on Garuda, Cambodia, Angkor Wat style, 12th centuryExpert remark: Compare the related pose of Garuda, incision work, and dress. Note the size (20 cm)

A LAVENDER AND APPLE GREEN JADEITE 'CHAIN' VASE AND COVER, EARLY 20TH CENTURYChina. The translucent stone is of a fine apple green and pale lavender tone with few brown inclusions and dark green veining. The neck bears two lion head handles suspending loose rings. The cover is carved in relief with prominent taotie masks, surmounted by a Buddhist lion, its tail forming a loop attachment for the chain which is connected to the body, all carved from a single piece of jade. The vessel is neatly incised with further taotie masks above a lappet border, and the neck is additionally decorated with a band of plantain leaves.Provenance: From a private collection in Texas, USA, built over the past 50 years by a passionate collector of Asian art. Thence by descent within the same family. Condition: Very good condition, minor old wear, few minuscule nicks here and there.Weight: 824.8 g Dimensions: Height 21 cmAuction result comparison: Type: Closely relatedAuction: Bonham's Hong Kong, 24 November 2012, lot 229Price: HKD 250,000 or approx. EUR 36,800 converted and adjusted for inflation at the time of writingDescription: A Mughal-Style Jadeite Vase and CoverExpert remark: Compare the closely related color of the jadeite and the similar size of the vessel (21.5 cm), as well as the chain that connects the cover with the bodyAuction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2021, lot 700Price: EUR 30,000 or approx. EUR 32,500 adjusted for inflation at the time of writingDescription: A jadeite archaistic vase and cover, early 20th centuryExpert remark: Compare the color of the jadeite and the size of the vessel (19 cm) as well as the related taotie mask carving and the chain that connects the cover with the body. Note the different form. 二十世紀初飄紫翡翠獅鈕活環蓋瓶中國。半透明翡翠呈細膩的蘋果綠色和淡紫色調，局部輕微褐色内沁和深綠色脈理。頸部獅耳活環。瓶蓋上浮雕饕餮紋，獅鈕，其尾巴連接著圓環鏈條，另一頭連載瓶子底部。瓶身浮雕饕餮紋，頸部飾有芭蕉葉紋。翡翠蓋瓶由一整塊翡翠雕刻而成。 來源：美國德克薩斯私人收藏，五十多年前由一位熱愛亞洲藝術的收藏家建立。自此保存在同一家族至今。 品相：品相極，輕微磨損，有很多微小刻痕。 重量：824.8 克 尺寸：高21 厘米拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2012年11月24日, lot 229 價格：HKD 250,000 （相當於今日EUR 36,800） 描述：翡翠痕都斯坦式玉瓶 專家評論：比較相似的翡翠色調，圓環鏈條也連接瓶蓋和瓶身，但尺寸較小 (21.5 厘米) 。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得, 2021年12月10日, lot 700 價格：EUR 30,000 （相當於今日EUR 32,500） 描述：20世紀仿古翡翠蓋瓶 專家評論：比較相似的翡翠色調和尺寸 (19 厘米) ，以及相近的饕餮紋，圓環鏈條也連接瓶蓋和瓶身。請注意形狀不同。

A FINE PAIR OF FAMILLE ROSE TEA BOWLS AND SAUCERS, LATE YONGZHENG TO EARLY QIANLONG PERIODChina, circa 1730-1740. The dishes each with fluted sides and scalloped rim, finely decorated in gilt and bright enamels to the center with a roundel enclosing a lady seated on a rockwork bench below a flowering prunus tree and with two fluttering butterflies, and to the sides with colorful panels, some of which are decorated with diaper patterns including wan symbols and circular designs. The cups similarly decorated with a roundel at the well, colorful panels to the exterior walls below a scalloped rim, and neatly incised in anhua at the interior sides to depict bamboo stalks.Provenance: S. Marchant & Son, London, 2005. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant & Son, London, dated 2 April 2005, dating the piece to the Yongzheng or early Qianlong period, circa 1735, and stating a purchase price of USD 3,500 or approx. EUR 5,100 (converted and adjusted for inflation at the time of writing), accompanies this lot. The base of one dish with an old label, 'Marchant London Qianlong 1736-1795'. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Condition: Very good condition with only minor wear and remarkably bright enamels, few microscopic frits and nibbles to the rims, expected manufacturing flaws including dark spots.Weight: 70.7 g and 62.1 g (the dishes), and 40.7 g and 40.0 g (the cups) Dimensions: Diameter 10.7 cm and 10.6 cm (the dishes), and 6.5 cm (each cup)Each set with a well carved and fitted wood presentation stand. (6)Literature comparison:Compare a closely related tea bowl and saucer with fishermen at the center, now in the Hodroff Collection, formerly in the Martin-Hurst and Mottahedeh Collections, is illustrated by D. Howard, The Choice of the Private Trader, London, 1994, p.175, no.198. For a related example painted with a fisherman at the center, see David Howard and John Ayers, China for the West, Vol. I, London and New York, 1978, p. 156, pl. 139.Auction result comparison:Type: Closely relatedAuction: Christie's London, 10 April 2002, lot 408Price: GBP 1,998 or approx. EUR 4,500 converted and adjusted for inflation at the time of writingDescription: A pair of fluted famille rose tea bowls and saucers, circa 1730-40Expert remark: Compare the closely related form and decoration.雍正末期至乾隆初期一對粉彩茶碗與碟子中國，約1730-1740年。碟子扇形邊緣，中央開光，描繪了一位坐在花樹下的石凳上的貴婦，兩隻飛舞的蝴蝶，卍 符紋。對應茶碗内也有相對的圖案。 來源：倫敦S. Marchant & Son藝廊，2005年；Richard 與 Maxine Markell購於上述藝廊。隨附2005年4月2日出具的原始發票複印本，售價 USD 3,500 或相當於 EUR 5,100 (根據通貨膨脹率)。一個盤子下有舊標籤 'Marchant 倫敦 Qianlong 1736-1795'。Richard 與 Maxine Markell私人收藏。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況極好，只有輕微磨損，邊緣上有輕微琺瑯磨損和磕損，製造缺陷如黑點。 重量：碟子分別爲70.7 克 與 62.1 克，茶碗分別爲40.7克與40.0 克 尺寸：直徑分別爲 10.7 厘米 與10.6 厘米 (碟子)，茶碗直徑分別爲 6.5 厘米 木底座。(6) 文獻比較： 比較一件非常相近的漁夫茶碗和醬碟，現收藏於Hodroff Collection，曾藏於Martin-Hurst and Mottahedeh Collections，見D. Howard，《The Choice of the Private Trader》，倫敦，1994，頁175，編號198。一件相近的例子，中間一樣畫有漁夫，見 David Howard和John Ayers，《China for the West》，卷I，倫敦和紐約，1978年，頁156，圖139。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2002年4月10日，lot 408 價格：GBP 1,998（相當於今日EUR 4,500） 描述：約1730-40年一對粉彩茶碗與醬碟 專家評論：比較非常相近的外形和裝飾。

A FAMILLE ROSE PORCELAIN 'LINGZHI' RUYI SCEPTER, MID-QING DYNASTYChina, 1770-1850. The biscuit handle finely modeled as a gnarled branch with a twisting vine bearing leaves, blossoms, and peaches, the ruyi head in the form of a large lingzhi fungus, the head and lower end of the handle each with a gilt-decorated bat.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. Condition: Good condition with expected old wear and some firing irregularities, few tiny losses, little rubbing to gilt and enamels.Weight: 452 g Dimensions: Length 32 cmWith a fine silk tassel dating from the same period. (2)The ruyi scepter, meaning 'as you wish', expresses the desire that someone's wishes come true. As such, it was considered a most suitable gift for an honored friend or high ranking official, particularly on the occasion of a birthday.Ruyi scepters were made in the widest range of materials, from jade and hardwoods to gilt bronze, semi-precious stones and organic materials such as lacquer, ivory, and bamboo. It is particularly rare, however, to find a ruyi scepter made of porcelain, perhaps due to its natural fragility making it a less suitable material for such a long, slender shape.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1610 Price: USD 18,750 or approx. EUR 23,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose ruyi scepter, 19th centuryExpert remark: Compare the related form, modeling, famille rose enamels, and size (30 cm).清代中期粉彩靈芝福壽如意杖中國，1770-1850年。陶瓷堆塑成多節桃枝，藤蔓纏繞，鮮艷玲瓏的壽桃和桃花，如意頭是一株大靈芝，描金蝙蝠飛舞期間。 來源：英國倫敦紳士收藏，其亞洲收藏至少超過五十年歷史，保存至今。 品相：狀況良好，有磨損和一些燒製不規則，輕微小缺損，描金和琺瑯有輕微摩擦。 重量：452 克 尺寸：長 32 厘米 來自同期的細絲流蘇。 (2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1610 價格：USD 18,750（相當於今日EUR 23,500） 描述：十九世紀粉彩如意杖 專家評論：比較相近的外形、堆塑、粉彩和尺寸(30 厘米)。

