We found 1435 price guide item(s) matching your search

A COPPER MASK ASHTRAY NETSUKE OF OKAMEJapan, 19th century, Edo period (1615-1868)The Okame mask of characteristic design, with large full cheeks, a thin nose, small eyes, the mouth forming a gentle smile, the large forehead with hikimayu eyebrows. The reverse with an opening which functions as an ashtray, and a mounting for suspension.HEIGHT 4.7 cmCondition: Good condition, some wear, small nicks and dents.Provenance: French private collection. Ex-collection Richard R. Silverman, purchased from Otsuki, Kyoto, 1973. 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. The reverse with a collector's label numbered '221'.

A STAG ANTLER NETSUKE OF A CICADAJapan, Edo period (1615-1868)The stag antler netsuke depicting a cicada with folded wings. The large central himotoshi central at the bridge on the underside.LENGTH 6.2 cmCondition: Very good condition with minor traces of wear and age. Provenance: Ex-collection Richard R. Silverman, purchased from Ito, Tokyo, 2007. 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 FINE ROCK CRYSTAL 'BIXIE AND LINGZHI' GROUP, QING DYNASTYChina, 1644-1912. Carved in the shape of a Bixie with bulging eyes, a spray of lingzhi in its mouth which opens to reveal teeth. Fine incision work to tail, eyebrows, and spine. The well-polished translucent stone with natural inclusions. Condition: Good condition with few minor flaws, usual traces of age and wear and small nicks. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 241 g Dimensions: Length 10 cm

AN INDIAN MINIATURE PAINTING OF A MUGHAL COURTIERMughal India, 17th-18th century. Ink, watercolors, and gold on wasli. The courtier standing in a palace terrace, wearing a white jama with gold hems and details, adorned with beaded and emerald-set jewelry, holding his cane in one hand and a flower in the other, the elaborate headdress crowned by a feather, the face with a fine expression. The lower margin with an old inscription.Provenance: From the collection of Karl Stirner, and thence by descent. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places.Condition: Good condition with minor wear, soiling, water stains, possibly microscopic touchups.Dimensions: Image size 20.5 x 13 cm, total size 33.5 x 23.5 cm (including frame). Framed behind glass.Auction result comparison: Compare a related Mughal portrait of Baqir Khan, dated circa 1635, at Sotheby's London in The Khosrovani-Diba Collection on 19 October 2016, lot 6, sold for GBP 50,000. Compare also a related Mughal portrait of a nobleman, dated circa 1780, at Christie's New York in Indian and Southeast Asian Art on 17 September 2003, lot 128, sold for USD 5,975.

TENZAN: A BOXWOOD NETSUKE OF A DARUMABy Tenzan, signed Tenzan Japan, late 19th century, Meiji period (1868-1912)Finely carved depicting Daruma seated on a large flywhisk, his mouth open in a joyful expression, the handle carved as a coiled dragon, the hair finely incised. The handle signed TENZAN, with natural Himotoshi.LENGTH 4.2 cmCondition: Very good condition, minor wear.Provenance: French private collection. Ex-collection Richard R. Silverman, purchased from Sotheby's, New York, 1989. 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 small collector's label with numbered '17' on the back of the Daruma.

HOKEI: A BOXWOOD NETSUKE OF A MAN FIXING A WHEELBy Hokei, signed Hokei Japan, Edo period (1615-1868)The boxwood netsuke depicting a man sitting atop a wagon wheel, fixing it with a tool in his hands. The central himotoshi in the middle of the wheel and the signature HOKEI engraved to the side of the wheel.HEIGHT 3.3 cmCondition: Good condition with minor traces of wear and age. 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.

A TURQUOISE AND AUBERGINE-GLAZED SQUARE BALUSTER VASE, 18TH CENTURYChina. The sides rising from a tall spreading foot to a rounded shoulder with a straight neck and galleried rim. Covered entirely with a rich turquoise glaze vividly streaked in purplish blue which continues over the rim and pools above the interior shoulder, the rest of the interior and the foot rim left unglazed.Provenance: Collection Florine Langweil, no. 6583 (according to label on base). Collection J. Roubaud, no. 350. French private collection and thence by descent. An eminent dealer in Chinese antiques, Madame Florine Langweil (1861-1958), born Florine Ebstein, came to Paris in 1881. There she married Charles Langweil (1843-1920), a middle-aged Austrian who proceeded to abandon her in 1894 without resources and with two small children to bring up. Madame Langweil, with no formal training in art, threw herself into the highly specialized field of East Asian art, in which she became a great expert and ran a very successful business. In her gallery at 26 Place Saint-Georges, which she opened in 1903, she built up a vast stock of which she was justifiably proud and from which she eventually donated 250 objects to the Musee Unterlinden.Condition: Overall with minor wear and firing irregularities. A section of the mouth has been reattached, which is clearly visible under strong blue light, and there are no hidden damages of any kind. For a detailed video of the vase taken under strong blue light, please refer to the department.Weight: 3,924 gDimensions: Height 39 cmAuction result comparison: Compare a related turquoise and aubergine-glazed bottle vase, 34.2 cm high, also dated to the 18th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 26 March 2003, lot 291, sold for USD 9,560 (approx. USD 14,485 today after inflation).十八世紀松石綠與紫色釉方壺 中國。唇沿，直頸，溜肩，收腹，足外撇。全器施豐富濃鬱的松石綠釉，並融合了紫藍色的條紋，一直延伸到邊緣。足緣露胎。 來源：Florine Langweil收藏，編號 6583 (底足標籤)；J. Roubaud收藏，編號 350；法國私人收藏，保存至今。一位中國古玩方面的知名經銷商，Florine Langweil (1861-1958)女士，出生於Florine Ebstein，1881年來到巴黎。在那裡，她嫁給了一位中年奧地利人Charles Langweil（1843-1920 年），但後者卻於 1894 年拋棄了她。她在沒有經濟來源的情況下獨自帶著兩個年幼的孩子撫養長大。 Langweil夫人在沒有接受過正規的藝術培訓的情況下，投身於高度專業化的東亞藝術領域，並成為了一位偉大的專家，經營著一家非常成功的藝廊。在1903 年創立的位於聖喬治廣場 26 號的藝廊中，她積累了大量的藝術品，並為此感到自豪，最終她將 250 件物品捐贈給了 Musee Unterlinden美術館。 品相：整體有輕微磨損和燒製不規則現象。 唇沿一部分被重新修補過，在強烈的藍光下清晰可見，沒有其他任何隱藏的損傷。 有關在強藍光下拍攝的花瓶的詳細視頻，請諮詢我們團隊。 重量：3,924 克 尺寸：高 39 厘米 拍賣結果比較：比較一件十八世紀松石綠藍紫釉瓶，高 34.2 厘米，見紐約佳士得Fine Chinese Ceramics and Works of Art 2003年3月26日 lot 291, 售價USD 9,560 (相當於今天的 USD 14,485)。

A WOOD NETSUKE OF A RECUMBENT HORSEJapan, Edo period (1615-1868)Carved depicting a reclining horse, with its long legs tucked underneath, the head curiously raised and turned to its right, and the tail sweeping round to the front. Either Himotoshi at the underside and the backside of the horse.LENGTH 5.2 cmCondition: Good condition with minor traces of wear, and natural age cracks. 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.

A RARE BRONZE FIGURE OF BUDDHA, 16TH CENTURYBurma / Myanmar, Arakan State. Cast seated in vajraparyanka, his hands in bhumisparsha mudra, the head slightly lowered, with downcast eyes, flanked by elongated earlobes, surmounted by a ushnisha with flame finial. Provenance: Private collection, Belgium, acquired from an Italian private collection.Condition: Good condition with wear, remnants of gilt, nicks, dents, and minor material loss.Weight: 2,160 gDimensions: Height 23.8 cmAuction result comparison:Compare a related Arakan bronze figure of Buddha, dated to the 15th-16th century, at Bonhams San Francisco in Fine Asian Works of Art on 9 December 2008, lot 5212, sold for USD 3,600.

