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A RARE ARCHAIC BRONZE GOURD-SHAPED VASE AND COVER, HUEastern Zhou DynastyThe bulbous flask-shaped body supported on a simulated rope-twist foot, rising to a straight neck slightly curved on one side, intricately cast with two registers around the body and another below the mouth rim decorated with the 'coiling snake' panhui motifs, set on one side with a bar handle in the form of a snake attached to the body with two rope-twist rings and with a loose interlinked chain secured to the tail of the bird-shaped cover, the cover naturalistically cast as a bird with well detailed wing feathers bordered with archaistic scrolls, the sharp beak opening to form the aperture of the vessel, the bird grasping two serpents in its claws. 33cm (13in) high. (2).Footnotes:東周 蟠虺紋匏壺Provenance: Mark Dineley (1901-1975)Peter Dineley (1938-2018), and thence by descent來源：Mark Dineley（1901-1975年）舊藏Peter Dineley（1938-2018年）舊藏，並由後人保存迄今Mark Dineley and his son Peter Cleverly Dineley collected antique arms and armour, Chinese, Tibetan and Nepalese art amongst other interests. The collections were displayed in the former family home, Aubrey House, located in Holland Park, London - a stately 18th century house. The house came into the Dineley family when it was acquired in 1873 by William Cleverly Alexander (1840-1916) from whom Mark and Peter were descended. W.C. Alexander was a banker and a great connoisseur and patron of the artist James McNeill Whistler, as well as a renowned collector of Chinese ceramics, jade and Japanese art, much of which is now in the British Museum, London, including the celebrated Northern Song Alexander bowl. He was amongst the lenders to exhibitions held at the Burlington Fine Arts Club in 1895, 1896 and 1910 and to the City of Manchester Art Gallery's Exhibition of Chinese Applied Art in 1913, and to exhibitions held at the Victoria and Albert Museum, London. In May 1931 his collection of Chinese ceramics, including 355 lots, was sold over two days and Sir Percival David acquired a significant part, now in the British Museum.Gourd-shaped vessels resembling this vessel have been excavated in Henan, Shanxi and Shaanxi Provinces, which were among the territories ruled by the Jin and Wei. Such vessels were used for containing wine and it is notable that the design is rare compared with more common wine-vessel forms such as gu. Excavations in early Warring States tombs have only revealed one such vessel within a large burial, suggesting that such vessels reflected the noble status of the deceased.Compare with a similar gourd-shaped vessel and cover, Warring States, decorated with three registers of panhui motifs around the body, in the National Palace Museum, Taipei, (acc.no.GuTong000024N000000000); and another excavated in 1988 at Jinshen village, Taiyuan, Shanxi Province, now in the Shanxi Museum, see Zhongguo meishu fenlei quanji. Zhongguo qingtong tongqi quanji 8. Dongzhou 2, Beijing, 1995, pp.73-74, nos.81-83. See also other similar excavated examples in the Shaanxi Museum of History and the Sackler Gallery of Art illustrated in ibid., pp.75-76, nos.84-85. For an example of this rare type in the Arthur Sackler collection, see Jenny So, Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collection, Washington D.C., 1995, pp.236-239, no.39. The author suggests that this type of vessel was a 'short-lived type which appeared toward the end of the eighth century BC and disappeared by the early fifth century BC, and illustrates a closely related example formerly in the collection of Mrs. Otto H. Kahn, now in the Metropolitan Museum of Art, New York (acc.no.1949.135.9), illustrated ibid., p.238, fig.39.1.Following the trend for archaism in the 18th century, and especially during the reign of the Qianlong Emperor, vessels such as the present lot became the model for other gourd-shaped vessels in various other media such as jade and cloisonné enamel. See for example, a cloisonné enamel vase of similar form to the present lot, Qianlong, in the Asian Art Museum, San Francisco (acc.no.B6OP286).For further information on this lot please visit Bonhams.com

ANONYMOUS, KANO SCHOOLEdo period (1615-1868), mid-17th/18th centuryTartars Hunting and Hawking in a Mountain LandscapePair of six-panel byobu (folding screens) painted in ink, mineral colours, gold, and gold leaf on paper with silk borders within black lacquer frames; the right-hand screen depicting Tartars on horseback hunting wild boars, rabbits, and a deer; at top right a Tartar leader looking on accompanied by his retinue including attendants holding a parasol and a banner, the lower foreground occupied by a group of mounted Tartars engaged in the hunt using bows and arrows and spears, at far left another group looking on, at top left a tiger and cub on a crag; the left-hand screen including two mounted falconers and a variety of wild birds, the three rightmost panels with a lake and rice paddies; all set against a background of Kano-style mountains, waterfalls, and trees interspersed with gold clouds and gold flecks. Each overall: 173.5cm x 353.8cm (68¼in x 139 5/8in); image: 158cm x 337.2cm (62 3/16in x 132¾in). (2).Footnotes:Painted screens depicting the northeast Asian nomadic hunters known as Dattanjin or Tartars (also written Tatars), although less numerous or well-known than the so-called Nanban ('Southern Barbarian') screens—with Portuguese ships, their exotic crews, and Christian priests arriving at Japanese ports—reflect the same global outlook that developed during the sixteenth century as trade in goods and information increased between Japan and the outside world, including both Europe and the Asian continent. Similar depictions of Tartars, based on Chinese paintings of the thirteenth to sixteenth centuries and identifiable by their dashing equestrian poses, prominent banners and weapons, and distinctive fur-trimmed hats (later also seen in netsuke and inro), are featured in several important examples preserved in Japanese and American collections. One of the earliest, in the Museum of Fine Arts, Boston and attributed to no less an artist than Kano Eitoku (1543-1590), shows Tartar envoys bringing tribute (inv. no. 11.4450), but Tartars are more usually shown—in contrast to Southern Barbarians—in their home country, either hunting or playing polo in wild mountain landscapes, often, as here, with senior groups viewing the proceedings from lofty positions. Along with other screens in Boston dating from the sixteenth and seventeenth centuries (see collections.mfa.org/search/objects/*/tartars), there are fine pairs in the National Museum of Asian Art, Washington D.C. (by Kano Jinnojo, active 1610s-1640s, asia.si.edu/object/F1968.62-63/) and Kyushu National Museum (bunka.nii.ac.jp/heritages/detail/514464). The present pair, of slightly later date, continues in a well-established tradition where Chinese prototypes are augmented by the use of mineral pigments and gold and shown in the much larger, and quintessentially Japanese, screen-pair format.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A GROUP OF BONHAMS CATALOGUES MOSTLY ON JAPANESE AND ASIAN ARTConsisting of broken runs from 1972, 1978-1983, 1988-1999, 2004-2019, 2021, and important collections including: The Harriet Szechenyi Collection of Japanese Art (2011), Fine Netsuke from the Adrienne Barbanson Collection (2013), The Edward Wrangham Collection: Parts I-III, V-VI (2012-2015), The Misumi Collection: Parts I-II (2014-2015), The Arlette and Julius Katchen Collection of Fine Netsuke: Part I (2016); several duplicates included. (a lot).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A FINE AND LARGE CHINESE EMBROIDERED SILK BED COVER Qing Dynasty, 2nd half 19th Century The centre with a vibrant ornamental pheasant, amongst bamboo, prunus and peonies, within a circular border of mandarin ducks and other birds, and a further border of flying cranes, the corners decorated with butterflies, insects and other birds amongst chrysanthemums For a comparable set of four similarly embroidered panels see Christie's Paris, Asian Art, 9 June 2021, Lot 179 266cm x 266cm Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com

Piraji Sagara (Indian, 1931 - 2014), A Fish, Mixed media on wood, Signed and dated 'P.C. Sagara 70' upper right and further titled 'A FISH' and indistinctly inscribed on reverse67.5 x 47.2 cm. (26 ½ x 18 ½ in.)Executed in 1970Provenance: The Surya Collection: Property from Mrs Ute RettbergPiraji Sagara is one of Gujarat's best known artists of sculpture and painting. Born in 1931 in Ahmedabad he completed a Masters in Drawing in 1957 and Master in Arts in 1960 from the Sir J.J. School of Art, Mumbai. Sagara's works have been exhibited around the world, including the San Paolo Biennale, Brazil in 1971; Art Now in India exhibition around Europe 1972-73 and the Exhibition of Asian Artists in Fukukoma Museum of Art, Tokyo 1979-80. His many awards include the medal of Kolkata Fine Arts Academy in 1960 and 1961 and a National Lalit Kala Akademi award, New Delhi in 1963. Please refer to department for condition report

A group of 76 catalogues comprising of:Sotheby’s, Mobili ed Oggetti D’Arte, 24th and 25th October 1974.Sotheby’s, Una Bella Raccolta Di Maiolica Italiana, 8th of April 1976.The Whistler Peacock Room, The Freer Gallery of Art of the Smithsonian Institution (Washington D.C. 1972).International Art Treasures Exhibition – Third, Presented by C.I.N.O.A: The International Confederation of Art Dealer, Victoria and Albert Museum, 2nd March – 29th April 1962CAHN AUKTIONEN AG, Ancient Art – Auction 8, Private Collections from Switzerland, Germany, USA and other properties, Ancient Near Eastern, Egyptian, Greek, Etruscan and Roman works of art, 9th November 2013.Nouveaux Témoignages Du Culte De El Et De Baal A Ras Shamra-Ugarit, Extrait de la Revue Syria, XLIII, 1966, Fasc. 1-2, Librairie Orientaliste Paul Geuthner, Paris.Sotheby’s, Works of Art from Benin, 16th June 1980.Sotheby’s Zurich, The Collection of Ancient and Later Coins, The Property of The Metropolitan Museum of Art, Part II Greek Coins from The John Ward Collection, , 4th April and 5th April 1973.Gorny & Mosch, Giessener Münzhandlung GMBH, Auktion Hochwertige Münzen der Antike (The Old Sable Collection etc.) 215, 14th and 15th Oktober 2013.AUKTION 59, 16 Juni 1981, AGYPTISCHE KUNST, Münzen und Medaillen AG Basel, WERKE AGYPTISCHER KUNST, von der Frühzeit bis zur Spatantike, Aus zwei Schweizer Sammlungen und anderem Privatbesitz.Christie’s London, Antiquities Catalogue, 26th April 2006.Sotheby’s, Italian Maiolica, Continental Pottery and Porcelain, Including the Property of S. H. V. Hickson, ESQ., the Property of W. Avery, ESQ., the Property of Mrs. J. Ough and the Property of The Lady Killearn, 10th July, 1972.Sotheby’s, Fine English and Continental Glass, 14th May 1973.Sotheby’s, Antiquities Primitive Art Islamic, Indian, Tibetan, Nepalese, and South-East Asian Art, 3rd and 4th July 1978.Sotheby’s, Antiquities Islamic and Indian Art, 14th July 1975.Sotheby’s, Antiquities and Islamic Art, Primitive Art, Tibetan, Nepalese, Indian and South-East Asian Art, 16th June 1975.Sotheby’s, Antiquities Islamic Art, Indian, South-East Asian, Tibetan and Nepalese Art, African, Oceanic and American Indian Art, 27th October 1975.Sotheby’s, Antiquities and Tribal Art, Tibetan, Nepalese, South-East Asian and Indian Art, 22nd December 1975.Sotheby’s, Egyptian, Near Eastern, Greek and Roman Antiquities, 6th July 1964.Sotheby’s, French Paperweights and English and Continental Glass, 3rd December 1973.Sotheby’s, English and Continental Glass, 4th February 1974.Sotheby’s, Fine English and Continental Glass, 3rd June 1974.Sotheby’s, Fine English and Continental Glass, 6th January 1975.Sotheby’s, Fine Glass Paperweights, 27th January 1975. Sotheby’s, Fine English and Continental Glass, 7th April 1975.Sotheby’s, Fine English and Continental Glass, 29th September 1975.Sotheby’s, Fine English and Continental Glass, 15th December 1975.Sotheby’s, Important German Glass, 26th June 1978.Sotheby’s, English and Continental Glass, 21st May 1979.Sotheby’s, Una Importante Collezione DI Antiche Maioliche E Porcellane Italiane, 11th October 1972.Sotheby’s, Highly Important Italian Maiolica, 18th March 1975.Sotheby’s, An Important Collection of Italian Renaissance Maiolica, 20th March 1973.Sotheby’s, Italian Maiolica Continental Pottery and Porcelain, 22nd May 1973.Sotheby’s, Important Continental Porcelain, 17th June 1975.Sotheby’s, Continental Ceramics, 21st October 1975.Sotheby’s, European Ceramics, 16th December 1975.Sotheby’s, Continental Pottery and Porcelain, 16th March 1976.Sotheby's, Egyptian, Classical, and Western Asiatic Antiquities, 16th May 1980.Collection – Roger Peyrefitte, Paris 26th Mai 1977.Journal of Jewish Art, Volume Eight 1981, Center for Jewish Art of the Hebrew University Jerusalem.Journal of Jewish Art, Volume Three & Four 1977, Spertus College of Judaica Press Chicago, Illinois.Proche, Moyen et Extrême-Orient, Bibliothèque Orientale De M.A. , Drouot Richelieu – 29 et 30 Novembre 2004.Christie’s London, Antiquities, 25th October 2007.Christie’s London, The ‘Canford’ Assyrian Reliefs, 6th July 1994.BEAUSSANT LEFEVRE, Paris – Drouot – 3 Mars, 2006.VENTE PUBLIQUE 35, Monnaies Romaines et Byzantines Brakteaten Haus Osterreich Osterreichische Fursten.Monnaies Ancienne et Modernes, Vente aux Encheres Publiques 8, Auktion 8, 27 und 28 Juni 1978. Auctiones S.A., Bale.VENTE PUBLIQUE 52, Monnaies et Medailles S.A. Bale, 19 et 20 Juin 1975.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Islamic and Iznik Pottery, Tibetan Tankas, Nepalese, Tibetan, Indian, Thailand, Khmer and Indonesian Art, 14th May 1973.Sotheby’s, Antiquities, Middle Eastern, Irish, Viking, Egyptian, Greek, Roman and Etruscan Antiquities, 10th July 1979.Sotheby’s, Antiquities, 9th December, 1974.Sotheby’s, Egyptian Seals, Scarabs and Signet Rings, 21st April 1975.Sotheby’s, Oriental Ceramics and Works of Art, 23rd September 1975.Sotheby’s, Ancient Iranian Bronzes and Silver Formerly in the Peter Adam Collection, 10th November 1975.Art & Auction, Fashion Photos Click, February 1994.REVUE DE L’ART 60, Editions du C. N. R.S. 1983.Galerie Simone de Monbrison (2), Arts Antiques, Art Primitifs, Galerie Simone de Monbrison, 11 Rue des Saints-Peres, Paris 6.Attische Schwarzfigurige Vasen, Bucher Uber Archaologie, Munzen und Medaillen A. G. Basel Sonderliste G, November 1964.Art of the Ancients, Greeks, Etruscans and Romans, Andre Emmerich Gallery Inc. Exhibition Catalogue, February 7th – March 13th 1968.Bronzegefasse und Bronzegerate der Antike, Romische Tonlampen, Antike Glaser, Bucher Uber Archaologie, Sonderliste J, Munzen und Medaillen A.G. Basel, Marz 1968.Christie’s London, Important Ancient Coins, 8th October 1985.The Museum Maritime Museum Haifa, SEFUNIM (Bulletin) VII, 1988 (Published by the National Maritime Museum Foundation).M Laurin – Guilloux – Buffetaud – Cailleur, Commissaires – Priseurs Associes, 1987.Gorny & Mosch, Giessener Munzhandlung GMBH, 216, Auktion, Antike Munzen und Lots, 15th and 16th October 2013. Sotheby’s, Antiquities – Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Iznik Pottery, 9th July 1974.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Iznik and Islamic Pottery, 3rd December 1973.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 9th July 1973.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Iznik and Islamic Pottery, 4th December 1972.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 10th July 1972.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Islamic Metalwork, 6th December 1971.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Islamic Pottery and Metalwork, 1st December 1969.Ancient Art, Robin Symes, June 1971.Sotheby’s New York, Antiquities and Islamic Works of Art, 25th June 1992. Haute Curiosite Arts Primitifs – Art Musulman, 1973. Please refer to department for condition report