A LARGE AND RARE CELADON JADE FOOD VESSEL, GUI, QING DYNASTYChina, Qing Dynasty (1644-1912). Masterfully crafted to resemble a Western Zhou Dynasty bronze vessel, demonstrating superior levels of craftsmanship quality achieved through meticulous manual carving and chiseling techniques, with no modern tool marks. Of compressed globular form, rising from a ring foot, the shoulders set with a pair of curved loop handles, the domed cover surmounted by a stepped finial. The exterior carved in relief with concentric ridges and fine archaistic scroll motifs. The semi-translucent stone of a deep celadon tone with extensive opaque brown surface alterations.Condition: Very good condition with minor wear, few natural fissures and minuscule nibbling here and there. The rims with very few small nicks. Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent. Acquired in the Hong Kong antiques market in the early 1990s.Weight: 1595 g Dimensions: Height 15 cm, diameter 27 cm (handle to handle)Auction result comparison: Compare to two models of jade censers, gui, also carved to resemble archaistic bronze vessels at Bonhams Hong Kong, Fine Chinese Ceramics and Works of Art on 30 May 2017, lot 105, sold for HKD 375,000, and Sotheby´s New York, The Hundred Antiques: Fine & Decorative Asian Art on 22 June 2021, lot 85, sold for 35,280 USD.

CHUN-YI LEE (b.1965)Unyielding Mountains, 2009Ink on paper, framed. 66.3cm high x 78.5cm wide (26 1/8in high x 30 7/8in wide).Footnotes:李君毅（1965年生）不屈的山 水墨紙本 鏡框 2009年作Born in Taiwan in 1965, Chun-Yi Lee moved to Hong Kong in 1970 and graduated from the Chinese University of Hong Kong, where he was deeply influenced by his teacher Liu Kuo-sung. Lee obtained his MFA from the Graduate Program of Fine Arts of Tunghai University in Taiwan. Inspired by the ancient technique of Chinese ink-rubbing, at a distance his landscapes appear to be timeless archetypal landscapes reminiscent of traditional Chinese paintings that symbolise harmony with the cosmos. Upon closer inspection, however, one realises that the landscape is not created by brushstrokes but a stunningly meticulous grid-like structure. Eschewing the brush, Lee Chun-yi creates monumental yet intricately pixelated ink paintings produced by repeatedly imprinting small cubic stamps made of soft wood or cork. Lee's process is inspired by engraved stone steles from the Northern Wei period and the seals affixed to Chinese paintings or carved woodblocks used in traditional printmaking. This creates apparently ordinary yet deconstructed landscapes. Literally building up a visual composition through words, his paintings function as symbolic poems, with the strength of the stamp indicating the intended tone of expression.As a native of Taiwan and student in Hong Kong following the years of cultural unrest in mainland China, Lee positions his works between history and the current situation between the straits. The present lot is stamped with both the Communist hammer and sickle, as well as the Republican sun used in the Taiwanese flag. By depicting the landscape as a fragmented whole, Lee illustrates an interpretation of nationalism. While the landscape acts as a symbol of history and cultural identity, Lee breaks down the whole into a fragmented puzzle and a state of confusion. Lee's art, masterfully executed and thoughtfully conceived, is thus both nostalgic and revolutionary, forging an entirely unique and contemporary visual language even while evoking the past. Lee has participated in over 30 group and solo exhibitions internationally. His works have been collected by the Ashmolean Museum, Oxford; the Arthur M. Sackler Museum, Harvard University; the Asian Art Museum, San Francisco; the Phoenix Art Museum, USA; the Jiangsu Art Museum; the Qingdao Art Museum, China; the National Arts Education Institute, Taipei; the Hong Kong Museum of Art, and other public and private collections.Compare with a related painting by Chun-Yi Lee, which was sold at Sotheby's Hong Kong, 5 October 2015, lot 2835.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LIU KUO-SUNG (b.1932)Autumn Landscape, 1965Ink on paper, signature and seal of the artist, framed. 92.3cm long x 59.8cm wide (36 1/3in long x 23 1/2in wide).Footnotes:劉國松（1932年生） 秋景 水墨紙本 鏡框 1965年作Born in Bangbu, Anhui Province, in 1932, Liu Kuo-sung (also Liu Guosong) is sometimes known as the 'Father of Modern Chinese Ink Painting'. He is recognised as one of the earliest and most important advocates and practitioners of modernist Chinese art. He moved to Taiwan in 1949. In 1956, Liu graduated from the Fine Arts Department of the National Taiwan Normal University, where he studied both traditional brush-and-ink and Western-style painting techniques. As one of the co-founders of Taiwan's Fifth Moon Painting Society (Wuyue huahui 五月畫會) in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting especially the style of the late Tang period (618-907) and the monumental landscape painting style of the 10th to 11th centuries - as well as modern styles and techniques, such as abstract expressionism. Before turning to ink painting in 1961, Liu experimented with abstract oils. By the mid-1960s, Liu had gradually developed his own personal pictorial formulae, in which he combines ink painting with collage and applies ink and colour on special paper. The present lot is an example of his fusion of landscape and abstraction and represents the mature style that has earned him a place in many prestigious international exhibitions. His works have been collected by almost seventy prestigious museums and galleries, including the Palace Museum in Beijing, the British Museum in London and the Asian Art Museum of San Francisco; the Chicago Art Institute; Cleveland Museum of Art, The Nelson Gallery of Art and Catkins Museum; Hong Kong Museum of Art; The City Art Gallery, Bristol; and the National Gallery of Art and Museum of History, Taipei. See Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.196. See also a related painting by Liu Kuo-sung, 1964, illustrated by Chu-tsing Li, Liu Kuo-Sung: The Growth of a Modern Chinese Artist, Taipei, 1969, p.35.Compare also with a similar painting by Liu Kuo-sung, 'Windswept', which was sold at Christie's Hong Kong, 28 May 2018, lot 867.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

QIU DESHU (b.1948)Self Portrait (Spirit), 1997Ink and acrylic on xuan paper and mounted on canvas, signed and dated 1997 in Chinese. 180cm high x 360cm wide (70 3/4in high x 141 1/2in wide) Footnotes:仇德樹(1948年生) 自畫像（靈魂） 水墨丙烯宣紙 裱於畫布 1997年作 Published, Illustrated and Exhibited: Louisiana Museum of Modern Art, China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006, Humlebaek, 2007, pp.232-233. Chinese Ink Painting Now, New York, 2010, p.82.Michael Goedhuis, Qiu Deshu, London, 2012, pp.40-41.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.168-169. 展覽著錄：路易斯安納現代藝術博物館編, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第232-233頁。《當代中國水墨畫》，紐約，2010年，第82頁。Michael Goedhuis編, 《仇德樹》，倫敦，2012年，第40-41頁。Michael Goedhuis編, 《Ink: The Art of China》, 薩奇美術館, 倫敦, 2012年, 第168-169頁. Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then sticking selected pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper on top of colours, produces additional effects: the final work is a sophisticated combination of painting and collage.The present lot, his self-portrait, is merged with a rocky landscape, not only reflecting the fissures and dramatic disruptions fragmenting his life, but also his unity with the ever-changing universe. As an expression of his place within this ongoing cosmos in flux, Qiu created his unique Self-Portrait (Spirit), a landscape in which facial features emerge from the mountain formations to suggest the presence of the artist's human spirit.Qiu Deshu's works are in numerous museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

YANG YANPING (b.1934)Autumn Song, 1996Ink and colour on xuan paper, framed. 66.7cm long x 133.4cm wide (26 1/4in long x 52 1/2in wide).Footnotes:楊燕屏（1934年生） 秋歌 紙本設色 鏡框 1996作 Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.199.Michael Goedhuis, The Ink Art of China, London, 2019, pp.20-21. 展覽著錄：《當代中國水墨畫》，紐約，2010年，第199頁Michael Goedhuis著，《水墨中国》，伦敦，2019年，第20-21頁Yang Yanping is famous for her paintings of Autumn and lotus; with impressive compositions of saturated reds, golds and ink on paper, her works strays close to pure abstraction. She studied architecture at Tsinghua University, where she married one of her painting teachers, Zeng Shanqing. After she graduated in 1958, and a brief spell of teaching factory design, Yang decided to study art at the Oil Painting Department of the Beijing Art Academy. At the same time she studied traditional Chinese painting on her own. In 1986, both Yang and her husband were awarded fellowships from the State University of New York at Stony Brook, and they have remained in America ever since.Yang is well versed in many traditional styles but has excelled in depicting the lotus flower, a symbol of purity, transience, the fragility of nature, and the potential for regeneration. Yang's ideals of high visual quality and an artistic autonomy allows her to embrace modernism without jettisoning the lessons from the classical Chinese world of high culture. Her recent exhibitions include a major retrospective at The Art Museum of Beijing Fine Art Academy in 2013. Yang Yanping's work can be found in many prestigious institutions globally, including the Art Institute of Chicago which has recently held a major exhibition of her work, see Expressive Ink: Paintings by Yang Yanping and Zeng Shanqing, Chicago, 2019; The Art Museum of Beijing Fine Art Academy, Beijing; The Ashmolean Museum, Oxford; The Albertina, Vienna; the Asian Art Museum, San Francisco; The British Museum, London; and the Museum of Fine Arts, Boston.For a related painting by Yang Yanping, 'Deep Autumn', 2004, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.360-361.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

