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'THE ASIAN GOLDEN EAGLE', LATE MING TO EARLY QING DYNASTYChina, 17th century. Ink and watercolors on silk. Finely painted with a majestic Asian golden eagle perched on a gnarled prunus branch below two smaller birds, amid grape clusters borne on leafy vines, peonies, lotus, bamboo, and rockwork.Provenance: From the collection of Rear Admiral Emory Day Stanley, and thence by descent within the same family. Rear Admiral Emory Day Stanley, Sr. (1881-1968) was a commanding officer of the U.S. Navy who served in the Pacific, Atlantic, and Mediterranean. He was a member of the American Legion.Condition: Good condition, commensurate with age. Old wear, some soiling, few small tears, creases and minuscule losses, minor old touchups.Dimensions: Image size 120 x 56 cm, Size incl. frame 144 x 65 cmWith a silk brocade frame and mounted to an old hardwood stretcher with paper backing.Aquila chrysaetos daphanea, also known as the Asian golden eagle, Himalayan golden eagle or berkut, distributed to Manchuria and central China and along the Himalayas from northern Pakistan to Bhutan. This subspecies is the largest of all, with one female having had an authenticated wingspan of 2.81 meters, although she was a captive specimen. The forehead and crown are dark while the feathers of the nape and top-neck are rich brown-red.Auction result comparison: Compare a related anonymous silk painting of an eagle, dated to the Qing dynasty, at Bonhams San Francisco in Chinese, Indian, Himalayan and Southeast Asian Art and Paintings on 28 June 2016, lot 8244, sold for USD 15,000 and another dated to the late Ming dynasty at Bonhams Hong Kong in Fine Chinese Paintings on 31 May 2015, lot 101, sold for HKD 125,000.明末清初水墨《鷹石圖》 中國，十七世紀。絹本水墨設色。精美地描繪了一隻休憩的老鷹，周圍枝繁葉茂，葡萄藤、牡丹、竹子和岩石環繞，還有兩隻鳥停留在旁邊的樹枝上。 來源：Rear Admiral Emory Day Stanley收藏，在同一家族保存至今。Rear Admiral Emory Day Stanley, Sr. (1881-1968) 曾是美國海軍的指揮官，在太平洋、大西洋和地中海區服役。 他是美國軍團的成員。 品相：品相良好，與年齡相稱。 舊磨損，有些污跡，局部小撕裂，摺痕和微小的缺損，輕微的舊時修飾。 尺寸：畫面120 x 56 厘米，總144 x 65 厘米 錦緞裝裱。 拍賣結果比較：比較一件相近的清代絹本《鷹圖》，見舊金山邦翰思Chinese, Indian, Himalayan and Southeast Asian Art and Paintings 2016年6月28日 lot 8244, 售價USD 15,000 ；另一件明末《鷹圖》見香港邦翰思Fine Chinese Paintings 2015年5月31日 lot 101, 售價HKD 125,000。

A RARE BRONZE FIGURE OF AVALOKITESHVARA, SRIVIJAYA PERIODIndonesia, Sumatra, 9th-11th century. Standing in samabhanga on a square base, his main right hand lowered in abhaya mudra and the main left held in karana mudra, the upper hands holding a malla and a sacred text. The serene face with heavy-lidded downcast eyes below arched brows, an urna and full lips forming a subtle smile. The hair in wavy locks pulled into a high chignon centered by a diminutive Amitabha Buddha.Provenance: A private collection in Jakarta, acquired prior to 1996. A diplomatic collection in Singapore, acquired from the above in Bali via a local art gallery.Condition: Excellent condition, commensurate with age. Extensive old wear, small losses, minor casting flaws, signs of weathering and erosion, small nicks and light scratches, few minuscule cracks. Fine, naturally grown patina with malachite encrustation.Weight: 2,647 g (excl. base) Dimensions: Height 29 cm (excl. base) and 33 cm (incl. base)With an old associated wood base. (2)Srivijaya was a Buddhist thalassocratic empire based on the island of Sumatra (in modern-day Indonesia), which influenced much of Southeast Asia and was an important center for the expansion of Buddhism from the 7th to the 12th century AD. It also was the first unified kingdom to dominate much of the Malay Archipelago. Due to its location, the powerful state over time developed more and more complex technology utilizing maritime resources. The rise of the Srivijayan Empire was therefore also parallel to the end of the Malay sea-faring period.Literature comparison: For a closely related bronze figure of a four-armed Avalokiteshvara, found in a riverbed at Palembang, Sumatra, in 1930, now at the Museum National, Jakarta, see Versunkene Konigreiche Indonesiens, Roemer- und Pelizaeus-Museum Hildesheim, 1995, cat. no. 9. For a closely related bronze figure of a six-armed Avalokiteshvara, in the National Museum, Bangkok, see The Sculpture of Thailand, Asia House Gallery, 1972, cat. no. 12.Auction result comparison: Compare a closely related bronze figure of a six-armed Avalokiteshvara, 44.5 cm high (including the base!), dated to the 9th century, at Christie's New York in Indian and Southeast Asian Art on 20 September 2006, lot 202, sold for USD 66,000.

A LARGE PARINIRVANA BRONZE FIGURE OF BUDDHA, 17TH-18TH CENTURYThailand. Lying on his right side atop a rectangular base with his right hand supporting his head, the left resting on his thigh. He is wearing a sanghati over a long dhoti. The serene face with heavy-lidded eyes, arched eyebrows, and full lips forming a benevolent smile, flanked by long pendulous earlobes, the hair in tight spiral curls over the ushnisha surmounted by a flaming cintamani.Provenance: UK market, by repute from an English private collection. Condition: Overall good condition commensurate with age. Old wear, some casting flaws, small nicks, losses and dents, light scratches, few structural cracks, including a larger one to his right leg. Fine, naturally grown, dark patina with malachite-green encrustation.Weight: 14.4 kgDimensions: Length 59 cmIn Buddhism, parinirvana is commonly used to refer to nirvana-after-death, which occurs upon the death of someone who has attained nirvana during lifetime. It implies a release from the Saṃsara, karma and rebirth as well as the dissolution of the skandhas. In some Mahayana scriptures, notably the Maha Parinirvaṇa Sutra, parinirvaṇa is described as the realm of the eternal true Self of the Buddha.Auction result comparison: Compare a closely related Thai bronze figure of Buddha in parinirvana, also dated 17th-18th century, at Christie's New York in Indian, Himalayan and Southeast Asian Works of Art on 13 September 2016, lot 254, sold for USD 21,250.

'PORTRAIT OF A SECOND-RANK OFFICIAL', QING DYNASTYChina, 18th-19th century. Ink, watercolors, and gilt on paper. The finely painted half-portrait depicting an elderly official of the second rank, as evidenced by the coral finial on his hat and the golden pheasant on his rank badge. His wealth and prestige are further evidenced by his long tourmaline necklace and tiger-skin seat cover. His face is realistically painted with well-detailed features, such as deep wrinkles, short eyebrows, a hooked nose, intense eyes, and a long, thin beard.Provenance: From an old Austrian private collection. The backside of the frame with a manual inscription “R. Wytek Privat” and a date “2.5.96”. Condition: Very good condition with minor soiling, browning and foxing. Matted and framed behind glass.Dimensions: Image size 19.7 x 19.7 cm, Size incl. frame 40 x 39.5 cmLiterature comparison: Compare a related full-body 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.Auction result comparison: Compare a related full-body portrait of a second-rank civil official, also dated 18th-19th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 September 2010, lot 1060, sold for USD 74,500.清代二品官員肖像畫 中國，十八至十九世紀。紙本水墨設色。肖像畫描繪了一位二品文官，帽子上的珊瑚飾邊和官服補子上的金雉就是證明。 他的碧璽朝珠和虎皮椅套進一步證明了他的財富和聲望。 他的臉被描繪得非常逼真，細節如深皺紋、短眉毛、鷹鉤鼻、目光和鬍鬚。 來源：奧地利私人老收藏。背面可見手寫注明 “R. Wytek Privat” 以及日期 “2.5.96”。 品相：狀況極好，有輕微污漬、褐變，玻璃面裝裱。 尺寸：畫面19.7 x 19.7 厘米，總 40 x 39.5 厘米 拍賣結果比較：比較一件相近的十八至十九世紀二品官員全身肖像畫，見紐約佳士得Fine Chinese Ceramics and Works of Art 2010年9月17日lot 1060, 售價USD 74,500。

A MAGNIFICENT AND RARE GILT-BRONZE FIGURE OF BUDDHA, TANG DYNASTYChina, 618-907. Superbly cast seated in dhyanasana with his right hand raised in shuni mudra and the left resting on his knee, his robe falling in crisply incised, draped folds in front. The serene face with heavy-lidded almond-shaped eyes below gently arched eyebrows, a broad nose, and full lips, flanked by long pendulous earlobes. The head surmounted by a domed ushnisha. The figure has two attachment tabs (tang), one projecting from the back of the head, the other located at the upper backside of the interior. Provenance: United Kingdom trade, by repute from an old private estate. Condition: Excellent condition, commensurate with age and overall as expected for a gilt bronze from this well-documented group. Old wear, minor casting flaws, few small losses and dents, occasional scratches. Flaking and microscopic warts to gilt in some areas. Some verdigris here and there, ancient corrosion. Old traces of soldering to the tang at the back of the head. The second tang mostly lost. Remnants of old varnish. Despite the wear and corrosion, the gilding still presents quite well overall. The inside of the statue contains deteriorated remnants of fabric, which may at some point have contained an ancient sutra scroll.Weight: 254.8 g (excl. stand)Dimensions: Height 12.4 cm (excl. stand)Gilt-bronzes of the Teaching Buddha, with his right hand raised in variants of vitarka mudra, and the left resting on the knee, became extremely popular from the turn of the eighth century, the delicately draped base demonstrating the classic style of the period.Literature comparison: See a closely related figure in comparable style in the National Palace Museum, Taipei, illustrated in The Crucible of Compassion and Wisdom: Special Exhibition Catalogue of the Buddhist Bronzes from the Nitta Group Collection at the National Palace Museum, Taipei, 1987, p. 173, no 76. Two similar gilt-bronze figures in the collection of the Shanghai Museum are illustrated in S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Chinese Buddhist Sculpture), vol. 3, Tang, Five Dynasties, Sung and Taoism Sculpture, Tokyo, 1995, pl. 720 A and B. Compare a closely related gilt bronze of Buddha flanked by two bodhisattvas and attendants in the collection of the Asian Art Museum of San Francisco, object number B60B1038. Compare a related but slightly larger gilt bronze figure of Buddha (18 cm high), also with a draped base and dated to the Tang dynasty, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2012, lot 1765.Auction result comparison: Compare a closely related gilt bronze figure of Buddha (14.6 cm high), also with two attachment tabs, draped base, and dated to the Tang dynasty, at Christie's Hong Kong in Contemplating The Divine – Fine Buddhist Art on 30 May 2018, lot 2856, sold for HKD 2,375,000. Compare a closely related but smaller gilt bronze figure of Buddha (8 cm high), also with attachment tabs projecting from the back, draped base, and dated to the Tang dynasty, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV on 20 March 2015, lot 759, sold for USD 161,000. 唐代罕見銅鎏金佛陀坐像中國， 618-907年。佛陀結跏趺坐，右手施耐心之印，左手放在膝蓋上，天衣袒右肩，褶皺清晰流暢。面容安詳，眼睛微微下垂，眉毛微微拱起，寬鼻，豐滿的嘴唇，兩側是長長的耳垂。頭頂上呈螺髻。兩處附接片（柄腳），一個從頭部後部突出，另一個位於內部的上方。 來源：英國拍賣市場，據説購於私人老收藏。 品相：品相極佳，與年齡相稱，整體上符合這一時期鎏金銅造像的預期。舊磨損、輕微鑄造瑕疵、少量小缺損和凹痕、局部劃痕。局部鎏金磨損，到處都是綠色鏽斑。 頭後部的柄腳上有舊的焊接痕跡，內部柄腳有大部分缺損。舊漆的殘留。儘管有磨損和腐蝕，但整體上鎏金仍然良好。雕像的內部有織物殘餘物，可能在之前密封了古老的經卷。 重量: 254.8 克 (不含底座) 尺寸：高 12.4 厘米 (不含底座)拍賣結果比較：比較一件相似的鎏金銅佛陀 (高14.6 厘米), 同樣有兩個附接片，唐代, 見香港佳士得Contemplating The Divine – Fine Buddhist Art 2018年5月30日 lot 2856, 售價HKD 2,375,000；比較一件相似的但稍小的鎏金銅佛陀 (高8 厘米)，背部同樣有兩個附接片，唐代，見紐約佳士得The Collection of Robert Hatfield Ellsworth Part IV 2015年3月 20日 lot 759, 售價USD 161,000。

A CARVED STONE LINGA, NEPAL, 16TH-17TH CENTURYSuperbly carved with four faces each representing aspects of Shiva, all four holding a rosary and a bottle, with elaborate coiffure and elaborate crown, fine expression, and richly adorned with jewelry, a raised band of wave diaper behind the heads.Provenance: Arturo Schwarz, Milan, 1997. A private collection in Bergamo, Italy, acquired from the above. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and writer, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name.Condition: Very good condition with old wear, mostly to the top, small nicks and losses, occasional light surface scratches. With a good, unctuous feel overall and an elegant, naturally grown patina and luster. Dimensions: Height 37.5 cm (excl. base) and 47.5 cm (incl. base)Mounted on a modern stepped base. (2)This large linga is in the form of panchamukhalinga, the five-headed Shiva. The four faces protruding from the sides are directed in the cardinal directions, representing different aspects of the deity, the ferocious Bhairava (south), Nandin with a lion crown (west), Tamreshvara with floral and serpent earrings (north), Mahadeva with matted hairstyle (east), all bearing rosaries and a bottle with the elixir of immortality. The fifth, representing the absolute, is generally not shown, in keeping with the Hindu belief that the absolute is formless.Literature comparison: For an earlier example, dated 10th century, see the Asian Art Museum of San Francisco, object number B87S7. Compare a gray stone linga, dated 10th-11th century, at Christie's New York, 31 March 2005, lot 178.Auction result comparison: Compare a related copper repousse linga cover, dated 15th-16th century, at Christie's New York in Sacred and Imperial: The James and Marilynn Alsdorf Collection Online on 29 September 2020, lot 14, sold for USD 35,000. 尼泊爾十六至十七世紀石雕林迦精雕細刻，四面各有一濕婆神，各持一串念珠和一個寳瓶，髮型精美，頭戴王冠，裝飾華麗。 來源：米蘭Arturo Schwarz, 1997年；義大利貝加莫私人收藏，購於上述收藏；貝加莫Leonardo Vigorelli 收藏，購於上述收藏。Arturo Schwarz (1924-2021) 是一位義大利學者、藝術史學家、詩人、作家、講師、藝術顧問和國際展覽策展人。 他住在米蘭，收藏了大量達達主義和超現實主義藝術作品，其中包括馬塞爾·杜尚、安德烈·布雷頓、曼·雷和讓·阿爾普等私人朋友的許多作品。1975 年，Schwarz開始擔任策展人并開始撰寫大量關於馬塞爾·杜尚作品的書籍以及關於卡巴拉、密宗、煉金術、史前和部落藝術以及亞洲藝術和哲學的書籍和大量論文。他在 1977 年出版的關於曼雷作品和生活的書是第一本揭露雷的真名的書。 品相：狀況極好，磨損，大部分到頂部，小劃痕和缺損，局部有輕微的表面劃痕。 整體感覺良好，包漿瑩潤優雅。尺寸：高37.5 厘米 (不含底座)，總 47.5 厘米 安裝在現代階梯式底座上。(2) 這個大林伽是五頭濕婆神的形式。從側面突出的四張臉朝向主要方向，代表神祇的不同方面，兇猛的陪臚（南）、戴獅冠的 南迪（西）、戴花卉和蛇形耳環的 Tamreshvara（北）、瑪哈德娃（東），都帶著念珠和一瓶長生不老藥。 第五，代表絕對，一般不顯示，與印度教認為絕對是無形的信仰一致。 文獻比較: 一件更早的十世紀的林迦，見 舊金山亞洲美術館，編號B87S7；比較一件灰石雕林迦, 十至十一世紀，見紐約佳士得，2005年3月31日，lot 178。 拍賣結果比較：比較一件相近的銅錘鍱林迦蓋，十五至六十世紀，見紐約佳士得Sacred and Imperial: The James and Marilynn Alsdorf Collection Online 2020年9月29日 lot 14, 售價USD 35,000。