A quantity of 44 Christie's and Sotheby's catalogues, comprising: Sotheby's, Catalogue of Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 26th November 1968.Sotheby's, Catalogue of Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities also Islamic Pottery, 18th June 1968.Sotheby's, Catalogue of Islamic Arms and Armour Glass, Textiles, Ceramics, Woodwork and Metalwork also Qajar Enamels, 2nd May 1977.Sotheby's, Catalogue of African, Oceanic, Pre-Columbian and American Indian Art also Japanese and Indian Sculpture and Islamic Pottery, 27th of June, 1966.Sotheby's, Catalogue of Fine Oriental Miniatures, Manuscripts and Printed Books, 28th of April 1981. Sotheby's, Catalogue of Fine Islamic Rugs ad Carpets, 29th of March 1978.Sotheby's, Catalogue of Fine Oriental Miniatures, Manuscripts and Printed Books, 12th and 13th October 1981.Sotheby's, Catalogue of Fine Oriental , Manuscripts and Miniatures, 16th of April 1984.Sotheby's, Catalogue of Fine Oriental , Manuscripts and Miniatures, 16th of April 1984, 17th of October 1983.Sotheby's, Catalogue of Egyptian, Western Asiatic, Irish Bronze Age, Greek, Etruscan, Roman, Celtic, Anglo-Saxon and Byzantine Antiquities Islamic Pottery and Metalwork, 13th of July, 1970.Sotheby's, Catalogue of Fine Oriental Carpets and Rugs, 6th of May 1977.Sotheby's, Islamic Work of Art Part II, Metalwork, Ceramics, Glass, Textiles and Qajar Enamels, 22nd of November, 1976.Christie's, Indian Miniatures, 12th of July 1979.Christie's, Fine Oriental Miniatures and Manuscripts, 10th of July 1975.Christie's, Important Islamic Manuscripts and Indian Miniatures, 9th of November 1977. Christie's, Important Islamic and Indian Manuscripts Miniatures, 24th of April 1980.Christie's, Indian Miniatures and Watercolours, 3rd of July 1980.Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 11th of April 1989.Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 11th and 12th of June 1984. Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 4th of July 1985.Christie's, Oriental Ceramics and Works of Art, 31st October 1991.Christie's, Oriental Ceramics and Works of Art, 23rd July 1992. Christie's, Oriental Ceramics and Works of Art and Indian and Islamic Miniatures and Manuscripts, 17th of October 1989.Christie's, Oriental Ceramics and Works of Art and Indian and Islamic Miniatures and Manuscripts, 3rd of May 1990.Christie's, Oriental Ceramics and Works of Art, 17th of May 1990.Christie's, Oriental Ceramics and Works of Art, 28th of June 1990.Christie's, Persian and Islamic Works of Art, 11th of July 1977.Christie's, Persian and Islamic Works of Art, 14th of July 1975.Christie's, Important Travel and Natural History Books, 20th of February 1980.Christie's, Sale of Islamic and South East Asian Paintings, Manuscripts and Works of Art, 14th of June 1983.Christie's, Oriental Ceramics and Works of Art, 18th of December 1991.Christie's, Oriental Ceramics and Works of Art, 4th of September 1990.Christie's, Carpets and Furniture, 25th of March 1992.Christie's, Oriental Ceramics and Works of Art, 23rd of January 1992.Christie's, Oriental Ceramics and Works of Art, 9th of July 1992.Christie's, Oriental Ceramics and Works of Art, 18th of October 1990.Christie's, Oriental Ceramics, Works of Art, Miniatures and Manuscripts, 8th of August 1991. Christie's, Oriental Ceramics, Works of Art, 26th of July 1990.Christie's, Review of the Season 1983.Christie's, Review of the Season 1988.H. Daiber, Catalogue of the Arabic Manuscripts in the Daiber Collection, Institute of Oriental Culture, University of Tokyo, 1988.Oriental Miniatures and Illumination, Bulletin No. 41, Maggs Bros. Ltd. (44) Please refer to department for condition report

"A. R. PENCK"; RALF WINKLER (Dresden, Germany; 1939- Switzerland, 2017)."Olympia".Mixed media on paper.Signed in the lower left corner.A. R. Penck originally created this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 70 x 50 cm; 85 x 65 cm (frame).The controversy aroused by the work that we now present to the Barcelona 92 Olympic Organising Committee was due to its highly erotic nature. The fact that Penck depicted a young lady like Olympia, with her breasts exposed (multiplied by 5, each corresponding to an Olympic ring) or with two naked pubes, was reason enough to censure the work as inappropriate. It was not the first time that an Olympia had aroused controversy in art: when Édouard Manet presented his work of the same name at the Paris Salon in 1865, it was branded pornographic owing to its high degree of eroticism, causing a great stir among the critics of the time. It is striking how, despite the time difference of almost 130 years between the two works, history is repeating itself.Ralf Winkler, who also used the pseudonyms Mike Hammer, T.M., Mickey Spilane, Theodor Marx, "a. Y." or simply "Y" was a German painter, printmaker, sculptor and jazz drummer. Penck was born in Dresden, during his teenage years he began attending painting and drawing classes with Jürgen Böttcher, known by the pseudonym Strawalde, and joined him to form the renegade artists' group Erste Phalanx Nedserd, notable for its members' refusal to study at an academy. Members of the group were also denied acceptance into the GDR Association of Visual Artists. They therefore had to earn their living as labourers or craftsmen. Later he worked for a year as a trainee draughtsman at the state advertising agency in Dresden. From 1955 to 1956, Winkler was a draughtsman at the advertising agency DEWAG and from 1956, he tried to enter the Academy of Fine Arts in Dresden and the Berlin University of the Arts in East Berlin, but it was not until 1966, when Winkler became a candidate to join the Association of Fine Artists, now under the artistic pseudonym A. R. Penck. Which was elected after the geologist Albrecht Penck. From 1969 onwards he had more and more problems with the GDR Ministry of State Security. His paintings were confiscated and his acceptance into the GDR Association of Visual Artists (VBK) was refused.Winkler was one of the founding members, in May 1971, together with Steffen Terk, Wolfgang Opitz and Harald Gallasch, of the artists' group GAP, which existed until 1976. From 1973 he worked under the pseudonyms Mike Hammer and TM. After serving in the military in 1974, he was awarded the Will Grohmann Prize in 1975 by the West Berlin Academy of Arts. In 1976, Penck met the West German painter Jörg Immendorff, with whom he would collaborate in the following years. In their work they campaigned for the abolition of the German internal border, and for dissidents, among them Rudolf Bahro and Robert Havemann. From 1976, he also signed simply Y. In 1977, some of his paintings were confiscated. In May 1979, several of his works and records were destroyed during a burglary at his studio. On 3 August 1980, he was transferred to West Germany. After emigrating, Penck became one of the leading exponents of the new figuration, along with Jörg Immendorff, Georg Baselitz and Markus Lüpertz. Their work was shown in major museums and galleries in the West throughout the 1980s. They were included in several important shows, such as the famous Zeitgeist exhibition at the famous Martin Gropius Bau Museum and the important New Art exhibition at the Tate in 1983. He first lived in Kerpen, southwest of Cologne. In 1981, the Goethe Foundation awarded him the Rembrandt Prize in Basel, Switzerland. In 1983, Winkler moved to London and received the Aachen Art Prize in 1985. In 1988 he took part in the exhibition Made in Cologne, in the same year he was appointed professor of painting at the Düsseldorf Academy of Arts.His paintings depict worlds and spaces of experience, full of symbolic abbreviations. He used stick figures and graphic icons reminiscent of cave paintings, Asian calligraphy and graffiti art. In the 1960s and 1970s, he created a series of paintings and sculptures, which he called Standarts, a combination of "standard" and "art", echoing the German word for banner or flag, Standarte, by which he meant an art form that used simple, archaic pictorial symbols, such as road signs or trademarks. In the 1980s.

A scene from a Ramayana series (the 'Second' Guler Ramayana), depicting Rama about to kill the demon king Ravana in the battle between the two armies Guler, circa 1790-1800gouache and gold on paper, gold-decorated blue floral inner border, flecked pink outer border 256 x 357 mm.Footnotes:ProvenanceBy family repute, acquired at Spink, London, in the 1980s.Private UK collection, 1980s-present.The scene depicts a climactic moment in the battle between the armies of Rama and of Ravana, the demon king, at which, after several days fighting, the arrows of Rama cut off each of Ravana's heads in turn - but they grow back again. Rama is reminded by his charioteer, Matali, to use his Brahma-weapon - which finally defeats the demon king.This superb painting is an illustration from the series known as the 'second' Guler Ramayana, attributed to the first generation of artists after Manaku and Nainsukh. The first section of the series is referred to by W. G. Archer as the Kangra Ramayana series, and is dated circa 1775-1780 (and also as the 'Bharany' Ramayana). This comprises illustrations from the first three books of the Ramayana. Our painting belongs to the second section of the series, comprising illustrations from Books Five and Six, and specifically to Book Six, the Yuddhakanda or the Book of War. Goswamy and Fischer date this second section to circa 1790 and list known paintings belonging to it (M.C. Beach, E. Fischer, B.N. Goswamy (ed.), Masters of Indian Painting 1650-1900, Zurich, 2011, p. 690).J. P. Losty discusses another illustration from Book Six depicting Ram, Sita, Lakshmana and the monkey army seated inside the golden chariot about to begin their return to Ayodhya. He dates this illustration to circa 1800 and attributes it to an artist from Guler, noting that the human faces are depicted with an angular profile characteristic of the Guler style and sharp noses which bear the influence of Nainsukh rather than the smoother profile usually associated with Kangra. He suggests that it is quite likely this second part of the series was painted in Guler during the last years of Raja Bhup Singh's reign prior to its annexation by Sikh forces in 1813. (See J. P. Losty, A Mystical Realm of Love: Pahari Paintings from the Eva and Konrad Seitz Collection, London 2017, no. 22, pp. 119, 122-123).Other examples from this series have appeared at auction: particular comparison can be made with the following:Christie's, Arts of India, 12th June 2018, lot 26 (depicting Rama, Lakhshmana and Sita at the hermitage of Bharadvaja).Bonhams, New York, Indian, Himalayan and Southeast Asian Art, 11th September 2012, lot 89 (Rama and Lakhshmana conferring with the monkey army while other monkeys are in combat with the demon army).Sotheby's New York, Indian and Southeast Asian Works of Art, 21st March 2012, lot 210 (Vibhishana bowing before Rama, surrounded by the monkey and bear army, with the fortress of Lanka in the background). Both of these have the noticeable pink-tinged ridges of the hills, seen in our painting, though less pronounced here.Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, 22nd March 2002, lots 59 and 60 (Guler or Kangra, circa 1790; the trees and branches carried by the monkeys are prominent - hints of Birnam Wood come to Dunsinane - and the decoration on the demon chariots is very similar).Sotheby's New York, Indian and Southeast Asian Works of Art, 20th March 2013, lot 319 (Rama and Lakhshmana wounded by the arrow of Indrajit).Sotheby's New York, Indian and Southeast Asian Art, 19th September 1996, lot 185 (the monkey army beginning their assault on Lanka under the direction of Rama).Sotheby's, Oriental Manuscripts and Miniatures, 23rd April 1997, lot 149 (Hanuman conducting a reconnaissance of the fortress of Lanka).Sotheby Parke Bernet, New York, Fine Oriental Miniatures, Manuscripts, Islamic Works of Art, and 19th Century Paintings, 14th December 1979, lot 225 (there attributed to Garwhal, circa 1800).For paintings from the first series (1775-80), see for example:Goswamy and Fischer, op. cit., nos. 143-145, pp. 340-343.D. Ehnbom, Indian Miniatures: the Ehrenfeld Collection, New York 1985, nos. 116-118.S. Kossak, Indian Court Painting, 16th-19th Century, New Yorkl 1997, no. 62. Sotheby's New York, March 22, 2002, lots 47 & 48.Sotheby's, Oriental Manuscripts and Miniatures, 12th October 1981, lot 107.A. G. Poster, Realms of Heroism: Indian Paintings at the Brooklyn Museum, New York 1994, pp. 263-264, nos. 215 & 216.Other pages can also be found in the Mittal Collection, Shimla Museum, and the Metropolitan Museum of Art, New York.For further information on this lot please visit Bonhams.com