QIU DESHU (b.1948)Mountainscape (Red), 2005Ink, acrylic and xuan paper on canvas. 200cm high x 360cm wide (78 3/4 high x 141 3/4in wide).Footnotes:仇德樹 山景（紅） 水墨丙烯宣紙 裱於畫布 2005年作Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then adhering select pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper atop colours, produces additional effects: the final work is a sophisticated combination of painting and collage. The present lot, combines the traditional notions of Chinese landscape painting, but combined with innovative 'fissuring' technique, reflecting a world in flux.Qiu Deshu's works are in many museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.Compare with a similar mountainscape in red, but mounted as a set of five panels, 2005, by Qiu Deshu, which was sold at Sotheby's Hong Kong, 3 April 2016, lot 515.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Chinese 'longquan' guan-type celadon washer, xi, Southern Song Dynasty, 13th century, with pale translucent celadon glaze suffused with a network of fine crackles, burnt red foot, exhibition labels for Cape Town 1953, Radcliffe collection and BADA, 12.3cm diameterCompare with a dish of related type in the Museum of East Asian Art, Bath, p. 154, pl.108Provenance: Walter Burchard Collection purchased from him by Bluetts, March 8th, 1944Major Edward Copleston Radcliffe (1898-1967) collection and listed in the family archive, 'A13', as purchased from Bluett & Sons, in 1943, for £12-0s-0d, but listed in the Bluett archive as sold to Major Radcliffe September 20th, 1944, for £25.00Exhibited: National Gallery of South Africa, Chinese Exhibition, Cape Town, 1953, no. 77南宋 龙泉窑冰裂纹青釉折沿洗拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族编号A13），其在家族档案中记载为"1943年购自英国著名古董商Bluett & Sons"，然而在Bluett的档案中记载为"1944年3月8日购自Walter Burchard 收藏，并于同年9月20日以25英镑售于Radcliffe少校" 展览信息：南非国家画廊，中国艺术展览，开普敦，1953年，编号77号Condition Report: chip to unglazed foot and cracksguan type glaze not evenly spread over the entire surface Condition Report Disclaimer

Twenty-two reference books and catalogues on Chinese jade and Buddhist artComprising: Masterworks of Chinese Jade in the National Palace Museum, National Palace Museum, Taipei, 1970J. Rawson, Chinese Jade from the Neolithic to the Qing, The British Museum Press, London, 1995A. Forsyth, B. McElney, Jades from China, The Museum of East Asian Art, Bath, 1994Neolithic Jades in the Collection of the National Palace Museum, The National Palace Museum, Taipei, 1992Dr. Newton's Zoo, A Study of Post-Archaic Jade Carvings, Bluett & Sons Ltd. London, 1981.Historical Relics Unearthed in New China, Foreign Language Press, Peking, 1972文化大革命期间出土文物, 第一辑, 编辑 工作组 展览 出土文物 出版 社 版 出 文物 中 发行 书 店 国际 国, 中国·北京 1972年2月 (Cultural Relics Unearthed During the Cultural Revolution, First Series, Edited by the Unearthed Cultural Relics Exhibition Working Group, Published by Cultural Relics and China International Bookstore, Beijing, 1972)J. P. Palmer, Jade, Spring Books, London, 1967O. Luzzatto-Bilitz, Antique Jade, Fratelli Fabbri Editori, Milan, 1966/ The Hamlyn Publishing Group Ltd, Feltham, 1969R. Lefebvre D'Argence, Avery Brundage Collection of Chinese Jades, The de Young Museum Society, and Patrons of Art and Music, and the Centre of Asian Art and Culture, Japan, 1972Exhibition of Post-Archaic Chinese Jades, 70th Anniversary, S. Marchant and Son, London, 1995The Gerald Godfrey Private Collection of Fine Chinese Jades, Christie's Hong Kong, 30 October 1995Light of Compassion, Buddhist Art from Nepal and Tibet, Spink & Son, London, 1997The Mirror of Mind, Art of Vajrayana Buddhism, Spink & Son, London, 1995Body, Speech and Mind, Buddhist Art from Tibet, Nepal, Mongolia and China, Spink & Son, London, 1998Important Chinese Ceramics and Works of Art, The collection of Mr. and Mrs. Eugene Bernat, Sotheby's New York, 7 November 1980J. Hay, Masterpieces of Chinese Art, Phaidon Press Ltd, London, 1974One Hundred of the Best, J.A.N. Fine Art, London, 2004The Kunstkammer, A Collectors Cabinet, Roger Keverne, Michal Gillingham, London, 1997Chinese Imperial Patronage, Treasures from Temples and Palaces, Christopher Bruckner Asian Art Gallery, LondonTibetan Art, Spink & Son, London, 1994 (brochure)Asian Art, Spink & Son, London 1993 (brochure) (22).玉器及佛教圖書二十二本

SPINACH GREEN JADE WITH AGATE INSET OPIUM PIPE QING DYNASTY, 19TH CENTURY 清 碧玉鴉片煙管嵌瑪瑙煙嘴及銅鎏金飾 the cylindrical shaft in plain form with metal mount, inset both ends with agate mouthpiece, the stone of luscious rich green tone with variegated dark streaks Dimensions:49.5cm wideProvenance:Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018)Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996.The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain.Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents.Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an in expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army.When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax.The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at this saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022, and subsequently Fine Asian & Islamic Works of Art on 13 May 2022, lot 150-159Note: Note: To create a jade baton of this length requires a substantial jade boulder. The simplicity of the pipe showcases the attractive natural colour of the stone. Compare to a Chinese jade silver-mounted opium pipe, dated to the 20th century, sold at Christie's Amsterdam, 3-4 April 2012, lot 365.

FINE FAMILLE ROSE ‘MAGU’ CHARGER QING DYNASTY, YONGZHENG PERIOD 清雍正 粉彩麻姑獻壽圖大盤 the interior delicately enamelled with Magu, the goddess of longevity, holding a lingzhi spray, beside a boy attendant carrying a basket of peaches over his shoulder, and a stag with a peach in its mouth, the mouth rim gildedDimensions:34.4cm diameterProvenance:Provenance: Formerly in a private American estate (by repute)Note: Note: Some plates of similar 'magu' theme were commissioned by Augustus II (1670-1733), King of Poland and Elector of Saxony and also known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections. Some existing examples with old Dresden inventory are respectively in the Dresden collection [1], the Museum Boijmans Van Beuningen in Rotterdam [2], and in the former Collection Ignazio Vok [3]. Two smaller dishes (39cm diameter and 38.8cm) with the same design and inventory number were sold respectively at Christie's London, 30 April 2015, lot 111 and Sotheby's New York, 17 March 2021. A larger (43.5cm diameter) plate was sold at this saleroom, 5th November 2021, lot 229. [1] Eva Ströber, La maladie de porcelaine ..., East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, no. 32[2] C.J.A. Jörg, Oriental Porcelain, A Choice from the Boymans-van Beuningen Museum Collection, Rotterdam, 1995, p. 61, and fig. 25[3] Ulrich Wiesner, Seladon Swatow Blauweiss. Chinesische Keramik aus der Sammlung Ignazio Vok, Köln, 1983, no. 153

A FINE PAINTED LACQUER AND BASKETWORK BOX AND COVERMing Dynasty, 17th centuryOf rectangular form with canted corners, the cover painted and gilt with a gentleman and attendant in a tree-strewn riverside setting before a pavilion set against distant mountains, the interior similarly decorated with figures in a riverside landscape, within a gilt decorated floral border, the shaped basketwork panels to the exterior set within red lacquered borders.41.5cm (16 3/8in) long (2).Footnotes:Exhibited: Oriental Works of Art, Gerard Hawthorn Ltd., Summer 2005, no. 88.Compare with a similar rectangular painted lacquer basket work box, published East Asian Lacquer: The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, 1991, pp.142-143, no. 66.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