A GROUP OF TEN MINIATURE LAPIS LAZULI MEDICIN VESSELSPresumably Greco-Bactrian, 1st century BC. Of various shapes and sizes, cut out of massive stone, with a smooth surface and no decoration. The stone of fine quality with dark blue speckles. 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, traces of age and wear, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: from 138.6 g to 14.7 gDimensions: Diameter 5.8 cm (largest vessel), 2.9 cm, (smallest vessel)

A PAIR OF LARGE TRIBAL EARRINGSPhilippines, 17th-18th century or earlier. Consisting of two gold tubes and covers, the covers decorated with fine filigree.Condition: Good condition, bending, miniscule tears, 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: 24.4 g (total)Dimensions: Height 4.2 cm, diameter 3.3 cm

A ROCK CRYSTAL STUPA WITH GOLD APPLICATIONSHimalayan region, Tibet or Nepal, c. 19th century or earlier. Made in two parts, consisting of a quadrangular base and a tiered finial. Applied with fine gold repousse bands and gold wire.Condition: Overall good condition with wear as well as few notches and chips here and there. The mineral with natural inclusions. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Itvan 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: 82 g Dimensions: Height 7 cm

A GOLD RING WITH AGATE INTAGLIO OF A HUNTING SCENEAncient region of Gandhara, 4th-5th century. The gold ring set with a fine oval agate worked in intaglio depicting a wolf hunting a deer, the gold setting of somewhat later date. Condition: Very good condition with expected wear and small notches. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 6.4 g Dimensions: Inner ring diameter 1.7 cm

AUCTION CATALOGUES - VARIOUS ASIAN ART COLLECTION SALES A good group of Sotheby's, Christie's and other private collection Chinese Ceramics and Works of Art auction catalogues, mostly hardcovers To include: Sakamoto Goro, Sotheby's, five catalogues 2013/14; The Gerald Godfrey Collection of Fine Chinese Jades, Christie's Hong Kong, 1995; Robert Chang Collection, Christie's 1999/2000; F.Gordon Morrill Collection, Doyle New York 2003; Emile Guimet, Sotheby's Hong Kong 2008; R.E.A. Riesco Collection, Christie's Hong Kong 2013 and many others (29) Condition: Some general signs of age and shelf wear to most, dust jackets to the older examples with wear and tears. One Sothebys example (Collection of Ming and Qing Imperial Porcelain from a Private Trust, 2000) binding has come apart and pages are loose

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Feuilles de bambou". Medium: Original vintage photogravure. Date: Composed c1935. Printed 1935. Dimensions: Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [23916-2-300]

STÈLE DE GANESHA EN GRÈSINDE CENTRALE, CIRCA XE SIÈCLE71.5 cm (28 1/8 in.) high Footnotes:A SANDSTONE STELE OF GANESHA CENTRAL INDIA, CIRCA 10TH CENTURY印度中部 約十世紀 砂岩象神石碑 Provenance: With Claude de Marteau, New York, by 1967 The mischievous elephant-headed god Ganesha can clear (or create) obstacles and is therefore propitiated before the start of almost any undertaking. The whimsical, improbable vision of Ganesha dancing while snacking on a bowl of sweets is the subject of this early medieval stone sculpture. Ponderous weight is placed on the right foot and hip as Ganesha sways to the right. He turns his left foot out, resting it delicately on the toes. Ten arms are rhapsodically poised around the torso, holding attributes and weapons; two additional arms (one on either side) are now lost. Six ecstatic musicians inspire this motion, four below and two flanking the garland-bearing vidyadharas above. Crouching on the pedestal beneath is a rat, Ganesha's humble vehicle, adding to scene's delightful humor. Tales of the origins and appearance of Ganesha vary, but most describe him as having been created a boy by his mother Parvati from the residue of her bathwater. Once manifest, she placed him as sentry to her bath chamber. Shortly thereafter, Parvati's husband Shiva appeared, demanding entry. When Ganesha refused the stranger's request, Shiva removed his head. Parvati insisted Shiva restore Ganesha's head immediately. The first available head was that of an elephant, which was expediently placed atop the young man's body, thus forming the unique appearance of this beloved deity. A smaller work of approximately the same period is now in the Virginia Museum of Fine Arts (Dye, The Arts of India, 2001, pp. 142-43, no. 42). See also the much larger example, of unsurpassed quality, in the Mr. and Mrs. John D. Rockefeller 3rd Collection at Asia Society Museum in New York, published in Leidy, Treasures of Asian Art, 1994, p. 42, fig. 22.For further information on this lot please visit Bonhams.com

A STAG ANTLER NETSUKE OF A MONKEY HOLDING A PEACHJapan, late 18th century, Edo period (1615-1868)Very finely carved from the coronet of a branch of deer antler, the natural features brilliantly incorporated into the design. Depicted is a monkey casually leaning on a rocky base with a peach in his right hand. Large himotoshi through the base.HEIGHT 3.5 cmCondition: Very good condition, little wear and natural flaws to the material.Provenance: Ex-collection Richard R. Silverman purchased from Ito, Tokyo, in 2007. 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.

KANO TSUNENOBU: A MUSEUM-QUALITY 'GEESE IN WINTER' EIGHT-PANEL FOLDING SCREEN, EX-COLLECTION KENZO TAKADABy Kano Tsunenobu (1636-1713), signed Tsunenobu hitsu with seal Ukon TsunenobuJapan, 17th century, early Edo period (1615-1868)The Byobu finely painted with ink on paper, with a silk brocade frame and mounted to a black-lacquered wood screen with gilt-metal fittings neatly incised with peony and foliate scroll.Depicting a continuous scene with a gaggle of geese on a snowy outcrop, one standing on a gnarled willow covered in snow, with a flock of geese flying toward them in the background.Signed lower left TSUNENOBU hitsu [made by Tsunenobu] and with a red seal Ukon Tsunenobu.SIZE 206 x 75 cm (each panel) TOTAL SIZE 206 x 600 cmCondition: Very good condition, particularly when considering the age, with minor wear, soiling, few small tears and losses.Provenance: Galerie Gisèle Croës, Brussels, 1990. Kenzo Takada, acquired from the above. Kenzo Takada (1939-2020) was an iconic Japanese fashion designer living in France. He founded Kenzo, a worldwide brand of perfumes, skincare products, and clothes, and was the honorary president of the Asian Couture Federation. Takada was made a Knight of the Legion of Honor on 2 June 2016. For decades, Kenzo Takada had built an impressive and diverse collection of furniture, paintings, objects, works of art and fashion pieces, including many objects of fine Japanese art, displaying in his home a subtle balance between the influences of East and West, reflecting the free spirit of his creative genius.Kano Tsunenobu (1636-1713) was a Japanese painter of the Kano school. He first studied under his father, Kano Naonobu, and then his uncle, Kano Tan'yu, after his father's death. He became a master painter and succeeded his uncle Tan'yu as head of the Kano school in 1674. It is believed many works attributed to Tan'yu might actually be by Tsunenobu, but it is difficult to know since they often worked on larger pieces together.Auction comparison: Compare a pair of closely related eight-panel screens by the same artist, depicting cranes and pine trees in a similar winterly setting, at Christie's, Japanese Screens, Paintings and Prints, 27 October 1998, New York, lot 146 (sold for 74,000 USD = 124,500 USD in today's currency after inflation).

A RARE MIXED METAL NETSUKE OF A FUCHI-GASHIRA WITH ORCHIDJapan, late 19th centuryThe fuchi-gashira shaped netsuke fitted with a gilt metal plate and inlaid in the front with a silver orchid, the sides bearing a nanako ground, the back with a gilt metal chrysanthemum knop and looped cord attachment.LENGTH 3.9 cmCondition: Good condition with minor associated surface wear.Provenance: Ex-collection Richard R. Silverman, purchased from Ito, Tokyo, in 2006. 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 FINE WOOD NETSUKE OF OKAME SLEEPINGJapan, mid-19th century, Edo period (1615-1868)Finely carved to depict Okame sleeping on a mat carved as the character yume (dream), her head resting on one hand, the other hand on her knee, the face with a gentle expression, the hair neatly incised. Himotoshi to the underside.LENGTH 4.5 cmCondition: Very good condition, minor wear.Provenance: Ex-collection Richard R. Silverman, purchased from Ito, Tokyo, in 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.