An unidentified scene from a ragamala series, depicting a prince on a palace terrace Kangra, circa 1820gouache and gold on paper, floral inner borders, red outer border, nagari inscription in upper border raga mangal, putra hindo 250 x 297 mm.Footnotes:ProvenanceDoris Wiener Gallery, New York.Private collection, Virginia, USA.Bonhams New York, Indian, Himalayan and Southeast Asian Art, 17th March 2014, lot 117.Private UK collection.Comparison can be made with another page from the same series in the John and Berte Ford Collection (published in P. Pal, Dancing to the Flute, Sydney 1998, no. 191); another offered at Christie's (Arts of India, 25th May 2017, lot 51, velavali ragini of Bhairava raga); and Sotheby's, Fine Oriental Miniatures, Manuscripts and Qajar Paintings, 4th April 1978, lot 297 (illus.).For further information on this lot please visit Bonhams.com

TÊTE DE DIVINITÉ EN GRÈSCambodge, style du Bayon, fin du XIIe/début du XIIIe siècleSANDSTONE HEAD OF A DEITYCambodia, Bayon style, late 12th/early 13th centuryThe hair is rendered in vertical braided bands with a pearl band that surrounds the forehead and tightly frames the ears. The hairstyle and the shallow fragment of the ushnisha do not allow for a clear designation of the deity as the features are shared by both Buddha and bodhisattva figures, stand. 23cm (9in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Smit Gallery, Bangkok, 19 April 1965Jean-Pierre Rousset, Paris (1936-2021)Published, Illustrated and Exhibited:Sherman Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, October 1969, p.85, no.48 A noted by Sherman Lee in the ground breaking exhibition on Cambodian sculpture at the Asian House Gallery in New York in 1969 'This fragment of a male head- probably that of a Buddha- although very incomplete, gives another version of the Bayon sculptural type. The stylised, bead-shaped locks arranged in vertical rows, the thick projecting eyebrows, the closed eyes with well-formed lids, and the sensuous mouth with its corners raised in a smile.'This magnificent fragment of the time of Jayavarman VII captures, despite the section lost, an emotion that no other work of Khmer art from earlier period had managed to deliver. The youthful face already wears all signs of maturity. The high forehead and very thick eyebrow give a feature of naturalistic interpretation that connect, like many sculpture of the period with the portrait of Jayavarma VII (see H.I.Jessup and T.Zephir, Sculptures of Angkor and Ancient Cambodia, Washington 1997, p.301, no.89). The serene expression is amplified by the eye, closed in a deep meditation, conveying total introspection and perfect tranquility. Also see H.I.Jessup and T.Zephir, Sculptures of Angkor and Ancient Cambodia, Washington 1997, pp.305-315, nos.92-98.Executed in a very fine sandstone whose quality was reserved for exceptional pieces, this head is the testimony of the magnificence of the Bayon period and the work of an inspired artist.柬埔寨 巴戎寺風格 十二世紀末/十三世紀初 砂岩像首來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年4月19日得自曼谷Smit藝廊巴黎Jean-Pierre Rousset（1936-2021）舊藏展覽著錄：Sherman Lee, 《Ancient Cambodian Sculpture》，Asia House畫廊，紐約，1969年10月，頁85，編號48For further information on this lot please visit Bonhams.com

A PAIR OF BRONZE FRAGMENTARY HANDS OF BUDDHA, AYUTTHAYA KINGDOMThailand, 16th-17th century. The two fragments of a large Buddha statue are elaborately cast with thin and elongated fingers held in abhaya mudra. The bronze shows a fine, naturally grown patina. Provenance: From the collection of Nils Nessim, and thence by descent to the last owner. Nils Nessim (1916-1974), was a Swedish businessman and rug dealer, the son of leading rug specialist Jean Benjoam Nessim (1887-1946). Nils was taught by his father from an early age on and traveled the world to build an impressive collection of antique rugs and Asian works of art. Condition: Very good condition with minor wear and casting flaws as well as minuscule nicks and light surface scratches.Each hand is mounted to a customized wood base, for the pair to serve as bookends. (2)Weight: 351.9 g and 326.1 g (incl. base) Dimensions: Height 10.5 and 11.5 cm (excl. base) and 13 cm and 14 cm (incl. base)Auction result comparison: Type: RelatedAuction: Sotheby's Paris, 9 November 2021, lot 13Price: EUR 2,016 or approx. EUR 2,200 adjusted for inflation at the time of writingDescription: A gilt-bronze fragmentary hand of a Buddha, Thailand, Ayutthaya period, 16th-17th centuryExpert remark: Compare with a single hand of larger size (25 cm), showing a similar pose.

A BRONZE TRIPOD STEAMER, YAN, WESTERN ZHOU DYNASTYChina, 1100-771 BC. Comprised of two parts, the lower vessel supported on three massive and tall feet, the shoulder encircled by a raised bowstring, all surmounted by a short, straight neck designed to fit neatly into the conforming foot of the bowl-shaped upper vessel, which rises elegantly to an everted rim. The exterior decorated with three distinct bands of stylized serpents, separated by bowstring bands, flanked by two short knob handles, the well with three bands of radiating apertures to allow steam to rise. (2)Provenance: From a private collection in Vancouver, Canada, sold to benefit the Art Gallery of Greater Victoria. European trade, acquired from the above. The Art Gallery of Greater Victoria in Victoria, British Columbia, Canada, first opened in 1951 and houses almost 20,000 works of art. With approximately 8,000 Asian works, the museum holds the second largest collection of Asian art in Canada, after the Royal Ontario Museum. While the collection of Asian works includes items from all over the continent (including Southeast and Western Asia), the focus is primarily on works from China and Japan. Condition: Fine overall condition, commensurate with age, possibly small losses with associated old fills. Extensive wear, signs of weathering and erosion, small nicks and cracks. Fine, naturally grown patina with extensive malachite and cuprite encrustation. Displaying remarkably well overall.Weight: 2130 g Dimensions: Height 31.2 cm Expert's remark: Note the intricate design of the three bands below the rim with interlocking serpent figures, composed of a head with a single round eye and separated by S and C-shaped scrolls. Literature comparison: Compare a related bronze steamer, also dated to the Western Zhou dynasty, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 23 March 2022, lot 231Price: USD 107,100 or approx. EUR 104,500 converted and adjusted for inflation at the time of writingDescription: A rare inscribed archaic bronze ritual vessel (Yan), Early Western Zhou dynastyExpert remark: Compare the related form with similar feet, bowstring bands, and size (34.5 cm)西周三足銅甗中國，公元前1100-771年。甗分兩部分：一甑一鬲。甑部與鬲部相連，甑底有十字紋的箅，外壁修飾三道雲雷紋。三足鬲。 來源：加拿大溫哥華私人收藏，為資助維多利亞美術館而出售；歐洲古玩交易，購於上述收藏。位於加拿大不列顛哥倫比亞省維多利亞的維多利亞美術館於 1951 年首次開放，收藏了近 20,000 件藝術品。該美術館擁有大約 8,000 件亞洲藏品，是加拿大第二大亞洲藝術收藏品，僅次於皇家安大略博物館。亞洲古玩的收藏主要是來自中國和日本的作品。品相：整體狀況良好。 大面積磨損、風化和侵蝕跡象、小刻痕和裂縫。 細膩且天然包漿，大量的紅綠結殼。 重量：2130 克 尺寸：高31.2 厘米 文獻比較： 比較一件相近的西周三足銅甗，收藏於史密森尼學會管轄的亞瑟·M·賽克勒美術館，編號S1987.352a-b。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2022年3月23日，lot 231 價格：USD 107,100（相當於今日EUR 104,500） 描述：西周初期溫弗生甗 專家評論：比較相近的外形、三足、弦紋、紋帶和尺寸 (34.5 厘米)。

A SMALL JADE FIGURE OF A BIXIE, SIX DYNASTIESChina, 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。

AN AYUTTHAYA PERIOD BRONZE OF BUDDHA SHAKYAMUNI, 17TH CENTURYBuddha Shakyamuni is standing in Samabhanga pose with his right hand showing the Abhayamudra, the gesture of fearlessness, reassurance and safety. His left hand is stretched downwards near the hems of his garment. Buddha is wearing a Samghati robe with a belt around his hip and pendeloque earrings as well as an ornate tiara with floral decoration and a stupa-like, conical-shaped ushnisha. The face shows a fine meditative expression, with cast-down eyes, a serene smile and elongated earlobes.Provenance: Austrian private collection, acquired in 1988 in our galleries.Condition: Good condition with appealing patina. Ketumala end-piece restored.Dimensions: 48 cm (height of sculpture), 51 cm (total height with base)Literature comparison: See Christie's, Indian, Himalayan and Southeast Asian Art, 18 April 2005, Amsterdam, lot 118 (for a very similar Buddha of the same size) and Bonham's, Indian, Himalayan and Southeast Asian Art, 17 September 2014, New York, lot 178 (for a very similar bronze, larger in size).

A MARBLE HEAD OF BUDDHA, TANG DYNASTYChina, 618-907. The full face carved with small, delicate features, such as the heavy-lidded eyes below the gently arched eyebrows and the full lips pursed to form a subtle smile, all below the hair dressed in waves with two whorls above the forehead and a third whorl below the pronounced ushnisha.Provenance: Collection of Rene Vittoz, thence by descent. Rene Vittoz (1904-1992) was a Swiss scholar of Romance languages and a teacher of French and art history. He authored several books, including 'Essai sur les Conditions de la Poesie Pure' and a play, 'L'ivresse de Noe' (Drunkenness of Noah). He was also a painter and a passionate collector of Asian and European works of art. After his death, a number of works in his collection were auctioned at Christie's.Condition: Excellent condition, commensurate with age. Extensive wear, losses, minor nicks and scratches. The back with two circular recesses showing remnants of iron, indicating a prior mounting. Fine, naturally grown, honey-brown patina.Weight: 6.2 kg (incl. base)Dimensions: Height 21 cm (excl. base) and 36.5 cm (incl. base)Mounted to an old wood base with metal fittings, dating to the earlier 20th century, allowing the head to be turned 360°. (2)Literature comparison: Stylistically this head closely relates to other mid-Tang limestone figures from the Longmen caves. See two heads of Buddha (32 and 66 cm high) in the Avery Brundage Collection, illustrated in Chinese, Korean and Japanese Sculpture, Asian Art Museum of San Francisco, Japan, 1974, pp. 212-5, nos. 104 and 106 (the larger head with the object number B60S38+). Of particular note is the treatment of the hair, with both the illustrated examples and the present lot exhibiting two whorls above the forehead and a third whorl below a pronounced ushnisha. Another feature of this group is the relatively plump face, with deeply set eyes beneath high, arched eyebrows. These same features are also seen on a number of other examples from this group, illustrated in The Lost Statues of the Longmen Caves, Shanghai, 1993, pp. 49-59. Auction result comparison:Type: RelatedAuction: Sotheby's New York, 21 September 2021, lot 109Price: USD 40,320 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: A marble head of bodhisattva, Tang DynastyExpert remark: Compare the related form, expression, curled hair, and material. Note the size (12.7 cm) Auction result comparison:Type: RelatedAuction: Christie's London, 15 May 2018, lot 158Price: GBP 18,750 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A small dark grey stone head of buddha, Tang dynasty (618-907)Expert remark: Compare the related form, expression, and distinct whorls. Note the size (11.5 cm) Auction result comparison:Type: RelatedAuction: Christie's New York, 18 March 2009, lot 350Price: USD 32,500 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: A dark grey stone head of buddha, Tang dynasty (618-907), Longmen cavesExpert remark: Compare the related face, expression, and distinct whorls. Note the size (25.5 cm)唐代大理石佛頭中國，618-907年。莊嚴、大氣、飽滿的佛陀頭像，面部略顯豐腴，眼睛細長，拱形的眉毛，形成與鼻脊和諧曲線，眉間白毫，以及盤到頭上的高高髮髻，表現出唐代佛像經典風格。 來源：Rene Vittoz收藏，保存至今。Rene Vittoz (1904-1992) 瑞士羅曼語學者、法語和藝術史教師。 他撰寫的幾本書，包括 “Essai sur les Conditions de la Poesie Pure”和一部戲劇“L'ivresse de Noe”（諾亞的醉酒）。 他也是一位畫家，同時也是亞洲和歐洲藝術品的熱情收藏家。 在他去世後，他收藏的多件作品在佳士得拍賣。 品相：狀況極佳，與年齡相稱。 廣泛的磨損、缺損、輕微的劃痕和刻痕。背面有兩個圓形凹槽，顯示鐵的殘留物，表明之前的有支架。自然生長的蜜褐色包漿。 重量：6.2 公斤 (含底座) 尺寸：高21 厘米 (不含底座)，總36.5厘米 木底座，金屬支架，應為二十世紀，頭像可以360° 轉動以便觀摩。 (2) 拍賣結果比較：形制：相近拍賣：紐約蘇富比，2021年9月21日，lot 109價格：USD 40,320 描述：唐代大理石菩薩首像專家評論：比較相近的外型、表情、捲髮和材質。請注意尺寸(12.7厘米)。拍賣結果比較：形制：相近拍賣：倫敦佳士得，2018年5月15日，lot 158價格：GBP 18,750 描述：唐代石雕佛頭像專家評論：比較相近的外型、表情和髮髻上的螺旋紋。請注意尺寸(11.5厘米)。拍賣結果比較：形制：相近拍賣：紐約佳士得， 2009年3月18日，lot 350價格：USD 32,500 描述：唐代龍門灰石雕佛頭像