RYOJI: A FINE IVORY NETSUKE OF A SAMBASO DANCERBy Ono Ryoji, signed Ryoji 凌次Japan, Tokyo, late 19th centuryWell carved as a sambaso dancer standing on his right foot, wearing a characteristic striped eboshi with roundels, his voluminous robe neatly incised with pine saplings, leafy chrysanthemum sprays, and a foliate design. He holds a bell tree with cords attached in his right hand. The ivory bearing a subtle stain and fine polish. The back of his robe with two himotoshi. Signed to the underside above his right foot RYOJI.HEIGHT 4.9 cmCondition: Excellent condition with minor wear.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam.Auction comparison:Compare to a related ivory netsuke of a sambaso dancer, with movable tongue, by Rakumin, at Zacke, Asian Art Discoveries, 20 January 2023, Vienna, lot 1408 (sold for 2,340 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207506036-K).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A SUPERB WOOD NETSUKE OF A MULE AND GROOMUnsignedJapan, 18th century, Edo period (1615-1868)Published: Rutherston & Bandini (2011) The Sheila M. Baker Collection of Japanese Netsuke and Inro, no. 17.Exhibited: Frankfurt Museum fuer Kunstgewerbe in 1991. The netsuke is illustrated in an article on the exhibition by I. Schaarschmidt-Richter titled Von der Großen Kunst der Kleinen Dinge.A remarkably large, boldly carved, and humorous wood netsuke depicting a man crouching below his mule and lifting the animal's hindleg to remove a stone from one hoof. The man's expression is amusingly crafted, aware of his precarious situation, as the mule tenses up, its ears pricked and mouth opened with agitation, presumably about to start kicking about. The eyes of the mule are inlaid in bone with black wood pupils. The well-toned wood is pleasingly worn with a beautiful patina. Natural himotoshi.HEIGHT 5 cm, LENGTH 5.4 cmCondition: Very good condition with typical surface wear and traces of use. Beautiful patina.Provenance: Sotheby's, Fine Japanese Works of Art, 23 June 1982, London, lot 520. Ex-collection Sheila M. Baker. Sold through Rutherston & Bandini. Ex-collection Teddy Hahn, Darmstadt. 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.”

A RARE LACQUER NETSUKE OF A GOSHO NINGYO DOLL PERFORMERUnsignedJapan, late 19th centuryThe gosho ningyo performer lacquered in gold, silver, and red, the face typically enlarged and chubby with red lips, placing one hand on its head and the other holding a bell tree. The doll's robe is embellished with various ornate patterns such as geometric designs, leaves and plovers. Large, asymmetrical himotoshi to the back.HEIGHT 4.5 cmCondition: Chip to one foot, one loss to the knee and a repair to the bell tree. Otherwise fine condition with minor wear to lacquer.Gosho ningyo are characterized by their chubby figures, fair skin, small hands and legs, their large heads, and simple eyes and noses. Their history goes back some 400 years, when they were treasured in the Imperial court. Over time they became expressions of hope for happiness and prosperity in life.Literature comparison:A closely related lacquer netsuke depicting a Gosho ningyo is illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 109, no. 111.Auction comparison:Compare to a lacquer netsuke of a boy from the same workshop, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 317 (sold for 4,000 EUR). Another lacquer netsuke from the same workshop was sold at Bonhams, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, New York, lot 17 (sold for 10,200 USD).

A FINE METAL-INLAID GOLD LACQUER FOUR-CASE INRO DEPICTING RATS AND HORSESUnsigned Japan, 19th centuryThe kinji ground finely decorated in gold and silver takamaki-e and hiramaki-e with kirikane, nashiji, and beautifully inlaid in gold, shibuichi, and shakudo to depict on one side a flowerpot with blossoming prunus branches, two rats eating beans from the ground, and a third rat gnawing on a branch bearing fruit, and to the other a pair of horses in a field with chrysanthemums and grasses. The interior of nashiji with gold fundame edges. HEIGHT 9.3 cmCondition: Good condition with minor wear to lacquer and some occasional light scratches throughout. Some dents to the top and bottom caseThe rat and the horse represent opposite signs in the Asian zodiac and as such are considered incompatible. However, if the 'younger' of the two signs (the horse) submits to the 'older' (the rat), then the pairing can be successful. They two are occasionally depicted together in inro and netsuke art.

MASAMINE: A FINE OSAKA SCHOOL IVORY NETSUKE OF A FISHERMAN STRUGGLING WITH A HUGE CARPBy Masamine, signed Masamine 正峯Japan, Osaka, mid-19th century, Edo period (1615-1868)Finely carved to depict a fisherman sitting on top of his catch, a giant carp with horn-inlaid eyes flapping its tail fin as it struggles to free itself. The fisherman is dressed in a straw skirt and a patterned robe, his face well-detailed with a cheerful expression. The fish with neatly incised scales and stippled head, enhances with sumi (ink), which is typical for the Osaka school. The fish's body with asymmetrical himotoshi centered by the incised signature MASAMINE.LENGTH 4.1 cmCondition: Excellent condition with minor wear. Provenance: Silvia Soler, Barcelona, 2008. Dutch private collection, acquired from the above. Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, acquired from the above. A copy of the original invoice from Silvia Soler, stating a purchase price of 4,000 EUR, accompanies this lot.Masamine's netsuke are often attractively carved in good detail, the designs original, suggesting an independent craftsman. See Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 432.Auction comparison:Compare a closely related unsigned ivory netsuke of a fisher with carp, Osaka school, at Van Ham, Asian Art, 9 June 2016, lot 2376 (sold for 9,675 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 22NL311466/20).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.

MASAYASU: A FINE WOOD NETSUKE OF A RECUMBENT GOATBy Masayasu, signed Masayasu 正保 to 刀Japan, Nagoya, 19th century, Edo period (1615-1868)Very finely carved, the goat's head nobly raised, with elegantly curved horns, long sweeping tail, and ridged spine. The feet are kept close to the body or tucked underneath, forming a compact composition. The shaggy fur is sublimely carved, with subtle elevations between the individual hair strands. The dark-red cherry wood bears a fine patina. Natural himotoshi and signed within a polished area on the haunch MASAYASU to [carved by Masayasu].LENGTH 4.3 cmCondition: Very good condition, only very minor wear. Small repair to one ear. Fine patina.Provenance: A noted private collection, USA.Literature comparison:Compare a near-identical wood netsuke of a goat by Masatoshi in Sydney L. Moss Ltd. (1993) Zodiac Beasts and Distant Cousins, no. 57.Auction comparison:Compare to a near-identical wood netsuke of a goat by Masatoshi at Lempertz, Asian Art, 11 June 2022, Cologne, lot 407 (sold for 7,560 EUR). This is the same netsuke mentioned in the literature comparison.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

YOSHIHISA: A FINE WOOD NETSUKE OF A COILED RATBy Yoshihisa, signed Yoshihisa 義久Japan, Nagoya, early 19th century, Edo period (1615-1868)Of compact form, well carved as a rat curled up into a half ball, cleaning itself, scratching itself behind the ear with one foot, the other leg forming the himotoshi with the curved tail, the eyes inlaid with yellowish, translucent horn, the fur and tail neatly incised, one hind leg signed YOSHIHISA within an oblong reserve. LENGTH 3.5 cmCondition: Good condition, minor wear and traces of use. A repaired crack through the body with associated traces of adhesive.Yoshihisa is an excellent but little-known carver, whose style is reminiscent of the Minko school. See Bushell, Raymond (1961) The Netsuke Handbook by Ueda Reikichi, p. 308, and Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 219. As evidenced by his carvings of rats, however, he was more likely a member of the Nagoya school.Museum comparison: Compare a related wood netsuke of a rat on a peapod by Yoshihisa, 4.4 cm long, dated approx. 1800-1868, in the Asian Art Museum of San Francisco, object number B70Y1.Auction comparison:Compare a closely related wood netsuke of a coiled rat by Yoshihisa at Christie's, The Raymond and Frances Bushell Collection of Netsuke Part I, 27 October 1987, London, lot 146. Compare a closely related wood netsuke of a coiled rat by Yoshihisa at Sotheby's, The Betty Jahss Collection of Netsuke Part I, 13 June 1991, London, lot 70 (estimate 8,000-10,000 GBP).

Northern Italy, Villanovan culture, ca. 800-700 BC. A black kyathos, a single-handled dipper with an interestingly-shaped conical foot of openwork design. This is a very early example of a vessel shape that would later become highly refined by the Etruscans and then the Greeks, and the handle here, which in later versions towered high above the body of the vessel, is small and looped. The body is made of impasto, a coarse earthenware that is a precursor to Etruscan Bucchero. The Villanovans inhabited Italy during the early Iron Age, and much of what we know of them comes from excavations of cemeteries (the first at Villanova near Bologna in northern Italy) where they cremated the dead and buried them in pottery urns in a very distinctive, double-cone shape. In the 8th century, Greek colonists arrived in the region, and began to influence Villanovan ceramics and their forms, as with this kyathos.Size: L:120mm / W:210mm ; 625gProvenance: United States (Colorado) - Artemis Fallery, Fine Antiquities, Asian, Ethnographic Art Sale, 18 May 2017, lot 20; formerly in private Carlton collection, Los Angeles.