A CARVED WOOD STELE DEPICTING SHIVA SLAYING ANDHAKA, VIJAYANAGARA PERIODSouthern India, 16th-17th century. Boldly and deeply carved with Shiva in a fierce manifestation with many arms, brandishing weapons and attributes including a bow and a vajra, richly adorned with beaded jewelry. He is standing on a prostate Andhaka, stabbing the demon with his trident, Andhaka's head resting on a seated demon behind him holding a curved sword.Provenance: Anthony M. Lee, Toronto. A British private collection, 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: Overall displaying very well, condition commensurate with age. Wear, losses, age cracks, chips, scratches, signs of weathering and erosion. The reverse with a screw and metal wire for wall attachment. Fine, naturally grown patina.Weight: 1,944 gDimensions: Height 50 cmShiva's face shows a fierce expression with large bulging eyes, flanked by long pendulous earlobes with earrings in the form of heads of a kala and an elephant, respectively. His large crown is carved with a central kala head as well as numerous nagas.Andhaka was the blind son of Shiva and Parvati. He was created from the sweat of Parvati's hands and Shiva's subsequent anger when Parvati playfully covered his eyes, thus plunging the world into darkness. Andhaka was given to the King of the Demons and later became king himself. Not knowing of his heritage, he set out with his army to win Parvati as his queen. Shiva defeated Andhaka by spearing him with his trident. See S. Kramrisch, Manifestations of Shiva, 1981, page 50.Auction result comparison: Compare a related carved wood relief depicting a demon, 87 cm high, dated ca. 17th century, at Sotheby's New York in Asian Art on 19 March 2016, lot 1317, sold for USD 27,500. For another depiction of Shiva slaying Andhaka, see Christie's, 19 September 2002, lot 46, sold for USD 23,900.毗奢耶那伽羅朝木雕濕婆殺阿陀伽印度南部，十六至十七世紀。大膽而深刻地雕刻了濕婆手持武器，包括弓和金剛杵，豐富的珠飾。他站在阿陀伽上，用他的三叉戟刺向惡魔，阿陀伽的頭靠在他身後的一個坐著的惡魔上，手裡拿著一把彎曲的劍。 來源：多倫多Anthony M. Lee收藏；英國私人收藏，購於上述收藏。在過去的 40 年裡，Anthony M. Lee 一直是一名藝術顧問、畫廊老闆和收藏家。他為多家拍賣行開發了亞洲藝術部門，並與北美幾乎所有主要的亞洲藝術博物館合作。他著有兩本關於禪宗和一本關於日本茶道的書。 品相：整體狀況極好，狀態與年齡相稱。 磨損、缺損、老化裂縫、碎屑、劃痕、風化和侵蝕跡象。背面帶有螺釘和金屬線，用於牆壁連接。自然生長的包漿十分細膩。 重量：1,944 克 尺寸：高50 厘米 拍賣結果比較: 比較一件相近的十七世紀惡魔木雕，高87厘米，見紐約蘇富比Asian Art 2016年3月19日 lot 1317, 售價USD 27,500 ；另一件濕婆阿迦陀，見佳士得2002年9月19日 lot 46, 售價USD 23,900。

A TWO-PIECE MINIATURE BRONZE STEAMER, XIAN, EASTERN HAN TO THREE KINGDOMS PERIODChina, 26-265 AD or slightly later. The bowl with deep rounded sides rising from a separately cast short spreading foot to an everted rim. The cover with a raised central panel surmounted by a separately cast flared 'rim', indicating its use as both a cover for the steamer and as a serving or cooking plate. (2)Provenance: Arthur M. Sackler, New York. Arthur Mitchell Sackler (1913-1987) was one of America's foremost art collectors, who amassed the largest Chinese art collection in the world. His name lives on in many art-related projects: the Sackler Wing that houses the Temple of Dendur at the Metropolitan Museum of Art, the Arthur M. Sackler Gallery at Princeton University, and the Arthur M. Sackler Museum at Harvard University. At the Smithsonian Institute, the Arthur M. Sackler Gallery is a museum for Asian and Near Eastern Art. In China, the Arthur M. Sackler Museum of Art and Archaeology teaches museology to students in Beijing. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, small losses to the foot of the bowl. Fine, naturally grown patina, with extensive malachite and few azurite encrustations.Weight: 379.2 g (the bowl) and 320.4 g (the cover)Dimensions: Height 11.5 cm (the bowl and cover), Diameter 17.5 cm (the cover)Literature comparison: Compare a closely related two-piece miniature steamer from the Avery Brundage Collection, also dated Eastern Han dynasty to Three Kingdoms period and of closely related size, in the collection of the Asian Art Museum of San Francisco, object number B65B48.a-.b. 東漢至三國時代小銅甗 中國，26-265 年或更早。深壁圓碗，口外翻。一個獨立的圓盤，既可以用作蒸籠的蓋子，也可以用作盤子。 來源：紐約Arthur M. Sackler收藏。Arthur Mitchell Sackler (1913-1987) 曾是美國最重要的藝術收藏家之一，擁有世界上最大的中國藝術收藏。他的名字曾出現在眾多與藝術相關的項目中：美國大都會藝術博物館Dendur神廟所在的Sackler展館、普林斯頓大學的Arthur Mitchell Sackler展館和哈佛大學的Arthur Mitchell Sackler博物館。 在史密森學會，Arthur Mitchell Sackler展館是亞洲和近東藝術博物館。 在中國北京，學生們在Arthur Mitchell Sackler藝術與考古博物館學習博物館學。品相：品相良好，與其年齡相符，大面積磨損，風化和侵蝕跡象，碗底小缺損。細膩且自然生長的包漿，帶有大量孔雀石綠色的結殼。 重量：379.2 克 (碗)，320.4 克 (蓋) 尺寸：縂高11.5 厘米，蓋直徑17.5 厘米

A BLUE AND WHITE 'EIGHT HORSES OF MU WANG' BOWL, KANGXI PERIODChina, 1662-1722. Thinly potted with deep conical sides rising from a tapered foot to an everted iron-washed rim. Finely painted in cobalt blue with the Eight Horses of Muwang frolicking or grazing amid a rocky landscape with pine, willow, and prunus, with seven horses around the exterior and the eighth enclosed within a double circle at the center of the interior. The base with a six-character mark da Ming Jiajing nianzhi within a double circle.Provenance: Butterfield & Butterfield, San Francisco, USA, Fine Asian Works of Art, 19 May 1995, lot 590. A private collector in California, acquired from the above.Condition: Excellent condition with only minor wear and firing flaws.Weight: 286.3 gDimensions: Diameter 16.7 cmWith a silk storage box. (2) The charming scene represents the Eight Horses of King Mu Wang, who reigned during the Zhou dynasty in the 10th Century BC, and these Eight Horses were his favorite chargers which pulled the Emperor's chariot as he progressed about his realm to visit the Goddess Hsi Wang Mu.The present lot belongs to a small yet well recorded group of blue and white bowls, all painted with the eight horses of Mu Wang, and bearing six-character marks da Ming Jiajing nianzhi within a double circle. Note that it has most recently been suggested by some scholars that these bowls might rather date to the Jiajing period (1521-1567) instead of the Kangxi period (1662-1722).Literature comparison: For a pair of dishes with similar iron-painted rims and Jiajing marks, dated to the early Qing dynasty, see Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, p. 248 and pl. 160, nos. 296 and 297. Another bowl of similar form, horse decoration, and Jiajing mark, dated to the later Transitional period is published in Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, p. 148, no. 97. 康熙 “穆王八駿”青花碗 中國，1662-1722年。此碗敞口外撇，碗沿鐵鏽色，斜弧腹，圈足。外壁青花繪八駿圖，駿馬形態各異，畫法精細，青花層次鮮明，濃淡相宜。碗心青花繪滾地馬，給人以疏朗清閒的感覺，情趣鮮明。圈足内雙圈六字款“大明嘉靖年製”。 來源：美國舊金山Butterfield & Butterfield藝廊，1995年5月19日Fine Asian Works of Art， lot 590。一位加利福尼亞私人藏家購於上述拍賣。 品相：狀況極佳，只有輕微的磨損和燒製瑕疵。 重量：286.3 克 尺寸：直徑16.7 厘米 錦盒。(2) 八駿之說始於公元前十世紀的周穆王時期。傳穆王以此八駿駕車，可日行萬里，使之馭以見西王母。現拍品屬少卻有記錄的一組青花碗中的一只，均繪穆王八匹馬，雙圈內“大明嘉靖年製”六字。 請注意，近期有一些學者認爲這些碗可能是來自嘉靖時期（1521-1567）而不是康熙時期（1662-1722）。 文獻比較：一對相似的汎紅色口沿並同有嘉靖款的清代早期的盤子，見 Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, 第248頁圖160, nos. 296 and 297；另一只相近形狀的駿馬圖碗，嘉靖款，過渡期後期，曾出版於Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, 第 148頁, no. 97。

A PAINTED WOOD AND GESSO FIGURE OF A LUOHAN, MING DYNASTYChina, 1368-1644. Powerfully carved, seated in a calm posture atop a rockwork base, his right hand clenched into a fist at the chest and the left resting on his knee, wearing loose-fitting robes draped over his left shoulder, revealing his emaciated ribcage, and decorated with raised floral designs in gesso. The serene face with heavy-lidded eyes, deep wrinkles, the mouth slightly open.Provenance: Theodor Bohlken, Berlin, 1931. Georg L. Hartl, Bernried. A private collection in Salzburg, acquired from the above. Theodor Bohlken (1851-1954) was a noted dealer of Chinese works of art during the first half of the 20th century. While he sold tea on the ground level of his large store, the three floors above displayed Buddhist sculpture ranging from the Wei to the Ming dynasty, Chinese ceramics from the Han to the late Qing period, and Japanese works of art. The clientele consisted of mostly private collectors who visited Berlin on business. Objects with a Bohlken provenance are found in the Museum of East Asian Art in Cologne and in the Museum of Asian Art in Berlin.Published: Weltkunst, 15 February 1931, volume 5, no. 7, page 8 (together with two other luohans from a group of eight, all dated to the Song dynasty).Condition: Overall good condition, commensurate with age, displaying remarkably well. Extensive wear, weathering, erosion, age cracks, losses, minor chips and old repairs. Various layers of lacquer from different periods, mostly flaked and worn off. With a fine, naturally grown patina and a good, unctuous feel overall, testimony of extensive handling over the centuries.Weight: 6.1 kg Dimensions: Height 57.7 cmAuction result comparison: Compare a closely related polychrome wood figure of a seated luohan, 54 cm high, also dated to the Ming dynasty, at Sotheby's New York in Informing The Eye Of The Collector: Chinese Ceramics And Works Of Art From J.T. Tai & Co. on 22 March 2011, lot 268, sold for USD 47,500. 明代彩繪木雕石膏羅漢坐像中國，1368-1644年。精雕細刻，羅漢以從容的姿態坐在石座上，右手攥在胸前，左手搭在膝上，左肩披著寬鬆的天衣，袒右肩，露出嶙峋身體，石膏浮雕花卉紋。沉靜的臉龐，眼皮微垂，皺紋很深，嘴巴微微張開。 來源：柏林Theodor Bohlken收藏，1931年。德國Bernried 的Georg L. Hartl收藏，薩爾斯堡的私人收藏，購於上述收藏。Theodor Bohlken (1851-1954) 曾是 20 世紀上半葉著名的中國藝術品經銷商。他在他店裏的一層賣茶葉，上面三層陳列著從魏到明的佛教雕塑，從漢代到晚清的中國陶瓷，還有日本的藝術品。客戶主要是出差到柏林的私人收藏家。在科隆的東亞藝術博物館和柏林的亞洲藝術博物館中都有來自 Bohlken 的物品。 出版: Weltkunst（世界藝術）, 1931年2月15日，第5冊, 圖 7, 第 8頁 (與另外兩件來自宋代的羅漢像，一共為八羅漢)。品相：整體狀況良好，與年齡相稱。 廣泛磨損、風化、侵蝕、老化裂縫、缺損、小碎屑和舊維修。不同時期的各種漆層，大多剝落和磨損。包漿自然細膩。 重量：6.1 公斤 尺寸：高57.7 厘米 拍賣結果比較：比較一件相近的彩繪木雕羅漢坐像，高 54 厘米，明代，見紐約蘇富比 Informing The Eye Of The Collector: Chinese Ceramics And Works Of Art From J.T. Tai & Co. 2011年3月22日 lot 268, 售價USD 47,500。

A SANDSTONE HEAD OF A MALE DEITY, PRE-ANGKOR PERIODCambodia, 7th-8th century. Sensitively modeled with finely incised almond-shaped eyes and large pupils, a prominent nose, full lips, and a rounded face flanked by elongated earlobes, surmounted by a tall miter headdress.Provenance: Collection of Jean-Marc Andral, acquired in 1996 from Galerie Rambhag, Brussels. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years.Condition: Fine condition, commensurate with age. Extensive wear, structural cracks, losses, nicks and scratches, encrustations.Weight: 7,805 g Dimensions: Height 25 cm (excl. stand) and 34 cm (incl. stand)Auction result comparison: Compare a related sandstone head, 28.8 cm high, also dated 7th-8th century, at Christie's New York in Indian and Southeast Asian Art on 22 March 2011, lot 474, sold for USD 21,250.

A BRONZE RITUAL WINE CUP, ZHI, LATE SHANG TO EARLY WESTERN ZHOUChina, 11th century BC. The broad pear-shaped body supported on a spreading foot and rising to an everted rim, finely decorated around the waisted neck with a narrow band of archaic scroll between two line borders and around the foot with similar scroll and geometric designs as well as four bosses.Inscriptions: To the interior, 'Fu' (Father).Provenance: Armin Lemp, Zuerich, Switzerland 1961. The Plesch Collection, no. Bv12 (label to base), acquired from the above. Peter and Traudi Plesch were both refugees from Nazi persecution. Peter had left Germany with his father, who was the medical doctor of Albert Einstein, who once gently commented on the practical difficulties of young Peter's ingenious design for a perpetual motion machine. Peter Plesch had already formed a fine collection when he met Traudi. One influence had been his maternal great uncle, Fritz von Gans, who had left his antiquities collection to the Royal Prussian Museum, Berlin. However, on their honeymoon in Israel, Traudi fell for the lure of ancient Chinese glass which inspired a new joint adventure, the one criterion for a purchase being that she and Peter should both want the object, although not necessarily with the same passion. Thus their collection was formed slowly and wisely over four decades, later expanding into jades and ancient bronzes, reflecting their desire to have beautiful, but also academically meaningful pieces.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Extensive wear, signs of weathering and erosion. Fine, naturally grown patina with extensive malachite and cuprite encrustation.Weight: 481.6 gDimensions: Height 11.2 cmLiterature comparison: Compare a closely related bronze zhi, dated to the early Western Zhou, c. 1050-1100 BC, in the collection of the Arthur M. Sacker Gallery in the National Museum of Asian Art, Smithsonian Institute, accession number S2012.9.585.Auction result comparison: Compare a closely related bronze zhi, also dated late Shang to early Western Zhou, of closely related size (11.4 cm high), only the upper body of slightly different design, at Christie's New York in Fine Chinese Ceramics and Works of Art on 14 September 2018, lot 1103, sold for USD 37,500. 商末至西周初年青銅觶 中國，公元前十一世紀。圓腹，侈口，圈足。頸部與足部飾雲雷紋。 銘文: 器内可見“父”字樣。 來源：1961年瑞士蘇黎世Armin Lemp收藏。Plesch 收藏，no. Bv12 (見底部標籤)，購於上述收藏。Peter 與Traudi Plesch 兩人都是遭受納粹迫害的難民。Peter與他的父親一起離開了德國，他的父親是阿爾伯特·愛因斯坦的醫生，愛因斯坦曾經溫和地和年輕的Peter討論如何設計永動機的實際困難。 Peter Plesch 在遇到 Traudi 時已經擁有了一個很好的收藏。他的外叔祖弗里茨·馮·甘斯 (Fritz von Gans) 曾給Peter極大的影響，他將自己的文物收藏留給了柏林皇家普魯士博物館。然而，在以色列度蜜月時，Traudi 被中國古代琉璃的魅力所吸引，因此激發了一次新收藏冒險。他們購買藏品的一個標準是，她和彼得必須都想要這件物品，但並不一定要有相同的熱情。因此，他們的藏品在四十年來被緩慢卻明智地構建著，後來擴展到玉器和古代青銅器，這反映了他們願意擁有美麗但同時也具有學術意義的藏品。 品相：狀況極佳，與年齡相稱，絕對原始，沒有任何修補或修飾。廣泛磨損、風化和侵蝕。細膩且為自然生長的包漿，帶有大量綠色紅色結殼。 重量：481.6 克 尺寸：高11.2 厘米拍賣結果比較：比較一件相近青銅觶，同樣為商末至西周初年，相近尺寸 (高11.4 厘米)，僅在青銅器上半部有不同紋飾，見紐約佳士得Fine Chinese Ceramics and Works of Art，2018年9月14日 lot 1103, 售價USD 37,500。

A MAGNIFICENT PAIR OF DOUCAI 'BOYS' DISHES, YONGZHENG MARKS AND OF THE PERIODChina, 1723-1735. Finely decorated to the central interior with four boys holding leafy sprays in a fenced garden with ferny trees and colorful clouds, all within a double line border repeated at the rim. The exterior similarly decorated with twelve boys engaged in various pursuits, the base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi in a double circle and of the period.Provenance: From an old Swedish estate. A private collector, acquired from the above via local auction. According to the auction house, the seller is a member of a notable Swedish family from the town of Uddevalla. The present lot was originally acquired by a grandparent of this seller, who was born in the late 1920s. It comes from the quality estate of this grandparent, which was entirely sold off by the auction house, and which had a few other good Chinese lots in it. The last name of the original seller will be revealed to the winning bidder upon request. Condition: Very good condition with minor wear and firing flaws, such as minimal pitting and dark spots, each dish with a very short hairline to the rim, one with a microscopic chip to the foot.Weight: 122.8 g and 126.6 gDimensions: Diameter 14.1 cm (each)Each dish with shallow rounded sides rising from a short tapering foot. The exterior shows one group of boys riding a hobby horse, another group entertaining themselves with leaf sprigs and toys, and a third group catching goldfishes.Literature comparison: Compare a closely related pair, of near-identical size and decoration, also with a Yongzheng mark and of the period, at Sotheby's Hong Kong, 8 April 2010, lot 1954.Auction result comparison: Compare a closely related pair, dated to the 18th century, with near-identical decoration and of closely related size, but with apocryphal Chenghua marks, at Bonhams, Fine Asian Works of Art, 10 December 2012, lot 5281, sold for USD 35,000. 雍正款及年代一對斗彩嬰戲圖盤中國，1723-1735年。精美琺琅彩，盤中央開光，描繪四個童子園中斗草圖；外壁十二個童子園中愜意戲耍。圈足内雙圈内“大清雍正年製”六字款。 來源：瑞典老收藏，一個私人收藏家購於當地拍買會。據拍賣公司所述，賣家是Uddevalla小鎮的瑞典貴族家庭成員，此拍品為生於1920年代的賣家祖父收藏。此拍品為賣家祖父的遺產之一，其中有許多不錯的中國古董，皆於拍賣會中全數賣出。原賣家的姓氏將應要求向得標者透露。 品相：品相良好，輕微磨損和燒製缺陷，例如小凹坑和黑斑，每個盤子的邊緣都有很短的細裂，一個盤子足部有微小的磕碎。 重量：122.8 克與126.6 克 尺寸：直徑14.1 厘米(每件) 盤子淺壁，短圈足。外壁幾個童子分別在玩騎木馬、斗草和捕魚。 文獻比較：一對相似斗彩盤，幾乎一樣的尺寸和圖案，同樣為雍正款和年代，見香港蘇富比2010年4月8日，lot 1954。 拍賣結果比較：一對十八世紀的斗彩盤，幾乎一樣的尺寸和圖案，但為成化仿款，見邦翰思Fine Asian Works of Art，2012年12月10日，lot 5281, 售價USD 35,000。