A PINK SANDSTONE HEAD OF BUDDHA, MATHURA, KUSHAN PERIODIndia, Uttar Pradesh, 2nd-3rd century. The head finely carved with a round face, a gentle smile below heavy-lidded eyes, the brows centered by a circular urna, the face flanked by elongated ears and surmounted by closely cropped hair, remains of a back pillar. Provenance: The Pan-Asian Collection of Christian Humann, Denver, Colorado, USA. Formerly on loan to the Denver Art Museum. Sotheby's New York, 27 March 1991, lot 13, at an estimate of USD 4,000 or approx. EUR 8,500 (converted and adjusted for inflation at the time of writing). Stefaan Grusenmeyer, Belgium, acquired from the above. A noted Belgian private collection, acquired from the above in 1991 and thence by descent in the same family. A copy of the Sotheby's catalog entry from 27 March 1991 for the present lot, dating the head to circa 2nd century AD and attributing it to Mathura, accompanies this lot. Christian Humann (1929-1981) was born in France and later moved to the United States, eventually becoming the Curator of Asian Art at the Denver Art Museum. Humann was an enthusiastic collector of Asian statues, and his Pan-Asian Collection included a vast number of sculptures spanning from Afghanistan to Southeast Asia over the last two millennia. Condition: Good condition commensurate with age and overall as expected from a stone sculpture with an age of roughly two millennia. Extensive wear with signs of weathering and erosion, some nicks, structural cracks, and losses. Fine, naturally grown patina.Weight: 5,390 g Dimensions: Height 19.6 cm (excl. stand), 28.8 cm (incl. stand)With a modern metal stand. (2)Due to its location on the caravan trade routes through central India, Mathura was for centuries an important economic center. In the 2nd and 3rd centuries, it became a capital for the mighty Kushan Empire. During this time, both in Mathura and the region of Gandhara simultaneously, images of Buddha began to appear in anthropomorphic form for the first time. In contrast to Gandhara, where Graeco-Roman concerns for naturalism were stressed, the body types of the Mathura Buddhas convey an idealized Indian vitality.Literature comparison: Compare a related Indian red sandstone head of Buddha, dated to 1st-2nd century, in the collection of the Metropolitan Museum of Art, accession number 28.97.2.Auction result comparison:Type: Near identicalAuction: Christie's New York, 19 March 2014, lot 1069Price: USD 60,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writingDescription: A red sandstone head of Buddha, India, Mathura, Kushan period, 2nd/3rd centuryExpert remark: Compare the near identical face, eyes, urna, and hair. Note the size (33.5 cm).

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

A BRONZE FIGURE OF BUDDHA ON A THRONEJava, 14th-15th century or somewhat later. Heavily cast as Buddha seated on a rectangular throne with a baldachin, the feet resting on a short round stool, his right hand in apanamudra, the left resting on his lap in dhyanamudra, backed by a teardrop-shaped mandorla with a large, distinctively beaded rim. The face with a serene expression, surmounted by an ushnisha covered in tight curls.Provenance: Lawrence Phillips, acquired during the 1960s and 1970s and thence by descent to Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age, with some casting flaws, losses, warping, small nicks and dents, minor corrosion. The patina with few touch-ups.Weight: 1,260 g Dimensions: Height 14.6 cm13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

'THREE MANCHURIAN CRANES', BY YU FEIAN (1888-1959)China. Ink and watercolors on handwoven silk. Depicting three cranes in flight framed by swirling clouds, their plumage neatly painted. Inscribed with a poem by Zhao Ji, the personal name of Emperor Huizong of the Song Dynasty (1082-1135).Inscriptions: Center left, with an extract of a poem by Zhao Ji, signed 'Yu Feian'. Three seals, 'Yushanyan zhai' (Studioname of Yu Feian), 'Yu Zhao he yin', and 'Fei An'Provenance: British trade. Condition: Very good condition with minor wear, few stains and creases, minor foxing to the frame.Dimensions: Image size 83.4 x 37.4 cm, Size incl. mounting 192.8 x 50.9 cmZhao Ji was the personal name of Emperor Huizong of Song (1082-1135), the eighth emperor of the Northern Song dynasty. Emperor Huizong was a great painter, poet, and calligrapher. The emperor took huge efforts to search for art masters. He established the Hanlin Huayuan ('Hanlin Imperial painting house') where top painters around China shared their best works. The primary subjects of his paintings are birds and flowers.Yu Feian (1888-1959), also known Yu Zhaoge, was born in Beijing where he was taught by calligraphers and painters since early childhood. He specialized in brush paintings depicting flowers and birds and later served as a researcher at the Institute of Ethnic Art of the Central Academy of Fine Arts. Yu Feian was also the vice president of the Chinese Painting Research Association, and of the Beijing Painting Institute, and wrote several books.The red-crowned crane (Grus Japonensis), also called the Manchurian crane, is a large East Asian crane and among the rarest cranes in the world. In China, it is known as a symbol of luck, longevity, and fidelity.Literature comparison:A scroll painting by Zhao Ji, depicting cranes in flight above a palace roof, possibly the inspiration for the present painting, is in the collection of the Liaoning Museum.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 October 2007, lot 228Price: HKD 211,500 or approx. EUR 39,500 converted and adjusted for inflation at the time of writingDescription: Yu Fei'an 1888-1959, Pine and crane于非闇(1888-1959) 款《瑞鶴圖》中國，絹本設色。描繪了三隻雲中飛鶴，姿勢優美。筆左下角仿宋徽宗瘦金體題《題瑞鶴圖》詩，橫似鶴骨，勾若鷺喙，瘦逸而遒勁。 款識：清曉觚棱拂彩霓，仙禽告瑞忽來儀。飄飄元是三山侶，兩兩還呈千歲姿。非闇。鈴印：玉山硯齋，于照和印，非闇 來源：英國古玩交易。 品相：狀況極好，輕微磨損，輕微污漬和摺痕、褐變。 尺寸：畫面83.4 x 37.4 厘米，總192.8 x 50.9 厘米 于非闇（1889年3月22日—1959年7月3日），原名于魁照，後改名於照，近現代中國畫家。自幼得書畫家傳，歷任中央美術學院民族美術研究所研究員、北京中國畫研究會副會長、北京畫院副院長。 文獻比較： 現拍品可能是受到《宋徽宗瑞鶴圖卷》影響，原圖收藏於遼寧省博物館。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2007年10月5日，lot 228 價格：HKD 211,500（相當於今日EUR 39,500） 描述：于非闇(1888-1959) 《松下瑞鶴圖》

A SMALL KHMER BRONZE FIGURE OF AN APSARA, BAYON PERIODPublished: Stephen Little, Images of Buddha from the Michael Phillips Collection, Arts of Asia, January-February 2013, page 100, no. 18.Cambodia, Khmer, 12th - early 13th century. Neatly cast in dancing posture, with the right leg raised, the left hand holding an implement, dressed in a finely decorated sampot, adorned with jewelry, the face with a serene expression, flanked by two elongated earlobes, surmounted by a tiara in front of a conical-shaped headdress.Provenance: Collection of Lawrence Phillips, acquired during the 1960s and 1970s and thence by descent to Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Some old wear, minor losses, few nicks, cracks and shallow surface scratches, and minuscule encrustations. With an attractive malachite patina.Weight: 184.5 g (incl. base) Dimensions: Height 12 cm (incl. base) Mounted to a modern acrylic base. (2) Apsaras carved in bas-relief are frequently encountered on the walls of Khmer stone temples or Khmer bronzes. This particular apsara can be dated to the Khmer King Jayavarman VII (reign 1181-1200), who was a devoted patron of Buddhism and Buddhist art. The figure was cast in bronze over an iron armature, part of which can be seen within the broken right arm. It is likely that this figure belonged to a larger Buddhist shrine, such as that of Hevajra, in which case she would be classified as yogini.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 September 2004, lot 61Price: USD 9,560 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Figure of a Dancing Apsara, Khmer, Bayon style, late 12th/Early 13th centuryExpert remark: Compare the closely related pose, headdress, and patina. Note the size (28.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A MARBLE FIGURE OF BUDDHA, TANG DYNASTYChina, 618-907. Buddha is shown seated in padmasana on an oval base, dressed in heavy robes with cascading folds tied at the waist, the face with a serene expression, downcast eyes below gently arched eyebrows, and the smooth hair surmounted by an ushnisha, flanked by two elongated earlobes. Fine ancient polish with an unctuous feel overall.Provenance: From the collection of Michael Phillips, Los Angeles, California, USA. An old collector's label to the base. 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 shallow surface scratches, some losses, and minor cracks. Magnificent natural patina of ivory color overall.Weight: 1,357 g Dimensions: Height 17.2 cmLiterature comparison:Compare a related marble figure of buddha, dated to the Tang dynasty, in the collection of the Metropolitan Museum of Art, accession number 28.114.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.唐代漢白玉佛像中國，618-907年。佛像坐在橢圓形底座上，頭上有螺髻，身著僧袍，褶皺紋理流暢，面部表情慈祥安寧，眼睛微閉，眉毛微拱，長耳垂。漢白玉整體瑩潤光滑。 來源：美國洛杉磯Michael Phillips 私人收藏，底座有藏家收藏標籤。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、風化和侵蝕跡象、土壤結殼、少量刻痕和表面淺劃痕、一些缺損、輕微裂縫。整體呈現象牙色的自然光澤。 重量：1,357 克 尺寸：高17.2 厘米 文獻比較： 比較一件相近的唐代漢白玉佛像，收藏於大都會藝術博物館，編號28.114。

AN INSCRIBED RUBY-RED GLASS SNUFF BOTTLE, 1750-1850Published: Robert Kleiner, 'The Tuyet Nguyet Collection of Snuff Bottles and Saucers', Arts of Asia, November-December 1998, pp. 53, no. 21.China. Of flattened rectangular form with rounded edges, the long sides each with a raised oval panel neatly incised with a poetic inscription, the short sides each with a raised oblong panel.Expert's note: Many monochrome glass snuff bottles were incised with poems and inscriptions, adding to their attraction for the literati class during the Qing dynasty. This is a good example, the raised panels providing an ideal platform for the incision work, which is of spectacular quality and shows fine gilding as well.Inscriptions: With a poem by Li Yifu, Tang Dynasty “She (the goddess of the Luo river) takes the moon as her fan and the clouds as her dress. She dances and looks at her image mirrored by the river.”Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Excellent condition with minor wear, few light surface scratches.Stopper: Glass in imitation of jadeiteWeight: 31.0 g Dimensions: Height including stopper 64 mm. Diameter neck 15 mm and mouth 8 mmAuction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2007, lot 689Price: USD 21,250 or approx. EUR 25,900 converted and adjusted for inflation at the time of writingDescription: A Very Rare Ruyi Guan Inscribed Ruby-Red Glass Snuff BottleExpert remark: Compare the closely related color and calligraphy. Note the different form.1750-1850年寶石紅料詩文鼻烟壺中國。扁平長方形，溜肩，邊緣圓潤，兩面開光雕刻詩文。 出版：Robert Kleiner，〈The Tuyet Nguyet Collection of Snuff Bottles and Saucers〉，《Arts of Asia》，1998年11-12月，第53頁，編號21。 專家注釋：許多單色玻璃鼻烟壺上刻有詩句和款識，這就是清代一個很好的例子。 款識：鏤月成歌扇，裁雲作舞衣。自憐回雪影，孤到（應是“好取“）洛川歸。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相優良，小磨損，表面輕微劃痕。壺蓋：仿翡翠玻璃料 重量：31.0 克 尺寸：高 （含蓋）64 毫米；頸部直徑15 毫米 及瓶口直徑8 毫米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年9月19日，lot 689 價格：USD 21,250（相當於今日EUR 25,900） 描述：如意館造寶石紅料詩文鼻烟壺 專家評論：比較非常相近的顏色和書法。請注意外型不同。