NORITSUGU: A RARE SILVER AND MIXED-METAL NETSUKE OF A KABUTOBy Noritsugu, signed Noritsugu Japan, 19th century, Edo period (1615-1868)The netsuke cast in the form of a kabuto (helmet), the rounded bowl overlaid with silver ridges and surmounted by a tehen kanamono in the form of a chrysanthemum, a fitting at the front for the maedate (forecrest), the himotoshi also in the form of chrysanthemum to the underside and the signature NORITSUGU within an oval reserve.LENGTH 4.3 cmCondition: Very good condition, minor surface wear. Provenance: Ex-collection Richard R. Silverman, purchased from Midori Gallery (Sachi Wagner) in 1994. 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 FINE GOLD LACQUER SIX-LOBED KOBAKO AND COVERJapan, mid-19th century to Meiji period (1868-1912)The kinji ground finely decorated in black, red, and gold hiramaki-e and takamaki-e to depict a textile with hanabishi (lit. flowery diamonds) ground, the cover further with a lacquer storage box for playing cards (karuta) with dense foliate designs and a beautiful red cord wrapped around it, as well as chrysanthemum sprays and a folding fan, the interior and base with nashiji, the interior edges of gold fundame.DIAMETER 10.6 cmCondition: Good condition with minor wear, a small chip to the interior rim of the box, few tiny nicks to edges, light surface scratches to base.Provenance: The Ankarcrona Collection of Japanese Works of Art. Old inventory labels to base. Sten Ankarcrona (1861-1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.

A RARE SILVER AND GILT RYUSA MANJU NETSUKEJapan, 18th century, Edo period (1615-1868)The massively cast and open-worked silver manju netsuke consisting of two parts which are welded together, ornately decorated with a central flower surrounded by scrolling foliage and with gilt highlights. Two himotoshi to the reverse.DIAMETER 4 cmCondition: Very good condition, minor wear, few casting irregularities.Provenance: Ex-collection Richard R. Silverman, purchased from Yagi, Kyoto, in 2007. 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.

AN IVORY NETSUKE OF A RAT WITH HAMAGURI CLAMSJapan, Osaka or Kyoto, 18th century, Edo period (1615-1868)A well-sized and boldly carved ivory netsuke of a seated rat (nezumi) lifting its front paws, the thick tail curling around and caught inside a hamaguri clam, another clam next to it revealing a fleshy tongue - both surely an erotic allusion. The rodent's eyes are inlaid in dark horn. Very large and generously excavated himotoshi underneath. The ivory bearing a fine, yellowish patina and the neatly incised hairwork is appealingly worn.LENGTH 4.8 cmCondition: Very good condition with associated natural age cracks.Provenance: French private collection.Auction comparison:Compare to a closely related ivory netsuke, signed Masakazu, sold at Van Ham, Asian Art, 14 June 2018, Cologne, lot 2280 (sold for 1,935 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0105).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A FINE GOLD LACQUER BOX AND COVER WITH A BIRD AND PRUNUSJapan, 19th centuryOf rectangular tebako form with rounded corners, bearing a nashiji ground finely decorated in iro-e takamaki-e, hiramaki-e, kirigane, and e-nashiji to depict a bird with open beak perched on a bamboo gutter mounted between gnarled branches of an old burly cherry blossom tree bearing rich blossoms, the water from the gutter splashing onto a rock amid grasses and bamboo from the cover to the side of the box, leading to a meandering stream. The interior of nashiji with gold fundame edges.SIZE 13.6 x 10.6 cmCondition: Very good condition with minor surface wear.Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861-1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.

A VinÄa Terracotta Female Figure Neolithic Period, Circa 5700-4500 B.C.Height 4 inches (10.4 cm).Property from a New Jersey Private CollectionProvenance: Artemis Gallery, Louisville, Colorado, Exceptional Day 1: Antiquities Asian Fine Art 22,May 2019, Lot 63B.

A Roman Amber Glass Date Flask Circa 1st-2nd Century A.D.Height 3 inches (8 cm).Collection from an Important Midwestern ScholarProvenance:Ancient Art International, October 1999.Warren Koch, New York.Arte Primitivo, New York, Fine Classical, Egyptian & Asian Antiquities, 3 October 2006, Lot 303.Private Collection, Connecticut. Christie's, New York,Antiquities, 4 June 2008, Lot 131.Height with stand 4 inches (10.1 cm)

A Roman Marble Statue of CybeleCirca 1st-3rd Century A.D.Height 20 1/4 inches (51.4 cm)Property from a New Jersey Private CollectionProvenance: Private Collection, Germany, 1980s.Artemis Gallery, Louisville, Colorado, Antiquities Asian Ethnographic Fine Art, 26 September 2019, Lot 76A.Size: 10.5" W x 20.25" H (26.7 cm x 51.4 cm)

Northern Qi, 6th-7th century A.D. An Uddiyana style Buddha modelled in the round standing, wearing an ankle-length robe with u-shaped folds running down the centre, hair covering ushnisha, elongated earlobes and delicate facial features; relic chamber to reverse; mounted on a wooden display base. 1.4 kg total, 33 cm high including stand (13 in). Acquired 1960s to early 1970s. ‘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 including an image of this lot featured in one of the display cases (p.176 & p.177): Exhibition catalogue cat.no.UD-34, p.31 & TB023, p.167. Accompanied by a copy of Nik Douglas's collection cataloguing document, three pages of collectors illustrations and notes with price (US$70,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11211-188545. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition, repair to neck.

c.6th century A.D. A Bodhisattva figure modelled in the round crowned and standing, right hand raised with palm facing outwards, left hand extended by side, holding one end of sash, stylised anatomical and facial detailing with urna between eyes, detailing to crown, sash and dhoti, held in place by a jewel, wearing matching floral pendant and bangles; pierced lug to reverse; mounted on a wooden display base. 664 grams total, 22.2 cm including stand (8 3/4 in). Ex Sherrier or Lindahl by repute. Acquired 1968. Spinks, London, UK. ‘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 including an image of this lot featured in one of the display cases (p.176): Exhibition catalogue cat.no.GMB057, p.142. Accompanied by a copy of Nik Douglas's collection cataloguing document, four pages of collectors illustrations and notes with price (US$32,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11215-188546. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

c.2nd century A.D. A bronze Uddiyana Buddha modelled in the round seated on a lotus flower, hands held in a teaching mudra, with detailing to the hair, face, garments and floral base. 520 grams, 13.5 cm high (5 1/4 in). Acquired 1996. Dr. Paul Singer, New Jersey, USA. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of Nik Douglas's collection cataloguing document, two pages of collectors illustrations and notes with price (US$43,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11220-188547. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

5th-10th century A.D. A statuette modelled in the round as Buddha seated in padmasana, hair covering ushnisha, stylised facial features, silver inlaid eyes, elongated earlobes, garment with folds and voluminous sleeves; hollow-formed. 310 grams, 10 cm high (4 in). Acquired 1960s to early 1970s. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11223-188550. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

Han Dynasty, 206 B.C.-220 A.D. A copper-alloy pilgrim's flask with 'heart-shaped' moulding to both faces, splayed base, narrow cylindrical neck, domed lid with floral motif and suspension ring, animal masks and rings to shoulders. 1.6 kg, 23 cm high (9 in). Bonham's, Fine Asian Art, sale 14758, 14 May 2007, lot 111. Property of a London gentleman. Fine condition.

19th century A.D. or earlier. A carved rock crystal tiered model stupa with sheet gold fittings; the crystal segments with circumferential recesses to accept gold wire inserts, the applied floral motifs with filigree and granulation detailing, repoussé geometric ornament; base with rectangular plaques depicting a repoussé facing Buddha. 3.1 kg total, 21.5 cm high (8 1/2 in). Acquired 1979. Private Asian collection, Japan. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of Nik Douglas's collection cataloguing document, thee pages of collectors illustrations and notes with price (US$160,000). Accompanied by Scholarly Note TL 05430 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11210-188548. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition; finial absent.