A THANGKA OF TSONGKHAPA, 18TH CENTURY, GELUG SCHOOLDistemper and gold on cloth. Seated in dhyanasana atop a lotus throne, his left hand holding a vessel and the right holding a lotus stem coming to full bloom at the shoulders supporting the sword and sutra. He is wearing characteristic monk's robes and cap. The background with scenes from Tsongkhapa's life story with identifying inscriptions, the reverse with an inscription as well. Provenance: From a Swiss private collection. Condition: Very good condition with old wear, soiling, creasing, small tears to edges, and few minor losses. Possibly very minor touch-ups.Dimensions: Size 68 x 48 cmThe founder of the Gelug school of Tibetan Buddhism, Je Tsongkhapa (1357-1419), appears at the center of the composition surrounded by vignettes from his life story with minuscule and neatly painted identifying inscriptions. This thangka comes from a series of 15 thangkas telling the story of Tsongkhapa's life, the present example being the fifth in the series, showing various places where he taught, wrote, or received teachings from other masters.Auction result comparison: Compare a closely related thangka of Tsongkhapa at Sotheby's New York in Indian & Southeast Asian Works of Art on 19 March 2014, lot 79, sold for USD 21,250. Compare a closely related thangka of Tsongkhapa, dated 19th century, at Bonhams San Francisco in Fine Asian Works of Art on 27 June 2017, lot 8013, sold for USD 31,250.十八世紀格魯派宗喀巴唐卡布面描金膠畫。此幅中央宗喀巴頭戴黃色桃形僧帽，右手作與願印，左手作禪定印並托著長壽寶瓶，結跏趺坐於蓮座上；雙手捻兩株蓮花梗，花開於雙肩兩側，上置梵筴與寶劍。背景為宗喀巴大師傳世的故事場景，並有銘文。背面也有銘文。 來源：瑞士私人收藏。 品相：狀況極好，有磨損、污漬、起皺、邊緣有小撕裂，幾乎沒有缺損，極小的修飾。 尺寸：68 x 48 厘米 拍賣結果比較：比較一件宗喀巴唐卡，見紐約蘇富比Indian & Southeast Asian Works of Art 2014年3月19 日 lot 79, 售價USD 21,250。比較一件十九世紀宗喀巴唐卡，見舊金山邦翰思Fine Asian Works of Art 2017年6月27日 lot 8013, 售價USD 31,250。

A GILT BRONZE FIGURE OF MANDARAVA, 16TH-17TH CENTURYTibet. Standing on a lotus base, leaning slightly to the side, holding a kapala in one hand, the other in vitarka mudra. She is wearing a long robe with incised and beaded borders. Her foliate-shaped earrings and beaded necklace are inlaid with coral.Provenance: Christie's, New York, 23 March 1999, lot 130. A British private collection, acquired from the above. Condition: Very good condition with some wear, small losses, nicks and dents, light scratches. The inlaid coral beads might be later replacements. Fine, naturally grown patina overall.Weight: 392.4 gDimensions: Height 15.3 cmMandarava was the wife of Padmasambhava, founder of the Nyingmapa order of Tibetan Buddhism. According to legend, as discussed by Rinpoche Tulku Thondup in Buddhist Civilization in Tibet, 1987, page 32, Padmasambhava enraged the king of Sahora by preaching Buddhism to his daughter. He was ordered to be burnt alive in a valley filled with wood and oil. However, his miraculous powers saved him by turning the oil into a lake as he emerged accompanied by dancing dakinis on a lotus stalk. The king, overwhelmed by the display, converted to Buddhism and gave his daughter to Padmasambhava in marriage. The present figure was most likely once part of a triad with Padmasambhava at the center, Mandarava sitting to his proper right, and Yeshe Tsogyal, his Tibetan partner, to his left.Literature comparison: Compare a bronze Padmasambhava triad, dated to the 16th century, with a related figure of Mandarava, in the Museum der Kulturen Basel, accession number W.lld140009.R0090 (Himalayan Art Resources item no. 3314009).Auction result comparison: Compare a related gilt bronze figure of a seated Mandarava, 12.6 cm high, dated to the 16th century, at Christie's New York in Indian and Southeast Asian Art on 22 March 2011, lot 293, sold for USD 37,500. 十六至十七世紀鎏金銅曼達拉娃佛母西藏。曼達拉娃佛母立於蓮座上，微微側身，一手握著嘎巴啦碗，另一隻手施安慰印。她穿著一件鑲有珠飾的長袍，戴著葉形耳環和鑲嵌著珊瑚的串珠項鍊。 來源：紐約佳士得，1999年3月23日 lot 130；一個英國私人收藏，購於上述拍賣。 品相：狀況極好，有一些磨損、小缺損、刻痕和凹痕、輕微劃痕。鑲嵌的珊瑚珠可能是後來的更換品。包漿整體細膩。重量: 392.4 克 尺寸：高 15.3 厘米 拍賣結果比較：比較一件相近的鎏金銅曼達娃拉佛母坐像，高12.6 厘米，十六世紀，見紐約佳士得Indian and Southeast Asian Art 2011年3月 22日 lot 293, 售價USD 37,500。

A FINE INDIAN MINIATURE PAINTING OF HANUMANIndia, Pahari, 17th to early 18th century. Watercolors, ink and gold on paper. The monkey god in animated profile facing left, wearing a red veshti and gold-red sash, adorned with beaded jewelry, armlets, bangles, earrings, and a golden crown, all framed by a red border.Provenance: Heeramaneck Galleries, New York, 1940. Albright-Knox Art Gallery, Buffalo, acquired from the above, accession no. 1940:17. The mat is inscribed in pencil, 'Indian. Portrait of Hanuman, The Monkey God, 17th C. Watercolor on Paper. 1940:17. PV Dr 28B'. Nasli Heeramaneck (1902-1971) was a Parsi-American art dealer, specializing in Asian and Pre-Columbian art. Born in Bombay, he moved to New York in the 1920s, and lived and worked there until his death. Works collected by him and his wife, Alice, are now held by, among others, the Los Angeles County Museum of Art, the National Museum of New Delhi, and Yale University. The Albright-Knox Art Gallery is an art museum in Buffalo, New York. The parent organization of the Albright–Knox Art Gallery is the Buffalo Fine Arts Academy, founded in 1862, one of the oldest public arts institutions in the United States.Condition: The subject is in good condition. The background shows some losses and respective ancient touchups. Matted.Dimensions: Image size 16.2 x 11.1 cm, Folio size 20.9 x 15.2 cm, Mat size 46 x 35.5 cmAuction result comparison: Compare a related Indian miniature painting of Hanuman, dated 1700-1720, at Christie's London in Garden of Epics – A Private Collection of Indian Paintings on 10 June 2013, lot 4, sold for GBP 10,000.

A MAGNIFICENT LAPIS LAZULI FIGURE OF BUDDHA, QING DYNASTYChina, 1644-1912. Finely carved seated in dhyanasana on a double-lotus base with his left hand raised in shuni mudra and right hand holding an alms bowl. Wearing a loose-fitting monastic robe with voluminous folds. His serene face with heavy-lidded eyes below gently arched eyebrows, a broad nose, and full lips, flanked by long pendulous earlobes. The hair arranged in wavy curls with central whorls below the ushnisha. Backed by a halo. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: From a private collection in Chicago, USA.Condition: Very good condition with ancient wear and traces of use. The base and lotus petals with minor nibbling and few small nicks to edges, old soiling to recessed areas. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, naturally grown patina and an unctuous feel overall.Weight: 2,145 gDimensions: Height 21.2 cmAuction result comparison: Compare a related lapis lazuli figure of Buddha at Bonhams San Francisco in Asian Decorative Arts on 25 June 2013, lot 8009, sold for USD 52,500; and another at Sotheby's New York in The Concordia House Collection: Fine Chinese Jades And Important Works Of Art From A Midwestern Family on 19 March 2007, lot 60, sold for USD 93,600.清代青金石佛陀坐蓮像 中國，1644-1912年。精雕細刻佛陀結跏趺坐在雙層蓮座上，左手高舉施須尼印，右手持缽。身穿寬鬆的袈袍，面容祥和平靜，眉毛微拱，雙眼皮厚重，寬闊的鼻子，豐滿的嘴唇，兩側是長長的耳垂。 頭髮成螺髻。後有光背。青金石中雲母斑點閃爍，藍色艷麗。 來源：美國芝加哥私人收藏。 品相：狀況非常好，有舊時磨損和使用痕跡。底座和蓮花花瓣有輕微的磕損，邊緣有少量刻痕，凹陷區域有舊時污漬。具有天然紋理的石料，隨著時間的推移，其中一些紋理可能會發展成細小的裂縫。自然生長的包漿整體細膩油潤。 重量：2,145 克 尺寸：高21.2 厘米 拍賣結果比較：比較一件相近青金石佛像，見舊金山邦翰思Asian Decoartive Arts 2013年6月25日 lot 8009, 售價USD 52,500; 另一件見紐約蘇富比The Concordia House Collection: Fine Chinese Jades And Important Works Of Art From A Midwestern Family 2007年3月19日lot 60, 售價USD 93,600。

A GILT COPPER ALLOY FIGURE OF BUDDHA, 11TH-12TH CENTURYCentral Tibet. Superbly cast, seated in dhyanasana on a double lotus base, the right hand lowered in bhumisparsa mudra and the left above his lap holding a separately cast alms bowl. His richly pleated monastic robe is draped over both shoulders and cascades in voluminous folds. The exquisite face with heavy-lidded eyes below gently arched, remarkably wide eyebrows. Centered by an urna above full lips forming a benevolent smile, flanked by long, pierced, rectangular earlobes. The hair arranged in tight curls surmounted by a domed ushnisha with a distinctive four-petaled bud finial (see fig. 2).Provenance: From a noted Hungarian private collection, by repute acquired in Central Asia between 1950 and 1960, thence by descent in the same family.Condition: Excellent condition, fully commensurate with age. The base possibly resealed a long time ago. Some wear and casting irregularities. Small nicks, minor dents, and light surface scratches. Fine, naturally grown patina overall. Remnants of ancient pigments and old varnish.Weight: 1,668 gDimensions: Height 20.6 cmThis fine and distinctive sculpture of Shakyamuni Buddha, created during a period that marks both the revival of Buddhism in Tibet and a formative phase in Tibetan Buddhist art, has arguably more in common with Buddha images of North India and Central Asia from the previous 500 years than with those produced during the subsequent millennia of Tibetan sculpture. The face's blend of Indian and Tibetan features results in a countenance of confident nobility. Its distinct modeling makes this gilt bronze a rather singular depiction of Shakyamuni Buddha from Tibet, while at the same time wonderfully encapsulating the archaism of Tibetan art at a pivotal moment of its history.Produced between 1081-93, the murals of Drathang correlate to the present lot. Borrowings from the Pala-Sena style are apparent throughout. For example, while the present Shakyamuni's handsome face has a squarer, more Tibetan physiognomy than Buddhist bronzes made in India around the 11th century, his mouth, eyes, and brow mimic features of the Pala style – a combination present throughout the host of bodhisattvas painted at Drathang. Compare the treatment of the plump lower lip and recessed rounded corner of the smile of a painted Maitreya (see fig. 1). The present Shakyamuni also adopts the undulating upper lid of Maitreya's eye, as well as his sinuous brow with upturned ends.The idiosyncratic sculpture and painting created in Central Tibet during the 11th century embrace contemporary doctrinal and stylistic innovation while also celebrating the Buddhism that was practiced in Tibet when the religion was first introduced. As such, this Buddha provides a rare glimpse into the formative period of the Second Diffusion, when Tibet revived its patronage of Buddhism.Literature comparison: Compare a related but larger Central Tibetan gilt bronze seated Buddha Shakyamuni, dated to the 12th century, in the collection of the Metropolitan Museum of Art, accession number 2012.458; and a closely related Central Tibetan gilt bronze seated Buddha Shakyamuni, dated c. 11th century, in the Los Angeles County Museum of Art, accession number AC1996.26.1.Auction result comparison: Compare a closely related Central Tibetan gilt copper-alloy standing Buddha, dated 11th-12th century, 81.5 cm high, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 23 September 2021, lot 1204, bought-in at an estimate of USD 800,000-1,200,000. Note the similar four-petaled finial atop the ushnisha (see fig. 2) as well as the similarly cast face with undulating upper lid, full lips, and rectangular lobes.十一至十二世紀銅鎏金坐佛像西藏。以精銅鑄造，鎏金璀璨。結全跏趺坐，右手自然下垂，施降魔觸地印，左手托鉢於腹前，坐於仰覆蓮座上。肉髻高隆呈塔形，螺髮排列規整，寶珠頂嚴。寬額豐頤，雙耳垂肩，彎眉細長與鼻脛相連，點丹白毫，雙目微合下視，嘴角微露笑意，神態怡然，法相莊嚴。頸施三道弦紋，胸膛寬闊，腰部收束，著袒右肩袈裟。薄衣貼體，衣紋轉折流暢自然，富有層次感。蓮瓣寬大飽滿。座下固封裝藏保存完好，底蓋中央鏨刻精美十字金剛杵紋。 來源：匈牙利知名私人收藏，據説於上世紀五十至六十年代購於中亞，自此保存在同一家族至今。 品相：狀況極佳，與年齡完全相稱。 底座可能很久以前曾重新密封過。 一些磨損和鑄造不規則。 小刻痕、輕微的凹痕和表面劃痕。 整體上包漿精細自然。古代顏料和舊清漆的殘餘物。 重量：1,668 克 尺寸：高 20.6 厘米 這尊精美而獨特的釋迦牟尼佛像應該製於於藏傳佛教復興與其藝術形成階段時期，與隨後數千年的藏傳造像相比，他可以說與過去500年來北印度和中亞的佛像有更多共同之處。他的面部融合了印度和西藏的特徵，顯得自信高貴。 其造型獨特更加體現了西藏藝術的古樸。 扎塘寺的壁畫創作於 1081 至 1093 年間，與現在的拍品密切相關。他顯而易見自始至終都借用了帕拉塞納風格。 例如，雖然現在釋迦牟尼的面容比 11 世紀左右印度製造的佛教造像更為方正，但他的嘴、眼睛和眉毛卻模仿了帕拉風格——這種組合存在於扎塘寺壁畫。 比較彩繪彌勒佛豐滿下唇和笑容凹陷圓角的處理（見圖1），現在的釋迦牟尼也採用了彌勒的上眼瞼起伏，眉梢上翹。 11世紀，來自西藏中部的獨特造像和繪畫包含了當時的教義和風格的創新，同時也頌揚了西藏當時所奉行的佛教。 因此，這尊佛陀提供了一個難得的機會，讓我們得以目睹佛教第二次在西藏得到發揚時的光輝。 文獻比較：比較一件十二世紀更大型的來自西藏的銅鎏金釋迦牟尼坐像，收藏於大都會藝術博物館，編號 2012.458; 一件十一世紀西藏銅鎏金釋迦牟尼坐像，見洛杉磯美術館，編號 AC1996.26.1。 拍賣結果比較：比較一件十一至十二世紀西藏銅鎏金立佛，高81.5厘米，見紐約邦翰思Indian, Himalayan & Southeast Asian Art 2021年9月23日 lot 1204, 估價USD 800,000-1,200,000，注意其四瓣寶珠頂嚴 (見圖 2) 與面容表現以及起伏的上眼瞼、豐滿的嘴唇和長方形的耳垂。

A RARE AND IMPORTANT PAINTING OF THE ARHAT BAKULA, 17TH-18TH CENTURYChina. Ink and watercolors on silk. The Meditating Luohan seated on a fine and richly bejeweled throne, a halo behind his head, surrounded by clouds, leaves, and craggy rockwork. A mongoose in his arms spews wish-fulfilling jewels which drop into a vessel containing conch shells, held up by a demonic figure, below a transparent lotus cup with further jewels and a rock. Descending from above is Maitreya riding a tiger.Provenance: UK market, by repute from an old English estate.Condition: Fair condition with old wear, soilling, creasing, few tears, small losses and minor touchups. With a silk brocade frame and mounted as a hanging scroll.Dimensions: Image size 110.5 x 68.2 cm, Size incl. mounting 211 x 85.7 cmBakula, known as Jinguzo Luohan (Meditating Luohan) in Chinese, is the fifth arhat and often depicted with a mongoose spewing wish-fulfilling jewels, which is also commonly held by Jambhala, the Buddhist God of Fortune and Wealth.The arhat paintings of the early Ming dynasty owe much to the secular tradition of landscape literati painting in China, and break from the earlier Tibetan compositional practice of Buddhist paintings, in which deities and other important figures are set within a regimented and prescribed hierarchy. In most of the arhat painting sets, the main figures are set within lush landscapes, surrounded by craggy mountains, curving pine boughs, and flowing streams. In the tradition of Chinese literati paintings, nature and country life were seen as an escape from the intrigues of the court, a place where scholars could find the peace needed to write poetry, perform music, and develop ideas. It is no coincidence that the arhats of these early painting sets, figures who represented wisdom and enlightenment, were placed within the tranquil confines of a natural landscape.The Qing dynasty witnessed a revitalization of the cultural contacts between Tibet and imperial China, and the Manchu ruling class officially patronized Tibetan-style Buddhism in the capital of Beijing. This period also witnessed an explosion in the production of Buddhist art, particularly during the reign of the Qianlong Emperor (r. 1735-1796), thanks to innovations such as the printing press (for producing thangkas) and industrial molds (for producing sculptures). Stylistically, painting sets of the Sixteen Great Arhats from the seventeenth and eighteenth centuries continued to follow the early Ming style, with arhats set in Chinese-style landscapes.Auction result comparison: Compare a closely related painting of the Buddhist patron Hvashang, referred to as the patron of arhats, also dated 17th-18th century, attributed to “Tibet or China”, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 17 March 2021, lot 453, sold for USD 750,000. 十七至十八世紀重要囉怙羅尊者像中國。立軸，絹本水墨設色。尊者盤腿坐在一個鑲滿寶石的華麗寶座上，身後有一圈光背，周圍圍繞著雲彩、樹葉和崎嶇的岩石。 一隻貓鼬臥在他的懷裡，不停地吐出如意寶珠，落入尊者的左手，然後落入一個放置在地上的盤中，與一些佛教之寶海螺一起。一個惡魔人物舉著這個盤子。尊者左側有一岩石，上面有一個透明的蓮花杯，裡面也盛著很多珠寶和一塊山岩。空中的雲彩中可見騎虎彌勒佛。來源：英國古玩市場，據説來自英國私人老收藏。品相：狀況良好，有舊時磨損、水漬、摺痕、小缺損和輕微修飾。絲織錦框。尺寸：畫面110.5 x 68.2厘米，總211 x 85.7厘米拍賣結果比較：比較一件相近的西藏或中國的十七世紀摩訶衍像，見紐約佳士得 Indian, Himalayan & Southeast Asian Works of Art 2021年3月17日 lot 453, 售價USD 750,000。