A 'TAOTIE' INCENSE STAND, XIANGJI, QING DYNASTYChina, 1644-1912. Of roughly oval, foliate-lobed form, the top carved to the sides with key-fret and inset with a conforming panel above the recessed waist carved with reticulated kui scroll panels, supported on an intricately carved apron decorated with taotie masks, pierced designs, and cloud scroll, the six elaborate cabriole legs carved with further archaistic scroll motifs, raised on a stretcher carved with key-fret to the sides.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. 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: Good condition with old wear, expected age cracks, small losses, minor chips, light scratches. There is a remote possibility that the apron and cabriole legs are of a significantly earlier date than the top, waist, and stretcher which date from the mid to late Qing dynasty. Fine, naturally grown patina overall.Dimensions: Height 69 cm, Width 60 cm (the tabletop)Incense stands, both in lacquer and hardwood, are seen in a variety of forms, including round, square, foliate, hexagonal and octagonal and are constructed with between three and six legs. Round lacquer incense stands appear to be the most commonly published examples and are depicted in woodblock prints from the Ming dynasty. The Palace Museum, Beijing has four examples ranging in date from the Xuande period (1426-1435) to the early Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties, 2002, nos. 162, 165, 166, and 169.Expert's note: The timber from which this incense stand was made is rosewood (Dalbergia). It has a lovely grain and fine patina. While some houses refer to this type of wood as huanghuali, in our opinion and due to some subtle differences, it may also be accurate to refer to it as hongmu. The stand has been created by a highly skilled craftsman and the quality of the carving is excellent, most remarkably around the apron and cabriole legs.Expert's note (continued): Since the printing of this catalogue, we have been informed that this lot was originally acquired by Anunt Hengtrakul in New York, USA, c. 1985. Furthermore, it was at the time inspected by the famous Manhattan-based Chinese art dealer Robert H. Ellsworth and his restorer, Paul Chow, and both confirmed that while the apron and feet of this Xiangji are carved from Zitan, the top, waist and stretcher are made from Hongmu. Ellsworth specifically mentioned that while this seems to be a rare combination, he had seen other examples before. One such table for example is found in the Soame Jenyns Collection of Japanese and Chinese Art, sold at Christies London, 6 November 2018, lot 43, for GBP 32,500, or EUR 44,500 (converted and adjusted for inflation). A Xiangji with the same combination was sold by Sotheby's on 7 November 2018, lot 130, for GBP 32,500 or EUR 44,500 as well.Literature comparison:Compare a related xiangji, also supported on six legs, in the Palace Museum, Beijing, illustrated in Wang Shixiang, Classic Chinese Furniture, London, 1986, pl. 76.Auction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 192 Price: GBP 18,750 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A huanghuali five-legged incense stand, xiangji, 18th century Expert remark: Compare the related openwork decoration to the apron. Note the smaller size (51.2 cm high)13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.清代饕餮紋香几中國，1644-1912年。六足香几，高束腰，造型優美典雅、線條高挑流暢，頂部刻有雷紋，並在束腰部上方嵌有一個面板，雕刻有網狀夔龍紋，牙條飾有饕餮面具，鏤空雕刻，捲雲紋，六條三彎腿上雕刻著卷葉紋，圓形托泥帶龜腳。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況良好，老化裂紋、小缺損、輕微碎屑、輕微劃痕。牙條和腿的年代可能早於其他部位。整體包漿細膩。 尺寸：高69 厘米，寬 60 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BCOpinion: 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。器體呈梯形，長方形內直，肩部平直，兩側有對稱的長方形孔，弧刃，兩側略外張，器身中部有較大的圓孔，肩下及兩側各飾夔紋，柄上有饕餮紋。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE PALE CELADON JADE 'SANYANG AND TAIJITU' GROUP, 18TH CENTURYChina. Carved as three recumbent rams, the larger animal with its head turned to the right, two smaller rams nestled at its side, each with wisps of vapor billowing from the mouths, with fine hair markings on the edge of the tails. The larger ram with a taijitu symbol emerging from its vapor. The translucent stone of an even pale celadon tone.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, a fine natural fissure to the larger ram's head, and possibly microscopic nicks here and there. The stone with an attractive soft polish.Weight: 353.5 g Dimensions: Length 10.2 cmThe ram is a symbol of filial piety, kindness, and patience. The three rams, san yang, are also an auspicious motif, related both to the sun and to male children, as they provide a rebus for san yang kai tai, the opening up of the new growth in spring, which in turn symbolizes happiness and good fortune. Furthermore, the motif of three goats with the taijitu symbol suggests the auspicious beginning of a new year, based on a quotation from the I Ching (Yijing or Book of Changes).A taijitu is a symbol or diagram in Chinese philosophy representing Taiji, the "utmost extreme", in both its monist (wuji) and its dualist (yin and yang) aspects. Such a diagram was first introduced by Song dynasty philosopher Zhou Dunyi (1017-1073) in his Taijitu shuo. The modern Taoist canon, compiled during the Ming era, has at least half a dozen variants of such taijitu. The two most similar are the "Taiji Primal Heaven" (tàijí xiāntiān tú) and the "wuji" (wújí tú) diagrams, both of which have been extensively studied during the Qing period for their possible connection with Zhou Dunyi's taijitu.Literature comparison:Compare with three jade groups of the three rams in the Palace Museum, Beijing, one illustrated in Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pl. 88 (fig. 1). Compare two groups illustrated in Zhongguo Yuqi Quanji, vol. 6, pls. 269 and 307. Compare also one jade group of rams in the Tianjin Municipal Museum, illustrated in Cang Yu, Hong Kong, 1993, pl. 216.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1462Price: USD 80,500 or approx. EUR 101,500 converted and adjusted for inflation at the time of writingDescription: A finely carved pale greenish-white jade ram group, sanyang, 18th centuryExpert remark: Compare the closely related pose, the vapor, as well as the color of the jade, and the size (7.7 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 12 September 2018, lot 330Price: USD 55,000 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A white jade 'san yang' group, Qing dynasty, 18th centuryExpert remark: Compare the closely related pose, the vapor, the yin-yang symbol on the back, as well as the color of the jade, and the size (11.7 cm).十八世紀罕見青白玉三羊開泰擺件中國。青白玉圓雕三羊，趴伏於地，昂首擺尾，神態溫順。大羊口中叼著一株靈芝。玉質堅實，光澤柔美，刀法細膩，打磨精緻圓潤。 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：狀況良好，輕微磨損，公羊頭部有細密的天然裂縫，有微小的刻痕。 重量：353.5 克 尺寸：長10.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A SPECTACULAR PORTRAIT OF A SECOND-RANK CIVIL OFFICIAL, IMPERIAL SCHOOL, YONGZHENG, PRE-1730Expert's note: Before the Yongzheng Emperor's new regulations for hat finials in 1730, first-rank officials used a ruby bead and small white pearl, while second-rank officials wore a ruby bead and a small red gemstone. Afterwards, first-rank officials' finials were set with translucent red glass or ruby beads, while those of second-rank officials held coral beads or red glass in imitation of coral, with both using small white pearls. The hat finial of the present official is clearly set with a ruby and not a coral bead, which is evidenced by the paler color of his coral necklace, as well as a smaller red stone. Therefore, this portrait must have been painted before the 1730 regulations were put in place. For more information on Qing-dynasty hat finial regulations before and after 1730, see Gary Dickinson & Linda Wrigglesworth, Imperial Wardrobe, London, 1990, page 106.China, before 1730. Ink, gilt, and watercolors on silk, with a silk brocade frame and laid down on paper. The elderly aristocrat wearing a red official hat (chao guan) with a gold finial holding a large ruby and a smaller red gemstone. Note the exceptional quality of the painting and remarkable attention to detail - as found for example on the silk rug with its distinct forbidden stitch, the gilt-outlined swirling clouds on the rank badge, and the robe hems, which all appear strikingly lifelike.Provenance: Chicago trade, USA, sold for the benefit of a noted cultural nonprofit organization. European trade, acquired from the above.Condition: Very good condition with only minor wear, some soiling, little creasing, small losses, few minor touchups. Dimensions: Image size 155.6 x 77 cm, Size incl. mounting 175 x 80.8 cmSeated on a fine wooden yokeback chair with a tiger skin seat cover, wearing a midnight blue surcoat (pu fu) over a blue silk formal court robe (chao fu), the collar of the surcoat and hems of the robe decorated with sinuous dragons amid colorful clouds, matching the golden pheasant rank badge, his left hand holding a white pearl from his coral court necklace between two fingers, the realistically treated face marked by heavy-lidded eyes, deep wrinkles, and a gray mustache and beard. Note the texture of the soft fur of the tiger's pelt and coat edges, as well as the rough quality of the embroidered cloud-scroll bands of the coat cuffs.At the beginning of the Qing dynasty, the chao guan was worn on semi-formal occasions without its usual ornate spike. The Yongzheng Emperor appears to have felt that this was unsatisfactory. Easily identified hat finials were introduced in 1727 by the Yongzheng Emperor and were worn on all official and public occasions. The new insignia was a large round bead of material of the appropriate color, along with a smaller pearl or stone of the same color as the bead, mounted on a gilt base. The highest-ranking officials wore plain opaque red beads, while the lowest wore silver. In 1730, regulations were introduced to allow the use of colored glass instead of precious stones.Literature comparison: Compare a related portrait of Lirongbao, the father-in-law of Emperor Qianlong, painted posthumously during the 18th or 19th century and now in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institute, accession number S1991.130, illustrated in J. Stuart and E. S. Rawski, Worshiping the Ancestors: Chinese Commemorative Portraits, Washington, D.C., 2001, p. 161, fig. 6.8. Note the ruby bead and small white pearl on the finial, indicating that this painting was made after 1730.Auction result comparison: Type: Closely related Auction: 17 September 2010, lot 1060 Price: USD 74,500 or approx. EUR 98,000 converted and adjusted for inflation at the time of writing Description: Anonymous (18th/19th century), Portrait of a Civil Official Expert remark: Note that the coral bead and white pearl of the hat finial worn by this official were only used after the 1730 regulations (see Expert's note), which clearly indicates this portrait was painted after 1730 and thus after the present lot, although both works share the same level of artistic skill. Note the size (156.2 x 76.2 cm).雍正時期二品官員肖像畫中國，1730年前。絹本設色描金。br />專家注釋：1730年雍正皇帝頒布帽飾新規之前，一品官佩戴紅寶石珠和小白珠，二品官佩戴紅寶石珠和小紅寶石。之後，一品官的頭飾上鑲有半透明的紅玻璃或紅寶石珠，二品官員則戴珊瑚珠或仿珊瑚的紅玻璃，均用白色的小珍珠。拍品上的官員的朝冠上顯然鑲有紅寶石，而不是珊瑚珠，這從他的珊瑚項鍊的顏色較淡，以及一顆較小的紅色石頭就可以看出這一點。 因此，這幅肖像一定是在 1730 年的法規實施之前繪製的。有關 1730 年前後清朝帽飾規定的更多信息，參見 Gary Dickinson 和 Linda Wrigglesworth，Imperial Wardrobe，倫敦，1990年，頁106。 來源：美國芝加哥古玩交易，為資助一個知名的非盈利文化組織；歐洲古玩交易。 品相：狀況極好，只有輕微磨損、一些污漬、少量摺痕、缺損和修補。 尺寸：畫面155.6 x 77 厘米，總175 x 80.8 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

Mekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha.Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall.Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region’s hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert’s note: For a detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, please see the lot description on www.zacke.at. To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison:Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musée Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014–July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musée Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison:Type: RelatedAuction: Christie’s New York, 20 March 2012, lot 151Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writingDescription: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th centuryExpert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison:Type: RelatedAuction: Christie’s New York, 17 March 2015, lot 35Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writingDescription: An important stone figure of Buddha, Thailand, Dvaravati period, 8th centuryExpert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).