4th-2nd century B.C. A bronze statuette of a priestess modelled in the half-round, wearing a loosely draped sleeveless tunic, fastened at the shoulders to form a V-shaped neckline, girdled high under the breasts; her head adorned by a tall three-point diadem, with a large patera in left hand and pyxis in right hand; accompanied by a custom-made display stand. See Brendel, Etruscan Art, p.422, for parallels in the mid second century terracotta sarcophagus of Seianti Thanunia Tlesnasa from Chiusi, now in the British Museum; the diadem in her hair shares similar three-point attributes to the exaggerated diadem on our statuette; the dress is Greek with the tunic (chiton) characteristic of Etruscan and Latin votive bronzes at the same time; see parallel from the Museo archeologico di Verona, Inv. A4,376, published as no.37 in Franzoni, Bronzetti etruschi e italici del museo archeologico di Verona, p.56; this complete example at 7.5cm is of interest as it has a distinct fold across the dress that corresponds to the break on this example; Franzoni notes a bronze from Chiusi of similar type (referenced in St. Etr. XXV, 1957, p.503, fig. 25). 46 grams, 67 mm (121 grams total, 11.3 cm including stand) (2 1/2 in. (4 1/2 in). Estate of American sculptor, Eleanor Mary Mellon (1894–1979), New York, USA. Myers Fine Art & Antiques, Florida, European & Asian Antiques & Fine Art Auction, on 10 February 2013. Ancient Resource, California, USA, July 2014, item 2147. Private Australian collection. Accompanied by an illustrated two page collector's cataloguing document. Accompanied by a copy of a certificate of authenticity from Gabriel Vandervort of Ancient Resources and a copy of the Myers listing. The patera is a sacrificial saucer-shaped vessel for pouring a libation to the gods or for receiving a libation; the pyxis a cylindrical box for incense with separate lid and somewhat concave walls. For a larger (25.4 cm), highly detailed statuette of this type, including the attributes in her hands, see the second century B.C. statuette in the British Museum that was acquired in 1913 said to be from the Sanctuary of Diana at Nemi (BM No. 1913,0529.1). This type takes many forms; for example, see complete example with a radiant stephane (10.16 cm high) in the British Museum donated by Canon Luc Angelo Bracci in 1856 and said to be from Orvieto (museum number 1856,0815.3; Walters, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan, no.693). Variants include the himation draped towards the other direction: refer Turfa, J. M. and Muskett, G., Catalogue of Etruscan Objects in World Museum, Liverpool (No. B 104, Inv.M8833, p.103). For this specific lot, 5% import VAT is applicable on the hammer price Fine condition.

A Rare Tiffany & Co. Mokume and Partial Gilt Silver Demitasse Cup and Saucer from the Collection of Mary Jane Morgan, New York, circa 1878Marks to both: TIFFANY & CO., 5041 M 3124, STERLING SILVER, AND, OTHER METALS2 inches (5.1cm) (cup height)3-3/4 inches (9.5 cm) (saucer diameter)158 grams (gross)PROVENANCE:Mary Jane Morgan;Her sale, Thomas E. Kirby via the American Art Galleries at New York's Chickering Hall, 1886; Lot 749 (in part)Private Swiss collection;Acquired from the above. LITERATURE:American Art Association, Priced Catalog of the Art Collection Formed by the Late Mrs. Mary J. Morgan, 1886, pp. 143.The demitasse cup and saucer with mokume technique to rim of saucer and exterior of lobed cup having gilt interior, each bearing the distinct monogram of Mary Jane Morgan to underside. This example was sold in 1886 as part of a lot of twelve cups and saucers in the sale of Mary Jane Morgan's estate. Tiffany mokume is rare, and it is even rarer to have a piece with traceable provenance from a great American art collection. Mary Jane Sexton Morgan (1823-1885) was the daughter of Francis Sexton, a New York City Merchant involved East Indian trade. She married shipping, railroad and iron magnate Charles Morgan (1795–1878) in 1851 and inherited $9 million upon his death in 1878. Mary Jane Morgan used this sizable inheritance to fund an ambitious and seemingly unending quest to assemble a world-class art collection. Her voracity for collecting was perhaps only matched by her cousin-in-law, J. Pierpont Morgan (1837-1913).When Mary Jane Morgan died in 1885, the press reported that "the house of the late Mrs. Morgan is literally honeycombed with secret closets and drawers filled with works of art of the most varied kind. Since the first inventory was made there have been several supplements. Now the total value is put down at something like four million dollars." (Town Topics, November 1885)Her estate was sold over three days at no reserve and was attended by notable collectors and society members like Charles L. Tiffany, William Walters, Henry G. Marquand, Henry O. Havemeyer, Mrs. Collis P. Huntington, and Mrs. Ogden Goelet. The multi-category sale was comprised of but not limited to Asian ceramics and bronzes, silver, fine European porcelains, glassware, paintings, sculpture, etchings, and books. According to the auction catalog, most of the 154 lots of silver, "with few exceptions made to order by Messrs Tiffany & Co." Mary Jane Morgan was one of Tiffany's most loyal clients during the late 19th century and she favored the firm's creative Japonesque pieces. She was particularly fond of mixed-metal and mokume, which represented some of Tiffany's most labor intensive, rare, and beautiful objects the firm ever produced. The present lot is described on page 143 of her auction catalog as part of lot 749:"AFTER-DINNER COFFEE CUPS AND SAUCERS, "Moku-me" or "Veins of the wood" design, 18 pieces"Though the company cataloged its mokume works as "mixed metal" in company inventories, our understanding of the craft extends beyond the simple inclusion of differing metals. To craft mokume, meaning "wood grain" or, literally, "wood eye" in Japanese, artisans laminated thin sheets of differently colored metals and alloys, folded them to increase the number of layers, cut through or bent, and, finally, hammered to produce marbleized patterns.The present lot exhibits a shimmering kaleidoscope of silver, gold, copper, and alloy laminations. The labor-intensive nature of the process meant that few pieces were created by Tiffany with this technique covering the entire body of the piece. Most commonly, Tiffany included mokume as a decorative accent, found on some applied insects or small handheld works. The extensive mokume decoration to the present lot emphasizes its special commission to a wealthy client.While the form of the saucer is of traditional shape, the cup derives its lobed "squat" design from ancient Persian and Turkish vessels. These design elements allude that the present lot was likely designed directly by Edward C. Moore, Tiffany's chief designer from 1873-1891. At the time of the present lot's creation, Tiffany & Co. drafted the shapes of hollowware separately from ornamentation. Moore was innovative and wildly creative, drawing design inspiration from Tiffany's Oriental archive collected by Dresser and from his own extensive personal collection of objects. His exploration outside of Western design can be seen in his adoption of Islamic and far-Eastern forms in hollowware as early as 1867. A pear-shaped "Moresque" tea and coffee service was exhibited at the 1867 Paris Exposition Universelle where he won a gold medal for silverware. Moore almost certainly would have been personally involved in this important commission from one of Tiffany's most loyal and high-profile customers in the late 19th century. Moore's vast and pioneering collection of more than 2,000 objects and 500 volumes was donated to the Metropolitan Museum of Art upon his death in 1891 and remains one of the institution's most important bequests.Artwork from Mary Jane Morgan's collection can be found in notable museums and private collections across the country including the Metropolitan Museum of Art (New York), the National Gallery of Art (Washington DC), The Walters Art Museum (Baltimore), Museum of Fine Arts (Boston), and Art Institute of Chicago. HID12701242017

Dinh Thi Tham Poong (Vietnamese, b.1970)Poong’s painting, 2010signed 'Poong 2010' l.l., watercolour and gold on handmade paper78 x 107cm Born in 1970 in Lai Chau, Vietnam, Dinh Thi Tham Poong's paintings are heavily influenced by her Muong heritage. Her detailed watercolours use surreal elements to depict the relationship between humans and the natural world - 'To my mind everything has two distinct halves. Everything contains, holds each other, is intertwined with each other'. She has received a number of awards throughout her career and her works are held in many international collections, including the Singapore Art Museum, the Fukuoka Asian Art Museum in Japan, and the Museum of Fine Arts in Boston, USA. The artist currently lives and works in Hanoi, Vietnam.Frame overall 97 x 125cm. Framed, not viewed out of glazed frame, loosely stuck down to the backboard, generally appears to be in good condition. Paper a bit cockled with creases possibly from being rolled up previously, uneven edges.