A WHITE JADE FIGURE OF A BUDDHIST LION, QING DYNASTYChina, 1644-1912. Well carved in the form of a recumbent lion, with alert eyes and flaring nostrils, its head sharply turned to the right, the body articulated by the raised spine extending to the bushy tail curling around its hind leg. The translucent stone of an even white tone with only few cloudy inclusions.Provenance: From the collection of Robert Youngman and thence by descent. Robert P. Youngman (1940-2018) was an investment advisor, philanthropist, and a great enthusiast of Asian art. In 1976, he founded the investment management firm Granite State Corporation, now known as Griffin Asset Management. Youngman joined the Board of Trustees of Middlebury College in 1980 and served as Chairman of its Board for several years. Besides forming an impressive collection himself, he established endowed funds at his alma mater to support the acquisition and curation of Asian art, and authored two books, one on Chinese porcelain and the other on Chinese jades.Condition: Excellent condition with minor old wear. Good, manually applied surface polish.Weight: 75.3 g Dimensions: Length 6 cmAuction result comparison: Compare a closely related white jade lion, dated to the 17th century, at Sotheby's Hong Kong in Fine Chinese Ceramics & Works of Art on 7 October 2010, lot 2741, sold for HKD 150,000.清代白玉太獅擺件中國，1644-1912年。白玉飽滿圓潤，太獅呈臥姿，雙眉大眼，炯炯有神，寬鼻張口，頭往右轉，右後腿似乎在撓癢，活靈活現。頭部鬃毛呈渦紋狀。細微内沁。來源：Robert Youngman 私人收藏，保存至今。Robert P. Youngman (1940-2018) 是一位投資顧問、慈善家和亞洲藝術愛好者。1976 年，他創立了投資管理公司 Granite State Corporation，現為 Griffin Asset Management。Youngman先生 於 1980 年加入Middlebury College董事會，並擔任董事會主席數年。除了自己的收藏外，他還在母校設立了捐贈基金，支持亞洲藝術的收購和策展，並著有兩本書，一本關於中國瓷器，另一本關於中國玉器。 品相：狀況良好，有輕微舊時磨損。表面抛光良好。 重量：75.3 克 尺寸：長 6 厘米 拍賣結果比較：比較一件相近的十七世紀白玉太獅，見香港蘇富比Fine Chinese Ceramics & Works of Art 2010年10月 7日 lot 2741, 售價HKD 150,000。

A PINK SANDSTONE BUST OF A CELESTIAL DEITYIndia, Rajasthan or Madhya Pradesh, 12th century. Finely carved with prominent, voluptuous breasts, adorned with beaded jewelry, the serene face with almond-shaped eyes below gently arched eyebrows and full lips forming a gentle smile, the hair in fine rows parted by a beaded headdress.Provenance: From the collection of Helen Cunningham and Ted Newbold. Ted Newbold (1930-2018) was a broker and civic leader in Philadelphia, with a lifelong passion for art. In 1984, he married Helen Cunningham, who shared his love for the arts and collecting. Newbold was one of the founders of the “Friends of the Philadelphia Museum of Art” and a 50-year trustee of the Museum itself. He was a board member of the Pennsylvania Academy of the Fine Arts and the Fleisher Art Memorial. Works of art donated by Helen Cunningham and Ted Newbold are in the collections of the Philadelphia Museum of Art, the Woodmere Art Museum, and the Fleischer Art Memorial, among others.Condition: Good condition, commensurate with age. Extensive weathering, wear and losses, small nicks here and there, few structural cracks.Weight: 4,353 g (incl. base)Dimensions: Height 20.8 cm (excl. base) and 29 cm (incl. base)Mounted on a modern base. (2)Auction result comparison: Compare a related sandstone bust of a celestial deity, of slightly larger size (30 cm high) and also dated c. 12th century, at Christie's New York in Indian and Southeast Asian Art on 19 March 2014, lot 1080, sold for USD 25,000.

A BRONZE HEAD OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Finely cast with a serene expression, with heavy-lidded eyes below gently arched eyebrows, a long nose, full lips forming a calm smile, elongated earlobes with elaborate earrings, the tiara decorated with beaded, scrolling, floral, and flame designs below the ushnisha.Provenance: Asiatic Fine Arts, Singapore, 28 April 1990. A private collector in the United Kingdom, acquired from the above. A copy of the original stamped and signed invoice from Asiatic Fine Arts, dated 8 August 1990, stating the sale date of 8 April 1990, the purchase price of SGD 5,300 (approx. EUR 5,480 in today's currency), and confirming the dating of the present piece, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, dents, scratches, signs of weathering and erosion, areas of verdigris. Remnants of various ancient lacquer coatings. Fine, naturally grown, dark patina.Weight: 2,965 g (excl. stand)Dimensions: Height 24 cm (excl. stand) and 33.4 cm (incl. stand)With an associated stand. (2)Auction result comparison: Compare a closely related bronze head of Buddha, 33 cm high, also dated to the 17th century, at Christie's Amsterdam in Indian, Himalayan and Southeast Asian Art on 18 October 2005, lot 124, sold for EUR 7,170.

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: Compare a related but smaller (12.7 cm high) marble head of a bodhisattva, also dated to the Tang dynasty, at Sotheby's New York in Important Chinese Art on 21 September 2021, lot 109, sold for USD 40,320. Compare a related but smaller (11.5 cm high) dark gray stone head of Buddha, also dated to the Tang dynasty and with distinct whorls, at Christie's London in Fine Chinese Ceramics and Works of Art on 15 May 2018, lot 158, sold for GBP 18,750. Compare a related dark gray stone head of Buddha (25.5 cm high), also dated to the Tang dynasty and with distinct whorls, at Christie's New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 350, sold for USD 32,500.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: 比較一件相近的但更小 (高12.7 厘米) 的大理石菩薩頭像，唐代，見紐約蘇富比Important Chinese Art 2021年9月21日 lot 109, 售價USD 40,320；比較一件相近的唐代更小 (高11.5 厘米)的石雕深灰色佛頭，有螺紋，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2018年5月15日 lot 158, 售價GBP 18,750；比較一件相近的唐代更小 的深灰色石雕佛頭 (高25.5厘米), 有螺紋，見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 2009年3月18日 lot 350, 售價USD 32,500。

A LONGQUAN CELADON AND BISCUIT FIGURE OF GUANYIN, MING DYNASTYChina, 1368-1644. Seated in 'royal ease' upon a tree stump with Shancai kneeling near her left foot, a bird perched beside her right leg, and a vase standing next to her left arm. Her voluminous robes are overlaid with elaborate pearled pendants and necklaces. Her hair is arranged in fine rows and surmounted by a tiara centered by a standing bird with scrolling appendages. Her face, hands and feet are left unglazed to contrast with the unctuous olive green glaze covering most other surfaces as well as the interior.Provenance: From an old private estate in Boston, Massachusetts, USA.Condition: The neck with a circumferential crack and associated old repair. Some losses and small chips here and there, firing flaws such as glaze recesses and minor firing cracks. Overall commensurate with age and as expected for an authentic Longquan statue of this size and age.Weight: 2,390 gDimensions: Height 33.6 cmAuction result comparison: Compare a closely related Longquan celadon and biscuit figure of Guanyin, also dated to the Ming dynasty and of only slightly smaller size (26 cm), at Bonhams San Francisco in Fine Asian Works of Art on 20 December 2011, lot 8276, sold for USD 23,750. Compare also a related but slightly smaller (25 cm) Longquan celadon and biscuit figure of Guanyin, also dated to the Ming dynasty, at Christie's Paris in Art d'Asie on 9 June 2015, lot 299, sold for EUR 32,500. 明代龍泉青釉觀音 中國，1368-1644年。觀音頭戴包頭披巾，面容沉靜，雙目微垂，彷彿世間萬物早已洞悉心中，長耳垂。上身著袈裟，袒胸，胸前佩串珠，下身著羊腸裙，裙上配有瓔珞，跣足。菩薩姿態自然，左腿舒放，右腿曲膝，左手搭在膝頭。手臂佩有雙鐲，坐於海水江石之上。觀音右邊立著一隻神鳥鸚哥，左邊一隻如小犬般的金毛犼。觀音臉部、頸部、手部和腳部均澀胎，無釉，露出赭紅色胎土，其餘部分施青釉。 來源：美國馬賽諸塞州波斯頓私人收藏。 品相：觀音頸部有周向裂紋和舊時修復。一些缺損和小碎片，燒製瑕疵，如釉面凹陷和輕微的燒製裂紋。總體上與年齡相稱，符合這種尺寸和年代的龍泉造像的預期效果。 重量：2,390 克 尺寸：高33.6 厘米 拍賣結果：比較一件相近的明代龍泉觀音造像，尺寸稍小 (26 厘米)，見舊金山邦翰思Fine Asian Works of Art 2011年12月20日lot 8276, 售價USD 23,750；比較一件相近但稍小 (25 厘米) 的明代龍泉觀音像見巴黎佳士得Art d'Asie 2015年6月9日 lot 299, 售價EUR 32,500。

AN INDIAN MINIATURE PAINTING OF AN EPIC BATTLE SCENE, PROBABLY FROM THE RAMAYANA, EARLY 19TH CENTURYIndia, Kangra or Garhwal, c. 1810-1820. Ink, watercolors, and gold on wasli. Finely painted with a dense battle scene depicting Rama probably at the top right and again below, as well as various other deities and human figures engaged in vicious fights with many severed limbs, flying spears, and blood, one man riding an elephant and another a horse-drawn carriage, all wearing elaborate robes and jewelry, brandishing swords and other weapons. To the left and right of this scene are white buildings filled with peaceful figures and deities.Inscriptions: To reverse, a lengthy inscription of thirteen lines in black ink.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: Excellent condition with minor wear, little soiling, and few minuscule losses to edges. Matted and framed behind glass.Dimensions: Image size 37.3 x 23.8 cm, Size incl. frame 50 x 36 cmAuction result comparison: Compare a closely related miniature painting from a dispersed Ramayana series, depicting the battle between Rama and Ravana, at Christie's New York Indian and Southeast Asian Art on 19 March 2014, lot 1105, sold for USD 15,000, and another depicting Rama and Sita participating in rituals at Sotheby's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 September 2021, lot 396, sold for USD 25,200.

'LADY WITH QIN', QING DYNASTYChina, 19th century. Oil on canvas. Finely painted with a beautiful lady seated in a chair and wearing long, loose-fitting robes, her right arm resting on a qin on a wooden table and her left holding a white chrysanthemum. The face with a fine expression marked by alert eyes and pursed lips.Provenance: Collection of Henrik Eugen Reuterswaerd, thence by descent to Marina Reuterswaerd. Henrik Eugen Reuterswaerd (1881-1964) was an employee of Mo och Domsjoe, the Swedish pulp and paper manufacturer later led by the famous Asian art collector Carl Kempe (1884-1967) after succeeding his father as CEO in 1917. Reuterswaerd began collecting Chinese art during the golden age of collecting in Europe and was possibly also inspired by his relative C.R. Patrik Reuterswaerd (1885-1963), who was posted as charge d'affaires in Tokyo, Peking, and Shanghai between 1911 and 1914. The present painting is listed in Reuterswaerd's 1921 prenuptial agreement with Ebba Ingeborg Sjoegren.Condition: Good condition with minor old wear, little soiling, expected craquelure, and few minor touchups. Mounted on stretcher. The hardwood frame dating to the late Qing dynasty and with a fine patina and old bronze hook.Dimensions: Size incl. frame 65.3 x 50.5 cmFrom the late sixteenth century onwards, the newly enriched merchant class in China sought to spend its fortunes in a variety of amusements. There were wine shops, pleasure boats, and numerous luxury products, and all of these intersected with the rise of the courtesan culture. Beautiful, intelligent, and cultured young women skilled in music, literature, painting, singing, dancing, and conversation became sought after companions for men of means. Portraits of idealized beauties were popular throughout the Qing dynasty. They conjured up the essence of feminine grace and attraction. Some do not represent real persons, but rather a romanticized version of the perfect, ideal woman. This specific genre was originally made for the domestic market only.Auction result comparison: Compare a closely related painting, 66 by 51 cm, also dated to the 19th century, at Christie's Paris in Art d'Asie on 12 June 2019, lot 69, sold for EUR 10,625. Compare another pair of closely related paintings, also dated to the 19th century, at Sotheby's New York in Asian Art on 17 September 2016, lot 1130, bought-in at an estimate of USD 30,000-50,000. 清代《仕女圖》 中國，十九世紀。布面油畫。畫中一位仕女坐在椅子上，身著寬鬆的常服，右臂輕輕擱在木桌上的琴上，左手撚著一株白菊。面容寧靜，眼睛微微看向一側，嘴唇噘起，非常典雅。 來源：Henrik Eugen Reuterswaerd收藏，一直保存至 Marina Reuterswaerd。Henrik Eugen Reuterswaerd (1881-1964) 曾是由著名亞洲藝術收藏家 Carl Kempe (1884-1967) 領導的瑞典紙漿和紙張製造商 Mo och Domsjoe 的員工，後來在 1917 年接替父親擔任首席執行官後。Reuterswaerd 在歐洲黃金時期開始收藏中國藝術品，可能還受到他的親戚 C.R. Patrik Reuterswaerd（1885-1963 年）的啟發，他於 1911 年至 1914 年間在東京、北京和上海擔任代辦。這幅畫被列入 Reuterswaerd 1921 年與 Ebba Ingeborg Sjoegren 的婚前協議書內。 品相：狀況良好，有輕微的舊時磨損、少量汙漬、預期的龜裂和少量輕微修飾。清末硬木框，包漿細膩，老銅鉤。 尺寸：總65.3 x 50.5厘米 拍賣結果比較：比較一見相近的十九世紀的仕女圖（66 x 51厘米），見巴黎佳士得Art d'Asie 2019年6月12日, lot 69, 售價EUR 10,625。比較一對相近的十九世紀油畫，見紐約蘇富比Asian Art 2016年9月17日 lot 1130, 估價USD 30,000-50,000。

A CLOISONNE ENAMEL 'MAGPIES AND PRUNUS' PLAQUE, QIANLONG TO JIAQING PERIODChina, 1736-1820. Of rectangular form, finely enameled with six magpies, five of them perched on branches of a gnarled, densely blossoming prunus tree. The sixth standing on the rock below, scattered with bamboo and shrubs, all against a vibrant turquoise ground and framed by a gilt-bronze border. The reverse with original rivets along the edges.Provenance: From an English private collection. Condition: Overall good condition with old wear, manufacturing flaws, expected pitting and crackle, minor nicks and light scratches, some dents, minor hairlines, the plaque slightly warped overall. The reverse with a fine, naturally grown, dark patina.Weight: 3,031 gDimensions: Size 45 x 39 cmExpert's note: In China, magpies are seen as messengers of joy, while the character for 'prunus' is homophonic with the character for 'eyebrows'. Together, the two motifs form a rebus on the phrase 'Joy up to one's eyebrows'.Literature comparison: For a panel of similar size and decoration, see Brinker and Lutz, Chinese Cloisonne: The Pierre Uldry Collection, nos. 311, 313, and 314.Auction result comparison: Compare a related cloisonne panel with cranes, dated to the 18th century, at Bonhams London in Asian Decorative and Export Art on 6 March 2007, lot 18, sold for GBP 16,800.乾隆嘉慶時期銅胎掐絲琺琅喜鵲梅花掛屏中國，1736-1820年。長方形，琺琅繪製六隻喜鵲，其中五隻棲息在一棵盛開的梅樹枝頭。第六隻站在下方岩石上，四周竹林灌木樅。綠松石地，邊框鎏金。背面沿邊有原始鉚釘。 來源：英國私人收藏。 品相：整體狀況良好，有舊磨損、製造瑕疵、預期的麻點和裂紋、輕微劃痕和一些凹痕，有輕微裂線，整體略微翹曲。 背面帶有細膩的自然生長的深色銅綠包漿。 重量：3,031 克 尺寸：45 x 39 厘米 拍賣結果比較：比較一件十八世紀銅胎掐絲琺琅仙鶴掛屏，見倫敦邦翰思Asian Decorative and Export Art 2007年3月6日 lot 18, 售價GBP 16,800。