A LARGE AND MASSIVE SPINACH-GREEN KHOTAN JADE FIGURE OF GUANYIN, PROBABLY TAKEN FROM THE OLD SUMMER PALACE IN BEIJING IN 1861China, ca. mid-18th to mid-19th century. Finely carved standing, cradling a lingzhi sprig and ruyi scepter in her delicate hands, wearing a long flowing robe cascading in voluminous folds, her serene face with heavy-lidded eyes, the neatly incised hair tied up into a high chignon secured by a ruyi-head hairpin. The stone of a deep spinach-green tone with creamy, russet, and cloudy inclusions.Provenance: Eugenie de Montijo (1826-1920), Empress of the French from her marriage to Emperor Napoleon III, and thence by descent in the family. Christie's London, 12 October 1950, lot 121. The Graham Collection, London, acquired from the above and thence by descent in the 1970s to a private English collector. A copy of the lot entry in the Christie's London auction catalog from 12 October 1950, stating the present lot was “Formerly the Property of the Empress Eugenie” and with handwritten notes by a previous owner, accompanies this lot.It is probable that the present statue was originally located at the Old Summer Palace, Yuanmingyuan, in Beijing and subsequently part of the loot of several hundred pieces sent to Empress Eugenie directly by General Charles Cousin-Montauban (1796-1878).In the morning of 21 September 1860 General Cousin-Montauban was the commanding officer of the Anglo-French troops, fighting the battle at the bridge of Palikao against the Qing Imperial forces, a decisive event of the Second Opium War. Their victory allowed the Western forces to take the Chinese capital Beijing and eventually defeat the Qing Empire. On 6 October 1860, French and British troops captured the Old Summer Palace, looting the Imperial collections over the next few days, again under the command of General Cousin-Montauban.In 1861, General Charles Cousin-Montauban sent numerous crates of the enormous French loot of the Summer Palace to Empress Eugenie in France as a personal gift to the Imperial French household, with the first shipment arriving in February 1861. The inventory of this shipment numbers some 800 objects, with over 300 coming directly from the sack of the Summer Palace. As a reward, the general eventually received the title of Comte de Palikao by Emperor Napoleon III in 1862.In 1863, the Empress established a museum of Chinese art called the Musee Chinois (Chinese Museum) at the Palace of Fontainebleau. She carefully curated the collections and displays of this museum, at the time almost exclusively consisting of the objects taken from the Old Summer Palace in 1860. In later years, Eugenie combined the Chinese collection with gifts originating from the French embassies in Siam, Cambodia, Japan, Korea, and Tibet to collectively form the core of the Asian art collection in Fontainebleau, which she later complemented with objects confiscated by the state during the French Revolution and kept since then at the National Library, some diplomatic and non-diplomatic gifts, and acquisitions she made on the French art market using the Imperial household's personal budget. The museum has been preserved in a layout largely similar to that of the 1860s and is one of the world's oldest museums specifically dedicated to Asian art. It is unknown which and how many of the pieces from the museum went with Empress Eugenie to England after her husband was overthrown in 1870, but there are speculations that the amount was quite substantial.Empress Eugenie of France was born María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 19th Countess of Teba, 16th Marchioness of Ardales, in Granada, Spain. She was Empress of the French from her marriage to Emperor Napoleon III on 30 January 1853 until the Emperor was overthrown on 4 September 1870. Napoleon and Eugenie had one child together, Napoleon, Prince Imperial (1856-79). After the fall of the Empire, the three lived in exile in England. Eugenie outlived both her husband and son and spent the remainder of her life working to commemorate the Second French Empire. After World War I, Eugenie lived long enough to see the collapse of other European monarchies, such as those of Russia, Germany and Austria-Hungary. She left her house in Farnborough with all her collections to the heir of her son, Prince Victor Bonaparte.Published: The Times, London, 13 October 1950, a column in the paper relating to various jades in the Christie's sale including this figure of Guanyin from Princess Eugenie which sold at 250 Guineas (at the time, the cost of house in London averaged at ca. 1.500 Guineas). A copy of a newspaper clipping with this column accompanies this lot.Condition: Very good condition with some old wear, natural inclusions and imperfections of the stone, few minuscule nicks here and there, light scratches. The wood base with minor losses, natural age cracks and a fine naturally grown patina.Weight: c. 24 kg (without the base) Dimensions: Height 75 cmWith a matching wood base dating from the same period, finely carved with lotus petals. (2)Literature comparison: Compare the movement of the robes, expression, high chignon with hairpin, and wood stand on a closely related jade figure of Guanyin, dated 19th century, 72.4 cm high, in the collection of the Metropolitan Museum of Art, accession number 39.65.24a, b.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1515 Price: USD 290,500 or approx. EUR 378,000 converted and adjusted for inflation at the time of writing Description: A large mottled jadeite figure of Guanyin Expert remark: Note the much smaller size (39.4 cm) 大型和田碧玉觀音立像，可能來自1861年圓明園之劫中國，約十八世紀中期至十九世紀中期。 來源：Eugenie de Montijo歐珍妮·德·蒙提荷(1826-1920)，是法蘭西第二帝國皇帝拿破崙三世的妻子和法國最後一位皇后，保存在同一家族；倫敦佳士得，1950年10月12日，lot 121；倫敦 Graham Collection，購於拍賣，一直保存至上世紀七十年代被一英國私人收藏家收藏。隨附倫敦佳士得拍賣目錄文字副本，上描述 “Formerly the Property of the Empress Eugenie” （歐珍妮皇后財產）與上任藏家手寫注釋。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A BRONZE FIGURE OF BUDDHA, PRE-ANGKOR PERIODStyle of Angkor Borei, Ta Keo region of the Mekong Delta, 7th century. Seated in dhyanasana on a rectangular plinth, the hands in dhyanamudra, the face with downcast eyes below gently arched eyebrows, flanked by two elongated ears, the hair in tight curls, surmounted by an ushnisha.Provenance: From the collection of an American gentleman. Galerie Zacke, 11 May 2019, lot 311, sold for EUR 8,216 or EUR 8,700 adjusted for inflation at the time of writing. 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: Extensive wear, some losses and cracks, traces of erosion, minor nicks. Very good condition considering the high age of this statue. Fine naturally grown patina.Weight: 521.9 g Dimensions: Height 17.4 cm (excl. base), 18.5 cm (incl. base)With a fitted modern wood base. (2)Angkor Borei was an important early center of Buddhism and Buddhist temple construction before the establishment of the Khmer Empire. The present figure is characteristic of Angkor Borei sculpture, as seen in the subtle protuberance of the ushnisha and the large snail-shell curls. Sculpture from this early period exhibits the naturalism and grace that echoes the treatment of the body in Gupta-period India, where ornamentation is minimized to emphasize the smooth volume of the form.Expert's note: The raw material of this sculpture is copper ore with iron oxide veins, which has developed an extensive malachite and azurite patina over the past 1400 years. A closely related piece from the same group was tested at the Ciram Laboratory in France in 2018 to confirm the material. According to the previous owner, the piece was originally found in the Ta Keo region of the Mekong Delta.Literature comparison:Compare a related bronze figure of Buddha, dated 7th-8th century, in the collection of the Metropolitan Museum of Art, accession number 1981.462.2.Auction result comparison:Type: Remotely relatedAuction: Christie's New York, 13 September 2016, lot 265Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A Sandstone Figure of a Seated Buddha, Pre-Angkor period, Angkor Borei style, 7th centuryExpert remark: Compare the closely related pose and facial features. Note the different material and significantly larger size (48.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTYPublished: 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。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀態極好，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 TIGER-FORM JADE PENDANT, LATE SHANG DYNASTYChina, 13th-11th century BC. The crouching tiger carved in profile, the body well detailed and decorated with double-line grooves, the mouth pierced for suspension. The translucent stone of a celadon tone with extensive russet shading, some black patches, and small areas of alteration.Provenance: A Western private collection. Roger Keverne Ltd., London, United Kingdom, December 2007. A distinguished English private collection, acquired from the above. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020. Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition, London, 2007, page 101, no. 84.Condition: Very good condition overall with some old wear, traces of use and shallow surface scratches, an area of calcification to the tip of the tail with an associated minuscule loss. Fine, naturally grown patina. The jade with natural inclusions and fissures.Weight: 11.3 g Dimensions: Length 6.5 cmAn important stylistic feature of the present pendant is the use of the so-called double-line grooves. On first inspection, it appears that these rise in low relief. But in fact this is an optical illusion, or trompe-l'œil effect, as those slender “relief lines” are actually flush with the object's surface and seem to rise in relief only because of the intaglio lines, or grooves, that flank them. Such trompe-l'œil lines are a rare feature, and found on the very finest Shang jades only.The tiger, called hu or laohu in Chinese, is among the most recognizable of the world's charismatic megafauna. Originating in China and northern Central Asia, the tiger was known to the earliest Chinese, who likely feared, admired, and respected it for its strength, ferocity, and regal bearing. Though its precise symbolism in Shang times (c. 1600-1046 BC) remains unknown, the tiger doubtless played a totemic, tutelary, or talismanic role. By the Western Han period (206 BC-AD 9)—a thousand years after this pendant was made—the tiger was regarded as the “king of the hundred beasts”, or baishou zhi wang, due to its power and ferocity and especially to the markings on its forehead which typically resemble the character wang, or “king”. In addition, not only did the tiger figure among the twelve animals of the Chinese zodiac, but it gained a place among the auspicious animals that symbolize the four cardinal directions—the white tiger, or baihu, of the west, the azure dragon of the east, the vermillion bird of the south, and the black tortoise of the north.Literature comparison: Compare a related jade tiger plaque, also dated to the Shang dynasty, in the collection of the Asian Art Museum in San Francisco, object number B60J538. Compare a related jade tiger plaque, also dated to the Shang dynasty, circa 1200-1050 BC, in the collection of the British Museum, museum number 1935,0115.19.Auction result comparison: Type: Closely related Auction: Bonhams, 30 May 2017, lot 20 Price: HKD 562,500 or approx. EUR 84,000 converted and adjusted for inflation at the time of writing Description: A jade tiger and a jade bird, the tiger Shang dynasty, the bird Western Zhou dynastyExpert remark: Compare the closely related pose and manner of carving, also employing double-line grooves, the mouth similarly pierced for suspension, the eyes and mouth near-identical. Note the smaller size (3.9 cm) and that the lot also comprises a small jade bird (2.5 cm) from a later period.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 15 December 2016, lot 9 Price: EUR 20,000 or approx. EUR 23,500 adjusted for inflation at the time of writingDescription: Pendentif en jade Dynastie Shang, ca. 1200-1100 avant J.-C.Expert remark: Compare the closely related pose and manner of carving, with similar double-line grooves. Note the slightly larger size (8.2 cm).商末虎形青玉珮中國，公元前十三至十一世紀。珮呈扁片狀，以陰刻雙線技法雕琢半蹲老虎的側身形，虎口處，琢一小穿。局部淺褐色沁。 來源：西方私人收藏 ；英國倫敦Roger Keverne Ltd.藝廊，2007年12月；一個傑出的英國私人收藏，購於上述藝廊。Roger Keverne曾任倫敦亞洲藝術主席和BADA總裁。他在 Spink & Son 開始了 50 年的職業生涯，年僅 28 歲就升任亞洲部負責人。他於 1992 年離開 Spink，與他的妻子兼商業夥伴 Miranda Clarke 一起在倫敦梅菲爾開設了自己的畫廊 ，最終於 2020年 6 月關門。 出版：Roger Keverne，《Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition》，2007年，倫敦，頁101，編號84. 品相：整體狀況極好，有一些磨損、使用痕跡和表面淺劃痕、尾部尖端有鈣化區域以及相應的微小缺損。細膩的包漿，有天然內沁和裂縫的玉料。 重量：11.3 克 尺寸：長 6.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A SUBLIME SANDSTONE TORSO OF UMA, ANGKOR PERIOD, BAPHUON STYLEKhmer Empire, 11th century. Standing in samabhanga, her young unadorned body with prominent breasts and her belly beautifully rounded, wearing a long, pleated sarong tied at the front, the long central fold elegantly culminating in a 'fishtail' shape at the hem, secured by a belt with beaded festoons.Provenance: Funan Selected Works of Art, Singapore, 27 September 1983. From the collection of the late Michael Sherrard CBE, QC, acquired from the above and thence by descent. A copy of the original invoice from Funan Selected Works of Art, addressed to Michael Sherrard, dated 27 September 1983, confirming the dating above, and stating a purchase price of USD 15,000 or approx. EUR 43,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. 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: Good condition, commensurate with age, expected weathering, wear and losses, minor nicks, few structural cracks. Some signs of erosion. Fine naturally grown patina overall.Weight: 3,885 g (excl. stand) Dimensions: Height 34.5 cm (excl. stand) and 40 cm (incl. stand)Fitted to an associated metal stand.(2)This piece exemplifies the style of Baphuon female figures with the frontal stance, the ovoid skirt wide at the hips and narrowing around the knees, the sarong in an elevated position at the back and curving down to below the navel and the elegant central pleat. According to Boisselier, the highly decorative style of Banteay Srei inspired the development of Baphuon period sculpture, a manner which became more embellished with decorative elements as it reached a zenith during the Angkor Wat period a century later, see Helen Ibbitson Jessup and Thierry Zephir, editors, Sculpture of Angkor and Ancient Cambodia - Millennium of Glory, Washington 1997, page 255.The modeling of the torso, the curled end of the sarong above the belt and a long central fold certainly recalls Banteay Srei sculpture, see Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Chicago, 2004, page 175, fig. 8.6.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 10 June 2021, lot 236 Price: EUR 18,900 or approx. EUR 20,500 adjusted for inflation at the time of writing Description: A grey sandstone torso of a female divinity, Khmer art, Baphuon style, circa 11th century Expert remark: Compare the closely related pleated sampot with similar fishtail hem. Note the size (47 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 274 Price: USD 37,500 or approx. EUR 50,000 converted and adjusted for inflation at the time of writing Description: A sandstone torso of Uma, Khmer, Angkor period, Baphuon style, 11th century Expert remark: Compare the related belt with similar beaded festoons. Note that the figure was originally of larger size but is overall smaller than the present lot (28 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2007, lot 279 Price: USD 31,200 or approx. EUR 43,500 converted and adjusted for inflation at the time of writing Description: A small sandstone torso of a goddess, Khmer, Angkor period, Baphuon style, 11th century Expert remark: Note the related size (35.5 cm) and that the sampot is not pleated as in the present lot.