TWO QAJAR LACQUERED LEATHER PAPIER MACHE BOOK COVERS PERSIA, 19TH CENTURY with central reserves of lovers on white grounds adorned with peacocks and flowers within script borders, the opposing sides with panels of script on red and gilt grounds; one comprising front cover only, framed; the other comprising front and back cover, unframedDimensions:46cm x 31cm eachProvenance:Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018)Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996.The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain.Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents.Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army.When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax.The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022, and subsequently Fine Asian & Islamic Works of Art on 13 May 2022, lot 150-159

Ca. 3000 BC. A group of four alabaster votive vessels, each of cylindrical form with drilled interior. The vessels are made of a fine, light alabaster, and feature a flat base and rather flared lip. The Bactrian culture, which flourished in the modern day Central Asian countries of Afghanistan, Iran, and Uzbekistan, had a long and storied history of using alabaster for their vessels. Alabaster was a highly prized material, and it was used to create a variety of vessels for different purposes. Cylindrical alabaster vessels were used for storing food, for burying the dead, and for religious ceremonies.Size: L:75-100mm / W:35-45mm ; 810gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

A BRONZE 'PHOENIX' HALBERD BLADE, GE, EASTERN ZHOU DYNASTYChina, 8th to 3rd century BC. The gently curved blade (yuan) finely cast with a light reserve at the center, extending to the tang (nei) rendered in the form of a phoenix with head and tail, its head raised with curved beak and bulging eyes and incised wings, and a rope-like border to the bottom.Provenance: Giannozzo Pandolfini, Homo Sapiens, Florence, ca. 1992-1996. Paolo Bertuzzi, by repute acquired from the above (invoice lost). Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Condition commensurate with age, presenting very well overall. Extensive wear, signs of weathering and erosion, corrosion, minor nicks and losses, structural cracks and scattered old repairs. Fine, naturally grown patina with malachite and cuprite encrustation.Weight: 228.1 g Dimensions: Length 15.6 cmAuction result comparison:Type: RelatedAuction: Sotheby's New York, 10 September 2019, lot 237Price: USD 47,500 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A rare archaic bronze ceremonial halberd blade, Eastern Zhou dynasty, Spring and Autumn periodExpert remark: Compare the related form, decorations, and size (15.7 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 9 November 2017, lot 9Price: GBP 7,500 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: An archaic bronze openwork 'dragon' halberd blade, Ge, Late Eastern Zhou DynastyExpert remark: Compare the related form and decorations. Note the size (12.5 cm).東周青銅鳳凰紋戈中國，公元前八至三世紀。鑄工精細，援呈向下弧形，阑以飞鸟鳳凰隐身而内化，其頭部抬起，彎曲的喙，大眼，似在展翅。 來源：弗洛倫薩Giannozzo Pandolfini 收藏，約1992-1996年。Paolo Bertuzzi收藏，據説購於上述收藏（賬單遺失）。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：條件與年齡相符，整體呈現極好。 大面積磨損、風化和侵蝕、腐蝕、輕微劃痕和磕損、結構裂縫和局部小修痕跡。自然包漿細膩，有孔雀石綠和紅色結殼。 重量：228.1 克 尺寸：長 15.6 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月10日，lot 237 價格：USD 47,500（相當於今日EUR 54,000 ） 描述：東周春秋青銅鳥獸紋戈 專家評論：比較相近的外型、裝飾和尺寸 (15.7厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2017年11月9日，lot 9 價格：GBP 7,500（相當於今日EUR 10,500） 描述：東周末青銅蟠螭紋戈 專家評論：比較相近的外型和裝飾。請注意尺寸 (12.5厘米)。

A WOOD RELIEF OF A DANCING DEITY, KERALA, SOUTH INDIA, 18TH TO EARLY 19TH CENTURYRichly carved and reticulated with a dancing male deity, his right hand raised above the head holding a sword, the left arm wrapped around a hoop, dressed in a dhoti and finely embellished with beaded and floral jewelry, a richly adorned scarf at the shoulders, the face with bulging eyes below arched eyebrows centered by an urna, a bushy mustache, and surmounted by a floral crown, flanked by a dancing male and female attendant, each adorned with fine jewelry, and in the top right with a vyala next to a parasol. Provenance: Jeremy Knowles Ltd., London, United Kingdom, 2006. A British private collection, acquired from the above. A copy of the original invoice from Jeremy Knowles, dated 2 April 2006, describing the piece as a wooden chariot panel, and dating it from the late 18th to the early 19th century, accompanies this lot. Jeremy Knowles has been dealing with Indian and Asian works of art for over 25 years, specializing in fine and decorative sculpture and paintings. After working as a specialist in the Indian and Southeast Asian department of Spink and Son Ltd., he established his own business in 1993. He has previously exhibited at Asian Art in London, the Arts of Pacific Asia show in New York, and the Brussels Oriental Art Fair. Condition: Commensurate with age, with obvious losses, expected age cracks, chips, scratches, splits, warping, wormholes, extensive wear, signs of weathering, and old repairs with remnants of adhesive, but overall displaying extraordinarily well.Weight: 15.5 kg Dimensions: Height 58.4 cm (excl. base), 61 cm (incl. base)Wooden architecture is especially prevalent in Kerala, and ancient wooden prototypes are considered the forerunners of stone temple architecture. However, due to the perishable nature of the material and the tropical climate, only a few early examples have survived.A vyala is a mythical beast with the body of a lion and a horned, chimeric head. These figures are among the most common features of Indian temple architecture and usually act as brackets, set into the recesses of the exterior walls, typically supporting overhanging cornices. The composite figure of a lion and a mythical head is a symbol of both royalty and the force of nature, and their placement within temple architecture often serves as an element of protection.Literature comparison:Compare a related wooden temple cart of Shiva as Bhikshatana, 19th century, in the British Museum, museum number 1997,0127.4. Compare a related wooden panel of Shiva as Virabharda, 19th-20th century, in the British Museum, museum number 1997,0127.5. Compare a related wooden bracket of a mythical beast, 17th-18th century, in the British Museum, museum number 1960,0225.1. Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 19 November 1997, lot 53Price: NLG 9,226 or approx. EUR 7,800 converted and adjusted for inflation at the time of writingDescription: A South Indian Wood Architectural Ornament depicting Mohini trying to tempt the Rishis, 18th/19th CenturyExpert remark: Compare the related carving work and fine details. Note the similar size (58.5 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2016, lot 1317Price: USD 27,500 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A carved wood standing demon, South India, Kerala, ca. 17th centuryExpert remark: Compare the related carving work and fine details. Note the much larger size (87 cm).