A VERY LARGE AND MASSIVE SICHUAN POTTERY FIGURE OF A STRIDING HORSE, HAN DYNASTYChina, 206 BC to 220 AD. Powerfully modeled striding with the right leg forward, its strong neck and head poised with open mouth and flaring nostrils, pricked up funnel ears and staring eyes, the haunches incised with stylized muscles and terminating in pronounced hooves, the upturned tail ending in a knob, the bridle with a central mask motif in high relief, the unglazed body of a grayish-brown color.Provenance: Pao & Moltke, Toronto. A distinguished private collection, acquired from the above. Sear Hang Hwie Pao (1937-2009) was one of Canada's leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke, owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto's trendy Yorkville area from the 1980s to early 2000s.Condition: Very good condition overall, commensurate with age. Some repair to legs and other areas as generally expected from Han dynasty excavations of this size. Extensive wear, losses, encrustations. Drilled holes from sample-taking.Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Oxford Authentication, reference no. C121k44, dated 13 September 2021, and is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot. Dimensions: Height 122 cm, Length 103 cmExpert's note: Large horses of this type have been found in a number of tombs within the Han empire. Among the most famous are those from the graves of the well-known Han dynasty minister Zhou Bo and his son excavated at Yangjiawan, Xianyang, Shaanxi province, see Los Angeles County Museum of Art, The Quest for Eternity, Thames and Hudson, 1987, Catalogue, nos.11-15. The well-sculpted head, flaring nostrils and upwardly-curling top lip are characteristic of these Han horses, typified by the large bronze horse excavated at Hejiashan, Jinyang, Sichuan province and recorded in Wenwu, 1991, no. 3, page 9, pl. iii.漢代罕見四川灰陶馬中國，公元前206年至公元220 年。通體素面，造型敦實。馬作直立狀，右腿向前邁出，昂首挺胸，腰肥體壯，雙耳豎立，小耳大眼，目光前視，鼻翼翕張，尾巴上翹，身軀健碩。 來源：多倫多Pao & Moltke藝廊；一個知名的私人收藏購於上述藝廊。Sear Hang Hwie Pao (1937-2009) 是加拿大中國瓷器和藝術品的主要經銷商之一。他和妻子創立了Pao＆Moltke Ltd古玩店，他們的古玩店從1980年代到2000年代初期曾是多倫多時尚的Yorkville地區的熱門店鋪。 品相：整體狀況極好，與年齡相稱。 有著漢代考古裡預期的修復，比如在腿部。大面積磨損、缺損、結殼。取樣鑽孔。 科學檢測報告：隨附一份2021年9月13日牛津熱釋光分析報告，編號 C121k44，與建議的製作年代一致。 尺寸：高122 厘米，長 103 厘米 專家注釋：類似這樣的陶馬佣在漢墓考古發現中出現了一大批。其中最著名的是，出土於陝西咸陽楊家灣的漢朝大臣周勃周亞夫父子墓，見洛杉磯美術館，The Quest for Eternity, Thames and Hudson, 1987, 畫冊，nos.11-15。漢馬造型精巧，鼻孔張開，上唇上翹，以四川晉陽何家山出土的大型青銅馬為代表，見《文物》，1991年，圖3，第9頁，圖 iii。 拍賣結果比較：比較一件相近的漢代陶馬，高 110 厘米，見阿姆斯特丹佳士得European Furniture, Clocks, Sculpture and Works of Art 2008年12月16日 lot 6, 售價EUR 23,750。比較一件相近的漢代陶馬，高 116.2 厘米，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2007年3月19日 lot 583, 售價USD 22,800。比較一件相近的漢代陶馬，高125 厘米，見倫敦邦翰思Fine Asian Art 2006年7月10日 lot 72, 售價GBP 21,600。

A DOUCAI 'LANCA AND LOTUS' DISH, YONGZHENG MARK AND PERIODChina, 1723-1735. The shallow rounded sides rising from a slightly tapered foot to an everted rim, boldly painted in bright enamels with a Mandarin duck flying above another swimming amongst clusters of leafy blossoming lotus, beneath a band of lanca characters around the rim, the exterior masterfully decorated with a continuous lotus pond band. The recessed base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi within a double circle and of the period.Provenance: From a private collection in West Yorkshire, England, assembled during the 1970s and 1980s, directly purchased from Bluett & Sons, London. Paper label of Bluett & Sons to base. Bluett & Sons was an important dealer of Chinese works of art, founded by brothers Leonard and Edgar Bluett and later continued by Leonard's son Roger Bluett, who was president of the British Antique Dealers' Association, of which his father and uncle were founding members in 1919, during the mid-1970s. Roger Bluett was also Chairman of the Grosvenor House Antiques, first Chairman of the ceramics course at West Dean and first Chairman of the Museum of East Asian Art, Bath.Condition: Very good condition with minor wear and firing irregularities, small frits to the foot.Weight: 261.7 gDimensions: Diameter 17.5 cmAuction result comparison: Compare a pair of closely related doucai dishes, also painted with ducks in a lotus pond and a lanca band, with six-character Jiajing marks but dated to the late Kangxi period, at Bonhams London in Fine Chinese Art on 10 November 2011, lot 177, sold for GBP 10,000. Also compare with a 'lanca and longevity' doucai dish, mark and period of Qianlong, at Christie's Hong Kong, in The Pavilion Sale, 4 April 2017, lot 132, sold for HKD 325,000. 雍正款及年代鬥彩“荷塘鴛鴦”盤中國，1723-1735年。此盤開口、弧壁，整器以鬥彩裝飾，內底、外壁描繪盛夏時節靜謐的荷塘，田田的荷葉襯托盛開的紅荷，於微風中搖曵，鴛鴦嬉戲於蘆葦和浮萍之間。盤沿上飾一圈梵文。底足内青花雙圈六字二行楷書款“大清雍正年製”。 來源：英國西約克郡私人收藏，1970至1980年間直接購於倫敦Bluett & Sons藝廊，底部可見 Bluett & Sons藝廊紙標籤。Bluett & Sons 曾是是中國藝術品的重要經銷商，由Leonard 與 Edgar Bluett兄弟創立，後來由Leonard的兒子Roger Bluett繼續經營，他是英國古董商協會的主席，他的父親和叔叔於 1919 年成為該協會的創始成員。Roger Bluett 還是 Grosvenor 大宅古玩博覽會的主席、West Dean 陶瓷課程的第一任主席和巴斯東亞藝術博物館的第一任主席。 品相：狀況極好，輕微磨損和燒製不規則，足部有小熔塊。 重量：261.7 克 尺寸：直徑17.5 厘米 拍賣結果比較：比較一對相近的斗彩“荷塘鴨戲”盤，同樣有一圈梵文，嘉靖六字款，但為康熙末年製，見倫敦邦翰思Fine Chinese Art 2011年11月10日 lot 177, 售價GBP 10,000；另一件梵文壽字斗彩盤，乾隆款及年代，見香港佳士得The Pavilion Sale 2017年4月4日 lot 132, 售價HKD 325,000。

A GILT BRONZE FIGURE OF MANJUSHRI, QIANLONGChina, 18th century. Finely cast seated in dhyanasana atop a double lotus base with beaded edges, holding aloft a flaming sword in his raised right hand and a lotus stem in his left, coming to full bloom at his shoulder and supporting a sutra, the blossom and book separately cast and inset beside his left elbow. He is clad in a voluminous dhoti and adorned with sashes and jewelry. The face is serene in expression and surmounted by a foliate tiara in front of the braided chignon topped by a lotus finial.Provenance: From a private collection in Texas, USA.Condition: Overall fine condition and presenting well with old wear, particularly to gilt, and minimal casting irregularities, one of the sashes with a small split at his left arm, the sword with an old repair. Few small nicks, minor dents, and light scratches. Small areas of verdigris here and there. The sealplate is most likely original but can be removed and the statue is empty.Weight: 1,140 gDimensions: Height 17.2 cmThis impressive and dynamic gilt-bronze figure of Manjushri is rare for the virtuosity of the casting technique and the expressive vitality of the figure itself. Displaying fine attention to detail in the treatment of the robes and jewelry, the figure is also depicted with supple proportions that characterize the finest 18th-century Chinese figures.The scripture supported by the padma (lotus) held in his left hand is a Prajnaparamita sutra, representing his attainment of ultimate realization from the blossoming of wisdom, while the flaming sword symbolizes the realization of transcendent wisdom which cuts down ignorance and duality.Auction result comparison: Compare a related gilt bronze figure of Manjushri, also dated to the 18th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 15 September 2017, lot 926, sold for USD 10,000, and a related Tibetan-Chinese gilt bronze figure of Manjushri, also dated to the 18th century, in Indian and Southeast Asian Art on 21 September 2007, lot 132, sold for USD 15,000.乾隆銅鎏金文殊菩薩坐蓮像 中國，十八世紀。鎏金文殊菩薩銅像結跏趺坐於雙層蓮座上。左手當胸，結轉法輪印，持蓮莖；左肩靠蓮瓣，上放經函。右手高舉火劍。身上裝飾華麗纓絡珠寶。面容平靜，頭戴蓮冠。 來源：美國德克薩斯私人收藏。 品相：整體狀況良好，舊磨損情況良好，尤其是鍍金，輕微鑄造不規則，其中一個腰帶在左臂有一個小裂口，劍有舊時修復。 輕微劃痕和凹痕，局部包漿。封印板很可能是原始的，但可以移除並且雕像是空的。 重量：1,140 克 尺寸：高17.2 厘米 拍賣結果比較：比較一件相近銅鎏金文殊菩薩像，十八世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 2017年9月15日 lot 926, 售價USD 10,000 ；一件漢藏銅鎏金文殊菩薩，十八世紀，見佳士得Indian and Southeast Asian Art 2007年9月21日 lot 132, 售價USD 15,000。

A LARGE BRONZE MANDALA PETALNortheastern India or Nepal, 12th-13th century. Cast as a lotus petal, the exterior with a seated deity holding an alms bowl and a staff above a stupa, each in relief and surrounded by neatly incised figures, animals, and auspicious symbols, the interior with Yamantaka and Vajravarahi, each standing in tribhanga atop a prostrate figure, wearing a skull garland and beaded jewelry, and four-armed with an attribute in each hand, and with incised geometric decorations.Provenance: From the important private collection of Jochen and Herbert Kienzle, and thence by descent in the same family. A private collector, acquired from the above. Jochen (1925-2002) and Herbert (1931-1997) Kienzle were sons of Herbert Otto Kienzle (1887-1954), whose father Jakob (1859-1935) was a German watchmaker, who founded Kienzle Apparate, a German manufacturer of data processing equipment. Jochen and Herbert took over management of the company after their father's death in 1954 and pioneered the use of computer systems for commercial office-based applications in Germany. From 1965 until 1986, the brothers assembled a well-known and highly regarded collection of East Asian and Tibetan art.Condition: Very good condition, commensurate with age. Extensive wear, small nicks, minor dents, light scratches. Fine, naturally grown, dark patina.Weight: 430.0 gDimensions: Length 21 cmThis fragment was once part of a lotiform mandala with articulated petals that close to form a lotus bud. First conceived in northeastern India during the Pala period, very few examples remain today, let alone in the size of the present lot.Literature comparison: Compare a complete lotus mandala from Nepal and dated to the 13th-14th century, in the collection of the Los Angeles County Museum, accession number M.88.228. For a smaller and incomplete Pala-period example in the Pan Asian Collection, see P. Pal, The Sensuous Immortals, 1977, p. 96-97, cat. no. 57.Auction result comparison: Compare a complete lotus mandala from Northeastern India and dated 11th-12th century at Christie's New York in Indian and Southeast Asian Art on 22 March 2011, lot 382, sold for USD 62,500, and another dated 13th century at Christie's New York in Indian and Southeast Asian Art on 14 September 2010, lot 61, sold for USD 122,500. 大型青銅曼陀羅花瓣 印度東北部或尼泊爾，十二至十三世紀。成蓮瓣狀，外部浮雕為坐在佛塔上的手持化齋缽和手杖的天神，四周分佈著人物、動物和吉祥紋飾，內部為大威德金剛和金剛亥母，分別呈三屈式，身著頭骨花環和串珠首飾，四臂上的每隻隻手都拿著一個法器，並飾幾何紋飾。 來源：重要Jochen 與Herbert Kienzle私人收藏，在同一家族收藏至今；私人藏家購於上述收藏。Jochen (1925-2002) 與 Herbert (1931-1997) Kienzle 是 Herbert Otto Kienzle (1887-1954) 的兒子，他的父親 Jakob (1859-1935) 曾是一位德國製錶師，他創立了德國Kienzle數據處理設備公司。Jochen 和 Herbert 於 1954 年父親去世後接管了公司，並率先在德國將計算機系統用於商業辦公應用。 1965 年到 1986 年間，兄弟倆收集了一批著名且備受推崇的東亞和西藏藝術收藏品。品相：狀態極好，與年齡相稱。 大面積磨損、小刻痕、輕微凹痕、輕微劃痕。 自然生長的深色包漿非常細膩。 重量：430.0 克 尺寸：長 21 厘米 拍賣結果比較：比較一件十一至十二世紀來自印度東北部的曼陀羅蓮花，見紐約佳士得Indian and Southeast Asian Art 2011年3月22日 lot 382, 售價USD 62,500；另一件十三世紀的，見紐約佳士得Indian and Southeast Asian Art 2010年9月14日lot 61, 售價USD 122,500。

A MONUMENTAL BRONZE HEAD OF BUDDHA, CHIENG SEN STYLELan Na Kingdom, Northern Thailand, 15th century. Finely cast, the serene face with downcast eyes, heavy eyelids under arched eyebrows, flanked by long pendulous earlobes. The hair finely worked in rows of curls, pulled together at the top towards the separately cast ushnisha, which is surmounted by a jewel.Provenance: Collection of Giovanni Testori and Alain Toubas, acquired in the Italian antiques trade in the 1990s or earlier. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Giovanni Testori (1923-1993) was an Italian writer, journalist, poet, art and literary critic, dramatist, screenplay writer, theatrical director, and painter. His screenplays were directed by Luchino Visconti during the 1960s. Testori had met Alain Pierre Toubas (1938-2021), his long-time companion, at the end of the 1950s.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses, small dents, minuscule nicks and cracks. Fine, naturally grown patina, the bronze almost entirely covered with a thin and consistent layer of verdigris, as typical for cast bronzes that have been exposed to exterior weather conditions over an extended period of time. Dimensions: Height 47 cm (excl. stand) and 66 cm (incl. stand)Mounted on a modern stand. (3)This larger than life-size and superbly cast head of the historical Buddha shows him with a sublime inner calm resulting from his deep spiritual compassion. This is enhanced by the remarkably fine, deep-green patina of the bronze. The voluminous face, with its snail-shaped curls, is a solid testimony of the casting workshops of the city of Chieng Sen in the Lan Na kingdom in North Thailand.Literature comparison: Compare a closely related bronze statue of Buddha at Christie's Paris, 13 June 2018, lot 241.Auction result comparison: Compare a closely related bronze head, 41 cm high, also dated to the 15th century, at Christie's London in The Dani & Anna Ghigo Collection, Part I: South East Asian, Himalayan and Indian Works of Art on 11 May 2016, lot 102, sold for GBP 40,000.

A RARE BLACK AND WHITE NEPHRITE JADE STRIATED BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. The deep rounded sides rising from a thick foot ring and flaring to an everted rim. The foot is incised with a single line band to the foot. The translucent stone of an attractive pale gray tone with bands of fine black flecks as well as cloudy white inclusions. The base incised with a six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Collection of Louise Hawley Stone, Toronto, Canada. Ben Janssens Oriental Art, London, 13 July 1998. Asbjorn Lunde, acquired from the above. An edited copy of the original invoice signed by Ben Janssens, addressed to Asbjorn Lunde, dated 13 July 1998 and confirming the dating of the present bowl, accompanies this lot. Louise Hawley Stone (1903-1997) was a longtime patron of the Royal Ontario Museum, serving on the Board of Directors and especially the Bishop White Committee which she chaired for many years, establishing the Far Eastern Endowment Fund. Asbjorn Lunde (1927-2017) was a New York lawyer and devoted art collector. Over more than 60 years, he built a substantial collection featuring Old Masters, landscape paintings, prints, European sculpture, South Asian painting and sculpture, and Asian decorative arts. Throughout his life, Mr. Lunde supported more than forty museums in New York City, across the United States, and in Europe with loans, gifts, and funding. He was a Fellow and Benefactor at the Metropolitan Museum of Art.Condition: Good condition with minor old wear and fine unctuous feel overall. The rim with a minuscule chip and a short hairline of ca. 2 cm, almost invisible to the naked eye.Weight: 220.9 gDimensions: Diameter 14.2 cmLiterature comparison: Compare a closely related jade bowl, of near-identical material showing gray veins running diagonally through the stone, but of slightly larger size and incised with a Jiaqing four-character mark, illustrated in Lord Jiaqing and the Journey to Taiwan: A Special Exhibition on Cultural Artifacts of the Qing Emperor Renzong, National Palace Museum, Taiwan, 2016, pp. 260-261, no. III-24. The author notes that the gray jade is from the Xinjiang region, that several gray Islamic-style jades are in the collection of the National Palace Museum but only a few have reign marks, and that of the jade tribute items submitted from Kashgar in 1817, there is a two-handled gray-jade bowl of similar quality.Auction result comparison: Compare a near-identical bowl, also with a Qianlong mark, but dated 18th-19th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 September 2010, lot 1113, sold for USD 21,250, and a closely related but slightly larger bowl, also with a Qianlong mark and of the period, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works of Art on 9 October 2007, lot 1584, bought-in at an estimate of HKD 400,000-600,000. 乾隆款與年代黑白紋玉碗中國，1736-1795年。口沿外撇，平整光滑，廣腹漸斂，底承圈足。通體光素無紋，琢磨圓潤。半透明玉石，具有迷人的淺灰色調，細小的黑色斑點和絮狀白色内沁。底足内“大清乾隆年製”六字款。 來源：加拿大多倫多Louise Hawley Stone收藏。倫敦Ben Janssens Oriental Art藝廊，1998年7月13日。Asbjorn Lunde購於上述藝廊。隨附一份藝廊注明玉碗年代的發票複印件。Louise Hawley Stone (1903-1997) 是皇家安大略博物館的長期贊助人，在董事會任職，並多年擔任懷特主教委員會主席，建立了遠東捐贈基金。 Asbjorn Lunde (1927-2017) 是一位紐約律師和忠實的藝術收藏家。 六十多年來，他建立了龐大的收藏，涵蓋古代大師、山水畫、版畫、歐洲雕塑、南亞繪畫和雕塑以及亞洲裝飾藝術。在他的一生中，他通過貸款、禮物和資金支持了紐約市、美國和歐洲的四十多家博物館。 他是大都會藝術博物館的研究員和捐助者。 品相：狀況良好，輕微磨損，整體感覺光滑。邊緣有一個微小的磕損和一條約2厘米的裂紋，肉眼幾乎看不見。 重量：220.9 克 尺寸：直徑14.2 厘米 拍賣結果比較：比較一件同樣為乾隆款的十八至十九世紀幾乎一模一樣的玉碗，見紐約佳士得Fine Chinese Ceramics and Works of Art 2010年9月17日 lot 1113, 售價USD 21,250；一件相近但更大的玉碗，乾隆款及年代，見香港蘇富比 Fine Chinese Ceramics and Works of Art 2007年10月 9日 lot 1584, 估價 HKD 400,000-600,000。

