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A DARK SPINACH-GREEN JADE CONG, LATE SHANG DYNASTYChina, c. 1200-1100 BC. The slightly convex thick-sided square-section facetted exterior is left undecorated, terminating in a short circular foot and mouth, the interior aperture of characteristic circular section. The highly polished, mostly opaque stone of gray and bluish-white color with areas of translucent dark green interspersed with black specks and white veins.Provenance: Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Very good condition with old wear, natural fissures, minuscule nicks, and minor chips, some of which have smoothened over time.Weight: 513.1 g Dimensions: Height 14.9 cmThe shape of the present cong is common in jade production dating from the Neolithic period to the Shang dynasty, which was characterized by a square outer section around a circular inner part. The tapered triangular segments at the corners below the mouth and foot are quite rare and a characteristic of later Shang congs. Heaven is symbolized as a circle and earth is a square. Although the precise meaning and function of the cong are, to this day, unknown, one interpretation is that it protected the body against evil spirits and malign influences.Literature comparison: Compare a related undecorated spinach-green jade cong included in the exhibition, Chinese Jade, An Important Private Collection, Spink and Sons, November 1991, in the catalog, no. 23. Compare a related cong of similar form in the British Museum illustrated by Jessica Rawson, Chinese Jade, London, 1995, p. 151, fig. 2. Auction result comparison:Type: Closely related Auction: Christie's Hong Kong, 4 April 2017, lot 167 Price: HKD 187,500 or approx. EUR 25,000 converted and adjusted for inflation at the time of writing Description: A dark spinach-green jade cong, Shang dynasty Expert remark: Compare the closely related form and especially the tapered triangular segments at the corners below the mouth and foot, as well as the smooth sides, fine polish, and dark spinach-green color. Note the smaller size (8.9 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 14 September 2019, lot 1325 Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A mottled beige and gray jade cong, Shang dynasty or later Expert remark: Compare the closely related form, with similar tapered triangular segments at the corners below the mouth and foot, and undecorated sides. Note the mottled beige and gray color as well as the smaller size (9.5 cm).商末深綠玉琮中國，公元前1200-1100 年。略微凸起的厚邊四方形，素面未加修飾，器兩端呈圓口形。高度拋光，不透明的灰色和藍白色玉料，半透明的深綠色區域點綴著黑色斑點和白色紋理。 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：狀況極好，有磨損、自然裂縫、微小的刻痕和小缺口，其中一些已經隨著時間的推移變得平滑。 重量：513.1 克 尺寸：高14.9 厘米

'A RIVER LANDSCAPE', BY PAN GONGSHOU (1741-1794)China. Ink on paper, mounted as a hanging scroll. Finely painted with a mountainous river landscape with a few houses and pavilions nestled between boldly executed trees, above a single figure paddling in a boat.Inscriptions: To the painting, upper left, inscribed 'Lianchao jushi Pan Gongshou', dated 'on a summer day in the Year of Wuwu in the Jiaqing era' (corresponding to 1798), and inscribed 'in the style of Gao Fangshan' (Gao Kegong, 1248-1310); two seals of the artist, 'gong' and 'shou'. Lower right, two seals. To the mounting, to the left beside the painting, inscribed by Wu Yun (1811-1883), 'The exquisite brushwork by Lianchao Jushi [Pan Gongshou] is attributed to the yipin class. This painting is in the style of Gao Fangshan, it is especially excellent. In the Spring of the Year of Yihai [corresponding to 1875], Yuting Wu Yun'; one seal, 'Pingzhai shending'. To the mounting, to the right beside the painting, inscribed by Tang Yusheng (1778-1853), 'Pan Gongshou, artist name Shenfu, sobriquet Lianchao, came originally from Dantu. Wen Hengshan [Wen Zhengming, 1470-1559] titled. It was said that the painting by Wang Menglou [Wang Wenzhi, 1730-1802] was in the style of Gao Kegong and signed by himself. It is really an exceptional painting. Written on a summer day in Jilong shanlu'; two seals. The scroll with an old label, inscribed 'Pan Gongshou, Landscape, Authentic'.Provenance: Collection of W. W. Winkworth, 1966. The Oliver Impey Collection of Modern Paintings, acquired from the above. William 'Billy' Wilberforce Winkworth (1897-1991) was a legendary collector of Asian art. The Oriental Ceramic Society was founded at his father's home in 1921. After military service in World War I, he joined the British Museum in 1922 under R. L. Hobson in the Department of Ceramics, leaving in 1926 to become a full-time collector and 'marchand amateur'. Between around 1948 and 1970 he was a part-time cataloger at Sotheby's, working on Japanese netsuke, lacquer, and sword fittings. He was famous for his eye and range of connoisseurship, especially in ceramics, and exercised a great influence on his generation of British collectors. 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 soiling. The mounting with some wear, creases, and minor losses.Dimensions: Image size 61 x 31.5 cm, Size incl. mounting 216 x 45.7 cmPan Gongshou (1741-1794), also known as Lianchao, was born in Dantu, near today's Zhenjiang, Jiangsu province. He was a painter, seal carver and poet, famous for his landscapes, figural motifs, and still lifes. Many of his paintings depict poetic inscriptions, and Pan is also known to have collaborated with other calligraphers such as Wang Wenzhi. His works can be found in the collection of the National Art Museum of China, among many other museums.Expert's note: The present painting is notable for its appreciative post-mortem inscription by Pan Gongshou's frequent collaborator Wang Wenzhi (1730-1802), which has a posthumous dating of 1798. The superior quality of the painting, as further attested to by the numerous laudatory collectors' inscriptions to the mounting, as well as the old and illustrious Winkworth and Impey provenances, leave absolutely no doubt as to the authenticity of the painting.Auction result comparison:Type: RelatedAuction: Duo Yun Xuan, Shanghai, 30 November 2020, lot 1027Hammer price: EUR 25,437 (converted by Artprice at the time of writing)Description: Pan Gongshou (1741-1794), Landscape (1784), watercolor and ink on silkExpert remark: Note the size (88 x 48 cm), the similar style and the numerous inscriptions潘恭壽(1741-1794)《摹高房山筆》中國，紙本設色，掛軸。峻岩怪石突兀而立，雜樹挺立濃郁，水閣依山臨水，近景一漁夫讀作江舟。境界幽美，深厚蒼渾。 款識：摹高房山筆嘉慶戊午夏日，蓮巢居士潘恭壽 ；鈴印：恭，壽蓮巢居士蓮巢居士筆法精妙，？為逸品。此幅仿高房山，尤屬出神之？也。乙亥小春愉庭吳雲？；鈴印：平齋審定潘恭壽字慎夫，號蓮巢，丹徒籍，？？文畫宗文衡山（文徵明1470-1559）署題，都傳王夢樓（王文治 1730-1802）此幀模高尚書而自署。？誠真妙昌也。丁酉夏日貽汾題於雞籠山麓；鈴印：雨生 來源：W. W. Winkworth收藏，1966年；Oliver Impey現代水墨收藏，購於上述收藏。 品相：狀況極好，有輕微磨損和污漬。裝幀有一些磨損、摺痕和輕微損失。 尺寸：畫面61 x 31.5 厘米，總45.7 厘米

A LARGE GILT-BRONZE FIGURE OF AVALOKITESHVARA, SUI DYNASTY, CHINA, 581-618Published: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, pages 372-373, no. 153. Standing in tribhanga atop an elaborate lotus base, composed of two petaled sections framing an open worked foliate design, all above a tiered pedestal with faceted sides that rises from a separately cast rectangular four-legged stand with open sides.His lowered right hand holds a water vessel while his left hand is raised. He is wearing a long flowing robe with billowing scarves and is adorned with fine jewelry. A flaming mandorla with pierced circular floral nimbus is affixed to the back of the head.The bronze with a superb, solid, naturally grown, rich patina with malachite and cuprite encrustation overall.Provenance: A noted private collection in New York, USA. E & J Frankel Ltd., New York, early 1990s. Friedrich Georg Zeileis, acquired from the above, according to his publication. E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs. 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: Good condition, commensurate with age. Extensive wear, minor losses, nicks, scratches, signs of weathering and erosion, encrustations, corrosion. Minor old repairs. Remarkably well preserved, especially the gilt.Weight: 251.4 g Dimensions: Height 21.2 cmThe unifying but brief Sui dynasty (581-618) set the stage for an artistic and cultural renaissance that reached its zenith in the succeeding Tang dynasty (618-907). Characteristics of Sui period bronze figures of bodhisattvas include subtly swaying, elongated columnar bodies that are adorned in elaborate robes and jewelry. The artisan of the present figure employed a subtle contrapposto positioning, elegant body proportions, a separate mandorla, and a lotus base, elements that developed further during the early and high Tang dynasty.Literature comparison:Compare a related gilt bronze figure of Avalokiteshvara, 43.8 cm high, dated to the Sui dynasty, late 6th century, in the Metropolitan Museum of Art, accession number 12.161a-c, illustrated in Christian Deydier, Chinese Bronzes, New York, 1980, p. 160, no. 126.Auction result comparison: Type: RelatedAuction: Christie's New York, 14 September 2017, lot 818 Price: USD 23,750 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A small gilt-bronze figure of a bodhisattva, Sui dynastyExpert remark: Compare the closely related manner of casting and gilding, pose, robes and scarves, lotus base with tiered pedestal. Note the much smaller size (8.9 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2018, lot 558 Price: USD 68,750 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Avalokiteshvara, Sui dynastyExpert remark: Compare the closely related manner of casting and gilding, pose, and robes and scarves. Compare the related lotus base, four-legged stand, and flaming mandorla. Note the similar size (22.9 cm). Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2017, lot 829 Price: USD 106,250 or approx. EUR 117,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze seated figure of Buddha, Sui-Tang dynasty, 6th-7th century Expert remark: Compare the closely related manner of casting and gilding, lotus base with similar foliate design, and four-legged stand with open sides. Note that this figure depicts a seated Buddha as opposed to the standing bodhisattva in the present lot. Also note the slightly larger size (26 cm).581-618年隋朝大型銅鎏金觀音立蓮像觀音以三曲式立於蓮座上，蓮座分層。觀音左手舉起，右手持一個淨瓶；身著飄逸長袍，佩戴著精美的珠寶。身後有鏤空火焰形光背。銅像包漿堅實自然，整體帶有綠色紅色結殼。 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，頁372-373，圖153。 來源：美國紐約知名私人收藏；紐約E & J Frankel Ltd.藝廊，1990年代初；Friedrich Georg Zeileis，購於上述藝廊，根據他的出版記錄。 品相：狀況良好，嚴重磨損、小缺損、刻痕、劃痕、風化和侵蝕跡象、結殼、腐蝕。有小修補。保存完好，特別是鎏金部分。 重量：251.4 克 尺寸：高 21.2 厘米

A POLYCHROME STUCCO HEAD OF A NOBLE DAOIST BEAUTY, SONG DYNASTYChina, 12th century. Finely modeled with small pursed lips, straight nose and elegantly-shaped eyes, with painted eyelid folds and eyebrows, the forehead with a recessed urna, the delicate features framed by the well-proportioned ears with fine floral earrings and upswept hair secured by a tiara decorated with applied florets and clouds.Provenance: J.A.N. Fine Art, London, 2003. A European private collection, acquired from the above. A copy of the original invoice, dated 9 June 2003, dating the present lot to the Song dynasty, 12th century, and stating a purchase price of GBP 4,250 or approx. EUR 8,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. J.A.N. Fine Art is a noted art gallery specializing in Chinese, Japanese, Korean, Himalayan, and Southeast Asian ceramics, porcelain paintings, and works of art. The company was first established in 1977 in Tokyo, Japan by Kikue Shimizu and has been located on Kensington Church Street in London, United Kingdom for over thirty years. Many of their pieces originate from Japanese collections and have museum-established provenance. Condition: Good condition, commensurate with age. Expected old wear and weathering, obvious losses, nicks, minor structural fissures, small touch-ups. Good, naturally grown patina overall. Displaying exceptionally well.Weight: 7,580 g (excl. stand) Dimensions: Height 37.5 cm (excl. stand) and 48 cm (incl. stand)Mounted on an associated stand. (2)Expert's note: The style of the tiara and smaller ears point to the head belonging to a Daoist figure rather than a Buddhist bodhisattva, as bodhisattvas are usually depicted with long pendulous earlobes.Literature comparison: For examples of Song and Yuan dynasty female figures, see Chai Zejun and Chai Yumei, Shanxi gudai caisu (Ancient Stucco Sculptures of Shanxi), Beijing, 2008, pp. 236-242, 244-247, and 264-267.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2015, lot 426 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A polychrome stucco head of a female attendant, China, Jin / Yuan dynastyExpert remark: Compare the closely related expression with similar features, hairstyle, urna, and tiara. Note the similar size (40.5 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 23 March 2022, lot 291 Price: USD 31,500 or approx. EUR 30,000 converted at the time of writing Description: A polychrome-painted lacquered stucco head of a bodhisattva, Song - Yuan dynastyExpert remark: Compare the related expression and features, hairstyle, urna, and tiara. Note the larger size (52.5 cm).宋代彩繪灰泥道教人物頭像中國，十二世紀。人物面容細節精美，噘著嘴，挺鼻，秀眼，雙眉之間有一個凹形的白毫，頭部和耳朵佩戴精美首飾。 來源：倫敦J.A.N. Fine Art藝廊，2003年；歐洲私人收藏，購於上述藝廊。隨附一份2003年6月9日出具的原始發票的複印件，斷代為宋代，十二世紀，售價為GBP 4,250 ，相當於EUR 8,000 (根據現在的通貨膨脹)。J.A.N. Fine Art 藝廊是一家以中國、日本、韓國、喜馬拉雅、東南亞陶瓷、瓷畫、工藝品為主的知名藝廊。該藝廊於 1977 年由 Kikue Shimizu在日本東京成立，之後來到英國倫敦，三十多年來一直位於英國倫敦的肯辛頓教堂街。他們的許多藏品都來自日本的收藏品，並有博物館確定的出處。 品相：品相良好，舊磨損和風化，明顯的缺損、刻痕、輕劃痕和一些修補。良好、自然生長的包漿，整體狀況良好。 重量：7,580 克 (不含底座) 尺寸：高 37.5 厘米 (不含底座) ，48 厘米 (含底座) 配置支架底座。 (2) 專家注釋：頭飾的樣式和較小的耳朵表明人物為道教人物而非佛教菩薩的頭部，因為菩薩的耳垂通常長長的。 文獻比較： 一件宋至元婦女像，見柴澤俊，《山西古代彩塑》，北京，2008年，頁236-242，244-247和 264-267。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年9月16日，lot 426 價格：USD 11,250（相當於今日EUR 13,500） 描述：金 / 元彩塑侍女首像 專家評論：比較非常相近的表情、髮型、白毫和頭冠。請注意尺寸(40.5 厘米)較小。