A TALL AMBER-GLAZED VASE, LIAO DYNASTYScientific Analysis Report: A thermoluminescence report issued by Daybreak Nuclear and Medical Systems, Inc., Guilford, Connecticut, USA, dated 12 September 1990, based on sample number 363A227, sets the firing date of one sample taken between 760 and 1020 years ago. A copy of the report accompanies this lot.China, 907-1125. The elongated ovoid body rising to a tall flared rim, decorated with incised lines around the shoulder as well as the base and mid-section of the waisted neck, covered with a lustrous amber glaze pooling in the recesses and falling to an irregular line above the unglazed base and foot.Provenance: The base with an old label, 'Liao Dynasty 907-1125 AD'. From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Very good condition with minor wear and firing irregularities, including three spur marks to the rim, the base with minor chips, the interior of the foot drilled with a hole from sample-taking. The vase is slightly leaning.Weight: 1,126 g Dimensions: Height 36.4 cmLiterature comparison: The attenuated tall form is a classic Liao shape. This type is generally monochromatic with either an amber or a green glaze. Similar examples are known from Liao burial sites in Liaoning province and Inner Mongolia illustrated in Liaoci Xuanji, A Collection of Liao Tomb Relics of the Liao Dynasty, Beijing, 1961, pl. 345, and another is illustrated in Li Zhi Yan, The Art of Glazed Pottery of China, Hong Kong, 1989, no 239. Green-glazed examples of this form are found in two museum collections, The Asian Art Museum of San Francisco, object number B60P1103, illustrated in He Li, Chinese Ceramics, London, 1996, p. 146, no. 208 and in The Boston Museum of Fine Arts accession number 50.891, illustrated in The Charles B. Hoyt Collection in the Museum of Fine Arts, Boston, vol. II, Boston, 1972, no. 4.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2015, lot 13 Estimate: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: An amber-glazed pottery vase, Liao dynasty Expert remark: Compare the closely related form, incised lines, and amber glaze. Note the related size (35 cm).遼代褐色釉弦紋瓶中國，907-1125年。瓶口外撇，細長頸，肩部、頸部和腹部飾有弦紋，覆蓋著褐色釉，底座和足部未上釉。 科學檢測報告：美國康涅狄格州Nuclear and Medical Systems，Inc 1990年9月12日出具的熱釋光測試報告，樣本號 363A227，確認此瓶為760-1020年前製作。隨附報告複印本。 來源：底部老標籤 'Liao Dynasty 907-1125 AD'。Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極好，有輕微磨損、製造瑕疵，邊緣有三個刺痕，底部有輕微缺口，足內部有取樣孔。瓶微微傾斜。 重量：1,126 克 尺寸：高 36.4 厘米 文獻比較： 高長頸的外形是經典的遼代瓶。此種瓶形大多施褐色釉或綠釉。相似的例子出土於遼寧省和內蒙古的遼代墓葬群，見Liaoci Xuanji，《A Collection of Liao Tomb Relics of the Liao Dynasty》，北京，1961年，圖345，and another 見Li Zhi Yan，《The Art of Glazed Pottery of China》，香港，1989年，編號239。兩件相似外形的綠釉瓶，收一件收藏於舊金山亞洲藝術博物館，館藏編號B60P1103，見He Li，《Chinese Ceramics》，倫敦，1996年，頁146，編號208 ；另一件收藏於波士頓美術館，館藏編號50.891，見《The Charles B. Hoyt Collection in the Museum of Fine Arts》，波士頓，卷II，1972，編號4。

A THANGKA DEPICTING THE MANDALA OF VAJRAVARAHITibet, c. late 18th to mid-19th century. Distemper and gold on cloth. The central deity dancing atop a prostrate figure, holding a kapala and kartrika in her primary hands, the two secondary hands holding a sword and khatvanga. She is wearing a diaphanous robe, garland of severed heads, and billowing scarves, and richly adorned with jewelry. Note the remarkably fine detail work.Provenance: From an old private collection in Zagreb, Croatia. Condition: Good condition with minor wear, creasing, soiling, and tiny losses.Dimensions: Size 72 x 57.5 cmThe central deity within a roundel encircled by foliate mandorlas, those at the cardinal points enclosing wrathful female deities, within an inverted triangle surrounded by foliate scroll interspersed by swastikas, enclosed by a band of lotus petals and scrolling vines. The mandala is set within a verdant landscape densely filled with numerous images of deities, the upper register with teachers, Buddhas, and bodhisattvas, centered by a blue Chakrasamvara with his consort Vajravarahi, the lower register with various wrathful and protector deities.Vajravarahi, or the 'Diamond Sow', is a wrathful form of Vajrayogini associated particularly with the Chakrasamvara Tantra, where she is paired in yab-yum with the Heruka Chakrasamvara.Literature comparison:Compare a related thangka, dated 1869, attributed to Nepal but clearly painted in the Tibetan tradition, from the Avery Brundage Collection and now in the Asian Art Museum of San Francisco, object number B60D11+.金剛瑜伽佛母壇城唐卡西藏，約十八世紀末至十九世紀中期，布面金彩膠畫。壇城中央可見紅身金剛亥母舞蹈姿盛蓮立像，手持卡帕拉碗與執持金剛鉞刀，另外兩手分別持劍與骷髏杖，左腳伸立、右腳彎提如舞蹈姿，舞於蓮花日輪屍墊上，周圍環繞其四色身化相。佛母穿著一件透明的長袍，頭戴花環，圍著飄逸的圍巾，並佩戴著華麗的珠寶。唐卡細節繁複，繪畫精美。 來源：克羅地亞薩格勒布私人老收藏。 品相：狀況良好，有輕微磨損、摺痕、污漬和微小缺損。 尺寸： 72 x 57.5 厘米壇城周圍山水環繞，展現很多本尊形象，上層是上師、佛陀和菩薩，中央是藍色的勝樂金剛和他的明妃，下層是各種忿怒相本尊和護法本尊。 文獻比較： 比較一件相近的1869年尼泊爾但西藏傳統唐卡，曾收藏於 Avery Brundage Collection，現藏於舊金山亞洲藝術館，收藏編號B60D11+。

A BRONZE FIGURE OF A SEATED MAN, DONG SON CULTUREVietnam, 500 BC to 300 AD. Modeled as a nude man seated on a folding stool, his face neatly detailed with protruding eyes, arched eyebrows, and open mouth, his hands resting on his bent knees.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Condition commensurate with age. Extensive wear, losses, fissures, signs of weathering and erosion, corrosion, casting flaws, nicks, and scratches. Fine malachite-green patina with brown encrustations overall.Weight: 395 g Dimensions: Height 16.1 cmDong Son (named for Dong Son, a village in Thanh Hoa) was a Bronze Age culture centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Van Lang and Au Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related seated male figure, though of much smaller size, in the collection of the Metropolitan Museum of Art, accession number 2000.287.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 16 October 2021, lot 579Price: EUR 15,168 or approx. EUR 16,500 adjusted for inflation at the time of writingDescription: A rare male bronze figure, Dong Son cultureExpert remark: Compare the related motif. Note the different pose and size (28 cm).越南東山文化人物銅像越南，公元前500 至公元300 年。一個坐在凳上的裸體男人銅像，面部描繪精細，眼睛突出，眉毛彎曲，嘴巴張開，雙手放在彎曲的膝蓋上。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。 Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：條件與年齡相稱，大面積磨損、缺損、裂縫、風化和侵蝕、腐蝕、鑄造缺陷、刻痕、劃痕，精美的孔雀石綠色包漿，整體呈棕色結殼。 重量：395 克 尺寸：高 16.1 厘米 東山文化是位於越南北部紅河河谷的一個鐵器時代史前文化。它約繁盛於公元前1000年到公元前後，它影響的區域包括東南亞其他地區乃至以及印度-馬來亞群島。越南歷史學家將其歸因於範朗州和悠樂州。公元前1000年，它的影響了東南亞的其他地區，包括海上東南亞。長期以來，這種文化對西方考古學家來說一直是個謎，人們只能通過青銅器了解它，其中許多通過考古墓地挖掘。東山青銅器在其原始位置被確定之前就在歐洲展出了一個世紀，關於文化年代測定方法的幾種理論和推測一直持續到今天。

A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 8th-10th century. Sensitively carved with heavy-lidded downcast eyes with incised pupils, thick ridged brows, a broad nose, elongated earlobes, and full lips forming a calm smile, the hair in snail shell curls over a high ushnisha.Provenance: Collection Monsieur M., an important French private collection. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Old wear, losses, nicks, scratches, very minor old fills, signs of weathering and erosion, encrustations, structural cracks. Fine, naturally grown patina. Scientific Analysis Report: A technical examination was conducted by Podany Conservation Services. The examination report concludes: “A comparison of observed features does favor the opinion that the head fragment is not of modern origin or a forgery.” The signed examination report, dated 24 May 2021, accompanies this lot. Note that the purported date stated in the examination report is circa 9th-11th century.Weight: 3,340 g (incl. stand)Dimensions: Height 17.5 cm (excl. stand) and 25.5 cm (incl. 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, p. 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.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 12 June 2018, lot 239Price: EUR 15,000 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A stone head of Buddha Shakyamuni, Thailand, Dvaravati period, 8th-9th centuryExpert remark: Despite being a larger example (32 cm), this comparable shares very similar facial characteristics with the current lot, including a flattened down-turned nose, a joined brow, pointed helices of the ears, and a lower lip equal or greater in size to that of the upper.Auction result comparison:Type: RelatedAuction: Bonhams New York, 19 March 2019, lot 874Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th centuryExpert remark: Note the size (23.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