A RARE ORANGE GLASS 'REALGAR' BRUSHWASHER, 18TH CENTURYChina. Rising from a short circular hollow foot, the rounded sides tapering towards an inverted mouth, the interior and exterior undecorated and showing natural swirling inclusions in rich amber tone in imitation of realgar, achieved by the merging of red and yellow glass that formed the matrix.Provenance: Collection of William Lillyman, no. CG 12 (according to collector's label to base). Bonhams San Francisco, Fine Chinese Works of Art and Paintings, June 23, 2015, lot 7140. An institutional collection in Illinois, USA, acquired from the above. William John Lillyman (1937-2020) was a renowned scholar of German literature, Dean of Humanities and Executive Vice Chancellor at the University of California, Irvine. He established the East Asian Studies program (now a department) at UCI.Condition: Very good condition with minor old wear and manufacturing irregularities. The foot with small nicks, mostly inherent to the manufacture of this piece, see detail images on www.zacke.at.Weight: 325.8 gDimensions: Diameter 13 cm (at the widest points)The current lot shows the extraordinary level of mastery in which glass-blowing was controlled by Chinese craftsmen of the 18th century. Such vessels would have been modeled by blowing melted glass into a mold, thus forming the random and spontaneous swirling glass patterns. The color is also manipulated to great effect, achieved by red and yellow glass paste merged to form the striking realgar-like effect.Literature comparison: For a vase of similar striated orange and red color imitating realgar, incised with a Qianlong mark and of the period, see Claudia Brown and Donald Rabiner, The Robert H. Clague Collection: Chinese Glass of the Qing Dynasty, 1987, no. 40, pp. 40-41.Auction result comparison: Compare a near-identical brushwasher, also from the Lillyman collection and dated to the 18th century, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 24 November 2013, lot 367, sold for HKD 150,000. 十八世紀罕見橘色仿雄黃琉璃筆洗 中國。豐肩平直，收腹，圈足，光素面。仿雄黃的豐富琥珀色調。由紅黃色玻璃合併而成。 來源：William Lillyman收藏，no. CG 12 (根據收藏標籤)。舊金山邦翰思 Fine Chinese Works of Art and Paintings 2015年6月23日 lot 7140。美國伊利諾伊斯一個研究機構收藏，購於上述收藏。William John Lillyman (1937-2020) 是著名的德國文學學者，加州大學歐文分校人文學院院長兼執行副校長。 他在 UCI 建立了東亞研究項目（現在是一個系）。 品相：狀況良好，有輕微舊時磨損和製造瑕疵。足部有小刻痕，請參閱www.zacke.at上的詳細圖像 重量：325.8 克 尺寸：直徑13 厘米 (最寬處) 拍賣結果比較：比較一件幾乎一模一樣的筆洗，同樣來自 Lillyman 收藏並為十八世紀，見香港邦翰思Fine Chinese Ceramics and Works of Art 2013年11月24日 lot 367, 售價HKD 150,000。

A CELADON AND RUSSET JADE 'LOTUS LEAF' BRUSH WASHER, 17TH CENTURYChina. The deep rhyton-shaped vessel finely carved as a furled lotus leaf with boldly incised veins to the exterior, the oval base in the form of entwined branches with smaller curved leaves and a lotus bud. The mostly translucent stone of a deep celadon tone with russet shadings skillfully incorporated in the depiction as well as dark speckles and cloudy white inclusions.Provenance: Property from the George Brauel Collection. Christie's New York, 6 April 2010, lot 358 (part lot). Roger Keverne, London, 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.Condition: Excellent condition with minor wear and microscopic nibbling here and there.Weight: 215.8 gDimensions: Length 10.2 cmExpert's note: The furled lotus leaf design became popular because its wavy lip could be used as a brush rest. Opposed to that, rhytons mostly have a straight lip.Auction result comparison: Compare a related celadon jade leaf-form brush washer, dated 17th-18th century, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 17 September 2013, lot 123, sold for USD 25,000. 十七世紀青玉留皮蓮葉筆洗中國，十七世紀。筆洗如捲起的荷葉，清晰的葉脈，橢圓形的底座如纏繞的荷葉，帶有小花骨朵。深青色半透明玉料，巧妙利用其赤褐色陰影，以及深色斑點和白色内沁。 來源：George Brauel 收藏。紐約佳士得2010年4月6日 lot 358 (拍品組中的一件)。倫敦Roger Keverne，購於上述收藏。Roger Keverne 曾擔任倫敦亞洲藝術協會主席和 BADA 總裁。 他在 Spink & Son 開始了他 50 年的職業生涯，年僅 28 歲就成為亞洲部門的負責人。他於 1992 年離開 Spink，與他的妻子和商業夥伴 Miranda Clarke 在倫敦Mayfair成立了自己的藝廊 ，最終於 2020 年 6 月關閉。品相：狀況良好，有輕微磨損。 重量：215.8 克 尺寸：長 10.2 厘米 專家注釋：捲起的荷葉設計在當時非常流行，因為它翻捲的邊緣可以用作筆架。 拍賣結果比較：一件十七至十八世紀的青玉葉形筆洗，見紐約蘇富比 Fine Chinese Ceramics & Works of Art 2013年9月17日 lot 123, 售價USD 25,000。

A LARGE 'SHOULAO GROTTO', DEEP CELADON AND RUSSET JADE, 18TH CENTURYChina. Superbly carved in reticulated openwork to depict a craggy rock grotto, in it Shoulao flanked by his attendant and a deer below a towering, gnarled tree bearing longevity peaches and two bats in flight attempting to feed on them. The Daoist immortal carries a peach in his left and a gnarled staff in his right. His hallmark, the tall cranium, was given a sublime polish by an obviously devoted lapidary.Provenance: From a noted private collection in Milan, Italy. Sotheby's Milan, 19 October 2010, lot 31, sold for EUR 63,150 - EUR 77,960 in today's currency after inflation. Roger Keverne, 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 - Winter Exhibition, London, 2011, no. 95. The price list for this exhibition shows 'POA' (price on application) for the present lot. Given the general minimum for objects listed as 'POA', the price for the present lot must have been >GBP 100,000.Condition: Pristine condition with only minor old wear, few minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 4,312 gDimensions: Height 27 cm, Width 17 cmDuring his reign, Emperor Qianlong requested that jade mountains, as well as plaques and panels with mountainous landscapes, should take their artistic influence from the work of famous painters. The present lot gives clear evidence of this philosophy. Jade is a material that from ancient times has been associated with longevity and immortality. It is therefore a particularly appropriate medium from which to carve representations of the mountainous realm of the Daoist immortals.The theme of longevity is clearly evident on the present boulder, with the depiction of Shoulao and the deer under a tree bearing large peaches. The elongated form of the boulder and the skillful layering of rockwork help to create a magical atmosphere, thereby contributing to the Daoist themes of mysticism and immortality.Auction result comparison: Compare a closely related but smaller (20.5 cm high) greenish-white jade grotto, with a similar depiction of Shoulao and attendant with deer and peaches, dated 17th-18th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 21 March 2014, lot 2506, sold for USD 93,750. Compare a related but slightly smaller (23.4 cm high) pale celadon jade boulder with Shoulao and deer, dated to the Qianlong period, at Christie's Hong Kong, in The Imperial Sale, Important Chinese Ceramics and Works of Art on 31 May 2010, sold for HKD 7,820,000. Compare also a related pale celadon jade boulder depicting Guanyin in a grotto, also dated to the 18th century, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works of Art on 7 April 2013, lot 3108, sold for HKD 1,480,000.十八世紀大型青玉留皮壽老圖山子 中國，精美鏤雕山岩下桃樹旁，立著壽老和他的侍從和一只鹿。桃樹上碩果纍纍，兩隻飛舞的蝙蝠。壽老左手持桃，右手持杖。他的標志性額頭被技藝高超的玉匠打磨得極其潤澤。 來源：義大利米蘭知名私人收藏；米蘭蘇富比2010年10月19日 lot 31, 售價EUR 63,150 - EUR 77,960（換算成今日歐元價值） 。Roger Keverne私人收藏，購於上述藝廊。Roger Keverne 曾擔任倫敦亞洲藝術協會主席和 BADA 總裁。 他在 Spink & Son 開始了他 50 年的職業生涯，年僅 28 歲就成為亞洲部門的負責人。他於 1992 年離開 Spink，與他的妻子和商業夥伴 Miranda Clarke 在倫敦Mayfair成立了自己的藝廊 ，最終於 2020 年 6 月關閉。 出版：Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2011, no. 95. 展覽價格單上顯示了此拍品當時的價格，鑒於展覽價格單上的價格是拍品的最低價格，因此可以推斷這拍品的價格應該高於GBP 100,000。 品相：原始狀態，只有輕微磨損，少量微小的劃痕，帶有天然脈絡的玉料，隨著時間的推移，其中一些裂縫可能已經發展成細小的裂縫。 重量：4,312 克 尺寸：高27 厘米, 寬 17 厘米 乾隆皇帝在位期間，曾要求玉雕山子、山水牌匾、畫板，都應藉鑒名家畫作。本拍品清楚地體現了這一理念。 玉是一種自古以來就象徵著長壽和不朽。 因此，它是一種特別適合用來雕刻道教仙人以及山水的媒介。這件山子的長壽主題非常明顯，壽老和結著大桃子的樹下的鹿，洞窟巨石的形狀和巧妙的分層都有助於營造一種神秘的氛圍，更加體現了神秘和不朽的仙道主題。拍賣結果比較：一件十七至十八世紀的青白玉壽老與童子的山子，但尺寸較小 (高20.5 厘米) ，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2014年3月21日 lot 2506, 售價USD 93,750；另一件乾隆時期青白玉壽老與鹿山子，但尺寸較小(23.4 cm high)，見香港佳士得The Imperial Sale, Important Chinese Ceramics and Works of Art 2010年5月31日 售價HKD 7,820,000；一件十八世紀青白玉觀音山子，見香港蘇富比Fine Chinese Ceramics and Works of Art 2013年4月 7日 lot 3108, 售價HKD 1,480,000。

A RARE AND IMPORTANT TERRACOTTA HEAD OF BUDDHA SHAKYAMUNIAncient region of Gandhara, Kushan period, 4th-5th century. The large head is superbly modeled with a serene and meditative expression, with almond-shaped eyes below gently arched brows, distinct recessed urna, aquiline nose, and full lips forming a calm, benevolent smile. The wavy hair is surmounted by a domed ushnisha.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n7, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. Condition: Very good condition, commensurate with dating and presenting magnificently overall. Some wear and firing flaws, minor nicks, shallow cracks, losses to exposed areas, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago. Overall, fully consistent with the high age of this sculpture. French Export License: Certificat d'exportation pour un bien culturel Nr. 185425 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 7.9 kg (excl. stand) Dimensions: Height 34 cm (excl. stand) and 55 cm (incl. stand)Mounted on an old associated hardwood stand. (2)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images. The use of hard-fired ceramic instead of stone such as schist became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this size have ever been recorded.The masterfully carved head of Buddha is a fine example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE and embodies an idealized, transcendent male form of an earthly prince. Based on Greco-Roman prototypes, his elegant neck is slightly elongated, and his heavy eyelids frame a pair of almond-shaped eyes, his forehead remaining perfectly uncreased, and there is no tension in his rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility.The sculptor has also skillfully referenced Buddha's earlier history as Prince Siddhartha by placing rounded recesses in the elongated earlobes where, as a prince, he would have worn heavy jewelry. This detail reminds the viewer that, while the Prince's past was centered on excess, the absence of material goods – jewelry and fine clothing – emphasizes the Buddha's renunciation of worldly attachments.Compare the face of this Buddha with that of another in the Peshawar Museum (see H. Ingholt, Gandharan Art in Pakistan, 1957, p.113, fig.223). In both examples, the artist has skillfully carved and polished the face to transform it into human skin. While the face of the published image bears a rather formulaic manner, the present work has been carved by a master of naturalism. The softly rounded cheeks give way to hollows on either side, the upper and lower lids are nearly spherical to emphasize the eyes, and the pupils are not carved. The quiet contours and gentle shadows model the flawless structure of the face, encapsulating the eternal youthfulness of the Buddha. Almost androgynous in appearance, the Buddha transcends gender, embodying the perfect balance of masculinity and femininity.Expert's note: This head has a high aesthetic value, illustrious provenance, and is in a beautifully preserved condition. It is an important and rare masterpiece of Gandharan art. Literature comparison: Compare a related but slightly smaller (26.7 cm high) terracotta head of Buddha, dated 3rd-4th century, in the collection of the Metropolitan Museum of Art, accession number 2001.575. Compare a closely related but much smaller (18.4 cm high) terracotta head of Buddha, dated ca. 4th century, in the collection of the Metropolitan Museum of Art, accession number 13.96.4.Auction result comparison: Compare with a related but slightly smaller (28 cm high) terracotta head of a bodhisattva at Christie's New York in Indian and Southeast Asian Art on 19 March 2013, lot 212, sold for USD 75,000. Compare a related but smaller (20.3 cm high) terracotta head of Buddha at Sotheby's New York in Images Of Enlightenment: Devotional Works Of Art And Paintings on 17 September 2014, lot 410, sold for USD 62,500.罕見重要陶土釋迦牟尼頭像健陀羅，四至五世紀。大型佛頭造型優美，沉靜冥思，眉毛下方拱形杏仁狀眼睛，眉間白毫，豐滿的鼻子，溫柔仁慈的笑容。頭髮緊卷，呈螺髻。 科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n7，2016年10月18日，與目前斷代一致。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Dépêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。品相：狀況很好，尤其是考慮到這件作品的年代。一些燒製瑕疵，輕微的刻痕和凹痕，裸露區域有材料缺損。表面的清漆應爲很久之前所塗，所以現在已經基本看不出來了。總體而言，狀況與該雕塑的年代相符。 法國出口證書: 隨附法國2017年7月3日出具的出口證書Certificat d’exportation pour un bien culturel Nr. 185425。 重量: 7.9 公斤 (不含底座) 尺寸: 高 34 厘米 (不含底座)，總 55 厘米 硬木底座 (2) 拍賣結果比較: 一件相近但稍小 (28 厘米) 陶土菩薩頭像，見紐約佳士得Indian and Southeast Asian Art拍場2013年3月19日 lot 212, 售價USD 75,000；一件相近但更小 (20.3 厘米) 的佛陀陶土頭像，見紐約蘇富比Images Of Enlightenment: Devotional Works Of Art And Paintings拍場2014年9月17日 lot 410, 售價USD 62,500。

A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 15TH CENTURYTibet. Finely cast seated in vajraparyankasana on a double lotus base with beaded upper edge, the right hand held in bhumisparsha mudra and the left in dhyana mudra, dressed in a robe draped loosely over the left shoulder, partially revealing the chest.Provenance: From a noted Swiss private collection.Condition: Very good condition with minor wear and casting irregularities. Some wear to gilt, particularly to the raised parts. The base rim with a small loss and associated old fill, and two minor cracks, one going up from the rim extending to the right leg of the figure, the other ca. 3 cm long, all as visible with no hidden damages whatsoever. Few minuscule areas of malachite encrustation. Details to face neatly picked out with ancient pigments. The base sealed. Weight: 1,778 gDimensions: Height 24 cmThe hems of the garment finely detailed with a beaded border, the serene face rendered with a meditative expression beneath an urna and flanked by long pendulous earlobes pierced with vertical slots, all beneath the domed ushnisha covered with tight curls and surmounted by a jewel, brilliantly gilded throughout.The iconographic form in which the historical Buddha is seated, with his right hand in the earth-touching position, bhumisparsha mudra, recalls a momentous episode from his spiritual biography in which he triumphs over Mara just prior to his enlightenment. Having vowed to remain in meditation until he penetrated the mystery of existence, Shakyamuni was visited by Mara, a demon associated with the veils and distractions of mundane existence. The Buddha remained unmoved by all the pleasant and unpleasant distractions with which Mara sought to deflect him from his goal.According to some traditional accounts, Mara's final assault consisted of an attempt to undermine the bodhisattva's sense of worthiness by questioning Shakyamuni's entitlement to seek the lofty goal of spiritual enlightenment and the consequent freedom from rebirth. Aided by spirits who reminded him of the countless compassionate efforts he had made on behalf of sentient beings throughout his numerous animal and human incarnations, Shakyamuni recognized that his destiny was to be poised on the threshold of enlightenment.In response to Mara's query, Shakyamuni moved his right hand from the meditation position in his lap and touched the ground stating “the earth is my witness”. This act of unwavering resolve caused Mara and his army of demons and temptresses to disperse, leaving Shakyamuni to experience his great enlightenment. The episode took place at the adamantine throne, vajrasana, beneath the bhodi tree at Bodh Gaya, eastern India, a location said to have been especially empowered to expedite the Buddha's enlightenment.Auction result comparison: Compare with a closely related gilt bronze figure of Buddha Shakyamuni, 17.7 cm high, also dated to the 15th century, at Christie's New York in Indian and Southeast Asian Art on 19 March 2013, lot 408, sold for USD 81,250. A closely related gilt bronze figure of Buddha Shakyamuni, 28 cm high, also dated to the 15th century, was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 43, sold for EUR 139,040.十五世紀鎏金銅釋迦牟尼坐蓮像西藏。釋迦牟尼佛身著袈裟，左手施禪定印，右手施觸地印，全跏趺坐於仰覆蓮座上。造像頭部肉髻高聳，珠寶頂嚴，額飾白毫，長眉與鼻脊相連，雙目垂視內斂，嘴角微微揚起，面容溫和沈靜。肩胸寬闊，身披偏袒右式迦裟，袈裟拉起一角覆蓋右肩。來源：瑞士知名私人收藏。品相：狀況極好，有輕微磨損和鑄造瑕疵。鎏金有些磨損，特別是凸起部分。底部邊緣有少量缺損和相關的舊填充物，以及兩個小裂縫，一個從邊緣向上延伸到人物的右腿，另一個約 3厘米長，沒有任何隱藏的損壞。少量地區有綠色鏽斑。底座密封。 重量: 1,778 克 尺寸：高 24 厘米衣紋薄透貼體，軀體起伏，線條極爲流暢。下承仰覆式蓮花台座，上下層蓮花對立排列，花瓣細長挺拔。釋迦牟尼右手施觸地印姿勢坐蓮的形式，讓人想起他歷史上的一個重要事件：在他開悟之前，他戰勝了瑪拉。根據一些傳統的說法，瑪拉的最後攻擊，包括試圖通過質疑釋迦牟尼尋求精神啟蒙的崇高目標，以及隨之而來的免於重生的權利，來破壞菩薩的價值感。在神靈的幫助下，他想起了他在無數動物和人類化身中，為眾生所做的無數慈悲努力。釋迦牟尼佛在證悟時，受魔王波旬干擾，魔王波旬提問：“誰可為你做證你已經開悟？” 釋迦牟尼佛即以右手觸地並說：“大地可以為我作證！” 隨即堅牢地神出現為釋迦牟尼佛證明他已經成就佛道，魔王才退去。拍賣結果比較：比較一件相近鎏金銅釋迦牟尼像，高17.7 厘米，十五世紀，見紐約佳士得Indian and Southeast Asian Art 2013年3月19日 lot 408, 售價USD 81,250。另一件相近的鎏金銅釋迦牟尼像，高28 厘米，十五世紀，在本藝廊Fine Chinese Art, Buddhism and Hinduism 2020年 4月 25日lot 43, 售價EUR 139,040