A SMALL BRONZE RAIN DRUM, DONG SON CULTURE, VIETNAM, CA. 500 BC TO 300 ADThe round drum with a spreading base, the body composed of straight sides below a bulbous section, finely cast with geometric designs and set with two pairs of loop handles on either side, surmounted by the slightly concave top. The bronze with a fine, naturally grown, solid patina with malachite encrustations.Provenance: An old private collection in France. Acher Eskenasy, Paris, France, acquired from the above in 2001. LP Collection Paris, France, acquired from the above. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris. Condition: Good condition, commensurate with age. Extensive wear, minor losses, dents, nicks, scratches, signs of weathering and erosion, and encrustations.Weight: 2,487 g Dimensions: Height 15.8 cm, Diameter 19.9 cm Dong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam 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 Văn Lang and Âu 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. Bronze rain drums were invented by the Dong Son culture and produced from about 600 BC or earlier until the third century AD. Ranging in height from a few inches to over six feet, up to four feet in diameter, and often of considerable weight, the drums are one of the culture's most astounding examples of metalworking. Examples produced in Vietnam, in addition to works made locally, have been found in south China and throughout mainland and island Southeast Asia. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections - spanning at least a thousand years - between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those of the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Literature comparison: Compare a related bronze miniature drum with four frogs, also dated ca. 500 BC to 300 AD, in the Metropolitan Museum of Art, accession number 2000.284.57.

A LARGE BRONZE FIGURE OF NILAMBARA VAJRAPANI, TIBET, TSANG VALLEY, 13TH-14TH CENTURYPublished and exhibited: John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Los Angeles County Museum of Art and Columbus Museum of Art, 5 October 2003 to 9 May 2004, pp. 203-204, cat. no. 53.Powerfully modeled and boldly cast striding in aldhasana atop a double-headed naga on a lotus base, his right hand holding a vajra and his left held admonishingly in tarjani mudra. He is wearing a tiger pelt around his waist and adorned with jewelry in the form of snakes as well as a beaded necklace. His face with a wrathful expression marked by sharp fangs, wide eyes, raised brows centered by a prominent urna, and a neatly incised beard. His fiery hair is surmounted by a blade-like protuberance with an image of Akshobya Buddha.Provenance: Oriental Gem Co., London, United Kingdom, by 1971. The John C. and Susan L. Huntington Collection, Columbus, Ohio, USA. John (d. 2021) and Susan Huntington are important scholars of Buddhist art, who have done extensive field research and photographic documentation throughout Asia. The couple were not just partners in life but partners in their chosen work of teaching, researching, and publishing about the art of Asia. John's doctoral dissertation, Styles and Stylistic Sources of Tibetan Painting, was a pioneering work written at a time when there was little, if any, scholarly attention being paid to the study of Tibetan art. Following his doctoral work, John spent 1969-1970 traveling in Asia on a National Endowment for the Humanities postdoctoral fellowship pursuing his study of Buddhist art. At the same time, Susan was doing field research in India on a Fulbright grant for her doctoral dissertation. They married in India in 1970. Prior to undertaking graduate studies, John had been a professional photographer and throughout his life, his passion for photography never waned. Susan had developed an abiding interest in photography since taking a course in high school. Together, with Susan making exhaustive field notes as they photographed, the pair developed a teamwork that continued throughout their lifetime of field work, culminating in the John C. and Susan L. Huntington Photographic Archive of Buddhist and Asian Art, which contains nearly 300,000 original slides and photographs documenting art and architecture throughout Asia. Both taught at the Ohio State University, with Susan serving as Dean of the Graduate School and Vice Provost for Graduate Education from 1995 and 2005, and John building a flourishing program in Asian art history, and they have published many articles and books on a wide range of topics related to Asian and Buddhist art, both separately and together. The collecting history of the Huntingtons aligned closely with their academic research and passion for learning. While they collected works in established categories that epitomized major Indian and Himalayan artistic styles or periods, they also pursued pieces that were little understood and that begged for further academic research.Condition: Good condition commensurate with age. Expected old wear, predominantly from centuries of worship within the culture. Minor casting flaws, small dents, minuscule nicks, light scratches, some losses, the unsealed base further with a small tear. The left arm has been reattached with ancient rivets, probably hundreds of years ago. Remnants of pigment. Fine, naturally grown patina overall.Weight: 998.7 gDimensions: Height 25.2 cmVajrapani, originally a peaceful bodhisattva in the Mahayana tradition, has a wrathful manifestation within the Tantric or Vajrayana Buddhist tradition. The present lot depicts Nilambara Vajrapani, or the Blue-Clad One. In this form Vajrapaṇi is dark blue, with one face, three eyes, and two hands. His clothing is blue and his thick matted hair streams upward. His body is adorned with eight serpents in various places, and in his right hand he brandishes a vajra. For the Tibetans, and no doubt for Indian tantric practitioners, this form of Vajrapaṇi was highly popular‍, to the extent that the Kangyur contains no less than seven tantras and two dharani texts centered on this awakened figure.In this manifestation, the wrathful Vajrapani displays his rightful indignation at hindrances that impede the practitioner on the path to enlightenment, directed toward the foolishness of someone who has encountered the Buddha's teaching and who is, even so, too arrogant and prideful to take refuge in the Buddha, Dharma, and the Sangha. For both protection and purification, a wrathful Vajrapani is invoked during the Krodhavesha ritual in the Kalachakra practice, in which the practitioner identifies with Vajrapani.Stylistically the piece belongs to the Tsang Valley school of the 13th or 14th century, but it is entirely Tibetan in conception and execution, without the usual Newar-inspired characteristics associated with this school. Rather, it is freely modeled, ignoring all but the most significant details. The present sculpture's great potency comes from the violently angry grimace and lunging thrust of its position. The modeler has truly captured the feeling of outrage at the unfortunate being who does not have the good sense to seek refuge in the Buddhist teachings.Literature comparison:Compare a related brass figure of Chanda Vajrapani, 16.6 cm high, dated to the 13th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 070. Compare the iconography of a painting of Vajrapani, illustrated in Robert N. Linrothe and Jeff Watt, Demonic Devine: Himalayan Art and Beyond, New York, p. 229.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 304 Price: USD 75,000 or approx. EUR 92,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Achala, Tibet, 13th century Expert remark: Compare the closely related striding pose, wrathful expression with three eyes and sharp fangs, snake ornaments, hairstyle, and color of the bronze. Note the related size (26.2 cm).十三至十四世紀西藏大型金剛手菩薩出版及展覽：John C. Huntington、Dina Bangdel，《The Circle of Bliss: Buddhist Meditational Art》，洛杉磯郡立美術館和哥倫布藝術博物館，2003年10月5日至2004年5月9日，頁203-204，目錄號 53。 來源：英國倫敦Oriental Gem Co.，約1971年；美國俄亥俄州哥倫布The John C. and Susan L. Huntington 收藏。

A GILT-BRONZE FIGURE OF BUDDHA, ZANABAZAR SCHOOLMongolia, 17th-18th century. Heavily cast, seated in dhyanasana with the right hand lowered in bhumisparsha mudra and the left on the lap, wearing a long-flowing robe, the hems incised with a geometric border, the serene face with downcast eyes painted with black pupils, the red mouth with a gentle smile, flanked by elongated ears, the hair in tight curls surmounted by an ushnisha with globular jewel, the base with an original seal in the form of a double vajra. 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. Two labels, 'Antique gilt bronze Buddha on lotus base shrine. 17/18 century', 'HC21/04.75'. A lacquered inventory number '222.14.QI' to the base, indicating an earlier museum deaccession. Another inventory number, '222' lacquered to the top of the base. Condition: Very good condition with minor old wear, few nicks, small dents, light scratches, and expected casting flaws.Weight: 1,137 g Dimensions: Height 15.8 cmThis heavily cast bronze belongs to the Zanabazar artistic school of Mongolia, founded in the 17th century by Jetsun Lobzong Tenpai Gyaltsen (1635-1723). He was an important Mongolian religious figure and personal guru to the Kangxi Emperor. Zanabazar was at an early age recognized by both the Panchen Lama and Dalai Lama as the reincarnation of the Tibetan Lama, Taranatha (1575-1634), and proclaimed the First Jetsundamba, an honorific title. He traveled to Tibet to continue his religious instruction before returning to Mongolia in 1651, bringing fifty sculptors and painters with him in an attempt to establish the Geluk order amongst the Mongols.During his time as a religious leader of the Khalkha Mongols, Zanabazar oversaw a proliferation of Buddhist art in the region. He is especially known for his visualization and design of gilt-bronze sculpture, subsequently carried out by Nepalese bronze casters, which are widely recognized as some of the finest Buddhist gilt-bronze sculptures created.Zanabazar bronze sculptures exhibit a cohesive style testament to the vision of the great leader, characterized by richly gilt surfaces overall, finely modeled and smoothly sloping contours with embellishments limited to borders, full figures standing or seated on an elevated double-lotus base, and a minimalist aesthetic that endows the figures with a sense of stability. Auction result comparison:Type: RelatedAuction: Bonhams London, 14 May 2014, lot 209Price: GBP 20,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A fine gilt-bronze figure of Buddha, Zanabazar School, 17th centuryExpert remark: Compare the related pose, facial expression, lotus base, and gilding. Note the smaller size (11.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 2 October 2018, lot 127Price: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of Amitabha, Mongolia, Zanabazar school, 17th centuryExpert remark: Compare the related pose, facial features, lotus base, and fine incision work. Note the slightly smaller size (13.5 cm).札那巴札爾派銅鎏金佛像蒙古，十七至十八世紀。佛陀結跏趺座，右手觸地印，左手擱膝，身著長袍，面容安詳，垂眸塗黑瞳，面帶溫和的微笑，兩側是細長的耳垂，螺髻中央頂寶珠。雙金剛杵印密封底。 來源：英國倫敦紳士收藏，收藏亞洲藝術已超過五十年，保存至今。兩個標籤'Antique gilt bronze Buddha on lotus base shrine. 17/18 century'與 'HC21/04.75'；底部一個收藏編號 '222.14.QI'，表明可能來自博物館；另一個收藏編號 '222' 。 品相：狀況極好，有輕微的磨損、少量劃痕、小凹痕和鑄造缺陷。 重量：1,137 克 尺寸：高 15.8 厘米

A BLACK STONE FIGURE OF DURGA MAHISHASURAMARDINI, PRE-ANGKOR PERIOD, KHMER, 7TH CENTURYOpinion: Looking at Phnom Da style sculptures, one can see a great degree of cross-cultural influence. While one could argue that this sculptural style is distinctly of Khmer origin, with such early sites present in Vietnam, we are more likely seeing the spread of sources of foreign cultural influence, bringing things like Hinduism, coming from outside the region and merging with local cultures. Certain attributes of this sculpture in particular can be seen in early Gupta sculpture, such as the 4th century Harihara in the National Museum of New Delhi. It is also interesting to note that the earliest known written texts in Southeast Asia are from Vietnam, written during the 4th century, predating the first Khmer texts by hundreds of years.Finely carved in relief with four arms holding symbols of power, positioned above the severed head of a buffalo, with a tall crown and pendulous earlobes, backed by a striated nimbus.Provenance: Spink & Son, London, by 2 November 1999 (according to Christie's record). Christie's New York, 20 September 2000, lot 154 (according to Christie's record). Property from a West Coast collection, acquired from the above (according to Christie's record). Christie's New York, 13 September 2016, lot 245, estimate of USD 30,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). Michael Phillips, acquired from the above in an after-sale transaction. A copy of a Christie's record, accessed on 1 October 2018, confirming the provenance above, and stating an after-sale purchase price for the present lot of USD 18,750 or approx. EUR 21,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, old fills.Dimensions: Height 89 cm (excl. stand) and 97 cm (incl. stand)Mounted on an associated stand. (2)Mahishasura was a shape-shifting king who was granted the power of immortality by Lord Brahma. After years of tormenting his people, he was vanquished by a manifestation of the demon-fighting form of Parvati known as Durga. Durga fought Mahishasura over a period of fifteen days during which he kept changing his shape into different animals. She finally vanquished him when he took the form of a buffalo, slaying him with her trident. It is just after this victorious moment that we see Durga depicted here, with the severed head of Mahishasura laying at Durga's feet and her four arms holding the conch shell, the wheel, the ball, and the club, symbolizing the powers given to her by Vishnu. It is an ancient story of good versus evil.Literature comparison:Compare with a stone image of a female deity from the Da Nang Museum of Cham Sculpture, exhibited in Arts of Ancient Viet Nam: From River Plain to Open Sea at the Houston Museum of Fine Arts, both statues showing an unusual and rare striated nimbus. Also, compare with a stone image of a reclining figure of Vishnu in the Da Nang Museum of Cham Sculpture, both statues showing very similar facial characteristics.Auction result comparison:Type: Closely RelatedAuction: Christie's New York, 13 September 2016, lot 249Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A gray sandstone figure of Durga Mahishasuramardini, Khmer, pre-Angkor period, Phnom Da style, 6th centuryExpert remark: This is an important comparable of Durga from an early period in Southeast Asian history, not only because it is “rare to find a sculpture of the demon-slaying goddess from the pre-Angkor period” (as noted in the catalog description for the lot), but also because it was in the same Christie's sale. Note the much smaller size (51.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A CELADON AND RUSSET YELLOW JADE 'BIRD' AMULET, HONGSHAN CULTUREChina, c. 3500-3000 BC. Of flattened form, carved with protruding round eyes and proud chest, the outstretched wings subtly detailed with grooves and ridges simulating feathers. The reverse pierced with an aperture for suspension. The translucent stone of a striking yellow and pale celadon color with icy white inclusions and russet patches and veins.Provenance: From the collection of Paolo Bertuzzi, by repute acquired in the European trade ca. 1990. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Very good condition with expected old wear, few small nicks, some chips and obvious losses which have smoothened over time. The stone with natural fissures which may have developed into hairlines over time. Fine, unctuous patina.Weight: 36.1 g Dimensions: Height 4.6 cm Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 May 2019, lot 144Price: USD 32,500 or approx. EUR 37,000 converted and adjusted for inflation at the time of writingDescription: A green jade bird-form amulet, Neolithic period, Hongshan cultureExpert remark: Compare the closely related form. Note the size (3 cm).Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 22 May 2020, lot 5123Price: HKD 50,000 or approx. EUR 6,400 converted and adjusted for inflation at the time of writingDescription: A celadon jade 'bird' amulet, Neolithic period, Hongshan cultureExpert remark: Compare the closely related form and size (4.3 cm)紅山文化青玉鳥中國，公元前約 3500-3000 年。青黃色玉質，內部含有赤褐色紋理和冰白色内沁。玉鳥作正面展翅狀，頭部浮雕圓眼和尖喙，身軀朝上隆起，鳥尾末端平直，左右兩翼橫向開展，背部穿孔。 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：狀況極好，有磨損，少量小劃痕，有一些缺損隨著時間的推移已經平滑。帶有天然裂縫的石料，隨著時間的推移可能會發展成細紋。包漿細膩。 重量：36.1 克 尺寸：高 4.6 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年5月19日，lot 144 價格：USD 32,500（相當於今日EUR 37,000 ） 描述：新石器時代紅山文化玉鴞形珮 專家評論：比較非常相近的外型。請注意尺寸 (3厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2020年5月22日，lot 5123 價格：HKD 50,000（相當於今日EUR 6,400 ） 描述：新石器時代紅山文化青玉鳥 專家評論：比較非常相近的外型和尺寸 (4.3厘米)。