'GRAPES', BY QI LIANGCHI (1921-2003)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Boldly painted with vivid brushstrokes, depicting hanging branches with large leaves and bunches of grapes.Inscriptions: Upper left, signed 'Qi Liangchi', dated 'in the Year of Ren[…]', and inscribed 'for brother Rongtang'.Provenance: The Oliver Impey Collection of Modern Paintings. Acquired at PS & N in October 1966. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Very good condition with minor wear, little soiling, minuscule tears to edges, minor creasing.Dimensions: 68,5 x 33 image size, and 203 x 49,5 total sizeQi Liangchi (1921-2003), born in Xiangtan, Hunan, became a well-known painter in the style of Zichang. He was the fourth child of the famous Qi Baishi. At the age of ten, he studied traditional Chinese painting techniques under the guidance of his father. At twenty-four, he graduated from the Fine Arts Department of Beijing Furen University, and then engaged in art education. Later, following Zhou Enlai's entrustment, he resigned from teaching to serve the elderly Baishi and study the Qi School of painting. After Baishi's death, he taught at the National Peiping Art College. Auction result comparison:Type: RelatedAuction: Beijing Hanhai Art Auction Co. Beijing, 7 December 2012, lot 337Price: CNY 103,500 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: Qi Liangchi (1921-2003), Grape and butterflyExpert remark: Compare the related motif and technique with similar brushstrokes. Note the size (130 x 66 cm).齊良遲(1921-2003)《葡萄》中國，紙本水墨設色，掛軸。流暢的構圖和清麗的設色，不加任何渲染，葡萄憑空而來，藤纏蔓繞，果實累累，葡萄的闊葉以兩三筆簡練寫出，明暗墨色變化多端。 款識：榮唐師兄法正壬年三月齊良遲；鈴印：齊良遲 來源： Oliver Impey 現代繪畫收藏，於1966年10月購於PS & N。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入瞭解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況極好，有輕微磨損、少量汙漬、邊緣有輕微撕裂和摺痕。 尺寸：畫面68,5 x 33 釐米, 總 203 x 49,5 釐米

AN OVAL BRONZE FOLDING OIL LAMP, DENG, HAN DYNASTYChina, 206 BC to 220 AD. The lamp is made in the shape of an ear cup and raised on a narrow foot ring. One side of the cover is hinged and has a spout at one end and a pricket on the interior. The cover is divided into quadrants cast with dragons and tigers separated by a central panel with inscriptions and set with tiny loops similar to a third at one end of the lamp. The dragon and tiger motifs are repeated on the handles.Inscriptions: To the central panel, '[…] zi ji'.Provenance: Guy Portier, Paris, France, 22 February 1969. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.1.1. Guy Portier (1919-2005) was an important French auctioneer and Asian art expert. His father Andre specialized in the import of silk from the Far East and later served as an expert in the sales of major French collections of Asian art. Guy was in charge of the silk department of the family company until he took over in 1942, gradually focusing on Far Eastern works of art, Japanese prints being one of his passions. In 1967, he included a list of estimates for the objects put up for sale in one of his catalogs for the first time, back in these days a revolutionary change. The family company, Cabinet Portier, still exists to this day. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. Condition: Very good condition, commensurate with age. Extensive wear, minor losses, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown, rich patina with malachite and cuprite encrustations.Weight: 287.6 g Dimensions: Length 10 cmDr. Wou's immense passion and superior knowledge sometimes allowed him to pick up unusual and exquisite Chinese works of art with rare inscriptions, right under the noses of the most experienced dealers and collectors of his days, simply because most of them were unable to read Chinese. The present lot is yet another testimonial to this fact.Literature comparison: A closely related bronze oil lamp, also dated to the Han dynasty, is illustrated in Bronze Articles for Daily Use: The Complete Treasures of the Palace Museum, Hong Kong, 2006, no. 90. It is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover. Note that two of these characters ('zi' and 'ji') are also found on the present lot. A closely related bronze oil lamp, 13 cm long, also dated to the Han dynasty, is in the Art Institute of Chicago, reference number 1930.907, illustrated by C.F. Kelley and Chen Mengjia in Chinese Bronzes from the Buckingham Collection, 1946, p. 199, pl. LXIX.Auction result comparison: Type: Near-identical Auction: Christie's New York, 22 March 2013, lot 1245 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A small bronze oval oil lamp, Han dynastyExpert remark: Compare the near-identical form, decorations, and size (10.2 cm). Note that the oil lamp is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover, with two of these characters ('zi' and 'ji') also found on the present lot.漢代銅燈中國，公元前206 年至公元220 年。燈做成耳杯狀，橢圓形淺圈足上。蓋子的一側是鉸接的，一端可以上翻。燈罩分為龍紋和虎紋，由帶有銘文的中央面板隔開，並在燈的一端設置類似於三分之一的小環。手柄上重複出現龍虎圖案。 款識：[…] 子 吉 來源：法國巴黎Guy Portier，1969年2月22日；吳權博士購於上述藝廊。吳蓮伯美術館，館藏 H.1.1.號。Guy Portier (1919-2005) 是法國重要的拍賣師和亞洲藝術專家。他的父親Andre專門從事從遠東進口絲綢，後來成為法國主要亞洲藝術收藏品的銷售專家。Guy在 1942 年接任之前負責家族企業的絲綢部門，逐漸專注於遠東藝術作品，收藏日本版畫是他的愛好之一。1967 年，他首次在自己的目錄中列出了待售物品的估價清單，這在當時是一個革命性的變化。家族企業 Cabinet Portier 至今仍然存在。吳權博士(1910-1997) 是一位中國外交家和知名中國藝術學者。 品相：品相極好，與年齡相稱。嚴重磨損、風化和侵蝕跡象、小刻痕、輕微劃痕。細膩包漿，帶有紅綠色結殼。 重量：287.6 克 尺寸：長10 厘米

A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, KANDYAN PERIODExpert's note: Sri Lankan figures of Buddha are noted for remarkable stylistic conservativism, having followed a consistent canon of proportions from their earliest origins. The later Kandyan period, however, saw considerable variation in the rendering of the robe, marked by highly precise linear patterns worked into the folds. There are elements to this specific bronze, from the softer casting style of the shoulders and arms to the pronounced surface wear, that make it feel a bit older than most of the Kandyan Period examples on the market.Sri Lanka, 17th-18th century. Solidly cast seated in vajraparyankasana with his hands folded in dhyanamudra, the Buddha's broad-shouldered form is fitted in a finely pleated sanghati draped over his left shoulder. His face bares a calm, meditative expression and was likely once framed by pendulous earlobes and surmounted by a flaming siraspata.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: Some wear and casting irregularities, minor losses, soldering marks, small nicks, light scratches. The head has been reattached at some point in time. Fine, naturally grown, rich patina.Weight: 3,340 gDimensions: Height 15.5 cmAfter three hundred years of internecine civil conflict and successive waves of European imperialists, the Kingdom of Kandy emerged as the pre-eminent Sinhalese political authority. Under its stability and the avid patronage of its kings, Sri Lanka witnessed a Buddhist revival with an unprecedented amount of building and restoring of monastic institutions. Bronze Buddha images proliferated, most of them either gilded or non-gilded depicting the sage in a standing pose. Fewer portrayed the Buddha seated, like the present example.Two predominant forces inform the distinctive style of Kandyan Buddhist art. One is the continuance of Sinhalese tradition in depicting Buddha with a broad body type wrapped in a pleated robe, set by colossal statues of the Anuradhapura and Polunnaruwa periods. The other is a South Indian tradition of expressing dynastic identity through artistic patronage of religious objects, pursued with enthusiasm by the Nayak princes, who were invited to assume Kandy's throne after its last Sinhalese king died without an heir in 1739. Such fusion is exemplified by the present sculpture, whose massive shoulders and air of empyrean authority evoke tradition, while the mesmerizing crinkles of the garment, abstracted physiognomy, and enlarged flame finial summon Kandyan panache.Literature comparison:Compare a closely related bronze figure of Buddha dated to the 18th century, in the Art Institute of Chicago, gifted by Lawrence and Shirley Phillips, the previous owners of the present lot, reference number 1984.1304. Compare fifteenth and sixteenth-century Buddhas from the Divided Kingdoms period (c. 1232-1597), see U. von Schroeder, Buddhist Sculptures of Sri Lanka, p. 467, pls. 144 D-G.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 30 November 2022, lot 1047Price: HKD 355,800 or approx. EUR 42,000 converted and adjusted for inflation at the time of writingDescription: A Silvered Copper Alloy Figure Of Seated Buddha, Sri Lanka, Kandyan Period, 18th CenturyExpert remark: Note the closely related style of the garment folds. Also note that the figure is silvered and significantly larger (26.5 cm) than the present lot.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE FIGURE OF A STANDING BUDDHA, POST-GUPTA PERIOD, INDIA, C. 7TH CENTURYFinely cast standing in contrapposto on an integral lotus-petal base upon a square plinth, the right arm extended to the earth, the open palm exaggerated, the left hand grasping the hem of the robe.Provenance: Steven Finkelman, The Buddha Gallery, California, USA, 2014. Michael Phillips, acquired from the above. Steven Finkelman is a retired social work service director with over 30 years of experience in collecting and selling Buddhist and Hindu sculpture. 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. Wear, minor dents, small nicks, light scratches, casting flaws, signs of weathering and erosion, losses.Weight: 189.7 g Dimensions: Height 11 cmThe present lot is characteristic of Indian art from the post-Gupta period. This small type of portable figure is thought to be one of the earliest kinds of Buddhist images to have been produced by local craftsmen, reflecting the spread of Buddhism throughout India and the rest of Asia after the 3rd century. We see this type of figure replicated in regional styles all the way out to Myanmar. It was even reported by the Chinese scholar Xuanzang (602-664), who traveled to India in the 7th century, that the monks of India had small icons of Buddha in their quarters that they venerated with chanting, ritual bathing, and small offerings of incense and food. He identified these as a small group of metal standing Buddha figures. The Ajanta Caves are approximately thirty Buddhist cave monuments dating from the second century BC to about 480 AD in the Aurangabad district of Maharashtra state in India. Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive works that present emotions through gesture, pose and form. They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two phases, the first starting around the second century BC and the second occurring from 400 to 650 AD. They constitute ancient monasteries (Chaityas) and worship-halls (Viharas) of different Buddhist traditions carved into a 75-meter (246 ft) wall of rock. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities. The patron and bronze founder of the present lot were clearly intimately familiar with the Ajanta site. In cave 4 for example, see a standing Buddha closely related to the present lot.Literature comparison: Compare a related carved relief of a standing Buddha in Cave 19 at the Ajanta complex, taken by Henry Cousens around 1880, from the Archaeological Survey of India Collections. See Sarita Khettry, 'Portable' Images (Buddhist) from Gandhara, Proceedings of the Indian History Congress, vol. 72, 2011, pp. 204-11. Compare also a related pillar painting in Cave 10. Compare a closely related figure, 11 cm high, dated 7th-8th century, at Galerie Hioco, June 24, 2019.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A FAMILLE ROSE PORCELAIN 'LINGZHI' RUYI SCEPTER, MID-QING DYNASTYChina, 1770-1850. The biscuit handle finely modeled as a gnarled branch with a twisting vine bearing leaves, blossoms, and peaches, the ruyi head in the form of a large lingzhi fungus, the head and lower end of the handle each with a gilt-decorated bat.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. Condition: Good condition with expected old wear and some firing irregularities, few tiny losses, little rubbing to gilt and enamels.Weight: 452 g Dimensions: Length 32 cmWith a fine silk tassel dating from the same period. (2)The ruyi scepter, meaning 'as you wish', expresses the desire that someone's wishes come true. As such, it was considered a most suitable gift for an honored friend or high ranking official, particularly on the occasion of a birthday.Ruyi scepters were made in the widest range of materials, from jade and hardwoods to gilt bronze, semi-precious stones and organic materials such as lacquer, ivory, and bamboo. It is particularly rare, however, to find a ruyi scepter made of porcelain, perhaps due to its natural fragility making it a less suitable material for such a long, slender shape.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1610 Price: USD 18,750 or approx. EUR 23,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose ruyi scepter, 19th centuryExpert remark: Compare the related form, modeling, famille rose enamels, and size (30 cm).清代中期粉彩靈芝福壽如意杖中國，1770-1850年。陶瓷堆塑成多節桃枝，藤蔓纏繞，鮮艷玲瓏的壽桃和桃花，如意頭是一株大靈芝，描金蝙蝠飛舞期間。 來源：英國倫敦紳士收藏，其亞洲收藏至少超過五十年歷史，保存至今。 品相：狀況良好，有磨損和一些燒製不規則，輕微小缺損，描金和琺瑯有輕微摩擦。 重量：452 克 尺寸：長 32 厘米 來自同期的細絲流蘇。 (2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1610 價格：USD 18,750（相當於今日EUR 23,500） 描述：十九世紀粉彩如意杖 專家評論：比較相近的外形、堆塑、粉彩和尺寸(30 厘米)。