A FINE AND RARE PAIR OF PAINTED WOOD BRIDAL FIGURES, LORO BLONYOEast Java, late 19th to early 20th century. Each figure is superbly carved with angular proportions, wearing a fine sarong richly decorated with diapered patterns, secured by a belt tied around the waist. Their faces with almond-shaped eyes, gently arched eyebrows, and full lips. Their headdresses are quite different, hers in the form of a tiara and his in the form of two overlapping headbands. (2)Provenance: From a private collection in Jakarta, Indonesia, acquired in 1984. The collection of Alexander Goetz, acquired from the above in 2018. Alexander Goetz is a noted German art expert and collector who specializes in Indonesian works of art. As a young man, he built and sailed wooden boats around the world, and eventually arrived in Bali in 1971. Within a year, he became involved in the local art scene and in 1975, he was sponsored by the Indonesian Institute of Science to do research on contemporary art in Bali. In 1990, Goetz and his family moved to London where he opened a gallery specializing in Southeast Asian art, with Indonesia as the main focus. Since 2015, Alexander Goetz has run Gallery 101, a dedicated art space in Kabupaten Badung, Bali.Condition: Very good condition with old wear, distinct signs of weathering and erosion, minor losses, age cracks, worm holes, loss of pigments, possibly minor touchups.Weight: 6.7 kg and 6.1 kg Dimensions: Height 71.5 cm and 70.5 cmThis pair of figures represents Dewi Sri, the rice harvest goddess, and her consort Sadono. Dewi Sri is a deity associated with fertility and prosperity due to her connections to rice and rice harvest. The figures hark back to pre-Islamic culture on Java and later were incorporated into the syncretic ritual practices of the Javanese. Traditionally, the figures were placed at the base of the canopied wedding bed (krobongan) to promote a prosperous marriage. This practice was initially restricted to royal and aristocratic families but the custom later spread to other societal groups. Once the wedding ceremony had taken place, the figures were removed and replaced by the bride and groom themselves.Expert's note: The present Loro Blonyo figures were worked in the distinct style of the Nganjuk court, which existed until the end of the 19th century, located between Ponorogo and Kediri, and was connected to the Kediri court. The Nganjuk style is probably the rarest of all palace styles in Java. It combines the sophisticated angular body shape from Ponorogo with the naturalistic portrait-style faces of Kediri.Literature comparison: Compare a closely related pair of Loro Blonyo figures, 50.8 cm and 54 cm high, dated “perhaps 1900-1950”, in the collection of the Asian Art Museum San Francisco, object number 2016.287.a-.b.

A THANGKA OF GREEN TARA, 18TH CENTURYTibet. Distemper and gold on cloth. Depicting Green Tara seated in rajalalitasana on a white lotus with a gilt aureole, wearing richly decorated robes and billowing scarves, holding peony stems coming to full bloom at her shoulders, the face with a serene expression, the hair arranged in a high chignon with a foliate headdress and small image of Buddha Amitabha. Tara is surrounded by seven smaller Green Taras, each near a distinct symbol of the Eight Great Fears.Inscriptions: To the reverse, 'Om Ah Hum'.Provenance: From a private collection in Los Angeles, California, USA.Condition: Good condition with old wear, some creasing, minor soiling, small losses, possibly very minor touchups.Dimensions: Image size 65.5 x 47 cm, Size incl. mounting 128 x 89 cm (pole length)With a fine silk brocade frame and mounted as a hanging scroll.The Eight Fears are described as fire, water, lions, elephants, snakes, chains or false imprisonment, demons or ghosts, and thieves. These are often depicted literally in painting and represent very real fears of the day, inner meanings related to ego and emotions, and deeper secret meanings representing specific tantric philosophies.Auction result comparison: Compare a closely related Tibetan thangka of Green Tara, also dated to the 18th century and depicting the Eight Fears, at Christie's New York in Indian and Southeast Asian Art on 18 September 2013, lot 265, sold for USD 15,000. 十八世紀綠度母唐卡 西藏，布面膠畫金彩。主尊綠度母居於畫面正中，跏趺坐於蓮花月輪上，頭挽高髮髻。面龐形似鵝卵，額部寬平高廣，眉如彎月，雙目睜視，鼻樑挺括，雙唇微抿，上身軀體袒露，姿態婀娜，胸前佩戴有項鍊、瓔珞、長鍊等華麗飾物。帔帛從雙肩之後婉轉而下。左手當胸抬起，右手自然垂搭於右膝之上，主尊頭頂上方為阿彌陀佛，周圍為八大度母像。 款識: 背面可見 'Om Ah Hum'. 來源：美國加利福尼亞洛杉磯私人收藏。 品相：品相良好，舊時磨損，一些摺痕、輕微污跡、小缺損，可能有極輕微修飾。 尺寸：畫面65.5 x 47 厘米, 總128 x 89 厘米 (杆長) 挂軸。 拍賣結果比較：比較一件相近藏族綠度母唐卡，十八世紀，同樣四周圍繞八位度母，見紐約佳士得Indian and Southeast Asian Art 2013年9月18日 lot 265, 售價USD 15,000。

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.

A RITUAL BONE APRON, 18TH-19TH CENTURYTibet. The belt set with five oblong plaques flanked by two trapezoidal plaques, suspending a network of stranded beads joined by square plaques at the intersections, all carved with deities, auspicious symbols, and stylized floral designs, the bottom rung carved with garuda masks.Provenance: A private European collection, assembled in the 1960s and 1970s.Condition: Very good condition with minor wear, natural age cracks, small nicks and light scratches, possibly minor losses. Fine, naturally grown, honey-brown patina. The fabric mounting is a later addition.Weight: 1,131 g Dimensions: 47 x 59.5 cm (the mounting)Literature comparison For another example dated to the 17th century, in the James and Marilynn Alsdorf Collection, see P. Pal, A Collecting Odyssey, 1997, cat. no. 312. For another example dated 16th-20th century, see P. Pal, Tibet, Tradition and Change, 1997, cat. no. 85, indicating that individual parts were replaced over time.Auction result comparison: Compare a closely related ritual bone apron at Christie's Paris in Art Africain et Oceanien on 4 December 2008, lot 109, sold for EUR 7,250. Compare a related ritual bone apron, also dated 18th-19th century, at Christie's New York in Indian and Southeast Asian Art on 25 March 2004, lot 98, sold for USD 17,925. 十八至十九世紀薩滿教祭祀舞蹈用骨質圍裙西藏。腰帶結網編制，鑲有不同形狀大小的雕刻著神靈、吉祥紋以及花卉紋的骨牌，以骨珠連接，底部的橫檔上刻有迦樓羅紋。來源：歐洲私人收藏，建立於上世紀六十至七十年代。品相：狀況極好，有輕微磨損、自然老化裂紋、小劃痕和輕微刻痕，有輕微缺損。細膩並自然生長的蜜褐色包漿。織物鋪墊為後來添加。重量：1,131克尺寸：47 x 59.5厘米(含鋪墊)拍賣結果比較：比較一件相近的骨質圍裙，見巴黎佳士得Art Africain et Oceanien 2008年12月4日 lot 109, 售價EUR 7,250；比較一件同樣為十八至十九世紀的儀式骨質圍裙，見紐約佳士得 Indian and Southeast Asian Art 2004年3月25日 lot 98, 售價USD 17,925。

A KHMER BRONZE FIGURE OF UMA, ANGKOR PERIODCambodia, 12th-13th century. Finely cast standing in samabhanga, wearing a pleated sampot with an elaborate hem, holding a lotus flower in her right hand, richly adorned with jewelry. Her serene face with almond-shaped eyes, an urna, and full lips, the head surmounted by a large and elaborate pointed crown.Provenance: H. M. Luther, London, 1969. An old British-American collection, acquired from the above. A copy of the original invoice, dated 20 June 1969, dating the piece '10/12th century', accompanies this lot. Founded in London in 1947, H. M. Luther has long been a favorite source of knowledgeable and discerning clients.Condition: Good condition overall, commensurate with age and as expected for a bronze from this period. Extensive wear, signs of weathering and erosion, losses, structural cracks, encrustations and minor old fills. Fine, naturally grown malachite patina.Weight: 802.7 g (excl. base)Dimensions: Height 25 cm (excl. base) and 27 cm (incl. base)With an associated wood base. (2)The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer, especially in the size of the present lot.Literature comparison: Compare a related Khmer bronze figure of Uma, dated 11th-12th century, in the collection of the Victoria & Albert Museum, accession number IS.62-1993.Auction result comparison: Compare a related Khmer bronze figure of Lokeshvarara, dated to the 13th century, at Christie's New York in Indian and Southeast Asian Art on 21 September 2007, lot 366, sold for USD 21,250.

A BISCUIT PORCELAIN FIGURE OF GUANYIN WITH CHILD, KANGXI PERIODChina, 1662-1722. The goddess of mercy modeled seated at ease in long robes, the right knee raised to support a young boy holding a lotus stem, the serene face topped with a high chignon hairstyle and cowl. Covered with fine glazes of emerald-green, lemon-yellow and aubergine.Provenance: From a French private collection.Condition: Fine appearance with some firing flaws, wear, few small chips, losses and associated old repairs. Residues of brown and black varnish. The wood base with some repair, nicks and cracks.Weight: 303 g (excl. stand)Dimensions: Height 18.1 cm (excl. stand) and 23 cm (incl. stand)With an associated, finely carved and open-worked hardwood base supported on five feet, which is mounted to a later wood plinth. (2)Auction result comparison: Compare a related sancai-glazed biscuit group of Guanyin and child, of larger size (32.4 cm high), also dated to the Kangxi period, at Sotheby's New York in The Hundred Antiques: Fine & Decorative Asian Art on 30 September 2020, lot 1099, sold for USD 2,772.康熙時期素燒瓷胎送子觀音 中國，1662-1722年。觀音身著長袍，顯得自在休閑；右膝托著一個手持蓮藕的少年，安詳的臉龐，梳高髻戴頭帔。覆蓋著翠綠色、檸黃色和茄紫色的釉料。 來源：法國私人收藏。 品相：外觀精美，有一些燒製瑕疵、磨損、少量小磕損、缺損和相關的維修。 棕色和黑色清漆的餘留。木底座有一些修復、刻痕和裂縫。 重量：303 克 (不含底座) 尺寸：高18.1 厘米 (不含底座) 與 23 厘米 (含底座) 有一個鏤空雕刻的硬木底座，安裝在後來的木底座上。(2) 拍賣結果比較：比較一件相近的康熙時期三彩送子觀音 (高32.4 厘米)，見紐約蘇富比The Hundred Antiques: Fine & Decorative Asian 2020年9月30日 lot 1099, 售價USD 2,772。

A SAPPHIRE-BLUE GLASS 'INTEGRAL DISH' SNUFF BOTTLE, 18TH CENTURYChina. The transparent bottle of rectangular form, with mask handles in the shape of mythical beasts on both narrow sides, the wider sides with integrated snuff dishes. 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: Good condition with wear, surface scratches and minor nibbling to lip and mask handles. Stopper: Blue glass cabochon, carved spoon Weight: 94 g Dimensions: Height including stopper 80 mm. Diameter neck 22 mm and mouth 11 mm.Circular panels framed by a raised border were a feature of early snuff bottle production, as we know from a Yongzheng-marked turquoise bottle in the Susan Ault Collection (Snuff Bottles of the Ch'ing Dynasty, p. 59, no. 38). The form is intriguing, particularly in light of the controversy over the evolution of the snuff dish. Both sides are distinctly concave and deliberately dished, and there seems no decorative reason for such a feature. Their creation would have required additional manipulation by the craftsman, with no discernible aesthetic advantage. In this case, at least, we may safely assume the intention of the maker to have been the provision of a bottle with integral, functional snuff dishes.Auction result comparison: Compare with a related glass snuff bottle at Bonhams Hong Kong in Fine Chinese Art on 28 November 2011, lot 68, sold for HKD 212,500.十八世紀寶石藍料開光鼻烟壺中國。透明長方形瓶身，肩部瑞獸輔首，壺身一面扁平稍内凹，為鼻烟碟。 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 是國際中國鼻煙壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：狀況良好，有磨損、表面劃痕，以及唇部邊沿和輔首處的輕微磕損。 壺蓋: 藍色玻璃, 雕刻小勺 重量：94 克 尺寸：含壺蓋總高80 毫米， 頸部直徑22 毫米，壺嘴直徑11 毫米 拍賣結果比較：比較一件相近的料器鼻烟壺，見香港邦翰思Fine Chinese Art 2011年11月28日lot 68, 售價HKD 212,500。

A WUCAI 'BEASTS' BALUSTER JAR, QING DYNASTYChina, 1644-1912. The sides rising from the slightly concave base to a waisted neck with everted lip. Well painted in bright enamels and underglaze-blue with a qilin, a Buddhist lion, and a tiger in a fenced garden amid rockwork, lingbi stones, a palm, further plants, flames, and clouds. The shoulder with a diapered band below stiff leaves and a double line border.Provenance: From the collection of Hilkka Hellevi Korpivaara, thence by descent. Hilkka Korpivaara, nee Wright (1929-2017), was born in Vyborg in Finnish Karelia, now Russia. Her family fled Vyborg in 1939 at the start of the Winter War between the Soviet Union and Finland, and settled in Helsinki. In 1951 she married Paavo Korpivaara (1922-2004), who in 1954 became the director of his family's business, Korpivaara Oy, one of Finland's largest car dealerships. From a young age, Hilkka was highly interested in design and fashion. She designed her own clothes together with the fashion designer and co-founder of Marimekko, Riitta Immonen. Her passion also led to many years of active collecting. She was especially fascinated by Asian art and acquired a collection of fine Chinese ceramics, mainly buying from auction houses and dealers in Helsinki, Stockholm, and London from the 1970s to the early 1990s.Condition: Very good condition with some old wear, traces of use, shallow surface scratches and firing irregularities. Some rubbing to enamels.Weight: 3,589 gDimensions: Height 28 cmThe neck with an apocryphal underglaze-blue six-character mark da Ming Jiajing nianzhi in a line.清代瑞獸五彩罐中國，1644-1912年。唇口，縮頸，豐肩。明亮的琺琅以及鈷藍釉描繪了園中一隻麒麟、一隻太獅以及一隻老虎。四周可見靈璧石以及芭蕉，空中祥雲。頸部蕉葉紋，肩部雙線折紋。 來源：Hilkka Hellevi Korpivaara收藏，保存至今。Hilkka Korpivaara, nee Wright (1929-2017), 出生于原芬蘭卡累利阿省的維堡，如今屬於俄羅斯。1939 年，蘇聯和芬蘭之間的冬季戰爭開始時，她的家人逃離了維堡，定居在赫爾辛基。 1951 年，她與 Paavo Korpivaara (1922-2004) 結婚，後者於 1954 年成為其家族企業 Korpivaara Oy 的董事，該企業是芬蘭最大的汽車經銷商之一。 Hilkka 從小就對設計和時尚非常感興趣。她與時裝設計師兼 Marimekko 的聯合創始人 Riitta Immonen 一起設計了自己的衣服。 她的熱情也促成了多年的收藏。 她對亞洲藝術尤其著迷，並收藏了一系列精美的中國陶瓷，大部分是從 1970 年代至 1990 年代初期在赫爾辛基、斯德哥爾摩和倫敦的拍賣行和經銷商處購買。 品相：狀況極好，有一些舊磨損、使用痕跡、表面淺劃痕和燒製瑕疵，琺琅上有一些摩擦痕跡。 重量：3,589 克 尺寸：高28 厘米 頸部青花僞托款"大明嘉靖年製"雙圈款。