'CATS AT PLAY', MING DYNASTY, 1368-1644China, c. 15th-16th century. Ink and watercolors on very fine silk. Exquisitely painted with two cats in a landscape with leafy wild chrysanthemums and grasses, one mischievously grinning as it mounts the other from behind and places one of its paws on the other cat's head, who shows a rather disgruntled expression. Their mostly white fur is superbly rendered, their bushy tails in black and reddish-brown, respectively.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with some wear, soiling, few tiny losses. The old mounting with small chips to edges, wear and traces of use. Dimensions: Image size 32.6 x 25 cm, Size incl. mounting 43.7 x 49.5 cmThe ancient Chinese referred to cats as 'li-nu', which means a wild cat that has been tamed and domesticated. Since antiquity, cats have been employed by people in their familiar roles as pets and mouse catchers, but they sometimes have also served as models for artists, leaping into the world of art for all to see.Throughout much of its history, China has been an agricultural-based country, planting and raising grains and animals. Although the cat does not traditionally figure as one of these animals, The Book of Rites, written at the time of Confucius nearly 3,000 years ago, mentions a sacrificial offering to the cat made by the emperor at the end of every year in gratitude to the cats that protect the fields of grain by catching the hordes of rats and mice. Although the ancient Chinese did not venerate the cat as a deity like the ancient Egyptians, the rat-catching cat protecting grains was the annual recipient of a special ceremony of gratitude and thus enjoyed a status that indeed was higher than other household fowl or domesticated animals.It is commonly said that 'dogs bring wealth' and 'cats bring position'. The character for 'cat' in Chinese is also a homonym for “octogenarian”, so it is an auspicious metaphor blessing for long life and therefore an appropriate subject in painting. Several painters of cats have been mentioned in art historical texts, from the Tang to the Qing dynasties and beyond.Among all the Chinese emperors, Emperor Huizong of Song (1082-1135; reigned 1100-1125) is the most famous cat lover. There are multiple cat paintings that are thought to be original works by Huizong, including one which is considered to be an exceptionally detailed piece, handed down by the Mito branch of the Tokugawa clan.Expert's note: This work exemplifies a popular style of Ming painting developed from techniques established in the Song dynasty by imperial court artist Li Di (active 12th century). The plump contours of the cats' bodies are evoked with diffuse color washes, and their soft-textured fur is then meticulously rendered in painstaking brushwork.Literature comparison: Compare two related Ming-dynasty paintings of cats in the National Palace Museum, Taipei, one with similar wild chrysanthemums painted by the Xuande Emperor, image number K2A000421N000000000PAA, and the other by Shang Xi (fl. ca. 1430-1440), image number K2A002125N000000000PAA.Auction result comparison: Type: Related Auction: Christie's London, 6 November 2018, lot 160 Price: GBP 25,000 or approx. EUR 34,000 converted and adjusted for inflation at the time of writing Description: Anonymous, Ming (1368-1644), Cats and Butterflies Expert remark: Compare the closely related subject, style, and technique. Note the larger size (60.4 x 96.5 cm).明代《貓戲圖》中國，約十五至十六世紀，絹本水墨設色。精美繪有兩隻貓在花草叢中戲耍，一隻惡作劇地咧嘴笑著從後面騎上另一隻貓，一隻爪子放在另一隻貓的頭上，另一隻貓的表情頗為不悅。工筆細細描畫，濃密的尾巴分別是黑色和紅棕色。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、汙漬，微小缺損。木框邊緣有磕損、磨損和使用痕跡。 尺寸：畫面32.6 x 25 釐米，總43.7 x 49.5 釐米

A RARE AND IMPORTANT BRONZE RITUAL WINE VESSEL, EASTERN ZHOU DYNASTY, SHANXI OR HEBEI, CHINA, 7TH-5TH CENTURY 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, pages 252-253, no. 86. Superbly cast, the globular body rising to a short waisted neck with an everted rim, densely decorated with rectangular panels full of archaic scrolls divided by rope-twist bands, all neatly incised in fine relief. The bronze with a rich, solid, naturally grown patina with malachite and cuprite encrustation.Provenance: A noted private collection in New York, assembled since the 1920s. E & J Frankel Ltd., New York, early 1990s. Friedrich Georg Zeileis, acquired from the above, according to his publication. E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs. 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: Very good condition, commensurate with age, displaying spectacularly. Extensive old wear, minor dents, small nicks, light scratches, minute losses, signs of weathering and erosion, soil encrustations. Absolutely original with no fills or repairs whatsoever! A Zhou-dynasty bronze in such a well-preserved state must be considered exceedingly rare.Weight: 2,628 g Dimensions: Height 23.5 cmSeveral names have been given to vessels of this shape. A variety of designations, including lei, ling, fou, and pou, appear in inscriptions cast on the everted rims of some of these bronzes, even vessels closely comparable in shape. This type first appeared in the late Shang/early Western Zhou period, and the first versions typically had a long neck and sharply angled shoulders. By the end of the eighth century, the necks on these vessels had become proportionately shorter, and the shoulders more rounded. With its sharply angled shoulders and short neck, the present vessel would appear to represent a transitional period in the vessel's development.Expert's note: According to the Zeileis publication, the present lot was judged by Dr. W. Thomas Chase, retired Head Conservator of the Department of Conservation and Scientific Research at the Arthur M. Sackler Gallery and the Freer Gallery of Art, as a “doubtless genuine bronze”, while it was with E & J Frankel. According to the same publication, the present lot was examined in 1998 by Dr. Anna Bennett, an archeological scientist and conservator, who found it to be irreproachably authentic as well as unusual in this form, and extremely rare.Literature comparison: Compare a related bronze fu with similar decoration, also without handles, illustrated by Jenny So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, page 217, no. 34. The author notes that vessels with 'twist-rope' panels can be found from the provinces Shanxi to Hebei. Compare a related bronze pou, 20.5 cm high, dated to the Eastern Zhou dynasty, 7th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.277, illustrated by Jenny So, ibid., p. 210-213, no. 32. A lei without handles and with related dragon scroll cast on the shoulder, but undecorated on the lower body, from Henan Xinyang Guangshan Baoxiangsi G1, is illustrated by Jenny So, ibid., p. 134, fig. 13.2, where it is dated to the second quarter of the 6th century BC.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2013, lot 1113 Price: USD 663,750 or approx. EUR 771,000 converted and adjusted for inflation at the time of writing Description: A fine and rare bronze ritual wine vessel, lei, Spring and Autumn period, early 7th century BCExpert remark: Compare the closely related form and related decoration. Note the slightly larger size (29.5 cm).Auction result comparison: Type: Related Auction: Christie's Amsterdam, 6 November 2007, lot 334 Price: EUR 86,650 or approx. EUR 125,000 adjusted for inflation at the time of writing Description: An archaic bronze ceremonial wine vessel, fou, Eastern Zhou dynastyExpert remark: Compare the related form and decoration. Note the animal handles and slightly larger size (29.7 cm).西元前七至五世紀重要青銅酒器，山西或河北敞口外翻，束頸，豐肩，斂足，圈足。器身地飾鳥紋與繩紋帶。豐富、堅固、自然的銅銹，帶有孔雀石色和赤銅色結殼。造型美觀，紋飾謹嚴，鑄造精良。出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze)》，1999年，第252-253頁，圖 86。 來源：知名紐約私人收藏，建立於上世紀二十年代；紐約E & J Frankel Ltd.藝廊，上世紀九十年代初；Friedrich Georg Zeileis購於上述藝廊，並收編於他的出版物。 品相：品相極好，大量磨損、輕微凹痕、小刻痕、輕微劃痕、微小缺損、風化和侵蝕跡象、土壤結殼。無任何填充或維修！如此保存完好的周代青銅器，實屬難得一見。 重量：2,628 克 尺寸：高 23.5 釐米

A 'CHILONG' JADE WEIGHT, EMBELLISHED WITH A GILT-BRONZE 'DRAGON' PLAQUE, HAN DYNASTYChina, 2nd century BC - 2nd century AD. The jade carved around the sides with two writhing chilong and a bear clutching their tails. The top fitted with an openwork bronze roundel in form of a sinuously coiled dragon. The translucent stone of a pale creamy-white color with veins and shadings of lavender-gray, white, and brown.Provenance: La Balaustra Antichita, Bologna, Italy. Paolo Bertuzzi, acquired from the above in 1999. A copy of the original certificate from La Balaustra Antichita, dated 5 April 1999, written and signed by Giuliana Zanetti, describing the piece as a jade group of mythical beasts with a gilt bronze fitting in form of a dragon, dating from the Han dynasty, 2nd century AD, accompanies this lot. 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: Good condition with minor wear, the bronze fitting with small cracks, losses, remnants of gilt, and a fine naturally grown patina with malachite encrustations overall. The jade with wear, few small nicks, minuscule losses, iron sediments, remnants of old adhesive, and natural fissures, some of which may have developed into thin hairline cracks. The jade and the bronze possibly associated.Weight: 209.4 g Dimensions: Length 7.7 cm漢代玉螭龍鎮紙，裝飾鎏金銅龍紋牌中國，公元前二世紀至公元二世紀。玉石四周雕刻著兩條螭龍和一隻抱住尾巴的熊。鎮紙頂部鑲嵌著鏤空龍紋銅牌。白色的半透明玉石，帶有淡紫色灰色、白色和棕色的紋理和陰影。 來源：義大利博洛尼亞La Balaustra Antichita；Paolo Bertuzzi 1999年購於上述藝廊。隨附一份1999年4月5日 La Balaustra Antichita 出具的原始發票複印本一份，Giuliana Zanetti書寫並簽名，描述此件拍品為玉獸龍紋銅牌組，漢代。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：品相良好，輕微磨損，銅配件有小裂紋、脫落、鍍金殘留物，自然包漿帶有綠色結殼。玉質磨損，小缺口，輕微缺損，有鐵質沉澱物，有舊膠殘留，天然裂隙，有的已發展成細絲狀裂紋。 重量：209.4 克 尺寸：長7.7 厘米

A RARE BRONZE FIGURE OF A RAT, DONG SON CULTUREVietnam, 500 BC to 300 AD. Well cast standing foursquare with the head slightly raised and ears pricked, the tail pointing upwards, the face with bulging eyes and open mouth.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Some repair and touchups as generally expected from ancient Dong Son excavations. Losses, fissures, erosion, and corrosion. Minor casting flaws. Overall, still good condition, especially for such a rare piece. Fine malachite-green patina with brown encrustations overall.Weight: 164.8 g Dimensions: Length 12 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.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 10 March 2022, lot 285Price: EUR 3,539Description: A rare bronze fish and mythical beast, Dong Son culture東山文化罕見銅鼠擺件越南，公元前500 至公元300 年。銅鼠呈站姿，四足着地，頭略微抬起，耳朵豎起，尾巴朝上，眼睛張開。 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：一些修復，正如古代東山文化挖掘所普遍預期的那樣。缺損、裂縫、侵蝕和腐蝕，輕微鑄造缺陷。總體而言，品相良好。精美的孔雀石綠銅鏽，整體呈棕色結殼。 重量：164.8 克 尺寸：長 12 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。 拍賣結果比較： 形制：相近 拍賣：維也納Galerie Zacke，2022年3月10日，lot 285 價格：EUR 3,539 描述：東山文化魚與神獸青銅擺件