A RARE AND LARGE GILT BRONZE FIGURE OF AN ENTHRONED MAITREYA, CENTRAL JAVANESE PERIODExpert's note: The fuller, fleshier depiction of Buddha, with a lack of jeweled adornment, places the style of this statue amongst examples dating from the 9th century. The throne and figure are cast from different metal alloys, the throne having a higher copper content and the figure having a higher iron content, resulting in a different appearance of the two, as the metals have developed differently over the centuries.Indonesia, Java, 8th-9th century. Seated in bhadrasana on a stepped rectangular throne, his feet placed on a circular lotus dais, the hands held in dharmachakra mudra, dressed in a monastic robe, and backed by an ornately scrolled foliate mandorla.Provenance: Christie's Paris, 10 December 2014, lot 349. Michael Phillips, acquired from the above. A copy of the original invoice from Christie's, dated 16 January 2015, addressed to Michael Phillips, confirming the dating above, and stating a purchase price of EUR 6,500 or approx. EUR 7,500 (adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, minor nicks, scratches, pitting, losses to gilt, signs of weathering and erosion, corrosion. Still presenting remarkably well, especially given the high age of this sculpture.Weight: 6,585 gDimensions: Height 28.5 cmThis extraordinary gilt-bronze statue represents Maitreya, the Buddha of the future. It is believed that Maitreya will come to save humanity during the final days. The iconography of this particular statue has many similarities with Western prototypes, demonstrating how Buddhist imagery spread to Java along the Silk Road from places as far away as Tibet and Sri Lanka. Such statues were often part of an important and much larger altar set forming a ritual mandala, flanked by supportive bodhisattvas and surrounded by lesser deities.Literature comparison:Compare a closely related bronze figure in the Museum Volkenkunde, Leiden, inventory number 1403-2845. Compare a closely related bronze figure in the Metropolitan Museum of Art, accession number 1987.142.14.Compare also a stone image of Buddha located in situ at Candi Mendut, illustrated in Peter Sharrock and Emma Bunker, Seeds of Vajrabodhi: Buddhist Ritual Bronzes from Java and Khorat. Esoteric Buddhism in Mediaeval Maritime Asia: Networks of Masters, Texts, Icons, 2016, pp. 237-252.Auction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2000, lot 193Price: USD 171,000 or approx. EUR 237,000 converted and adjusted for inflation at the time of writingDescription: An important bronze figure of Kubera, Indonesia, 9th/10th centuryExpert remark: While representing Kubera, the statue contains numerous points for comparison. Note the larger size of 34.8 cm and the significantly better state of preservation.Auction result comparison:Type: RelatedAuction: Christie's Paris, 9 October 2014, lot 350Price: EUR 20,000 or approx. EUR 23,000 adjusted for inflation at the time of writingDescription: A bronze figure of the cosmic Buddha Amoghasiddi, Indonesia, East Java, 11th centuryExpert remark: This statue is an important example for comparison, not only because of the age and casting similarities, but also because it was the following lot in the Paris 2014 Christie's sale. It is important to note that this figure is about half as large and not gilt.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

'NINE CRABS GOING ASHORE', MING DYNASTYChina, 1368-1644. Ink and watercolors on silk, laid down on paper. Exquisitely painted with nine crabs by the shore with reeds, grasses, and daisies, vividly executed with most crabs on land, one partly submerged in the water, and another emerging amid water reeds, each crab shown in a different position and painted with remarkably realistic detail.Inscriptions: Lower left, signed 'Li Goungyuan'. To the back, inscribed '[…] Crabs'.Provenance: The Oliver Impey Collection of Modern Paintings, previously in the Collection Josenbans. The reverse inscribed, 'Collection Josenbans. Period: Ming Dynasty. Subject: Marine life, Grappes [sic]. Artist: Lee Shen Wan', and with an old Swiss customs stamp. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Condition commensurate with age. Wear, staining, soiling, creasing, few tears, minor losses. The silk has thinned substantially over the centuries so that the ink inscription on the reverse has slightly bled through to the front.Dimensions: Image size 98.5 x 40.3 cm, Size incl. mounting 118.5 x 44.3 cmAn old name in Chinese for crab was jia, a reference to the creature's shell, which has the additional meaning of 'first' as in achieving the highest score in the examination to become a government official. The crab was therefore a symbol of success in the imperial examination system. Furthermore, the common Chinese name for crab and the Chinese word for harmony are both pronounced 'xie'.明代《九蟹橫波》中國，1368-1644年，絹本水墨設色，橫軸。岸邊蘆葦叢中九隻螃蟹，栩栩如生，各自戲耍，有的半沉入水中，有一隻出現在蘆葦中，各自不同姿態，生動逼真。 款識：李供垣；鈴印：李供垣印 來源：Oliver Impey現代水墨收藏，來自Josenbans收藏。背面有 'Collection Josenbans. Period: Ming Dynasty. Subject: Marine life，Grappes [sic]. Artist: Lee Shen Wan'字樣，並有瑞士海關印章。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。 他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品于2000年後期香港佳士得拍賣會上售出。品相：磨損、染色、污漬、摺痕、少量撕裂、輕微損失。背面的墨水銘文略微滲透到正面。 尺寸：畫面98.5 x 40.3 厘米，總118.5 x 44.3 厘米