A RARE SET OF FOUR PAINTED POTTERY FIGURES OF GAMBLERSHan DynastyEach well modelled playing with dice in animated poses, kneeling and gesticulating with their hands, playing with dice, painted in mauve, red, and white pigments. The tallest, 20cm (7 7/8in) high. (4).Footnotes:漢 彩繪灰陶博戲俑 一組四件Provenance: T.T.Tsui Collection, Hong KongSpink & Son Ltd., London, 1999Jonathan Tucker Antonia Tozer, Asian Art, London, 2001An English private collectionPublished and Illustrated: Splendour of Ancient Chinese Art: Selections from the Collection of T.T.Tsui Galleries of Chinese Art Worldwide, Hong Kong, 1996, no.6. The Tsui Museum of Art: Chinese Ceramics I, Neolithic to Liao, Hong Kong, 1993, no.25來源：香港徐展堂舊藏倫敦古董商Spink & Son Ltd.，1999年倫敦古董商Jonathan Tucker Antonia Tozer，2001年英國私人收藏出版著錄：《海內外徐展堂中國藝術館藏品選粹》，香港，1996年，編號6《徐氏藝術館：陶瓷I·新石器時代至遼代》，香港，1993年，編號25Gambling has a long history in China and even Confucius purportedly said that 'people who gamble are better than those who have nothing to do' (Book XVII, 22). Since then, Confucianism was seen as having a relatively lax attitude towards the playing of games. Liubo (六博), involving two players, was particular popular during the Han dynasty. See for example, a pair of seated earthenware figures playing on a liubo board game, Eastern Han dynasty, in the Metropolitan Museum of Art, New York (acc.no.1992.165.23a, b). By the end of the Eastern Han period, the skill-dependent Liubo faded out and was replaced in popularity by a new, chance-dependent game called 'chupu' (樗蒲). The origin of chupu is unknown but may have begun as early as the Spring and Autumn period. The game did not require much cognitive skill and relied more on chance factors with dice tossing. It attracted lots of spectators who yelled and cheered during the game, with bets being put on the dice. Although we cannot say for certain what game the gamblers in this present lot are playing, their animated gesticulations imply that it is exciting and quick with much chance involved. Compare with four bronze weights in the form of game players, Han dynasty, in the Metropolitan Museum of Art, New York (acc.no.2003.522.4). See also a related group of four painted pottery Liubo games figures, Han dynasty, in the Virginia Museum of Fine Arts, Richmond.For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE YELLOW-GROUND SILK 'DRAGON' NOBLEWOMAN'S COURT ROBE, CHAOPAOQianlongThe remarkable robe made of fine brocade exquisitely worked in vibrant couched gold and multi-coloured threads with nine five-clawed dragons pursuing flaming pearls amidst wispy ruyi-form clouds, all on a yellow xiangse ground and above the lishui stripe interspersed with the terrestrial diagram, the collar flanked by raised shoulder seams similarly decorated with writhing dragons and ruyi clouds, lined in a rich coral-red silk brocade decorated with gold thread Shou medallions. 129.5cm (51in) long x 178cm (70in) wide.Footnotes:清乾隆 香色緞織彩雲金龍紋女朝袍Provenance: Sir William Edward Preston (1887-1932), and thence by descentFeatured on the BBC's 'Antiques Roadshow', 12 September 2021來源：William Edward Preston爵士（1887-1932）舊藏，並由後人保存迄今曾收錄於2021年9月12日，英國BBC《鑑寶路秀》節目Superbly woven with nine resplendent five-clawed dragons riding the heavens, finely worked in metallic gold thread amidst a profusion of five-coloured trailing clouds, the present robe is tailored from rare yellow-ground Imperial silk reserved for making chaopao, the most formal amongst all ceremonial Court robes worn by Imperial consorts.No other chaopao garments appears to be known outside public collections. Compare with a similar yellow-ground chaopao, mid-Qing dynasty, from the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Costumes and Accessories of the Qing Court, Shanghai, 2005, no.63. The fact that chaopao robes for women appear to have survived in a small number compared to men's robes may be attributed to the fact that historically, women had fewer ceremonial duties than men and they were often excluded from important Court ceremonies. Yellow Court robes were typically worn during the performance of the most important state rituals, such as those performed at the Altar of Earth, and were also worn on the occasion of other ceremonies, such as the appointment of a new empress, the accession to the throne and the celebration of an Imperial birthday. A Court painting by Zhou Ben (active 1760s-1770s) depicts the eightieth birthday celebrations for the empress Dowager Chongqing, seated behind an altar table at the centre, wearing a yellow-ground chaopao, surrounded by other Imperial consorts and high-ranking officials in the Palace of Longevity and Health, which her son, the Qianlong emperor, had erected in her honour; see D.Yiyou and J.Stuart, Empresses of China's Forbidden City 1644-1912, Salem, MS, 2018, p.85, fig.7. For an extensive discussion about Qing state rituals, see J.Ryan, Dragon Emperor. Treasures from the Forbidden City, Beijing, 1988, pp.67-91. Chinese Court dress had long been regulated by sumptuary laws since the Zhou dynasty (1050-221 BC). Each succeeding Imperial dynasty issued its own set of regulations and rules regarding colours and designs of official costume. The Court attire employed by the Qing dynasty was highly complex and detailed. The right to wear a 'dragon' robe and its accessories was conferred by rank and entitlement. In 1748, the Qianlong emperor ordered a review of Court dress regulations to examine all previous Qing dress codes and developed a comprehensive strategy for the garments and ceremonial trappings of the Court. The 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court', Huangchao liqi tushi 皇朝禮器圖式 completed in 1759, illustrated the strict codes of official dress which were categorised according to colour, symbolism and social status.The 'Regulations' brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons, writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the empire. In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the well-being of his subjects. Wearing robes decorated with dragons, therefore, facilitated the Qing foreign rulers' transformation of image in the eyes of the Han population from provincial tribal leaders to legitimate rulers of China.By the Qing dynasty, the use of yellow, traditionally associated with the Imperial family, became stricter than ever and a hierarchy of four different shades of yellow was instituted to differentiate rank within the various family members. Yellow silk, characterised by a slightly greenish tone, for example, was referred to in the 'Regulations' as 'incense colour' xiangse. This shade, displayed on the present robe, was reserved for use by the daughters of the emperor and other Imperial consorts ranking below the empress, the empress Dowager and Second and Third Degree Princesses; see M.Medley, The Illustrated Regulations for Ceremonial Paraphernalia of the Ch'ing Dynasty, London, 1982, and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30. See also the colour illustration of a yellow-ground chaopao, in the 'Imperial Regulations', illustrated by J.Vollmer and J.Simcox, Emblems of Empire: Selections from the Mactaggart Art Collection, Winnipeg Canada, 2009, p.12.Many commemorative portraits of empresses and Imperial Consorts, executed by Court painters during the early Qing period, depict Imperial consorts in a formal pose, seated on a throne and clad in a similar ceremonial garment as the present robe. Imbued with realism and ritual reverence, these paintings are precious testaments for studying complete ceremonial outfits worn at the time. See for example, the portrait of empress Xiaoxian (1712-1748), in the Palace Museum, Beijing, illustrated by L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, p.171. Chaopao garments included winter and summer versions, and whilst the former types were normally lined with fur, the latter were lined with thinner materials and had all the exposed edges finished with brocade borders, just like the present robe. No ceremonial outfit was complete unless the chaopao was worn in conjunction with a full-length sleeveless 'dragon' vest, a wide pointed collar, a heavily-jewelled headdress, pearl earrings, at least three ceremonial necklaces and a long silk kerchief suspended from the chest; see J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, pp.69-77.Compare with a related yellow-ground chaopao, mid-18th century, from Museum of Asian Art, Cologne, illustrated by J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, p.73, fig.3.13.For further information on this lot please visit Bonhams.com