A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)

'SCHOLAR UNDER A WUTONG TREE', BY ZHANG DAQIAN (1899-1983)Exquisitely painted with a bearded scholar seated on a bamboo chair, wearing loose-fitting robes and a tall cap, under two blossoming wutong trees, their leaves painted in shades of blue with virtuosic skill, all above a squatting attendant fanning a small oven to prepare some tea.China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper right, signed 'Zhang Daqian Yuan', and titled 'Scholar under a Wutong Tree', two seals of the artist, 'Zhang Yuan siyin' and 'Daqian Jushi'. Lower left, one seal.Provenance: The Oliver Impey Collection of Modern Paintings. 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: Good condition with some wear, creasing, soiling, small losses, minor touchups, the roller caps lost. Dimensions: Image size 98 x 51 cm, Size incl. mounting 208 x 62.4 cmZhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally active as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Zhang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon and affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 November 2021, lot 1127Price: HKD 275,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Scholar Looking for Inspiration Expert remark: Compare the closely related subject with a similarly painted tree. Note the size (107 x 41.2 cm).張大千(1899-1983)《梧桐樹下翁》中國，紙本水墨設色，掛軸。梧桐樹下，老翁坐在竹椅上，身穿寬鬆長袍，頭戴高帽，一旁蹲著的小童正扇著小爐燒水，準備茶水。筆墨灑脫，工寫結合。 款識：高梧三雙玉，綠蔭如秋水，下有兀坐翁，妙在澄懷裏。爰。鈴印：張爰之印，大千居士。 來源：Oliver Impey 現代繪畫收藏。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，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況良好，有一些磨損、摺痕、污漬、小缺損、小修補、掛軸蓋丟失。 尺寸：畫面98 x 51 厘米，總208 x 62.4 厘米

A VERY FINE FAMILLE ROSE 'BOYS AT PLAY' VASE, MEIPING, REPUBLIC PERIODChina, 1912-1949. Of ovoid form tapering towards the foot, surmounted by a short waisted neck, finely painted in gilt, iron-red, and bright enamels, with boys playing music and performing with masks in a garden scene, further depicting rockwork with lingzhi, a prunus tree, and violet chrysanthemums, the foot with a gilt rim.Provenance: From a private collection in San Francisco, United States, acquired in the 1990s. Dr. Neill Kendall, acquired from the above. Christie's South Kensington, 14 May 2010, lot 415, sold for GBP 8,750 or approx. EUR 15,000 (converted and adjusted for inflation at the time of writing). A private collection, United Kingdom, acquired from the above. Dr. Neil Kendall's interest in Chinese porcelain was sparked while studying in Hong Kong as a medical student. He started his collection in the 1990s with the help of Peter Wain, a noted Asian art dealer. Kendall's collection specialized in the finest Republic period pieces from master potters and porcelain painters, but also included Yixing ware. Condition: Only minor wear to the enamels. A long hairline to body and shoulder, stabilized.Weight: 427.5 g Dimensions: Height 20.3 cmThe recessed base with an apocryphal blue-enameled four-character mark Yongzheng nianzhi. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 1 June 2011, lot 4027Price: HKD 112,500 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A fine famille rose 'boys' vase, Hongxian iron-red mark within double-squares, Republic periodExpert remark: Compare the related form, fine painting, motif, and enamels. Note the size (24.8 cm).民國粉彩《嬰戲圖》瓶中國，1912-1949年。瓶口微撇，短頸，圓肩，肩以下漸收，圈足。粉彩描金，描繪園中童戲，一群兒童在敲鑼打鼓，另一個童子頭戴面具，正蹲在樹下，手中拿著一根長棍，上面挂著紅蝙蝠。場景生動活潑，稚趣可愛。 來源：美國舊金山私人收藏，購於上世紀九十年代；Dr. Neill Kendall購於上述收藏；南肯辛頓佳士得，2010年5月14日，售價 GBP 8,750或 EUR 15,000 (根據通貨膨脹率)；英國私人收藏，購於上述拍賣。Dr. Neil Kendall對中國陶瓷的興趣是在香港讀醫科的時候產生的。他於 1990 年代在著名亞洲藝術品經銷商Peter Wain 的幫助下開始收藏。Kendall的藏品專注於民國時期陶瓷，但也包括宜興瓷器。品相：琺瑯只有輕微磨損，瓶身和肩部有細長裂紋。 重量：427.5 克 尺寸：高 20.3 厘米 圈足内青花“雍正年製”四字款。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2011年6月1日，lot 4027 價格：HKD 112,500（相當於今日EUR 18,500） 描述：民國粉彩庭院嬰戲圖瓶，礬紅雙方框四字楷書款 專家評論：比較相近的外形、精美的繪畫、主題和琺瑯。請注意尺寸(24.8 厘米)。

A MONUMENTAL SANDSTONE HEAD OF BUDDHA, NORTHERN WEI DYNASTY, CHINA, 386-534Opinion: The head is carved from buff sandstone that has the appearance of granite from a distance. The style and material are typical of examples from the Yungang caves and surrounding area.Published: Stephen Little, Images of the Buddha from the Michael Phillips Collection, Arts of Asia, Jan-Feb 2013, page 112, no. 29.The rounded face deeply carved with small, pursed lips, broad flattened nose and thin, sharply cut eyes, flanked by long pendulous ears, all beneath the simply rendered hair and tall ushnisha. The stone of reddish-brown tone with some crystalline flecks.Provenance: An American private collection. Christie's New York, 15-16 September 2011, lot 1360, estimate of USD 60,000 or approx. EUR 72,000 (converted and adjusted for inflation at the time of writing). The private collection of Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion.Scientific Analysis Report: A scientific and technical examination was conducted by John Twilley, art conservation scientist. A copy of the examination report, dated 20 September 2007, accompanies this lot. The report concludes that “the evidence strongly supports a history of natural weathering of the stone, on a scale of centuries rather than decades, subsequent to its carving”. Note that this report is also mentioned in the catalog entry by Christies from 15-16 September 2011.Dimensions: Height 43 cm (excl. stand) and 65 cm (incl. stand)Mounted on an associated stand. (2)The first of the formative phases of Buddhist sculpture in China, to which the current sculpture dates, lasted until roughly 495 AD and is represented by the cave temples in the north at Yungang. Over 50,000 statues lay within the Yungang Grottoes and surrounding area. Constructed during the Northern Wei dynasty by the imperial order of Emperor Wencheng, carving in the area began in 460 AD as an act of reparation for the Buddhist persecution of 445-452, and lasted until 494 AD when the capital was moved to Luoyang. The Yungang cliff is formed of horizontal layers of buff-colored sandstone, which lends itself well to sculpture, as well as to the excavation of large caves with horizontal ceilings. The sandstone of this head of Buddha is typical of that found in the Yungang region.Literature comparison:Compare a polychromed figure of Buddha still in place in Cave 9 of the Yungang Grottoes. Compare a related sandstone head of Buddha with similar features and carved of the same type of stone in The Nelson-Atkins Museum of Art, illustrated in the Handbook of the Collection, Kansas City, 1993, p. 303. Also compare with a 'yungang' sandstone head of a bodhisattva, Northern Wei dynasty, at Sotheby's London, 13 May 2015, lot 18. The use of this comparable, which is rather smaller in size (7 cm), serves as solid proof in tying our example to the Yungang area. The sandstone is of an identical color and texture, and the face has very similar features. It therefore almost certainly places our example amongst the most important Buddhist carvings from the Northern Wei period. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2018, lot 3029Price: HKD 3,120,000 or approx. EUR 396,000 converted and adjusted for inflation at the time of writingDescription: A rare and large sandstone head of a Buddha, Northern Wei dynastyExpert remark: This comparable shows numerous similarities with our example, from the domed ushnisha above the simple outlined hair to the long pendulous ears. Note the related size (40 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 April 2016, lot 2814Price: HKD 625,000 or approx. EUR 82,500 converted and adjusted for inflation at the time of writingDescription: A large 'yungang' sandstone head of Buddha, Northern Wei dynastyExpert remark: Note the closely related size (43 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.386-534年北魏砂岩佛陀頭像 出版：Stephen Little，〈Images of the Buddha from the Michael Phillips Collection〉，《Arts of Asia》，2013年1-2月，第112頁，圖 29。 來源：美國私人收藏；紐約佳士得，2011年9月15-16日，lot 1360，估價USD 60,000；Michael Phillips (出生於1943)私人收藏 品相：條件良好，大面積磨損、缺損、刻痕、劃痕、風化和侵蝕。 科學檢測報告：藝術保護科學家John Twilley對此頭像進行了科學檢測。本拍品附有一份日期為 2007年 9 月 20 日的檢驗報告複印本。該報告得出結論，“證據有力地支持了石頭在雕刻之後的自然風化歷史，其規模為數百年而不是數十年”。請注意，佳士得 2011年 9 月 15 日至 16 日的圖錄中也提到了這份報告。 尺寸：高 43 釐米 (不含底座) 與65 釐米 (含底座) 配置底座。 (2)

A RUSSET AND BROWN JADE NOTCHED DISC, XUANJI, LATE NEOLITHIC TO SHANG DYNASTYPublished: Friedrich Georg Zeileis, Ausgewaehlte Chinesische Jade aus Sieben Jahrtausenden (selected Chinese jades from seven millennia), 1994, pages 80-81, no. 64.China, c. 3000-1000 BC. The exterior rim carved as three arcs, each rising to a point and carved with raised teeth, the interior with a plain circle. The stone of a beautiful russet and honey-brown tone with dark veins.Provenance: A private collection in San Francisco, USA, 1980s. Friedrich Georg Zeileis, acquired from the above. 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: Condition commensurate with age. Old wear and tiny nibbles. The stone with natural fissures, some of which have developed into small cracks over time, with associated old fills.Weight: 58.8 g Dimensions: Diameter 9.7 cm (at the widest points)Literature comparison: Compare a related jade xuanji, 11.3 cm wide, dated Neolithic or Shang, 15th-10th century BC, in the British Museum, registration number 2022,3034.82, illustrated by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, 1995, cat. no. 8.1. Compare a related jade xuanji, 13.9 cm diameter, dated to the Shandong or Henan Longshan culture, c. 2300-1700 BC, in the Museum of East Asian Art, Bath, record number 589. Compare a related jade notched disc, 15.6 cm diameter, in the Metropolitan Museum of Art, accession number 27.15.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 March 2014, lot 123 Price: USD 75,000 or approx. EUR 85,500 converted and adjusted for inflation at the time of writing Description: A jade ritual notched disc (xuanji), Neolithic periodExpert remark: Note the significantly larger size (18.5 cm) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2022, lot 822 Price: USD 18,900 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A rare pale green and beigish-brown jade notched disc, Northwest China, late Neolithic period-early Bronze Age, 3rd-2nd millennium BCExpert remark: Note the similar size (11.5 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 November 2018, lot 2709 Price: HKD 1,000.000 or approx. EUR 137,500 converted and adjusted for inflation at the time of writing Description: A Celadon Jade Notched Disc, YabiExpert remark: Note the slightly larger size (13 cm)新石器時代末至商代玉璇璣中國，公元前約3000-1000年。璇璣為扁薄體，近似圓形，光素無紋。中部一大圓孔，內緣規整，外緣為三個同方向旋轉的凸脊，間距相等，每脊間各有兩組分別三個齒狀鉏牙，鉏牙皆排列規整，保存完好。美麗的赤褐色和蜜棕色調玉石，帶有深色紋理。 出版：Friedrich Georg Zeileis，《Ausgewaehlte Chinesische Jade aus Sieben Jahrtausenden (selected Chinese jades from seven millennia)》，1994年，第80-81頁，圖 64。 來源：美國舊金山私人收藏，1980年代；Friedrich Georg Zeileis，購於上述收藏。Friedrich Georg Zeileis 博士（生於 1939 年）是一位退休醫生，收藏了一批重要的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，並出版了大量藝術收藏品的目錄，其中包括精美的中國玉器和青銅器。品相：品相良好，有磨損和小刻痕，帶有天然裂縫的玉料，隨著時間的推移，其中一些已經發展成小裂縫，並有填充物。 重量：58.8 克 尺寸：直徑 9.7 厘米 (最寬處)

A RARE BRONZE FIGURE OF A RECUMBENT BUFFALO, DONG SON CULTUREVietnam, 500 BC to 300 AD. Well cast in a recumbent position with the legs tucked underneath the body, the head raised and flanked by horns, the head and body incised with numerous characteristic spiral designs.Provenance: From the private collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy, and 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: Minor old repairs and fills as generally expected from ancient Dong Son excavations. Some losses, fissures, signs of weathering and erosion, and casting flaws. Overall, still in very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 394.5 g Dimensions: Length 11.8 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam 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 Văn Lang and Âu 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 elephant-shaped vessel with similar spiral designs, 16 cm long, dated 2nd century BC to 2nd century AD, in the Asian Civilizations Museum, Singapore, accession number 2007-56439.Auction result comparison:Type: RelatedAuction: Christie's London, 30 January 2019, lot 149Price: GBP 5,250 or approx. EUR 7,200 converted and adjusted for inflation at the time of writingDescription: Four Cambodian Dong Son buffalo bells, Battambang province, probably 300 BC-300 ADExpert remark: Compare the related spiral decorations and curled horns東山文化罕見銅牛擺件越南，公元前500至公元300年。臥牛雙腿夾在身體下方，頭部抬起，兩側有角，頭部和身體表面有許多典型的螺旋圖案。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。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：小修和填充，一些缺損，裂縫，風化和侵蝕的跡象，鑄造缺陷。綠色銅鏽包漿細膩，有棕色結殼。 重量：394.5 克 尺寸：長 11.8 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 RARE 'PENSIVE MONKEY' BRONZE VESSEL, DONG SON CULTUREVietnam, 500 BC to 300 AD. The vessel in the form of a seated monkey with slender elongated arms and legs, one elbow resting on his knee, the left hand lowered toward his waist and touching his prominent member. The face of almond shape with bulging eyes and a broad nose, the incised mouth forming a subtle smile, flanked by two tubular ears, the mouth of the vessel at the top of his head. The body incised with vertical lines, the recessed base decorated with a characteristic spiral design.Provenance: From the private collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy, and 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: Minor old repairs and fills as generally expected from ancient Dong Son excavations. Some losses, fissures, signs of weathering and erosion, casting flaws. Overall, still very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 663.8 g Dimensions: Height 20 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam 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 Văn Lang and Âu 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 (8.9 cm), in the collection of the Metropolitan Museum of Art, accession number 2000.287.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke Vienna, 16 October 2021, lot 579Price: EUR 15,168 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A rare male bronze figure, Dong Son cultureExpert remark: Compare the nude man with prominent member and related incised decoration. Note the size (28 cm).東山文化罕見坐猴銅管越南，公元前500至公元300年。器形為坐猴狀，手腳細長，一肘擱膝，左手垂向腰部。杏仁形臉，雙眼圓睜，闊鼻，咧開的嘴露出笑意，兩側耳朵。器皿的口在頭頂。主體刻有垂直線條，圈足，全身有螺旋狀圖案。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。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：小修和填充，一些缺損，裂縫，風化和侵蝕的跡象，鑄造缺陷。綠色銅鏽包漿細膩，有棕色結殼。 重量：663.8 克 尺寸：高20 厘米