A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTYExpert'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 RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.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: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。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：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTYExpert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request)China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

Circa 2nd century A.D. or later. A bronze Buddha ??kyamuni figure modelled in the round standing bare-footed on an architectural plinth, wearing a shin-length garment, ushnisha to head, hands in the abhayamudr? of fearlessness; pierced lug to reverse; ‘Buckingham Collection’ label to verso. Cf. The Zhiguan Museum of Fine Art, Treasures of Himalayan Art, Sakyamuni, Gandhara, bronze, 4th-5th century, height 44 cm, ZG 1 001, for similar. Tibet House, An Exhibition at Tibet House New York from the Buckingham Collections, New York, cat.no.GMB027, p.131. 1.1 kg, 27.5 cm high (10 7/8 in.). Dr Paul Singer, New Jersey, USA, 1995. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages: Exhibition catalogue cat.no.GMB027, p.131; and no.237, p.71. Accompanied by a copy of Nik Douglas' catalogue page #075 with provenance and price of US$220,000.00. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11375-191880. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

Ɏ KOSAI MORITOSHI: A SUPERB IVORY MANJU NETSUKE DEPICTING THE TALE OF PRINCE HANZOKU AND THE NINE-TAILED FOXBy Kosai Moritoshi (1854-1911), signed Kosai Moritoshi 孝齋 守壽 with kakihanJapan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Of circular form, the two-part manju finely carved to one side in shishiaibori (sunken relief) with Prince Hanzoku standing in a dynamic pose with all limbs spread out, wearing a pleated sarong and billowing scarves, adorned with a beaded necklace, his face with a grim expression, his curled hair neatly incised. The other side similarly carved with a nine-tailed fox, the true form of Hanzoku’s consort Lady Kayo, the beast with a fierce expression, the long body elegantly curved and still covered in the fine robes of her previous guise. Signed to the back KOSAI MORITOSHI with the characteristic ‘flying crane’ kakihan.DIAMETER 5.3 cmCondition: Very good condition with minor surface wear. Fine honey-yellow patina.The present netsuke depicts the Indian prince Hanzoku and his consort Lady Kayo, who reveals herself as a nine-tailed fox, and is based on a print by Utagawa Kuniyoshi (1798-1861) from 1849.Kosai Moritoshi (1854-1911) was the founder of a school of Manju netsuke carvers. Ueda Reikichi describes this carver’s work as having “a beautiful style”, see Bushell, Raymond (1961) The Netsuke Handbook by Ueda Reikichi, p. 543.Literature comparison: Compare a related ivory manju netsuke by Kosai Moritoshi, similarly carved in shishiaibori, formerly in the collection of Raymond Bushell and now in the Los Angeles County Museum of Art, accession number M.87.263.25. Compare a closely related ivory manju netsuke, the subject described as “the story of Abe no Seimei and the nine-tailed fox”, signed Shunkosai Moritoshi and also with a ‘flying crane’ kakihan, dated c. 1870, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 581.Auction comparison: Compare a related ivory manju netsuke by Moritoshi, similarly carved in shishiaibori and also with a ‘flying crane’ kakihan, at Bonhams, Asian Decorative Arts, 24 June 2015, San Francisco, lot 8007 (sold for 3,750 USD). Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0229).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.

KOGYOKU: A WALNUT NETSUKE OF DARUMABy Kogyoku, signed KogyokuJapan, mid-19th century, Edo period (1615-1868)The kurumi netsuke finely carved as Daruma completely enveloped in his robe, his grotesque facial expression quite amusing, the eyes inlaid in dark horn with metal surrounds. The back with two himotoshi, one florally rimmed, the signature KOGYOKU within a recessed reserve.HEIGHT 4.2 cmCondition: Very good condition, minor surface wear, natural flaws to the material. 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.

Collection of (5) Sotheby's Catalog Books: "Indian & Southeast Asian Art" (2) "Fine Chinese Ceramics & Works of Art" "Fine Chinese Ceramics & Works of Art" (2). Size: 10 3/4 x 8 1/4 in.

Collection of (8) Christie's NY Catalog Books: Fine Chinese Ceramics and Works of Art Part I & II" - "In Pursuit of Knowledge: Asian Art Reference Books Including Selections From the CT LOO Library" - "The Yiqingge Collection of Chinese Ceramics" - "In Pursuit of Refinement: a Legacy of the YC Chen Collection" - "The Imperial Sale Important Chinese Ceramics and Woods of Art" - "Fine Chinese Ceramics and Works of Art" - "Reverence and Perfection Magnificent Imperial Cloisonne Enamels From a Private European Collection." Size: 11 x 8 1/2 in.

Collection of (7) Christie's NY Catalog Books: "Indian and Southeast Asian Art Including Highlights from the Star Collection" "Masterpieces from the Zimmerman Family Collection" "Fine Chinese Ceramics and Works of Art" "Fine Chinese Ceramics and Works of Art Including Jades from the Fine Arts Museums of San Francisco" "Important Rhinoceros Horn and Jade Carvings" "Fine Chinese Ceramics and Works of Art" "Important Chinese Snuff Bottles from the J&J Collection, Part V." Size: 10 3/4 x 8 1/2 in.

Collection of (5) Christie's NY Catalog Books: "Fine Chinese Ceramics and Works of Art" "Important Chinese Snuff Bottles From the J&J Collection, Part III" "Indian & Southeast Asian Art" "Indian and Southeast Art Including Modern and Contemporary Indian Art" "Modern and Contemporary Indian Art." Size: 10 1/2 x 8 1/4 in.

A QUANTITY OF BONHAMS CHINESE AND ASIAN ART CATALOGUES Including Chinese Fine Paintings, The Reverend Richard Fabian Collection Collection of Chinese Paintings, Asian Decorative Works of Art, Modern and Contemporary Art, Ritual + Culture Fine Southeast Asian Arts Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A FINE CHINESE WESTERN HAN DYNASTY PAINTED POTTERY COCOON JAR. Made from a relatively highly-fired grey pottery and decorated with coloured pigments in a design featuring cloud patterns within vertical bands. All original coloured pigments. Western Han Dynasty (206 BC - AD 8). Length of body 30.5cm, height 26.5cm. Reference: similarly decorated cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book ?Spirit of Han?. Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001)  ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) Bouquet de lys ou Nature morte au vase meiping fleuri d’hibiscus et au bol bleu blanc (Bouquet of Lily of Still life with a meiping vase with lily flowers and a bleu and white bowl) Gouache on paper Signed to the lower right  Framed with a glass  44,3 x 36,3 cm (the full leaf out of the frame)  Provenance: René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’.  + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60.  Notes: 1. One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. 2. Lily symbolizes purity and fertility. The sweet and innocent beauty of the lily flower has given it the association of fresh life and rebirth. In this painting, Lê Phổ pays tribute to the classic genre of still life, whilst bringing his fresh vision on it, thereby creating an image at the confluence of the Western and the East Asian pictorial traditions. The discreet and quickly painted low-tone grey background, possibly a reference to the Spanish Bodegones, contrasts with the vivid red of the round table. On the latter are depicted two antique Chinese porcelains: a Ming style blue and white bowl resting on a wooden legged-stand and a Yuan stype Meiping vase flowered with white lillies.  3. Bouquet of flowers was one of the main subjects depicted by Lê Phổ along with young women. In some paintings, he even combined both subjects, as one can see in a work entitled ‘Nostalgie’ sold at CHRISTIE’S Hong Kong, China, 2018-11-24, under lot number 44. The artist mastered at painting all varieties of flowers with bright colors and a rare freshness. The record price at auction for a bouquet of flowers was achieved at SOTHEBY’S Hong Kong, China, 2020-07-09, lot 268 at €273,153.  

+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) La colombe (The Dove) Ink and colors on silk Signed to the lower right Framed with a glass 17,8 x 22,7 cm (as seen in the frame) *****DIMENSIONS SHOULD READ 17,8 x 22,7 CM***** Provenance: - René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. Why would Lê Phổ have depicted a dove The dove represents purity, gentleness, devotion, beauty and faith but also hope and peace, and that has resonated well across the vast majority of religions and cultures. It may be possible to draw a link between the dove and the Vietnam war, during which the term ‘Dove’ was describing a person who opposed the war, as opposed to ‘Hawk’. In East Asia, the dove is associated with long life and fidelity as doves pair for life. It is also noted that Lê Phổ has depicted young women with birds such as in a painting sold in DROUOT Paris, France, by Fraysse & Associés, 2007-03-21 under lot number 56. Additionally, following the East Asian pictorial tradition, he has depicted birds and flowers, as seen in a painting sold by SOTHEBY’S Singapore, 2011-04-01, under lot number 70. Compare with a related ink and colors on silk by Lê Phổ entitled ‘Three doves’ from the collection of Madame Dorothy Fera Tajasque, wife of Georges Tajasque who served as Chef du Cabinet to Marie Antoine Pasquier, Governor General of French Indochina from 1928 to 1934. This work has been sold at public auction at BONHAM’S Hong Kong, China, 2017-11-27, under lot number 250. LÊ PHỔ (VIỆT NAM VÀ PHÁP, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 1 (1925-1930) La colombe (Chim bồ câu) Tranh lụa vẽ bằng mực và màu Được ký ở phía dưới bên phải Đóng khung kính 28 x 33 cm (như thấy trong khung) Xuất xứ: - René và Raymonde Altobianchi, những nhà buôn đồ cổ hoạt động trong những năm 1960-1980 tại l'Escarène, gần Nice, French Riviera, nơi Lê Phổ định cư sau khi quân đội Pháp, mà ông đã nhập ngũ tại Carcassonne, bị quân Đức đánh bại. Cửa hàng của họ được đặt tên là “César de Peluet” theo tên cha đẻ của Raymonde. Có lẽ được mua vào những năm 1970 từ một Nhà bất động sản địa phương. René Altobianchi cũng là một nhà điêu khắc trang trí và đã được trao tặng Huân chương Công trạng Quốc gia Pháp cho vai trò tình nguyện viên với tư cách là giám đốc kỹ thuật võ judo, mà ông đã luyện tập cùng với Yves Klein, một họa sĩ nổi tiếng thế giới của Trường Nice được đánh giá cao, nổi bật, với tác phẩm nổi tiếng “Leap into the void” và “IKB blue” của ông. Lưu ý quan trọng đối với các nhà đấu giá tiềm năng: Nhà đấu giá thành công sẽ được cung cấp một giấy chứng nhận tác phẩm thật do Viện Findlay, Hoa Kỳ cấp. Tác phẩm này sẽ được đưa vào danh mục quan trọng của nghệ sĩ hiện đang được chuẩn bị. Người mua sẽ chịu chi phí cho giấy chứng nhận này. Vui lòng gửi e-mail cho bộ phận để biết thêm thông tin chi tiết: yuchen@adams.ie. Ghi chú: Là một trong những gương mặt hàng đầu của nền mỹ thuật Việt Nam hiện đại, Lê Phổ sinh năm 1907 tại tỉnh Hà Tây trong một gia đình quan lại danh giá, cha ông là tổng trấn cuối cùng của Bắc Kỳ. Có thiên hướng về hội họa và vẽ tranh, ông đã vào học khóa đầu tiên của Trường Mỹ thuật Đông Dương vào năm 1925. Ông đã nhanh chóng thu hút sự chú ý của giám đốc đồng thời là người sáng lập trường, Victor Tardieu, người mà ông đã gắn bó suốt cuộc đời. Năm 1931, ông đã đến Pháp để trình bày các tác phẩm của mình nhân Hội triển lãm Thuộc địa Quốc tế. Ông đã chọn ở lại Paris một năm để tham gia các lớp học tại École des Beaux-Arts, rồi thực hiện một số chuyến đi đến châu Âu. Ông đã trở về Việt Nam năm 1933 và giảng dạy tại Trường Mỹ thuật Đông Dương ở Hà Nội. Ông đã quyết định định cư lâu dài tại Pháp vào năm 1937 và nhanh chóng trở nên rất nổi tiếng. Vì sao Lê Phổ lại vẽ một con chim bồ câu Chim bồ câu đại diện cho sự thuần khiết, dịu dàng, tận tâm, vẻ đẹp và sự chung thủy nhưng cũng đại diện cho hy vọng và hòa bình, điều đó đã gây được tiếng vang lớn trong đại đa số các tôn giáo và nền văn hóa. Có thể rút ra mối liên hệ giữa chim bồ câu và chiến tranh Việt Nam, trong đó thuật ngữ “Chim bồ câu” mô tả một người phản đối chiến tranh, trái ngược với “Chim ưng”. Ở Đông Á, chim bồ câu gắn liền với cuộc sống lâu dài và chung thủy bởi vì chim bồ câu khi bắt cặp với nhau thì sống bên nhau trọn đời. Cũng cần lưu ý là Lê Phổ đã vẽ các thiếu nữ với các loài chim như trong một bức tranh bán ở DROUOT Paris, Pháp, bởi Fraysse & Associés, 21-03-2007 theo lô số 56. Ngoài ra, theo truyền thống tranh ảnh Đông Á, ông đã mô tả chim và hoa, như được thấy trong một bức tranh được bán bởi SOTHEBY'S Singapore, 01-04-2011, theo lô số 70. So sánh với một tác phẩm vẽ bằng mực và màu trên lụa có liên quan của Lê Phổ mang tên “Ba con chim bồ câu” trong bộ sưu tập của Quý bà Dorothy Fera Tajasque, vợ của Georges Tajasque, người từng là Trưởng Nội các của Marie Antoine Pasquier, Toàn quyền Đông Dương thuộc Pháp từ năm 1928 đến 1934. Tác phẩm này đã được bán đấu giá công khai tại BONHAM'S Hồng Kông, Trung Quốc, 27-11-2017, lô số 250. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