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

A FINE STAG ANTLER KAGAMIBUTA NETSUKE OF WITH RAIN DRAGON (AMARYU) AND REISHI UnsignedJapan, Tokyo, Asakusa District, second half of 19th centuryThe beautifully marbled stag antler bowl inset with an openworked disc, very finely carved with a snarling rain dragon holding a large reishi-scepter and grasping its long mane with one clawed limb. Central himotoshi in the back, the cord attachment to the back of the disc.DIAMETER 4.2 cmCondition: Excellent condition, some minor 'imperfections' to the material.Provenance: Ex-collection Richard R. Silverman, purchased from Otsuki, Kyoto, in 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 SUPERB OSAKA SCHOOL IVORY NETSUKE OF A TIGERUnsigned Japan, Osaka, late 18th century, Edo period (1615-1868)Finely and amusingly carved as a tiger facing backwards with a mischievous expression marked by its sideways glance achieved by the clever placement of the dark horn-inlaid eyes, the animal further detailed with thick brows, small ears, incised whiskers, and sharp teeth, the fur neatly incised and heightened with sumi, creating a striking contrast to the smooth stripes, the tail elegantly curved, the underside with two asymmetrical himotoshi.LENGTH 4 cmCondition: Overall good condition with minor wear, one leg restored. Fine honey-yellow patina.Provenance: The Gabor Wilhelm Collection, Paris.Auction comparison: Compare a related ivory netsuke of a tiger by Garaku, dated to the early 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 58 (sold for 6,250 GBP). Another closely related ivory netsuke of a tiger, unsigned and with a restored front leg, was sold at Lempertz, Asian Art, 6 December 2019, Cologne, lot 205 (sold for 4,464 EUR). Trade Certificate: In accordance with new EU regulations that went into effect in January 2022, we have applied for a certificate to sell this item within the EU. We expect the Austrian Federal Ministry for Climate Action, Environment, Energy, Mobility, Innovation and Technology to issue the certificate in 4-8 weeks. The item can only be shipped / handed over once the certificate has been issued.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A RARE STAG ANTLER NETSUKE OF A PARROT ON PINE TREEUnsignedJapan, early 19th century, Edo period (1615-1868)Perched on a short section of a leafy pine branch, its head lowered, and the large wings folded for compactness. The large eyes are inlaid in reddish horn. Himotoshi through the branch.HEIGHT 4.3 cmCondition: Excellent condition.Provenance: The Gabor Wilhelm Collection, Paris.Auction comparison:Compare to a very similar stag antler netsuke of a parrot, likely from the same hand/workshop, sold at Lempertz, Asian Art, 6 December 2019, Cologne, lot 222 (sold for 1,736 EUR). Another closely related example carved from ivory was sold at Bonhams, The Julius & Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 148 (sold for 2,250 GBP).

A RARE BAMBOO NETSUKE OF AN INEBRIATED MONKUnsignedJapan, 18th century, Edo period (1615-1868)The monk wearing a half-shouldered monastic robe, his facial features finely carved and visibly inebriated, sitting on two large hyotan-shaped containers, presumably filled with sake, and drinking from the elongated tubular spout of the larger one. Natural himotoshi. The combination of this rare subject and material are most unusual.HEIGHT 3.9 cmCondition: Very good condition, minor surface wear, some tiny dents.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.

GYOKUSEN: A FINE INLAID EBONY NETSUKE OF A CORAL FISHERMANBy Gyokusen, signed Gyokusen 玉川Japan, Edo (Tokyo), mid-19th centuryThe South Sea islander standing with a delighted expression on his face as he holds a jar from which a choice piece of coral rises, his features neatly detailed, the mouth agape revealing his coral-inlaid tongue, his loincloth with two himotoshi and the signature GYOKUSEN to the back.HEIGHT 5.5 cmCondition: Good condition with minor surface wear, a tiny chip to the rim of the jar and a minuscule nick to one of the himotoshi.Provenance: Ex-collection Teddy Hahn, Darmstadt.Although Gyokusen Tomochika of Kyoto carved a number of related ebony netsuke depicting similar subjects, the present netsuke is more in line with Edo school works, such as similar carvings by Minkoku and Jugyoku.Literature comparison: Compare a closely related netsuke depicting the same subject by Jugyoku, dated approx. 1850-1900, in the collection of the Asian Art Museum of San Francisco, object number B70Y1615.Auction comparison: Compare a related netsuke of two coral fishermen by Minkoku, also dated mid-19th century, at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 156 (sold for 5,688 EUR).

A RED AND BLACK LACQUER THREE-CASE INRO DEPICTING ANCIENT COINSUnsigned Japan, 18th century, Edo period (1615-1868)The black and red-lacquered ground in imitation of negoro-ware, inlaid in boxwood and decorated in brown and black takamaki-e with various ancient cash coins with simulated wear, the interior lacquered dark-brown.HEIGHT 7.6 cmCondition: Very good condition with minor wear (most of the wear is simulated). Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861–1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.With a black and red-lacquered ojime of globular form carved with floral and foliate designs.Auction comparison:For a related inro attributed to Ogawa Haritsu, see Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 272 (sold for 2,402 EUR).

JUICHI: A FINE WOOD NETSUKE OF A KAPPA WITH CUCUMBERBy Juichi (Toshikazu), signed Juichi 壽一Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Well carved seated with the knees bent, holding a large cucumber of green-stained stag antler in its lap, the emaciated rib cage and turtle-like carapace neatly detailed, the grimacing face expressing the yokai's ravenous hunger, the eyes double-inlaid with pale and dark horn and the fangs inlaid with bone. Himotoshi through the back and signed to one leg on the underside JUICHI. The artist was a pupil of Ryukosai Jugyoku.HEIGHT 3.3 cmCondition: Excellent condition.Provenance: French private collection, purchased from Galerie Yamato, Paris, in 2003.According to folklore there are two ways to escape a kappa-encounter unharmed. One is to feed it with a cucumber, which is the kappa's favorite food, and the other is to bow, as kappa are exceedingly polite creatures and find it difficult to resist returning the favor. This is a problem for the kappa as the cavity on top of their head retains water, and if this is damaged or its liquid is lost (either through spilling or drying up), the kappa is severely weakened.Auction comparison:Compare a closely related wood netsuke by Jugyoku, dated mid-19th century, at Lempertz, Japanese Art, 5 December 2015, Cologne, lot 746 (sold for 3,968 EUR). Another closely related wood netsuke by Gyokusai was more recently sold at Zacke, Asian Art Discoveries, 27 January 2020, Vienna, lot 592 (sold for 5,688).

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

JOKASAI: AN UNUSUAL KINCHAKU-FORM LACQUER FOUR-CASE INROBy Yamada Jokasai, signed Jo O 常翁 with kakihanJapan, 19th centuryModeled in the form of a kinchaku (pouch), secured at the top with a removable pin, opening to reveal four bamboo drawers, the exterior lavishly lacquered in iro-e takamaki-e and hiramaki-e with an intricate design of stylized plum blossoms and interlinked geometric designs, the flowerheads partly with gold foil decoration. The interior with the signature JO-O (Yamada Jokasai).HEIGHT 7.6 cmCondition: Good condition with wear, age cracks, small losses to gold foil, traces of use.Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861–1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.Auction comparison: Compare a related kinchaku-form inro, unsigned, dated to the 19th century, at Bonhams, Fine Japanese Art, 6 November 2007, London, lot 20 (sold for 1,440 GBP).