A BRONZE DEATH MASK, DONG SON CULTUREVietnam, 500 BC to 300 AD. Cast as the face of a man with arched brows above deep eye sockets, pierced almond-shaped eyes, a broad nose, and full lips, the mouth slightly open.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: Fine condition commensurate with age and displaying remarkably well given its high age. Some losses, dents, nicks, scratches and old wear. Expected signs of weathering, erosion and corrosion. Minor structural cracks, old fills and repairs. Magnificent, naturally grown patina overall with extensive malachite and cuprite encrustations.Weight: 315.9 gDimensions: Height 20.8 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam 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 Dong Son bronze face mask, lacking most of the patina because of extensive restoration and conservatory work, illustrated by Danny Tan, Assistant Curator of the Asian Civilizations Museums, Singapore.東山文化銅面具越南，公元前500至公元300年。面具成男人面容，眉毛深邃，眼窩深邃，大眼圓睜，鼻樑寬闊，嘴唇豐滿，嘴巴微微張開。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。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：品相良好，有一些缺損、凹痕、刻痕、劃痕和磨損，並可見風化、侵蝕和腐蝕的跡象；輕微的結構裂縫、填充物和維修。大面積自然包漿與綠色銅紅色結殼。 重量：315.9 克 尺寸：高20.8 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。 文獻比較： 比較一件相近東山文化面具，由於廣泛地修復，因此沒有包漿，圖見新加坡亞洲文明博物館助理館長Danny Tan。

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)。

A BRONZE HALBERD BLADE, GE, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. Finely worked with the elongated blade (yuan) cast in relief with the profile of a mythical beast with ruyi-shaped ears, its long sharp tongue protruding from its mouth and extending toward the tip of the blade, all bordered by crisply finished edges. The end of the yuan pierced with a rectangular chuan (aperture), the tang (nei) with a circular chuan.Provenance: La Balaustra Antichita, Bologna. Paolo Bertuzzi, acquired from the above. A copy of a certificate of authenticity by La Balaustra Antichita, Bologna, written and signed by Giuliana Zanetti, dated 20 January 1992, and describing the piece as a ceremonial axe likely dating from the Shang dynasty, accompanies this lot. 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, commensurate with age. Extensive wear, signs of weathering and erosion, nicks and cracks, shallow surface scratches. Possibly with minor old repairs. Fine, naturally grown patina with malachite and cuprite encrustation overall.Weight: 255.6 g Dimensions: Length 22.8 cmLiterature comparison:Compare a closely related bronze halberd, Western Zhou dynasty, 10th to 9th century, in the collection of the Metropolitan Museum of Art, accession number 1994.605.7.Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2009, lot 230 Price: USD 9,375 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: An unusual bronze socketed ge-halberd blade, Western Zhou dynasty, circa 1100-771 BC西周銅戈中國，公元前約 1100-771 年。細長的刀刃（援）做工精細，浮雕神獸紋，有如意形耳，長而尖的舌頭從嘴裡伸出並延伸到刀尖。援端鑿一長方形孔，援末和胡上有穿繩纏柲的小孔（穿）。 來源：義大利博洛尼亞La Balaustra Antichita；Paolo Bertuzzi 1992年購於上述藝廊。隨附一份1992年1月20日 La Balaustra Antichita 出具的原始發票複印本一份，Giuliana Zanetti書寫並簽名，描述此拍品為商代禮器。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：品相良好，大面積磨損、風化和侵蝕，有刻痕和裂縫、表面淺劃痕。可能有小修。精美、自然包漿，整體帶有綠色紅色結殼。 重量：255.6 克 尺寸：長22.8 厘米 文獻比較： 比較一件非常相近的公元前十至九世紀西周銅戈，大都會藝術博物館，館藏編號1994.605.7。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2009年3月18日，lot 230 價格：USD 9,375（相當於今日EUR 12,500） 描述：公元前1100-771年西周銅戈

'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

COLLECTION OF TWENTY-SIX BOOKS AND AUCTION CATALOGUES ON ASIAN ART. Comprising: Christies - 'An Inquiring Mind: American Collecting of Japanese and Korean Art', Wednesday 22 April 2015; Sotheby's - 'Fine Chinese Export Porcelain', Tuesday 18th November 1986; Bonhams - 'Fine Japanese Art, including two Japanese masterpieces by Kitaoji Rosanjin (1883-1959)', Thursday 7 November 2013; 'Oriental Art', Autumn 1987, VOL. XXXIII No. 3; Five books on Chinese painting and watercolours in English and Chinese, including: 'The Ten Bamboo Studio - A Chinese Masterpiece' by Crescent Books, Crown publishers, New York, 1979, and others; Six books on Japanese Art including: Japanese Art & Handcraft', by Henri L. Joly & Kumasaku Tomita, Sawers-Valansot Publication, 1976; 'The Ukiyoe Exhibition', 1993; 'Osaka Prints' by Dean J. Schwaab, published by John Murray Ltd, London, 1989; 'Japonisme - Japanese Influence on French Art 1854-1910', published by The Cleveland Museum of Fine Art and others with assistance of Robert G. Sawers, London, 1988; Books on Chinese Art, including: 'Chinese Art' by Lubor Hajek, published by Spring Books, London; 'Chats on Oriental China - A Practical Guide for the Collector' by J.F. Blacker, published by T. Fisher Unwin, London; 'The Genius of China', published by William Watson; 'Antique Jade', by Oscar Luzzatto-Bilitz, published by Paul Hamlyn, London, 1969; and others (26)

Asian Art - The Baur Collection, Geneva 9 volumes Ayers, J. Chinese Ceramics. Geneva, 1968-1969-1972-1974, 4 volumes, number 22 (volume 1) and number 44 (volumes 2-4) of 50 copies bound in leather, dustwrappers, slipcases;Ayers, J. Japanese Ceramics. Geneva, 1984, number 44 of 50 copies bound in leather, dustwrapper, slipcase; Schneeberger, Pierre F. Chinese Jades. Geneva, 1946, number 45 of 50 copies bound in leather, dustwrapper, slipcase; Schneeberger, Pierre F. Japanese Lacquer (Selected Pieces). Geneva, 1984, number 44 of 50 copies bound in leather, dustwrapper, slipcase;Robinson, B.W. Japanese Sword-Fittings. Geneva, 1980, number 44 of 50 copies bound in leather, dustwrapper;Coullery, Marie-Thérèse and Martin S. Newstead. Netsuke (Selected Pieces). Geneva, 1977, number 44 of 50 copies bound in leather, dustwrapper, slipcase; all with plates;with the original publishing prospectus for the Chinese Ceramics and Netsuke volumesNote: Note: A fine set of very important reference works on Asian art, the volumes written by leading experts in their respective areas.1,000 copies were published of the limited edition of Chinese Ceramics, volume 2 of Chinese Ceramics being priced at £12 10s. In addition, according to the prospectus included in the lot, "Further limited edition of 50 copies printed on special paper and bound in leather, £20". The prospectus for the Netsuke volume states "Volume 6 of the series is the first to deal with Japanese art. It illustrates and describes 1,200 selected netsuke of the Baur Collection covering all manufacturing centers. The collection is particularly rich in netsuke created by artists who lived in the second part of the 19th and the beginning of the 20th century in Osaka and Tokyo. In addition to the illustrations and descriptions of these 1,200 pieces, the catalogue contains also 8 colour plates showing the work of 8 selected artists, an alphabetical list of 897 signatures illustrated on separated plates. A glossary and an index complete the book".Sets of the edition limited to 1,000 copies rarely appear on the market; sets of the special edition bound in leather are exceptionally rare.

’THE LORD CUNLIFFE CONG'康裏弗勛爵藏玉琮A RARE CHINESE NEOLITHIC JADE FOUR-TIERED CONG, LIANGZHU CULTURE, CIRCA 3300 - 23OO BC良渚文化 四層獸面紋玉琮 公元前3300-2300Of cylindrical slightly tapering form with square rounded corners, carved with four registers with simplified human masks, the stone of mottled green and brown tone with some crystalline inclusions, the patina soft, tactile and ancientHeight: 11cmProvenance: Sir Ernest Debenham Collection, acquired prior to 1928The Rt. Hon. Rolf, 2nd Baron Cunliffe of Headley (1899 - 1963), collection no. JA6, acquired from Bluetts in 1946Private collection, Chicago, acquired in the early 1990’sErnest Debenham 爵士收藏， 購於 1928年 Cunliffe 勛爵 收藏 (1899-1963)  收藏編號 JA6 1946 年購於 英國古董商 Bluetts 芝加哥私人收藏，購藏于1990年早期 A similar four-tiered jade cong was sold at Christie’s Hong Kong, 27th November 2019, lot 2720, The Chang Wei-Hwa Collection of Archaic Jades, Part I, Neolithic Period, acquired in Hong Kong in 1992. Sold for HKD 2,375,000. Another four tiered cong from Masterpieces of Ancient Chinese Jades: The Zan Ji Xuan Collection, was sold at China Guardian, Hong Kong, 10th Anniversary Autumn Auctions 2022, lot 1521, for HKD 624,000.Jade Neolithic congs and bi discs are probably some of the most intriguing objects from ancient Chinese culture. They were carved by the Liangzhu people who lived around the current Lake Tai in Jiangsu province. Scholars are not sure of their actual purpose, although they have been found included in the Liangzhu tombs of noblemen as burial goods for the after-life. There are several examples known in western and Asian museums, in particular the British museum has fine examples. Jessica Rawson has suggested that these pieces may all have come from one or two tombs discovered in the late 19th or early 20th century, see Rawson, J. Chinese jade from the Neolithic to the Qing, British Museum, London, 1995, pg.122 & 128.According to Davids & Jellinek, Provenance, 2011, pg.132, Wing Commander Lord Cunliffe, 'was one of the best-known of the mid 20th century collectors of Chinese works of art and a prominent member of the Oriental Ceramic Society from 1946. He first strode into the pages of Bluett’s Day Books on Thursday 30th November 1944, purchasing a small Han dynasty pottery jar with a notable iridescent glaze for £15. Over a period of almost twenty years he bought more than 400 pieces from Bluett’s.'相似一件四層獸面紋玉琮售于香港佳士得2019年11月27日張偉華高古玉收藏專場（一）拍品號2720.此拍品于1992年購於香港，落槌價為兩百三十七萬五千港幣。 另一件相似的四層獸面玉琮于2022年售于香港嘉德玄禮四方-暫集軒珍藏中國古代玉器，拍品號1521，落槌價為六十二萬四千港幣。新石器時代的玉琮和玉璧可能是中國古代文化中最引人入勝的物品之一。由居住在今江蘇太湖一帶的良渚人雕刻而成。儘管在良渚貴族墓葬中發現它們主要作為下一來世的陪葬品，但學者們並不確定它們的實際用途。在西方和亞洲的博物館中有幾個例子，特別是大英博物館中的玉琮收藏質量精美。傑西卡·羅森 (Jessica Rawson) 認為，這些玉琮可能都來自於 19 世紀末或 20 世紀初發現的一兩個貴族墓葬中。見傑西卡·羅森 (Jessica Rawson) 大英博物館藏中國玉器，從石器時代到清。 于1995年出版于倫敦，頁122，128.据David&Jellinek，Provenance一書中描述，Cunliffe 二世勛爵，是二十世紀中葉最爲著名的中國藝術收藏家之一，同時于1946年成爲東方陶瓷協會的永久成員。1944年11月30日當他第一次走進當時倫敦著名古董商Bluett’s的古董店中，購買了一件漢代彩陶花費十五英鎊，至此開始了他的中國藝術品收藏生涯，此後的二十年閒，他從著名古董商Bluett’s 那裏購入了超過400件中國古代藝術品。此次拍賣的良渚文化四層獸面玉琮也是于這一時期購入。Condition ReportThe cong has been examined under UV light, the stone with a fine waxy polish with natural fissures and flaws, one emanating from the upper corner (approximately 2cm long) and one from the lower corner (approximately 1cm), three very minor chips to the corners of the human masks, and two circa 1cm., shallow chips to the base of the foot.