+ ALIX AYMÉ (FRANCE & VIETNAM, 1894-1989) PROFESSOR AT THE ÉCOLE DES BEAUX-ARTS DE L’INDOCHINE (EBAI - INDOCHINA FINE ARTS COLLEGE OF HANOI) Jeune fille assise aux fleurs – A seated young beauty with flowers Lacquered wooden panel Signed on the lower right Framed with an American case Dimensions (the sole lacquered panel, frame excluded): 77 x 49 cm   This lot will be included in the forthcoming catalogue raisonne of the artist in preparation by Mr. Pascal Lacombe.  Provenance: a Brittany private collection, France.  + NOTICE TO BIDDERS:  This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Bâtiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60.  Notes: 1. Born in Marseille as Alix Angèle Marguerite Hava, Alix Aymé (this last name being that of her second husband, Georges Aymé, who eventually became the Commandant of French Forces in Indochina) was a pupil of George Desvallières (1861–1950) and then Maurice Denis (1870-1943), with whom she maintained a close correspondence throughout her career. She first traveled to Asia (Shanghai, China then Hanoi, Vietnam) in the 1920s with her first husband, a milestone from which would grow her fascination for this continent. She returned to Indochina in the late 1920s together with her new-born child and then traveled extensively the South-Eastern Asia. Alix Aymé was inextricably linked to the French colonial experience in Indochina: she lived and worked for many years in Hanoi; she was instrumental in the revival of the ancient art of lacquer that she taught at the Ecole des Beaux-Arts de l’Indochine (Indochina School of Fine Arts) along with Joseph Inguimberty (1896-1971). Her work is at the crossing point between the Nabis style and the traditional Vietnamese painting. It is also inspired from the Byzantine icons with a notable taste for gilt backgrounds. She thereby brought traditional Vietnamese subjects, such as young beauties and maternities, under the light of Western Modernity. She was particularly talented at depicting the soul and intimacy of her models. In September of 2012, an exhibition about the Ecole des Beaux-Arts de l’Indochine (EBAI) opened at Paris Museum of Asian Art (Cernuschi Museum) that drew attention to the work of Alix Aymé with the display of a magnificent lacquered cabinet by hert that was arguably the ‘star attraction’. Today, her work is found in a number of important private and public collections worldwidely, including the Cabinet des Dessins of the Louvre Museum (Paris, France), the Musée des Années Trente (Paris, France), the Royal Palace in Luang Prabang (Cambodia) and the Evergreen Museum and Library of Johns Hopkins University in Baltimore (USA) 2. This portrait seems to belong to a series of lacquered wooden panels depicting women together with flowers and may possibly be the most notable one. Indeed, it stands out because of its size (it appears to be the largest one of the series) and also because the body of the model is made visible, whilst on the other panels, their sole busts are depicted. Alix Aymé captured the soul and intimacy or her model - a very young girl with almond eyes, half-long hair and a delicate smile - who appears to be serene and calm. She is wearing a long brown long robe as well as a flower necklace and his holding a bouquet of flowers. The sobriety of her tunisque is deeply contrasting with the bright pastel colors of the flowers and with the gold background. The latter makes it looks like an icon rather than a mere portrait, which conveys spirituality and invites to meditate. 3. Compare with a panel depicting a young girl with a dove of smaller size (45,5 x 38 cm) sold at AGUTTES, Paris, France, 2020-10-06, lot 24, for €27,000 hammer price. Also compare with a panel depicting a young girl with flowers of smaller size (48 x 38 cm) sold at AGUTTES, Paris, France, 2022-03-14, lot 30, for €87,000 hammer price. This last example is the closest one to our panel and gives a good idea on the most recent trend for prices.  

A FAHUA GLAZED BALUSTER VASE, MING DYNASTYChina, 17th century. The ceramic vase with a baluster body decorated with jeweled pendants cascading down the shoulder above birds, flowers, and figures, the neck enveloped in swirling clouds and the foot with a lappet band, painted in turquoise, white and yellow, all reserved on a deep blue ground. The glaze stopping shortly above the foot to reveal the reddish ware.Provenance: German private collection, assembled in the 1980s and 1990s.Condition: Good condition, minor wear, few burst glaze bubbles with glaze flakes.Weight: 4,388 gDimensions: Height 26.9 cmAuction result comparison: Compare a related Fahua baluster pottery jar, dated to the 17th century, of larger size (38 cm height), at Bonhams San Francisco in Fine Asian Works of Art on 29 June 2009, lot 8161, sold for USD 7,320.

A BRONZE GROUP OF SHIVA AND PARVATI, PALA PERIODNortheastern India, 11th-12th century. The divine couple seated in lalitasana on a double lotus pedestal, Shiva's primary right hand reaching towards his consort's chin, his primary left around her back and cupping her breast, both backed by a flaming halo.Provenance: From a French private collection. With Galerie Orient-Occident, J.L. Despras, Paris, France, before September 1977. Condition: Good condition, commensurate with age, with traces of age and wear, a few losses, some casting flaws, nicks, dents, and with a fine natural patina overall.Weight: 437 g Dimensions: Height 12.9 cm Auction result comparison: Compare a related bronze group of Shiva and Parvati, dated 11th-12th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 650, sold for USD 15,000.

A VERY RARE AND FINE CHAM SILVER REPOUSSE BOWL WITH GARUDAS AND PHOENIXESChampa, 10th-12th century. The sides of the bowl finely executed in repousse showing three Garudas, each flanked by two phoenixes with sinuously coiled and intertwined bodies, framed by a floral border above and a leafy vine border below, the flat circular base left unhammered. Garuda is a legendary bird of Hindu, Buddhist and Jain mythology, a divine eagle-like sun bird and the king of birds as well as the mount of Vishnu.Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Collector's label to base.Condition: Very good condition with minor traces of age and wear.Weight: 102.4 gDimensions: Height 6.4 cm, Diameter 13.3 cmLiterature comparison: A related bowl is published in The Zelnik Istvan Southeast Asian Gold Museum, page 73, Budapest 2013.  

A PAIR OF 'DRAGON' SILVER REPOUSSE BRACELETSThailand, 1920-1930. The adjustable bracelets crafted from Bakelite in imitation of tortoiseshell and tipped with a silver repousse dragon's head at one end and tail at the other, with two additional silver bands around the middle, all further embellished with fine filigree work. Condition: Overall good condition with minor wear, tiny losses, nicks, and dents. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 13.2 g in total Dimensions: Inner diameter c. 5.5 and 6 cm

A MASSIVE GANDHARA STYLE BRONZE MIRROR WITH A FIGURAL SCENEIn the style of the Ancient region of Gandhara, yet later, 17th - 19th century. The circular dish with raised decoration on the concave side depicting a warrior on horseback, the back of the mirror with a beaded ring. With a handle in the form of a strap. Condition: With some wear and casting flaws, signs of weathering, few minuscule nicks and dents, occasional light scratches and corrosion. With fine malachite-green patina. Overall, good condition. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 948 g Dimensions: Length 28 cm

A FINE FUCHI AND KASHIRA WITH BELL FLOWERSJapan, Edo period (1615-1868), 18th - 19th centuryEach bearing a shakudo-nanako ground on which shakudo, gilt, silver and copper takazogan inlays depict trailing vines and bell flowers. The fuchi with a kiku shaped blade and braided string attached to the base.LENGTH 3.8 cmWEIGHT 35.2 gCondition: Very good condition, minor surface wear.Provenance: French private collection. Ex-collection Richard R. Silverman, purchased from Yagi, Tokyo, 1976. 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.

A CIZHOU BLACK-GLAZED EWER, SONG TO YUANChina, 960-1368. Of compressed globular form with a short neck and a wide circular mouth, with three slip-ribbed strap handles, covered overall with a deep black glaze showing a bluish reflection, with pale russet on the mouth rim, handles and in few small spots on the body, stopping just before the foot.Condition: Good condition with old wear and minor firing flaws, one minor chip on the mouth rim.Provenance: Edward Pranger Oriental Art, Amsterdam. Dr. Koos de Jong, acquired from the above in 1998 (invoice not available). Founded in 1995, Edward Pranger Oriental Art has established a global reputation for quality in the field of Asian art. Mr. Edward Pranger studied Chinese languages and culture at Leiden University, Netherlands, and Chinese Art History at the National Taiwan University. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 1,701.8 gDimensions: Height 19 cmLiterature comparison: Roger Keverne, London 2002, no. 60. 磁州黑釉罐，宋至元中國，960-1368。球形，短頸，闊口，三個帶狀提手，整體上覆蓋著深黑色的釉，略帶藍色，嘴緣與手柄上有少量紅褐色，手柄上有一些小斑點。品相：品相良好，老磨損，輕微燒製瑕疵，罐口邊沿上有輕微開口。來源：阿姆斯特丹Edward Pranger Oriental Art收藏。Drs. Koos de Jong 1998年購於上述收藏(發票已遺失)。建立於1995年的 Edward Pranger Oriental Art 收藏在亞洲藝術領域以其高質量著稱。Mr. Edward Pranger 先生在荷蘭萊登大學攻讀過中國語言與文化，并在台灣國立大學攻讀過中國藝術史。Drs. Koos de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。重量：1,701.8 克尺寸：高19 厘米

IKKOKUSAI: A LACQUERED SEED POD NETSUKE WITH BUDDHA HAND CITRUSBy Ikkokusai, signed Ikkokusai Japan, 19th century, Edo period (1615-1868)The seed pod netsuke with a multicolored lacquered Buddha hand citrus, surrounded by feathers, with the red lacquered signature IKKOKUSAI on the right side. The fabric string threaded through the two symmetrical himotoshi on the underside.LENGTH 6.2 cmCondition: Worn condition with extensive wear, cracks with associated loss to the seed pod, and loss to lacquer. Provenance: Ex-collection Richard R. Silverman, purchased from Yagi, Kyoto, 2003. 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.

A PERSIAN SILVER RING WITH TURQUOISE MATRIX INTAGLIO, 19TH CENTURYPersia. The ring with a silver setting, with carved leafy decorations on the sides, the bezel of round form with beaded collar, surmounted by a turquoise matrix with incised calligraphy. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Very good condition, the turquoise matrix with a few fine hairlines, a few minuscule dents and nicks.Weight: 25.2 gDimensions: Diameter 3.1 cm

A CARVED AMBER 'WARRIORS' PENDANT, EARLY QING DYNASTYChina, 17th-18th centuryCarved to one side with a general standing in front of his large horse atop a rocky outpost above crashing waves and to the reverse with warriors and bannermen partly obscured by palm leaves, all surrounded by bamboo. Pierced at the top for suspension.HEIGHT 6.8 cmCondition: Good condition, appealingly worn, minor nicks, possibly small losses. Provenance: The Gabor Wilhelm Collection, Paris.Auction comparison:Compare a related figural group carved from amber, dated to the 18th century, at Bonhams, Fine Asian Works of Art, 9 December 2008, San Francisco, lot 5059 (bought-in at an estimate of 5,000-7,000 USD).

A SILVER AND JADE BUTTER TEA SETTibetan-Chinese, 19th century. Comprising a spinach green jade cup of fine translucent quality and a silver stand and a silver-plated cover. The silver elements are embossed and engraved with floral decor and auspicious symbols. The cover surmounted by a coral-colored bead.Condition: The silver shows surface wear, nicks, and warping, otherwise good condition. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 142.3 g Dimensions: Height 12.5 cm

A FINE CARNELIAN PENDANT WITH GOLD ALLOY CAPS, ANGKOR PERIODKhmer Empire, 10th - 12th century. The biconical and faceted carnelian bead of interesting hues showing subtle transition from iron red to coral pink, well-polished. The top and bottom with gold metal alloy mountings embossed and engraved with stylized human figures on a boat, the ends with stars. Condition: Good condition with some notches, scratches, encrustations, and extensive weathering commensurate with age. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 52.3 g Dimensions: Length 9.4 cmLiterature comparison: Compare closely related agate beads with gold caps in Gold treasures of the Cham Kingdoms, from the Collection of Dr. Zelnik, page 122, Budapest 2007 and in The Zelnik Istvan Southeast Asian Gold Museum, page 182, Budapest 2013.