A KYOTO SCHOOL IVORY NETSUKE OF A SHISHIUnsigned Japan, Kyoto, 18th century, Edo period (1615-1868)The shishi seated in an unusual position with all four paws on the ground and the head turned sideways, the mouth agape in a snarl with curled lips containing a loose ball, the wild mane and bushy tail finely incised and heightened with sumi, the muscular body well defined, the back with two asymmetrical himotoshi.HEIGHT 4 cmCondition: Good condition, appealingly worn, expected age cracks. Fine, smooth, honey-yellow patina.Provenance: The Gabor Wilhelm Collection, Paris.Auction comparison: Compare to a similar but restored ivory netsuke, recently sold at Lempertz, Asian Art, 27 June 2020, Cologne, lot 319 (sold for 4,250 EUR). Compare a related ivory netsuke of a shishi at Zacke, Japanese & Korean Art, 10 September 2021, Vienna, lot 290 (sold for 4,803 EUR). Trade Certificate: In accordance with new EU regulations that went into effect in January 2022, we have applied for a certificate to sell this item within the EU. We expect the Austrian Federal Ministry for Climate Action, Environment, Energy, Mobility, Innovation and Technology to issue the certificate in 4-8 weeks. The item can only be shipped / handed over once the certificate has been issued.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A RARE MINIATURE SILVER AND COPPER YATATE (PORTABLE WRITING SET) UnsignedJapan, 19th centuryPublished: Chappell, Sharen & Welch, Matthew (1999) Netsuke: The Art of Miniature Carving, no. 252.The miniature yatate consisting of a pumpkin-shaped inkwell with a hinged lid and knop fitted with kiku-shaped roundels, the tubular section containing a removable telescope brush.LENGTH 6 cmCondition: Very good condition, minor surface wear.Provenance: Ex-collection Richard R. Silverman, purchased from Asahi, Tokyo, in 1973. 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 large collection of Asian art auction catalogues and exhibition catalogues, the majority Christies, including Christies 'The E.T. Hall Collection of Chinese Monochrome Porcelains', London 7th June, Christies 'The Hildegard Schonfeld Collection of Fine Chinese Snuff Bottles', New York 21st March 2013, and Christies 'An Exhibition of Important Chinese Ceramics from the Robert Chang Collection', London June 1993 (approx 115 in total).This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

An illustration from a Ragamala series: Ramkari Ragini, depicting a prince begging forgiveness from a maiden on a palace terrace Murshidabad, circa 1760-70gouache and gold on paper, laid down on an album page with ivory borders and margins ruled in gold 230 x 190 mm. with bordersFootnotes:ProvenanceChristie's, Islamic, Indian, Southeast Asian Manuscripts, Miniatures and Works of Art, 4th July 1985, lot 170 (illustrated).With Eyre & Greig, London, 1987.Private collection, Virginia, USA, 1987-2013.With Oliver Forge & Brendan Lynch: see Indian Painting, 1580-1850, New York 2013, p. 42, no. 22.For a very similar painting depicting Ramkari ragini in the British Library (Add. Or. 7), see J. P. Losty, L. Y. Leach, Mughal Paintings from the British Library, Indar Pasricha Fine Arts, London, n.d., no. 22; see also T. Falk, M. Archer, Indian Miniatures in the India Office Library, London 1981, no. 368 (iv). This (and our painting is closely related) was one of a group of thirty-six paintings originally collected by Sir Elijah Impey, of which eight are in the British Library, and others in the Victoria and Albert Museum, London, and the Chester Beatty Library, Dublin. (For an example of the series in the V and A (IS 71.1954), see Arts of Bengal: the Heritage of Bangladesh and Eastern India, London 1979, no. 77). In the Impey example, the maiden has turned her face away from the prince, and there is also a female attendant. For the ragamala subject, see K. Ebeling, Ragamala Painting, Basel 1973, nos. 195-197.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

* George Morland (British, 1763-1804) Interior of a stable with two cart horses being fed and a goat in the foregroundsigned and dated 'G. Morland pinx 1794' (upper left)oil on canvas62.5 x 75.5cmProvenance:William Garnett Esq., Quernmore Park, Lancaster;David Davies, 1st Baron Davies of Llandinam (1880-1944);F D Heastand, Hillsborough, California by 1950;With the Fine Art Society, London, June 195(7?);Sotheby's, London, 17th March 1982, lot 112,The Asbjorn Lunde Foundation, Inc. Exhibited:London, Royal Academy, 1794, no. 169, as 'Interior of a stable';London, Grosvenor Gallery, 1888, no. 176;Lancaster, Storey Institute, year untracedFootnote: All proceeds from the sale of this and another eleven paintings (lots 57-68) will benefit the activities of the Asbjorn Lunde Foundation, Inc., which continues its founder’s support of research, publishing, presentation, and practice in museums and music. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States, and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old master painting, and Asian decorative arts.Condition report: The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are stable and secure. The thinner paint passages have a pronounced canvas texture, exacerbated through lining. There are localised areas of overpaint present, covering wear and reinforcing the composition in the darkest areas. The overpaint is well matched to the original. The varnish is clear, even and matte. Framed 82 x 94.5cm

JESSICA RAWSON. 'Chinese Jade From The Neolithic To The Qing', 1995; ANGUS FORSYTH & BRIAN McELNEY. Jades From China', The Museum of East Asian Art, Bath, England, 11 June 1994; CHRISTOPHER RANDALL. 'A Personal Selection of Fine Jade Carvings From The Yushantang Collection of Nick Troubetzkoy, Vol 1'; 'Chinese Jade, Selected Articles From Orientations 1983-1996'; and a Christies Hong Kong Auction Catalogue entitled '300 Years of Jade', Monday 30th October 2000'. (5)

Fifteen auction catalogues relating to Chinese Snuff Bottles, to include SOTHEBYS. 'The Joe Grimberg Collection', New York, 2010, hardback; Fine Chinese Snuff Bottles, Billingshurst 1991; BONHAMS. Margaret Polak Collection, New York, 2010; Linda Riddell Hoffman Collection, 2011; Mary and George Bloch Collection: Part I, II and III, Hong Kong 2011; CHRISTIE'S. The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part IV and V, New York 2017; The Blanche B. Exstein Collection of Fine Chinese Snuff Bottles, New York, 2002; ZACKE. Asian Art Discoveries, 2020, Fine Chinese Snuff Bottles, 2017 and 2018; ROBERT KLEINER & CO. LTD. Chinese Snuff Bottles From The Albemarle Collection, Part I and II, 2004 and 2006. (15)

A LARGE BRONZE FIGURE OF RAMA, VIJAYANAGAR PERIODSouthern India, 16th-17th century. Heavily cast, standing in tribhanga, wearing a diaphanous dhoti and richly adorned with sacred thread and beaded, floral, and pendent jewelry, his quiver hanging from his right shoulder. The powerful face with large almond-shaped eyes, a broad nose, and full lips, surmounted by a conical headdress, and backed by a shirashchakra.Provenance: UK trade, by repute acquired from an English private collection. Condition: The figure is in fine condition with some old wear, the bow and arrow lost, small nicks, dents and losses, light scratches, the foot rim smoothened. Fine, naturally grown patina.Weight: 4,660 g (the figure) and 231.5 g (the base)Dimensions: Height 29 cm (excl. base) and 31.8 cm (incl. base)With a cast-bronze octagonal footed base incised with a central lotus flower encircled by a band of petals, most likely dating from the same period or slightly later. (2)Literature comparison: Compare a related bronze figure of Rama, 22.3 cm high, dated to the 14th century, in the Ashmolean Museum Oxford, accession number EA2013.98.a.Auction result comparison: Compare a closely related figure of Rama, 24.1 cm high, also dated 16th-17th century, at Sotheby's New York in Indian, Himalayan & Southeast Asian Works of Art on 22 March 2018, lot 1019, sold for USD 13,750.