Ca. 618-907 AD.A circular bronze mirror with lobed recess to one face with intricate relief depicting a three-clawed dragon between four vaporous clouds. From the central part of the body, a perforated raised knob protrudes. The dragons' eyes, mouths, and scales are carefully depicted, indicating the many hours of workmanship that must have been spent on making this piece. Dragons are a symbol of power, strength, and good fortune in Chinese art. The Tang dynasty ruled most of China between AD 618 and 907, and this period is widely viewed as an era of progress and stability, during which many scientific and artistic advances were made. This beautiful mirror may have belonged to a noble lady who lived under the Tang. Cf. Christie's, Live Auction 2658, Luminous Perfection: Fine Chinese Mirrors from the Robert H. Ellsworth Collection, 22 March 2012, Lot 1452.Size: L:125mm / W:125mm ; 415gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTY 唐初大型重要許願錘鍱鎏金銅牌Expert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。

A WHITE AND RUSSET JADE GROUP OF A WATER BUFFALO AND A CALF, 18TH - 19TH CENTURY 十八至十九世紀白玉留皮子母牛擺件China. Carved in the round as a large water buffalo lying placidly on its stomach with four legs bent underneath and the head turned to the left towards a smaller buffalo, the gracefully curved horns flanking the flat forehead, the neck detailed with an undulating dewlap, the tail finely detailed with hair markings. The calf with its head raised playfully facing his larger companion. The translucent stone of even white to very pale celadon tone with distinct russet and white veining.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: Excellent condition with minor wear. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The stone with an attractive soft polish.Weight: 340.0 g Dimensions: Length 8 cmAs a familiar beast of the fields, the water buffalo underpinned rice production and the rural economy. As such it is emblematic of agriculture and springtime and represents strength, endurance, dedication to hard work, prosperity, and tranquility. It is also used in artistic representations, particularly in Chinese paintings, to evoke a bucolic, idealized existence in the countryside. This, in turn, feeds into a more mythical or spiritual side to the buffalo, recalling both Buddhist and Daoist concerns with retreat, and the founder of Daoism, the philosopher Laozi, who departed from the borders of the known world on a buffalo.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 December 2021, lot 220Price: HKD 852,500 or approx. EUR 107,000 converted and adjusted for inflation at the time of writingDescription: A superb pale green jade 'buffalo and young' group, 18th centuryExpert remark: Compare the closely related pose, and the fine incision work. Note the larger size (12.5 cm) and the fact that this group is firmly dated to the 18th century.十八至十九世紀白玉留皮子母牛擺件中國。圓雕子母牛，五官清晰，呈俯臥狀，腿彎曲在肚子下面，一隻小牛依偎在大牛身旁，頑皮地抬起頭，面對著母牛。玉質溫潤細膩，包漿醇厚。 來源：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：狀況極好，有一些磨損。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的裂縫。 重量：340.0 克 尺寸：長 8 厘米 牛是最早被人類馴養的六畜之一，成為農耕社會裡重要的生產力。作為農耕社會的圖像符號，牛還像徵著春天，代表著力量、耐力、對辛勤工作的奉獻、繁榮和安寧。它也用於藝術表現，特別是在中國畫中，它是宋元畫家筆下描繪鄉野之趣、田園牧歌的詩意“化身”，也因此牛還有其神秘的一面，比如道教對退隱的嚮往，比如老子騎著青牛。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年12月2日，lot 220 價格：HKD 852,500（相當於今日EUR 107,000） 描述：十八世紀青白玉雕子母牛擺件 專家評論：比較非常相近的姿勢和精緻的雕刻。請注意尺寸較大 (12.5 厘米) ，以及此玉被斷為十八世紀。

† A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTY 唐代小漢白玉獅Published: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A SMALL JADE FIGURE OF A BIXIE, SIX DYNASTIES 六朝玉雕小辟邪China, 220-589. The mythical beast is shown crouched low in an attacking stance, standing on four feet, the face with mouth ajar revealing a set of sharp fangs, bulging eyes below curled eyebrows, the body further detailed and finely incised, terminating in a bifurcated tail, and pierced through the center. The translucent stone is of a fine pale celadon and yellow tone with white surface alterations.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades. Condition: Very good condition with minor wear, encrustations, surface alterations, remnants of iron red soil, few small nicks here and there. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 26.4 g Dimensions: Length 5.8 cmBixie are considered powerful protectors of feng shui practitioners and resemble strong, winged lions. Traditionally, Bixie have been regarded as auspicious creatures that possessed mystical powers capable of attracting wealth from all directions.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 31 May 2017, lot 2743Price: HKD 375,000 or approx. EUR 5,200 converted and adjusted for inflation at the time of writingDescription: A white jade Bixie, Six dynasties (220-589)Expert remark: Compare the closely related subject, form, material and similar size.六朝玉雕小辟邪中國，220-589年。神獸呈低蹲攻擊姿態，四足站立，作虎行狀；雙目炯炯，張嘴露齒，頭頂有雙角；尾巴分叉彎曲。半透明的玉料是細膩的淡青和黃色調，多處沁斑。 來源：Irene與 Wolfgang Zacke (1942-2022年) 私人收藏 。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極好，有輕微磨損、結殼、紅色土壤結殼，局部少量小刻痕。具有天然內沁和裂縫的石料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：26.4 克 尺寸：長5.8 厘米鎮墓石獸辟邪在東漢時頗為流行，小型者以玉製作，成為漢代人心目中的祥瑞之獸，至六朝風行不減。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月31日，lot 2743 價格：HKD 375,000（相當於今日EUR 5,200） 描述：魏晉南北朝白玉辟邪 專家評論：比較非常相近的主題、外型、材質和相似的尺寸。

† A MARBLE HEAD OF BUDDHA, TANG DYNASTY 唐代漢白玉佛頭China, 618-907. Finely carved, the serene face depicted with a pair of heavy-lidded downcast eyes, an elongated nose flanked by long pendulous ears, and pursed lips forming a subtle smile, all below elegantly arched eyebrows, the hair arranged in dense rows of spiral curls rising to a domed ushnisha. Note the remarkably fine incision work on this piece as well as the subtle, elegant polish - both hallmarks of high Tang marble works.Provenance: Vallin Gallery, Wilton, Connecticut, USA. Karsten Tietz, acquired from the above during Asia Week New York in 2010. Michael Phillips, acquired from the above in 2016. A copy of the original invoice from Karsten Tietz, dated 23 March 2016, stating a purchase price of USD 15,000 or approximately EUR 18,200 converted and adjusted for inflation at the time of writing, signed by Karsten Tietz, accompanies this lot. Vallin Galleries, established in 1940, were dealers of fine Asian art. Owned and operated by Peter L. Rosenberg for nearly thirty years until his sudden death in December 2013, the gallery was widely regarded as an outstanding source for the best of Asian art. Karsten Tietz is a Berlin-based expert and dealer of selected masterpieces from Asia. Some of his pieces have been sold to important museums, including the Metropolitan Museum of Art. 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, signs of weathering and erosion, soil encrustations, few nicks and tiny cracks, shallow surface scratches, some losses, remnants of pigments. Good natural patina overall.Weight: 1,102 g Dimensions: Height 12.5 cm (excl. stand), 25.7 cm (incl. stand)With a modern acrylic stand. (2)Literature comparison: Compare a closely related marble head of Buddha, dated to the Tang dynasty, 17.8 cm high, in the collection of the Israel Museum, Jerusalem, accession number B88.0040.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 15 May 2018, lot 158Price: GBP 18,750 or approx. EUR 26,200 converted and adjusted for inflation at the time of writingDescription: A Small Dark Grey Stone Head of Buddha, Tang Dynasty (618-907)Expert's remark: Note the similar size (11.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代漢白玉佛頭中國，618-907年。佛頭頭上有螺髻，眼睛微閉，彎月眉，面露微笑，表情慈祥安寧，長耳垂。漢白玉整體瑩潤光滑。表面光滑瑩潤，雕工精美，這是唐朝漢白玉造像的特徵。 來源：美國康涅狄格州威爾頓Vallin Gallery藝廊；Karsten Tietz在2010年紐約亞洲藝術周購於上述藝廊；Michael Phillips 2016年購於Karsten Tietz處。隨附Karsten Tietz出具的原始發票副本，時間爲2016年3月23日，價格為 USD 15,000，相當於現在的 EUR 18,200 。Vallin Galleries成立於 1940 年，是亞洲精美藝術品的經銷商，由 Peter L. Rosenberg經營近 30 年，直到 2013年 年 12 月突然去世。該藝廊被認為是亞洲藝術品的最佳藝廊之一。Karsten Tietz是來自柏林的專家和亞洲藝術品的經銷商，他的很多藏品已出售給重要的博物館，包括大都會博物館。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好。大面積磨損、風化和侵蝕、土壤結塊、少量刻痕和微小裂縫、表面淺劃痕、顏料殘留。整體良好的自然光澤。 重量：1,102 克 尺寸：高12.5 厘米 (不含底座)，25.7 厘米 (含底座) 現代樹脂支架。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LAVENDER AND APPLE GREEN JADEITE 'CHAIN' VASE AND COVER, EARLY 20TH CENTURY 二十世紀初飄紫翡翠獅鈕活環蓋瓶China. 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 WHITE MARBLE HEAD OF A BODHISATTVA, KINGDOM OF GANDHARA 犍陀羅白色大理石菩薩頭像Published: Stephen Little, Images of Buddha from the Michael Phillips Collection, Arts of Asia, January-February 2013, page 105, no. 8.Shahi period, 5th-7th century. The face, turned to one side, beautifully carved with a serene expression, downcast eyes, an aquiline nose, flanked by two elongated earlobes, the hair in neatly elaborated curls, a distinct spiral-form ushnisha above the forehead.Provenance: Art Ancient Ltd., United Kingdom, 2010. 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. Extensive old wear, signs of weathering and erosion, some losses, small nicks and cracks, minor surface scratches, soil encrustations.Weight: 1,266 g (incl. stand) Dimensions: Height 12.7 cm (excl. stand) and 15.8 cm (incl. stand) Mounted to a modern metal stand. (2)Expert's note: Relatively few sculptures survived from the Shahi period, mostly those made from marble. Both the turned head and the large, spiral-shaped ushnisha above the forehead are notable features also found in the contemporaneous Greco-Buddhist stucco bodhisattvas from Hadda.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.犍陀羅白色大理石菩薩頭像沙希，五至七世紀。菩薩的臉偏向一側，雕刻精美，表情安祥平靜，眼睛微閉，鼻子高挺，長耳垂，頭髮捲曲分明，額前有一螺旋形髮髻。 出版： Stephen Little，〈Images of Buddha from the Michael Phillips Collection〉，《Arts of Asia》， 2013年1月至2月，頁105，編號8。 來源：英國Art Ancient Ltd.藝廊，2010年；Michael Phillips 購於上述藝廊。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好，大面積磨損、風化和侵蝕，一些缺損、小刻痕和裂縫，輕微的表面劃痕。 重量：1,266 g (含底座) 尺寸：高12.7 厘米 (不含底座) and 15.8 厘米 (含底座) 現代金屬支架。 專家注釋：沙希時期倖存下來的造像相對較少，主要是大理石製成的。轉頭和額頭上方的螺旋形髮髻都是同時期的哈達希臘佛教灰泥菩薩的顯著特徵。

A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BC 公元前1500-1400年商代早期銅鉞Opinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。 來源：香港Mandala Fine Arts, 1989年；巴黎Acher Eskenasy購於上述藝廊 (發票遺失)；布魯塞爾Martin Doustar 2011年購於上述收藏；一位美國紳士購於上述收藏。隨附一封手寫的信，Acher Eskenasy簽名，確認此拍品于1989年購於香港Mandala Fine Arts，2011年賣于 Martin Doustar。Acher Eskenasy是一位著名的法國學者和亞洲和部落藝術收藏家。 他以前擁有的主要藏品現在都在重要的博物館收藏中，例如紐約大都會藝術博物館和巴黎的 Musee du Quai Branly。 品相：狀態極佳，與年齡相稱。大面積磨損、風化和侵蝕、輕微劃痕和裂縫。細膩的包漿，孔雀石色結殼。 重量：838.8 克 (不含底座) 尺寸：長24.9 厘米 (不含底座) 金屬支架。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE PALE GREEN AND RUSSET JADE 'DOUBLE DRAGON' PENDANT, HUANG, EARLY WESTERN HAN 西漢早期大型青玉帶沁雙龍紋璜China, 2nd century BC. The elegantly curved huang with a stylized dragon head to either end. The mostly translucent stone of a sea-green tone with cloudy white and russet inclusions and shadings. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Condition: Very good condition with old wear, signs of weathering, minuscule nibbling to edges, shallow surface scratches and other traces of use, minor erosion.Weight: 227.6 gDimensions: Length 33.5 cmThe surface is densely covered with small and slightly raised hexagons, a pattern called pu, or 'cat tail'. During the Han dynasty, this motif was mostly used to decorate large funerary discs with carved masks. The squarish indentations carved on the border at the extremities of the ornaments evoke the stylized features of two dragon heads in profile: the chin, mouth, snout, and horns.Literature comparison: Three related huang carved with patterns of small, raised curls and hexagons were excavated from the princely tombs at Shizishan (Xuzhou, Jiangsu) between 1994 and 1995. Similar huang with jagged profiles but decorated with spirals and dated to the late Eastern Zhou period, are in the National Museum of History, Taiwan, and in the Samuel and Myrna Myers collection. Compare also with a very similar, yet significantly smaller pair in F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, no. 285.Auction result comparison: Compare with a related jade huang, of significantly smaller size and dated to the Eastern Zhou dynasty, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 18-19 March 2014, lot 151, bought-in at an estimate of USD 10,000-15,000.西漢早期大型青玉帶沁雙龍紋璜中國，公元前二世紀。弧形，典雅的黃褐色，兩端龍首，總體海綠色，半透明的玉石，帶有絮狀物和赤褐色的內含物。 穿孔。来源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授品相：狀況良好，有舊磨損，風化，細微的邊緣磕損，表面淺划痕和使用痕跡，輕微腐蝕。重量：227.6 克尺寸：長33.5 厘米拍賣結果比較：一件相近的東周玉璜，尺寸更小，見紐約蘇富比 Fine Chinese Ceramics & Works of Art 拍場2014年3月18-19日lot 151, 估價 USD 10,000-15,000.

SHUZAN: A VERY FINE WOOD MASK NETSUKE OF KINTAROBy Shuzan, signed Shuzan 舟山Japan, Edo (Tokyo), mid-19th centuryFinely carved as Kintaro, the face with a pronounced nose, two pierced eyes and a subtle smile below prominent cheeks, framed by delicately engraved hair. The reverse with a himotoshi bar signed SHUZAN. Superb, smooth polish.HEIGHT 4.3 cmCondition: Excellent condition, minor wear.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Kintaro (English: Golden Boy) is a hero from Japanese folklore. According to legend, he was raised by a mountain witch and possessed supernatural strength. Kintaro is a popular figure in Bunraku and Kabuki dramas. In Japanese custom, Kintaro dolls are set out on Boy's Day in the hope that boys will become equally brave and strong.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

KAKUHA: A FINE BRONZE OKIMONO OF A STRIDING BACTRIAN CAMELBy Kakuha, signed Kakuha seiJapan, late 19th century, Meiji period (1868-1912)Naturalistically modeled, walking forwards, the head raised, with shaggy fur and neatly detailed facial features. Signed within a square reserve underneath KAKUHA sei.HEIGHT 24.6 cmWEIGHT 3,532 gCondition: Very good condition, minor wear.Provenance: Old German private collection, acquired prior to 2007.Kakuha Kanzaemon IX, real name Kakuha Zenjiro, was a member of a lineage of metalworkers from Toyama. In 1869, he started a branch office in the port of Yokohama for the export trade of bronze ware, also acting as a retailer for foreign clients in Japan.Auction comparison:Compare a closely related bronze of a Bactrian camel, by Seiya, sold at Koller, Asian Art, 3 June 2015, Zurich, lot 379 (sold for 4,500 CHF). Another closely related bronze of a camel, by Yoshihara, was sold at Sotheby's, The Collection of Craig Wright, 30 September 2011, New York, lot 192 (sold for 5,938 USD).

With a beautiful form rising from a tall ring-shaped foot, it is completely covered with a beautiful brownish crackle glaze with the exception of the brown biscuit base. Provenance: Private collection, Italy Catalogue notes: For a similar piece see the incense burner sold by Sotheby's, The Hundred Antiques Fine and Decorative Asian Art; 24 March 2021, New York, lot. 548.

Chryssa (Vardea) (Greek, 1933-2013)Neon Oiseau construction néon, plexiglas60 x 71 x 36cm (23 5/8 x 27 15/16 x 14 3/16in).Réalisé vers 1970.neon construction, plexiglassFootnotes:ProvenanaceClarke Auction Gallery, New York, Fine Art, Jewellery, Mid century, Asian & Antique Estate Auction, 27 October 2019.Acquired from the above sale by the present owner, New York. This lot is subject to the following lot symbols: * AR* 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.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ghulam Rasool Santosh (Indian, 1929-1997)Untitled (Enlightenment) signed lower upper left and signed, dated and with size, G R Santosh/34 x 41'/9/2/62 verso oil and wax on canvas, framed86.6 x 104.5cm (34 1/8 x 41 1/8in).Footnotes:ProvenanceAcquired by the vendor's cousin, William Begley, in Kashmir from the artist between 1963-1965;Gifted to the vendor's family in 1969.Born Ghulam Rasool Dar in Chinkral Mohalla, Habba Kadal in Srinagar, Kashmir, Rasool came to be known as Ghulam Rasool Santosh, after he assumed his wife's name, Santosh, at the beginning of their marriage. In 1954 he enrolled at the Maharaja Sayajirao University, Baroda and studied fine arts under N.S Bendre, where he produced a large body of figurative and landscape work in the cubist style. Kashmir was the subject of his landscapes, and his style remain unchanged until 1959, after which his works evolved and figuration gave way to abstraction. The period between 1959-1964, was a precursor to his neo-tantric style, for which he is most well known, and when the present lot was painted. The early sixties were politically, socially and art historically important for India. In 1959, New Delhi witnessed an influx of Tibetan exiles, including the Dalai Lama, who were driven out of Tibet by the Chinese government. This was coupled with the end of the Nehruvian era and the questions that were raised about the success of his industrialisation programmes and presidency. Artistic groups such as Group 1890 were also emerging that challenged and sought a new outlook on Indian Art. Inspired by these changes, Santosh wanted to move away from a derivative European style, and wanted to create an idiom that embraced his Kashmiri heritage within the broader Indian context. (Rebecca M. Brown, Awakening: A Retrospective of G.R. Santosh, Delhi Art Gallery, New Delhi, 2011, pp 29)Still captivated by Kashmir, he derived his inspiration for the body of work created during this period, including the present lot, from his native Kashmiri hills. Although elements of Cubism are apparent in this work, we can also see the beginnings of spirituality and mystery, that would flourish in his works after 1964, which is when his trip to the Amarnath cave resulted in a mystical experience, that transformed his works. This work is therefore important for it bridges his two crucial periods and fuses elements from both, something that would not be seen in his works again. To see similar works from 1962, titled 'Snows of Kashmir,' and Cityscape (Reflection) respectively see Sotheby's, Modern and Contemporary South Asian Art, New York, 18th September 2013, lot 60 and Awakening: A Retrospective of G.R. Santosh, Delhi Art Gallery, New Delhi, 2011, pp 96.William Begley worked for the UN and was stationed in Kashmir during the peacekeeping operations between 1964-1966 which is when he acquired this work.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

Thota Vaikuntam (Indian, B. 1942)Untitled (Lady) signed and dated '03 in Telugu lower rightacrylic on canvas on board, framed58.7 x 43.5cm (23 1/8 x 17 1/8in).Footnotes:ProvenanceAcquired from the artist in 2006.There is a label on the reverse which includes the artist's name, the size and year of the work and the medium.Vaikuntam was born in Telangana (formerly Andhra Pradesh), and obtained a Diploma in Painting from the College of Fine Arts and Architecture in Hyderabad, and then pursued further studies in Painting and Printmaking under the tutelage of K.G. Subramanyan at the Maharaja Sayajirao University of Baroda. His works are inspired by the rural women of Telangana, with whom he has had a lifelong fascination. This intrigue can be traced to the travelling theatre groups of his childhood, when the male artists would impersonate female characters. The muses in his works are voluptuous and sensuous and are adorned with ornaments, vermilion bindis and draped in colourful sarees of reds, saffrons, greens and blues, the latter of which can be seen in the present lot.Vaikuntam had his first solo exhibition in 1973, at the Kala Bhavan in Hyderabad and has gone on to exhibit worldwide since. Some notable shows include, 'The Telangana Icons' presented by Art Alive Gallery, New Delhi at Grosvenor Gallery, London in 2015, 'Post Independence Masters' at Aicon Gallery, New York in 2008, '6 Artists Show' at 1x1 Gallery, Dubai in 2006 and 'Tradition and Change' at Arts India, New York in 2002. He has also been the receipt of various awards, the 1993 National Award for Painting, being the most recent. For similar works sold in these rooms, see Modern and Contemporary South Asian Art, 24th May 2022, lot 24 and Islamic and Indian Art, 25th October 2007, lot 290.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

Jamal Ahmed (Bangladeshi, B. 1955)Untitled (Bathing) signed and dated Jamal '19 lower rightacrylic on canvas, framed181.3 x 146.4cm (71 3/8 x 57 5/8in).Footnotes:ProvenanceAcquired directly from the artist in 2019.ExhibitedUSA, Eye for Art, 'Jamal Ahmed Solo Exhibition,' 30th October-29th November 2019.Jamal Ahmed is an artist and professor at the University of Dhaka and was awarded the Ekushey Padak in 2019, Bangladesh's second highest civilian award in recognition for his contribution to the Fine Arts. He graduated from the Faculty of Fine Arts from the University of Dhaka in 1978 and then undertook a course at the Academy of Fine Arts in Warsaw from 1980-1982. He subsequently studied oil painting at the University of Tsukuba in Japan from 1982-1984 and also earned his post graduate degree from there in 1986. He adopted acrylics as his main medium in the mid 1980s. The imagery depicted in his works is that of his native Bangladesh. They are wistful and nostalgic portrayals of women and the beauty of Bangladesh as evidenced in this lot. His works have been exhibited in India, Pakistan, London, Japan the USA and Norway, and his works are also held at the National Art Gallery in Bangladesh.For similar works sold in these rooms, see Modern and Contemporary South Asian Art, London, 24th May 2022, lots 70, 71 and 73 and Modern and Contemporary South Asian Art Online Only, 4th-14th July 2022, lot 16.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

Caroline Wong Magnum, 2022 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Caroline Wong's work responds to traditional, restricted representations of East Asian women. For Wong, subverting these ideals is the essence of her practice. Her beginnings, as an artist, lay in more traditional forms of portraiture, yet, as she has grown, she has nurtured the epicurean side of herself, moving towards more excitable, expressive mark-making driven by a hedonistic desire for fun. She likens creating to eating. In both, she becomes consumed by the moment of pleasure, detaching herself from the world. The final image presents a hot, sticky portal of pleasure and the senses. The scintillating heat of her portraits is a visual representation of this joy and decadence, whilst also being reminiscent of the chaos and colour of Southeast Asia. Whether depicting female friendships or obdurately exhibiting female pleasure in food, her work is a joyful push-back against tradition, celebrating the beauty in excess.   Education   2019-2021 Masters in Fine Art, City and Guilds of London Art School, London 2016-2018 Diploma in Contemporary Portraiture, The Art Academy, London   Select Exhibitions/Awards   2022 Angels with Dirty Faces, Ojiri Gallery, London Artificial Paradises (solo), Soho Revue, London Cats and Girls (solo), Soy Capitán, Berlin Go Figure!, Daniel Raphael Gallery, London À la carte, Tchotchke Gallery, New York Eat Drink Man Woman, 180 Strand, London Lotus Eaters, Indigo + Madder, London Friends and Family, Pi Artworks, London In the Land of Cockaigne, Quench Gallery, Margate 2021 ING Discerning Eye, Mall Galleries, London MA Show, City and Guilds of London Art School Drawn Out, Drawing Room, London Drawing Biennial 2021, Drawing Room, London 2019 Society of Women's Artists 158th annual exhibition, The Mall Galleries, London 2018 Society of Women's Artists 157th annual exhibition, The Mall Galleries, London Prizes Drawing Biennial Bursary Award (2021) Liberty Specialty Markets Art Prize (2018) Society of Women Artists' Derwent Special Prize for Materials (2018) Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

A collection of thirty four Asian art catalogues, 1990s- 2020s, comprising thirty one art catalogues from Christie's, Bonhams, Ben Janssens, Wooley & Wallis, Sotheby's and others; a 2017 catalogue of Gorring's The Jean-Claude Lepileur Collection of Chinese Archaic Bronzes & Works of Art; a 2019 catalogue of Tajan: A Romance with Asia; and a 2013 catalogue of Stockholms Auktionsverk Fine Art & Antiques.一九九零 - 二零二零 亞洲藝術圖錄三十四件Please refer to department for condition report

Bronze model of GuanyinChinese, Ming dynastythe well modelled seated figure in contemplation pose, with both hands resting upon her right knee, her draped robe partially decorated with gilt scroll work and open chest high, revealing a pendant jewel in relief, 12.5cm highNote- See Bonhams Fine Asian Works of Art sale in San Francisco on 26th June 2018 for a similar figureProvenance: from a Buckinghamshire estateSome wear and marks to the surface, and with original patination.

Zwei Snuff - Bottles. China. 20. Jahrhundert.Circa bis 12 cm hoch. Asiatika. Eine aus Glas mit feiner Hinterglasmalerei: "Paradiesvögel mit Pfingstrosen". Die andere in abgeflachter bauchiger Form mit schmalem Hals in Cloisonné-Technik mit Vogel- und Landschaftsmotiv. Unterboden mit Qianlong Marke.Two snuff bottles. China. 20th century.Approx. up to 12 cm high. Asian Art. One made of glass with fine reverse glass painting: "Birds of paradise with peonies". The other bottle is in a bellied shape with narrow neck in cloisonné technique decorated with bird and landscape. Bottom with Qianlong mark.

Deckelschale. China. Qing-Dynastie. Guangxu (1875 - 1908).Circa 20 cm im Durchmesser, circa bis 9 cm hoch. Asiatika. Porzellan. Weißer Scherben mit feiner Famille-Rose Malerei mit einem Vogel auf einem blühenden Ast mit Pfingstrose und Früchten. Deckel und Bodenseite mit roten Marken: 大清光绪年制 daqing guangxu nianzhi. Deckel beschädigt. Zustand siehe Fotos.Lidded bowl. China. Qing dynasty. Guangxu (1875 - 1908).Approx. 20 cm in diameter, approx. up to 9 cm high. Asian Art. Porcelain. White body with fine famille-rose painting of a bird on a flowering branch with peony and fruits. Lid and bottom side with red marks: 大清光绪年制 daqing guangxu nianzhi. Lid damaged. For condition see photos.

Deckelschale. China. Qing-Dynastie. Guangxu (1875 - 1908).Circa 20 cm im Durchmesser. Circa bis 9 cm hoch. Asiatika. Porzellan. Weißer Scherben mit feiner Famille-Rose-Malerei mit einem Vogel auf einem blühenden Ast mit Pfingstrose und Früchten. Deckel und Bodenseite mit roten Marken: 大清光绪年制 daqing guangxu nianzhi.Lidded bowl. China. Qing dynasty. Guangxu (1875 - 1908).Approx. 20 cm in diameter. Approx. up to 9 cm high. Asian Art. Porcelain. White body with fine famille-rose painting of a bird on a flowering branch with peony and fruits. Lid and bottom side with red marks: 大清光绪年制 daqing guangxu nianzhi.