A MAGNIFICENT AND RARE CARVED CIZHOU 'FLORAL' BOTTLE VASE, SONG DYNASTYChina, 960-1279. The flaring sides rising from a flat foot with recessed base to a rounded shoulder with waisted neck and everted lip. The upper body is finely carved with a broad band of flowerheads and leafy branches. Covered in a white slip, thinning at the edges to reveal the brown body and stopping in a slightly uneven line above the foot, the rim and recessed base left unglazed, revealing the buff ware.Provenance: Property from a North German private collection, in the family since the 1970s and thence by descent. Old Inventory label '50/0219'. Old collector's label bearing an inscription in brown ink.Condition: Good condition with minor wear and firing flaws. Extensive wear to the slip below the floral band. Some minuscule frits.Weight: 1,740 g Dimensions: Height 35 cmThe mannered diction of the floral band that comprises the main decoration on the current vase was undoubtedly influenced by earlier metalwork. It is a distinct style that appears to have found particular favor in the early part of the Northern Song dynasty. A fragment of another vessel decorated in a similar style was exhibited in Kiln Sites of Ancient China - Recent Finds of Pottery and Porcelain, Oriental Ceramic Society, London, 1980, p. 155, no. 389. This fragment had been found in 1962 at a kiln site at Quhezhen, Dengfengxian, Henan province.Related flower heads with narrow and sharply cut petals also appear on early Northern Song ceramics from kilns which were patronized by the court. They can be seen, for example, on the shoulder of a Ding ware vase excavated in 1969 from the so-called 'underground palace' of a pagoda at the Jingzhongyuan Temple at Dingzhou, Hebei province, illustrated in Treasures from the Underground Palaces - Excavated Treasures from Northern Song Pagodas, Dingzhou, Hebei Province, China, Idemitsu Museum of Arts, Japan, 1997, no. 88. Along with other treasures, this Ding vase was sealed into the base of the pagoda when it was built in AD 995.Literature comparison: A large Cizhou vase decorated with a related stylized floral scroll is in the collection of the Freer Gallery of Art, illustrated by G. Hasebe in Sekai toji zenshu - 12 - Song, Tokyo, 1977, pp. 110-11, no. 109. Compare also an ewer with a related decorative band in the Tokyo National Museum, illustrated in Song Ceramics, Tokyo, 1999, p. 126, no. 8. A related floral scroll also appears on a Yaozhou celadon ewer in the collection of the Asian Art Museum in San Francisco, illustrated by G. Hasebe in Sekai toji zenshu - 12 - Song, Tokyo, 1977, pl. 187.Auction result comparison: Compare a cizhou ewer, 23.5 cm high, carved with a related floral band, dated to the Northern Song dynasty, at Christie's London in Fine Chinese Ceramics and Works of Art on 5 November 2013, lot 398, sold for GBP 380,500. Compare a cizhou baluster vase, 39.6 cm high, carved with a related floral band, dated to the Northern Song dynasty, at Christie's New York in Fine Chinese Ceramics & Works of Art on 19 March 2009, lot 508, sold for USD 194,500. 宋代罕見磁州窯花卉紋梅瓶中國。960-1279年。口細而頸短，豐肩，下收、圈足的立式。瓶至胸部，施白色化妝土，淺雕花卉卷葉紋，邊緣變薄，肩部以下至足部有略微不均勻的線條。邊緣和凹陷的底部露淺黃色胎。 來源：德國北部私人收藏，從上世紀七十年代起在同一家族保存至今。老標籤“50/0219“，用棕色墨水所寫。品相：狀況良好，有輕微磨損和燒製瑕疵。下方大面積磨損，一些微小的熔塊。重量：1,740 克 尺寸：高35 厘米 拍賣結果比較: 比較一件北宋磁州窯罐，高23.5 厘米，相似花卉紋帶，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2013年11月5日 lot 398, 售價GBP 380,500；比較一件北宋磁州窯賞瓶，高39.6 厘米，相似花卉紋，見紐約佳士得Fine Chinese Ceramics & Works of Art 2009年3月19日 lot 508, 售價USD 194,500。

A SILVERED AND PARCEL-GILT BRONZE BUST OF AVALOKITESHVARAWestern Tibet, 14th-15th century. Finely cast with a sash around his torso and adorned with beaded jewelry, the necklace and an earring inlaid with turquoise glass paste. The serene face with heavy-lidded almond-shaped eyes below gently arched eyebrows centered by a gilt urna, flanked by elongated earlobes, the hair in fine rows surmounted by a crown centered by a small image of Buddha Amitabha.Provenance: Property of the Museum fuer Asiatische Kunst, Radevormwald, Germany. The private museum was founded by Peter Hardt, a notable German expert, collector and dealer for Asian art. During his long career, which spanned more than 35 years, Hardt built a substantial collection that is now housed in the museum.Condition: Good condition, commensurate with age. Extensive wear and losses. Small nicks, light scratches, some dents and cracks. Parts of the crown are bent. The figure was once parcel-gilt, with only minute traces of the gilding remaining in some recesses. Fine, naturally grown, dark patina. Remnants of ancient pigment.Weight: 507.7 g (excl. stand)Dimensions: Height 16.5 cm (excl. stand) and 19.5 cm (incl. stand)Mounted on a modern metal stand. (2)Auction result comparison: Compare a closely related but considerably larger (34 cm high) Western Tibetan bronze bust of a bodhisattva, also dated 14th-15th century, at Christie's New York in Indian and Southeast Asian Art on 21 September 2007, lot 119, sold for USD 8,750.鍍銀鎏金銅觀音半身像 西藏，十四至十五世紀。半身像飾有瓔珞首飾、項鍊和鑲嵌有綠松石色玻璃的耳環。面容平靜，杏仁狀的大眼，微微拱起的眉毛，以鍍金白毫為中心，兩側是細長的耳垂。頭髮高束，頭戴上方是王冠，中間有一尊阿彌陀佛的小像。 來源：德國Radevormwald 亞洲藝術博物館藏品。這個私人博物館由Peter Hardt建立。Peter Hardt是一位德國知名亞洲藝術專家、收藏家及經銷商。在他長達三十五年多的漫長職業生涯中，Hardt建立了大型收藏，現在都在博物館中。 品相：品相良好，與年代相符。廣泛的磨損和缺損。小劃痕、一些凹痕和裂縫。王冠部分彎曲。銅像曾經鍍金，在一些凹處只剩下鍍金的微小痕跡。自然生長的深色包漿。古代顏料的殘餘。 重量：507.7 g (不含底座) 尺寸：高16.5 厘米 (不含底座) 與19.5 厘米 (含底座) 現代金屬底座。 (2) 拍賣結果比較：比較一件相近但更大 (高34 厘米)的西藏菩薩半身像，同樣為十四至十五世紀，見紐約佳士得Indian and Southeast Asian Art 2007年9月21日 lot 119, 售價USD 8,750。

A PINK SANDSTONE LIFESIZE HEAD OF LAKSHMI, MATHURANorthern India, Uttar Pradesh, 2nd century. Superbly carved with a fine expression, marked by heavy-lidded eyes below gently arched eyebrows centered by an urna, flanked by long pendulous earlobes suspending large and distinct cylindrical earrings. The neatly incised hair arranged in wavy strands with a beaded string along the center terminating in a lotus flower above the forehead.Provenance: From an old private collection in Niagara Falls, acquired in India during a honeymoon trip in the 1950s, thence by descent. Anthony M. Lee, Toronto, acquired from the above. Over the past 40 years Anthony M. Lee has been an art consultant, gallery owner, and collector. He developed Asian art departments for several auction houses and has worked with almost every major museum collection of Asian art in North America. He is the author of two books on Zen Buddhism and one on the Japanese tea ceremony.Condition: Good condition, commensurate with age. Extensive wear, losses, minor signs of weathering and erosion, small nicks, few structural cracks.Weight: 10.2 kg (excl. stand) Dimensions: Height 28.5 cm (excl. stand) and 36.5 cm (incl. stand)Mounted to a modern metal stand. (2)Literature comparison: Compare a related sandstone statue of Lakshmi, also attributed to Mathura and dated to the 2nd century, in the collection of the National Museum, New Delhi. Compare a related sandstone pillar with a yakshi, also attributed to Mathura and dated to the 2nd century, in the collection of the Cleveland Museum of Art, accession number 1965.250. Compare a related sandstone relief depicting Hariti, also attributed to Mathura and dated to the 2nd century, in the collection of the Ashmolean Museum Oxford, accession number EA1971.36.