Paar Porzellanschalen im "Milch und Blut"- Dekor. China. Republik-Periode. Frühes 20. Jahrhundert.Circa 17 cm im Durchmesser, circa 9 cm hoch. Asiatika. Porzellan. Weißer Scherben, umlaufend mit Doppelrand sowie mit feiner floraler Malerei an Wandung. Innenrand und im Schalenspiegel in Eisenrot und Gold. Marke: 大清康熙年制 Daqing kangxi nianzhi.Pair of porcelain bowls in "milk and blood" décor. China. Republic period. Early 20th century.Approx. 17 cm in diameter, approx. 9 cm high. Asian Art. Porcelain. White body with red double border and a fine floral painting on the vessel walls. Inside rim and in the center of the bowls in iron red and gold. Mark: 大清康熙年制 Daqing kangxi nianzhi.

Nakayama SUGAKUDO (XIX). Vogelbilder aus der Serie Forty-eight Hawks Drawn from Life (Shô utsushi yonjû-hachi taka). Um 1859.Circa 35 cm x 19 cm. Asiatika. Graphik. Detaillierte und feine Darstellung eines Pfaues und eines Fasan-Pärchens, jeweils auf einem Ast sitzend. Blatt wohl beschnitten. Zustand siehe Fotos.Nakayama SUGAKUDO (XIX). Bird Pictures from the Series Forty-eight Hawks Drawn from Life (Shô utsushi yonjû-hachi taka). Around 1859.Approx. 35 cm x 19 cm. Asian Art. Graphics. Print. Detailed and fine depiction of a peacock and a pair of pheasants, each sitting on a branch. Sheet probably cut. For condition see photos.

A SUPERB KYOTO SCHOOL IVORY NETSUKE OF A TIGER WITH CUBUnsignedJapan, Kyoto, 18th century, Edo period (1615-1868)A remarkably powerful and superbly carved ivory netsuke of a tiger placing one paw protectively on its young cub which attempts to climb up on the adult's side somewhat half-heartedly. The adult tiger's thick tail curls around its body, terminating underneath the cub, while the cub's tail curls around the parent's left front paw, forming a compact and pleasingly tactile composition. What really sets this netsuke apart, however, is the gorgeous, lustrous honey-yellow patina, clearly being handled lovingly by several generations, the tiger's fur coat markings and hairwork heavily worn down, though still clearly visible in the crevices and at irregular intervals throughout the carving. The underside shows the superbly carved, chubby paws and the large, generously excavated himotoshi, tucked away underneath the adult tiger's belly.LENGTH 4.7 cm, HEIGHT 3.1 cmCondition: Very good, undamaged condition. The heavily worn ivory bearing a stunning patina.Provenance: Old Viennese private collection, purchased in 1993.The netsuke is unsigned, however can be confidently attributed to the hand of Tomotada, but it is our opinion that this netsuke requires neither signature nor attribution and stands strongly very much by itself.The tiger (tora) is the third animal of the Asian zodiac and represents courage, resilience, and strength. It also plays an important role in Daoist philosophy providing a counterpoint to the dragon (tatsu). The tiger is not native to Japan; therefore, images of tigers were only known from Chinese paintings or on rare occasions when the tiger's fur was imported into Japan. This brings to mind a Japanese proverb - "When the tiger dies, he leaves his skin, the man his name".Auction comparison:Compare to a closely related ivory netsuke by Tomotada sold at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 53 (sold for 37,920 EUR). Another closely related ivory netsuke by Tomotada was sold at Bonhams, Fine Japanese Works of Art, 19 March 2013, New York, lot 2140 (sold for 31,250 USD).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0452). 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 RARE BUFFALO HORN NETSUKE OF A CICADAUnsignedJapan, 19th centuryResting with its wings drawn in and its legs grasping a branch carved in openwork, the veining on the wings and head finely rendered in relief. The horn of variegated tone. Natural himotoshi.LENGTH 5.9 cmCondition: Very good condition, minor wear, minuscule nibbling to the exposed areas.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Auction comparison:Compare a closely related buffalo horn netsuke of a cicada, sold at Bonhams, The James A. Rose Collection of Netsuke and Sagemono, 17 September 2013, New York, lot 2030 (sold for 1,750 USD).

A POWERFUL OSAKA SCHOOL IVORY NETSUKE OF A CROUCHING TIGERUnsignedJapan, Osaka, early 19th century, Edo period (1615-1868)Published: Zacke (1989), Netsuke von Meistern, no. 44.Boldly carved and deeply stained, with particular attention devoted to the fur coat of alternating stripes and circles against the neatly incised fur. The bulky creature does its very best to look fierce, its head turned back, the eyes inlaid, the animal about to snarl with sharp fangs showing at the corners of the mouth. The thick tail curls over the back and the massive, chubby paws are firmly pressed against the ground. Small himotoshi underneath, the cord channel generously excavated. A compact and pleasingly tactile ivory netsuke bearing a fine patina.LENGTH 4.4 cmCondition: Very good condition, minor surface wear and expected age cracks. Fine patina. Natural nerve channels are brilliantly incorporated into the design forming part of the tiger's fur coat.Provenance: Old Viennese private collection, purchased from Galerie Gemini in 1990.The tiger (tora) is the third animal of the Asian zodiac and represents courage, resilience, and strength. It also plays an important role in Daoist philosophy providing a counterpoint to the dragon (tatsu). The tiger is not native to Japan; therefore, images of tigers were only known from Chinese paintings or on rare occasions when the tiger's fur was imported into Japan. This brings to mind a Japanese proverb - "When the tiger dies, he leaves his skin, the man his name".Auction comparison:For a closely related ivory netsuke see Bonhams, Fine Japanese Works of Art, 22 March 2022, New York, lot 3019 (sold for 4,636 USD). Another closely related ivory netsuke was sold at Lempertz, Asian Art, 27 June 2020, Cologne, lot 329 (sold for 4,000 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0454). 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.

SHUYA: A WOOD NETSUKE OF GAMA SENNIN ON A TOADBy Shuya, signed Shuya 秋冶Japan, Echigo province, first half of 19th century, Edo period (1615-1868)Published: International Netsuke Society Journal (INSJ), 2001, vol. 21, no. 3, p. 29. (illustrated in a full-page advert by Sydney L. Moss Ltd.)Depicting Gama Sennin sleeping blissfully on the back of a massive toad, looking upwards, dressed in the typical mugwort cape and girdle. The toad with its head raised in an expression of irritated dismay, its body amusingly flattened, the eyes inlaid and ringed in metal, its masterfully carved warty skin contrasting with the smooth underside, the feet tucked neatly under its body. Himotoshi underneath, signed in boldly carved characters SHUYA - a pupil of the great Yasusada Shuzan. It is likely that Yasusada Shuzan originated this model, but Shuya's strongly individual flavour has improved upon his teacher's example. LENGTH 4.1 cmCondition: Very good condition, minor wear. Fine, smooth patina. Possibly some old, worn-down chips to the edges of the webbed feet.Provenance: Ex-collection Raymond and Frances Bushell. A French private collection. Purchased at Rosemary Bandini, 2012. Ex-collection Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn (1933-2012) 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.”The Japanese legend of Gama Sennin (English 'Toad Immortal') is based on the legendary Chinese figure Liu Hai, who is generally shown accompanied by a toad. According to legend, he can assume the shape of a toad himself. Chinese prototypes of this theme sometimes represent the immortal sitting on or resting his foot on the animal and holding a string of gold coins.Frogs and toads are symbolic animals in Japanese culture. They are often portrayed in poetry and art and are sometimes carried by travelers to make sure they return home safely from their journeys. The word 'frog' in Japanese is synonymous with 'return,' which is why it is considered a lucky animal and which brings good fortune.Literature comparison:Compare a near identical netsuke of Gama Sennin on a toad by Yasusada Shuzan, circa 1820, illustrated in Rutherston and Bandini, The Sheila M. Baker collection of Japanese netsuke and inro, 2011, no. 5. Another closely related wood netsuke by Shuya, the face similarly carved, is illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 1013.

A STAG ANTLER NETSUKE OF A MONK, ATTRIBUTED TO MASATOSHIAttributed to Nakamura Tokisada (Masatoshi) (1915-2001), unsignedJapan, Tokyo, second half of 20th centuryFinely carved from a choice piece of antler as an itinerant monk, leaning against a cane, screaming enigmatically with his mouth agape, the eyes inlaid in dark horn. Large himotoshi through the back.HEIGHT 5.7 cmCondition: Very good condition, tiny chip to the edge of one toe.Provenance: Ex-collection Richard R. Silverman, purchased from I.M Chait, Los Angeles, in 2000. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Auction comparison:A related stag antler netsuke of a bakemono was sold at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 216 (sold for 37,920 EUR).

SARI: A VERY RARE WOOD NETSUKE OF A NINGYO (MERMAID)By Sari, signed Sari 左里Japan, Iwashiro province, first half of 19th century, Edo period (1615-1868)Finely carved, the mermaid pulling her tail fin with both hands towards her body, her long hair falling along her back. The scales, fins, and long hair are finely incised, the oval face with a hypnotic smile. Natural himotoshi through the tail and right arm, signed SARI within an oval reserve.LENGTH 4.3 cmCondition: Good condition, one damage to the edge of the tail, possibly restored.Provenance: Ex-collection Teddy Hahn, Darmstadt. “Teddy” Hahn (1933-2012) 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.”Ningyo are half-human, half-fish sea creatures that equate with the mermaid of Western traditions. Most likely inspired by the sighting of dugongs in the ocean, folklore transforms them into alluring females, usually depicted cradling a baby to their naked breasts or holding a tama, the sacred jewel of the dragon king of the sea.Sari is well-known for his carvings of snails and animals, the present ningyo seems to be unique for the artist.Auction comparison:Compare a related wood netsuke of two fugu fishes by Sari, early 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke - Part I, 8 November 2016, London, lot 163 (sold for 5,000 GBP).

RARE SILK WOVEN BAG LIAO DYNASTY, 11TH-12TH CENTURY 遼 絲織束口袋 含白玉環 of rectangular form, composed of sections of fine woven silk, with a fastening cord attached to the upper side of the bag, two white circular jade fittings to hold the fastening cord, decorated with large rhombus with palmette to centre and floral buds in corners, lotus flowers and clouds, lining of brown gauzeDimensions:40cm x 30.5cmProvenance:Provenance: Private Scottish collection, acquired from Centasia Metals Limited, Cyprus on 19th July, 1998, with an original invoice Ref.65L43Published: Mikhail Baskhanov, Maria Baskhanova, Pavel Petrov & Nikolaj Serikoff, 2012. Arts from the Land of Timur: An Exhibition from a Scottish Private Collection. London: Black Gull Books, pg. 194Exhibited: Arts from the Land of Timur: An Exhibition from a Scottish Private Collection, Edinburgh 2012, no. 412Note: Note: This silk bag, originally purchased in 1998 as a Qarakhanid silk bag, Inner Asia, 12th-13th century, later exhibited in the Arts from the Land of Timur exhibition in 2012 and catalogued as a Semirechye piece, has been suggested by several Asian art specialists to be a Liao dynasty textile after the exhibition.Roughly a thousand years old, this fine silk bag is a rare survivor and a testimony to the extensive trade network passing through Central Asia during the eleventh/twelfth century. The quality of the silk and craftsmanship itself, largely lost today, further bears witness to the importance of the silk-route from China. Comparable flower pattern is illustrated in Liao Textiles and Costumes, Zhao Feng (ed.), Hong Kong, 2004, fig. 183; an embroidered bag with similar form and fasten-cord design in the Mengdiexuan Collection, Hong Kong is also illustrated in the same book, fig. 302. A further comparable weft-faced compound twill with flowers, cranes, and clouds decoration, dated to the Liao dynasty, 10th century, is in the Cleveland Museum of Art, inv. nos. 1992.112a

AN UNUSUAL MALLOW-FORM LACQUER DISH17th/18th century or earlierRising from a short tapering foot to elegantly curving sides in the form of an unfurling flower with eight undulating petals bound with a thin metal band, applied overall with brown lacquer of dark-chocolate tone, except for two petals in shades of black and brown-red, the base with an apocryphal four-character Kangxi mark. 23cm (9in) diam. Footnotes:十七/十八世紀或更早 烏漆葵式盤「康熙年造」楷書款The form of the present lot is typical to dishes dating to the Southern Song dynasty, and therefore the appearance of a Kangxi mark is unusual as are the two differently coloured petals. See a similar brown lacquer flower-form dish, Southern Song dynasty, with collector seal mark on the base, illustrated in Art of China: Highlights from the Philadelphia Museum of Art, New Haven and London, 2018, pp.70-71, no.18. Another similarly-shaped dish, from the Florence and Herbert Irving collection, in the Metropolitan Museum of Art, New York, is illustrated in East Asian Lacquer, New York, 1991, no.2. A further brown lacquered mallow-shaped dish, Song dynasty, is illustrated in The Monochrome Principle: Lacquerware and Ceramics of the Song and Qing Dynasties, Munster, 2008, pl.7.With its distinctively shaped and slightly overlapping petals, the mallow flower was amongst the most popular forms for lacquerware produced between the tenth and the fourteenth centuries. The flower underscores auspicious symbolism relating to longevity and fulfilling life and was frequently also reproduced in metal wares, as well as Ding, Ru and Guan ceramic wares. The close dialogue between monochrome lacquer and ceramics is evident in the sheen of the surface and the delicate form of the bodies, and the present dish is very similar to that of fine Ding ware; see a persimmon-glazed mallow-shaped dish, Song dynasty, attributed to the Ding kilns, illustrated in The Colors and Forms of Song and Yuan China: Featuring Lacquerwares, Ceramics, and Metalwares, Tokyo, 2004, no.24.Compare with a related red-lacquer mallow-form dish, Song dynasty, which was sold at Christie's Hong Kong, 28 November 2012, lot 2080, and another black-lacquered mallow-form dish, Song dynasty, which was sold at Christie's Hong Kong, 3 December 2008, lot 2103.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