A MUGHAL-STYLE CELADON JADE VASE AND COVER, QING DYNASTYChina, 19th century. The extremely thin baluster sides rising from a spreading foot with a domed base to a short waisted neck with a lipped rim, surmounted by a domed cover with a lotus bud finial. The sides are crisply carved in relief with lotus sprays between stiff leaves, the cover and finial additionally decorated with petals. The translucent stone is of a decent pale-celadon tone with cloudy white inclusions and few dark speckles.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy, acquired at Unica Fine Art Expo, Modena, Italy, in 2014. Galerie Zacke, Fine Chinese Art, Buddhism and Hinduism, 27 September 2019, lot 216. A private collector in Hungary, acquired from the above. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art and jades in particular. His book "Radiant Stones: Archaic Chinese Jade" from 2004 is considered a cornerstone publication in the field of ancient Chinese Jade.Condition: Excellent condition with minor wear. The stone with natural fissures, some of which have developed into small hairline cracks over time. Fine, unctuous feel overall.Weight: 165.5 gDimensions: Height 17.7 cmAuction result comparison: Compare a related Mughal-style celadon jade vase and cover, dated 18th-19th century, at Sotheby's New York in Fine Chinese Ceramics and Works of Art on 23 March 2011, lot 778, sold for USD 50,000, and another of larger size (28 cm high) at Bonhams San Francisco in Fine Asian Art on 21 June 2011, lot 8088, sold for USD 14,640. 清代蒙兀兒風格青玉蓮紋蓋瓶 中國，十九世紀。直口，豐肩，斂腹，平面底，蓮花寳頂高圓蓋。瓶身清晰浮雕纏枝蓮紋，蓋子上施倒蓮紋。半透明的玉石呈淡青色，帶有白色絮狀物和很少的黑斑。 來源：義大利羅馬Filippo Salviati教授私人收藏，2014年購於義大利摩登那Unica Fine Art Expo藝博。見本藝廊 Fine Chinese Art, Buddhism and Hinduism 2019年9月27日lot 216. 匈牙利私人藏家購於上述拍賣。Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。 Salviati教授對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。他2014年出版的 "Radiant Stones: Archaic Chinese Jade" 被認爲是中國古代玉器領域的奠基出版物。 品相：狀況極佳，輕微磨損，少量天然裂縫，其中一些裂縫隨著時間的推移可能會發展成微小的裂縫。總體細膩潤澤。 重量：165.5 克 尺寸：高17.7 厘米 拍賣結果比較：比較一件相近蒙兀兒風格青玉蓋瓶，十八至十九世紀，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2011年3月23日lot 778, 售價USD 50,000；另一件尺寸更大 (高28 厘米) 見舊金山邦翰思Fine Asian Art 2011年 6月21日 lot 8088, 售價USD 14,640。

A SPADE-SHAPE PORCELAIN SNUFF BOTTLE, QIANLONG MARK AND POSSIBLY OF PERIODChina, 1770-1860. Of flattened shape on a flat foot and waisted neck, painted in famille-rose enamels with iron-red and gilding details, both sides depicting a scholar with his attendant in scholarly pursuits, enclosed by a faux-bois border, the base with a six-character Qianlong mark. 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: Very good condition with minor wear, some loss to the gilt, mostly on the lip. Weight: 33 g Dimensions: Height including stopper 63 mm. Diameter neck 14 mm and mouth 7 mm.Expert's note: This bottle is somewhat of an anomaly among its peers, it being an example of exceptional quality even though it is from a time when the caliber of snuff bottles made in Jingdezhen in the so-called 'Palace style' was already on the decline, that is either during the last quarter of the 18th or the first half of the 19th century. Auction result comparison: Compare a related famille rose porcelain snuff bottle, of heart-shape, also with Qianlong mark and possibly of the period, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 28 May 2019, lot 180, sold for HKD 125,625. Compare also a related enameled porcelain snuff bottle, of heart-shape, with Qianlong mark, at Sotheby's New York in The Joe Grimberg Collection Of Chinese Snuff Bottles on 14 September 2010, lot 23, sold for USD 16,250. 乾隆款或爲其年代粉彩人物場景鼻烟壺中國，1770-1860年。扁平心形，侈口，縮頸，平足，粉彩描金，開光描繪文人場景。底足上汎紅釉"大清乾隆年製"六字款。 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 是國際中國鼻煙壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：狀況極好，輕微磨損，鎏金部分磨損，主要在唇部。 重量：33 克 尺寸：含蓋高63 毫米. 頸部直徑14 毫米 及口部直徑7 毫米. 拍賣結果比較：比較一個相近的乾隆款粉彩心形鼻烟壺，或為乾隆年代，見香港邦翰思Fine Chinese Ceramics and Works of Art 2019年5月28日lot 180, 售價HKD 125,625。比較一件相近的乾隆款粉彩心形鼻烟壺，見紐約蘇富比The Joe Grimberg Collection Of Chinese Snuff Bottles 2010年9月14 日lot 23, 售價USD 16,250。

A SMALL GE-TYPE WASHER, MING DYNASTYChina, 1368-1644. Of shallow square form, the washer is covered in a thick grayish-cream glaze suffused with a network of 'iron' crackle interspersed with light brown crackles.Provenance: Old central European private collection and thence by descent within the same family to the present owner.Condition: Good original condition with extensive glaze staining and wear, some firing irregularities, including glaze pits and recesses as well as six evenly spaced spur marks (not to be confused with pits), and wear especially to the corners, the rim with a minuscule chip.Weight: 198.9 gDimensions: Width 8.8 cm, Height 3.6 cmGe ware, along with Guan, Ru, Ding and Jun, comprise the 'Five Great Wares of the Song Dynasty'. The problems of distinguishing the two crackled wares, Guan, and Ge, were discussed at length during a conference held at the Shanghai Museum in 1992, and while no unanimity of opinion was reached, it was generally thought that those wares with a jinsi tiexian ('gold thread and iron wire') crackle should be designated Ge. See R. Scott, "Guan or Ge Ware?", Oriental Art, Summer 1993, pp. 12-23.Recent archaeological researchers suggest that Ge wares may have been made at kilns in Chuzhou, nearer to the center of Longquan production, or just outside the walls of the Southern Song palace at Hangzhou. Scholars agree that Ge wares display the qualities that might be expected of vessels intended for imperial appreciation.Literature comparison: A related washer, but of circular shape and dated to the Yuan dynasty, 14th century, is in the Qing Court Collection and is published in the National Palace Museum, Precious as the Morning Star: 12th-14th Century Celadons in the Qing Court Collection, p. 275, no. IV-34.Auction result comparison: Compare a near-identical Ge-type washer, also dated to the Ming dynasty, of identical form and size, and with a two-color crackle, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2018, lot 717, sold for USD 21,250. Compare also a small Ge-type octagonal bowl dated to the 18th century, of closely related size and also with a two-color crackle, at Bonhams London in Asian Art on 10 May 2021, lot 76, sold for GBP 287,750. 明代哥窯小筆洗中國，1368-1644年。淺方形，通體厚厚的米色釉，上面覆蓋著一層散佈著淺棕色開片。 來源：中歐私人收藏，在同一家族保存直至現任藏家。品相：良好的原始狀態，有大量釉色污染和磨損，一些燒製不規則，包括釉坑和凹坑以及六個均勻分佈的釘痕（不要與坑混淆），角落磨損，邊緣有微小的碎片。 重量：198.9 克 尺寸：寬8.8 厘米, 高3.6 厘米 拍賣結果比較：幾乎一模一樣的哥窯筆洗，同樣為明代，于紐約佳士得Fine Chinese Ceramics and Works of Art 2018年3月23日lot 717, 售價USD 21,250. 另一件稍小十八世紀的哥窯碗，見倫敦邦翰思Asian Art 2021年5月10日 lot 76, 售價GBP 287,750.

A NEPALESE BRONZE FIGURE OF AMITAYUS, MEDIEVAL PERIODC. 11th-14th century. Seated in dhyanasana atop a waisted double-lotus base with beaded upper edge, his hands holding the amrita vase, clad in a diaphanous sanghati with the folds gathered over the ankles and onto the base, adorned with beaded and floral jewelry and billowing scarves. The serene face with heavy-lidded eyes below gently arched brows centered by an urna, wearing a foliate tiara.Provenance: UK trade.Condition: Good condition, commensurate with age. Extensive wear, casting flaws, signs of weathering and erosion, dents, nicks, losses, scratches. The tiara is bent and the back of the head and chignon are lost. Fine, naturally grown patina with a good, unctuous feel overall. The base unsealed and fitted with a wood core some time ago.Weight: 403.2 gDimensions: Height 13 cmExpert's note: The current work displays strong characteristics of Nepalese ateliers, particularly the rich coppery tone of the bronze. Influences of Pala tradition from northeast India are also articulated, including the tubular limbs. The waisted lotus base, on the other hand, is reminiscent of the even earlier Swat Valley bronzes. The statue itself and the condition of the piece overall preclude any revival style, making a dating between the 11th and 14th centuries most likely.Auction result comparison: Compare a related bronze figure of Amitayus or Manjushri, 14 cm high, dated to the 11th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 623, sold for USD 25,000.中世紀尼泊爾無量壽佛銅像約十一至十四世紀。無量壽佛手持淨瓶平行曡放在雙膝上，結跏趺坐坐於雙層蓮座上，頭戴寶冠，髮髻高聳，項戴纓絡項鍊，裝飾華麗 。表情安詳，眼睛微垂，眉頭微彎，雙眉之間有白毫。 來源: 英國古玩市場。 品相: 狀況良好，與年齡相稱，有大面積磨損、鑄造瑕疵、風化、侵蝕跡象、凹痕、刻痕、缺損和劃痕。頭飾彎曲，後腦勺和髮髻丟失。自然包漿，整體感覺細膩。底座曾被開封並安裝了木芯。 重量: 403.2 克 尺寸: 高13 厘米拍賣結果比較: 比較一件相近的十一世紀阿彌陀佛或文殊菩薩銅像，高14 厘米，見紐約佳士得Indian, Himalayan & Southeast Asian Works of Art 2019年3月20日 lot 623, 售價USD 25,000。

A FAHUA FIGURE OF LI TIEGUAI, LATE MING TO EARLY QINGChina, 16th-17th century. Standing on a molded and carved rockwork base, supporting himself on his iron cane, wearing a loose-fitting robe tied at the waist and open at the chest and large belly, his neatly incised hair secured by a band, the fine face with large eyes and scrolling beard and brows, flanked by long pendulous earlobes.Provenance: Compagnie de la Chine et des Indes, Paris, inventory number 20582, acquired 1968 in Hong Kong. The Compagnie de la Chine et des Indes (China and India Company) in Paris was founded in the early 20th century by the Blazy brothers, acquired in 1935 by Robert Rousset and later run by his grandnephews Mike Winter-Rousset and Herve du Peuty. With his sister Suzanne in charge of the porcelain, Robert Rousset developed the business, and the company became one of the most important dealers for Asian art in France, selling pieces to the greatest museums, including the Guimet and the Metropolitan Museum of Art.Condition: Extensive wear and traces of use, several old repairs and touchups, losses, the figure reattached to its original base, overall as expected for this type of ware and commensurate with age.Weight: 1,641 gDimensions: Height 32 cmAuction result comparison: Compare a related fahua figure of a luohan, with a Wanli mark and of the period, but of larger size (46 cm high), at Christie's London in Chinese Ceramics, Works of Art and Textiles on 12 May 2017, lot 293, sold for GBP 47,500, and a related fahua-type figure of an immortal, dated 18th-19th century, of slightly smaller size (27.6 cm high), at Christie's New York in The Collection of Robert Hatfield Ellsworth Part III - Chinese Works of Art: Qing Ceramics, Glass and Jade Carvings on 19 March 2015, lot 438, sold for USD 75,000. 明末清初法華鐵拐李像 中國，十六至十七世紀。鐵拐李站在雕花石台上，拄著鐵拐杖，身著束腰、敞胸露乳的大袍，頭髮捲曲，眉眼生動，長耳垂。 來源：巴黎Compagnie de la Chine et des Indes公司，庫存編號 20582，1968 年購於香港。 位於巴黎的 Compagnie de la Chine et des Indes公司於 20 世紀初由 Blazy 兄弟創立，1935 年由 Robert Rousset 收購，後來由他的外甥 Mike Winter-Rousset 和 Herve du Peuty 經營。 Robert Rousset 與他的妹妹 Suzanne 負責瓷器，並大力發展這項業務，該公司成為法國最重要的亞洲藝術品經銷商之一，向最大的博物館出售藝術品，包括吉美博物館和大都會藝術博物館。 品相：廣泛磨損和使用痕跡，幾次舊時修補，缺損，人物造像是重新連接到其原始底座，總體上符合此類造像品相預期並與年齡相符。 重量：1,641 克 尺寸：高32 厘米 拍賣結果比較：萬曆款及年代的一件法華羅漢像，但尺寸稍大 (高46 厘米), 見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 2017年5月12日 lot 293, 售價GBP 47,500; 一件法華仙人像，十八至十九世紀，尺寸稍小 (高27.6 厘米), 見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part III - Chinese Works of Art: Qing Ceramics, Glass and Jade Carvings 2015年3月19日 lot 438, 售價USD 75,000。

A FINE JADEITE 'CHILONG' AMPHORA VASE, QING DYNASTYChina, 19th century. Masterfully carved, the shoulder in openwork with a clambering chilong and pearl, flanked by two movable foliate handles suspending loose rings. The translucent stone is of a white tone tinged with lavender in some areas, and with shadings of apple and emerald-green color overall. The vessel is carved from a single piece of stone, including the handles and rings, and shows a superb, unctuous feel overall.Provenance: French private collection. Gros & Delettrez, Paris, 12 June 2019, lot 193, pictured on the catalog cover, sold for EUR 9,975. A noted French private collection, acquired from the above. A copy of a stamped provenance confirmation letter by Gros & Delettrez, Paris, dated 1 September 2020, and certifying that the present vase came from a French private collection, accompanies this lot.Condition: Excellent condition with only minor wear.The reverse incised with an apocryphal seal mark Qianlong yuzhi as well as a poem relating to the magnificent color of the vase.Weight: 156.1 gDimensions: Height 13.3 cmAuction result comparison: Compare a pair of related jadeite vases, 32.5 cm high, also with Qianlong yuzhi marks and dated to the 19th century, at Sotheby's Paris in Asian Art on 16 December 2010, lot 253, sold for EUR 39,150.清代翡翠螭龍啣環淨瓶中國，十九世紀。淨瓶修長，口外撇，削肩，頸部雕刻了一條攀爬的螭龍與一顆珍珠，肩部葉狀活動雙耳啣環。翡翠白中飄紫，並帶有翠綠色紋理。表面光滑，通體晶瑩光潤。 來源: 法國私人收藏，巴黎Gros & Delettrez藝廊，2019年6月12 日Lot 193, 封面圖片，售價EUR 9,975。法國知名私人收藏, 購於上述收藏。隨附一份Gros & Delettrez2020年9月1日出具的蓋了章的確認信副本，上面確認了此瓶來自法國私人收藏。 品相: 狀況極好，只有輕微磨損。 瓶身可見"乾隆御製"四字款與體現玉料美麗綠色紋理的詩句。 重量: 156.1 克 尺寸: 高13.3 厘米 拍賣結果比較: 比較一對相近的乾隆款但為十九世紀的翡翠瓶子，高32.5 厘米，見巴黎蘇富比Asian Art 2010年12月16日lot 253, 售價EUR 39,150。

A GARLIC HEAD BRONZE BOTTLE VASE, HAN DYNASTYChina, 202 BC to 220 AD. The finely cast vessel of compressed globular form with a long slender neck set with a single raised band, widening to a lobed garlic head mouth. The exterior overall with a fine ancient patina of azurite, malachite, and cuprite. Provenance: Belgian trade. Condition: Good condition, commensurate with age, and as expected with extensive wear, encrustation, soiling, dents, dings, cracks, losses, and a minuscule pierced hole.Weight: 1906 g Dimensions: Height 38 cmAuction result comparison: Compare a closely related garlic head bronze vase, also dated to the Han dynasty, at Bonhams San Francisco in Asian Decorative Arts on 9 October 2013, lot 3183, sold for USD 9,375. Compare also a closely related garlic head bronze vase, dated to the Han dynasty, at Bonhams San Francisco in Fine Chinese Works of Art on 16 December 2014, lot 8016, sold for USD 5,625. 漢代青銅蒜頭瓶中國， 公元前202 年至公元220 年。直頸圓腹，圈足，瓶口成蒜頭瓣狀，頸部一道凸紋。通體藍綠色鏽斑，包漿色澤豐富。來源：比利時古玩市場。 品相：狀況良好，與年齡相稱，如預期的那樣，有大量磨損、結殼、污漬、凹痕、裂縫、缺損和微小的穿孔。 重量：1906 克 尺寸：高38 厘米 拍賣結果比較：比較一件十分相近的漢代青銅蒜頭瓶，見舊金山邦翰思 Asian Decorative Arts 2013年10月9日 lot 3183, 售價USD 9,375 ；另一件相近的漢代青銅蒜頭瓶，見舊金山邦翰思 Fine Chinese Works of Art 2014年12月16日 lot 8016, 售價USD 5,620。

AN INDIAN MINIATURE PAINTING OF A MUGHAL PRINCE SMOKING A HUQQAIndia, Rajasthan, early 19th century. Watercolors and gold on paper. The prince seated on a large cushion in a palace terrace, wearing white robes, a yellow sash, and a fine headdress, smoking a waterpipe, his attendant behind him holding a flywhisk.Provenance: From an old English private collection. The reverse of the mounting with a monogram 'FPA 98'.Condition: Good condition with minor wear, soiling, staining, and creasing, few minuscule losses, possibly microscopic touchups.Dimensions: Image size 32.5 x 23 cm. Total size 49 x 39 cm (including frame). Mounted and framed behind glass.The hookah was invented by Abul-Fath Gilani, a Persian physician of Akbar, during Mughal India. It spread from the Indian subcontinent to Persia, where the mechanism was modified to its current shape. Despite tobacco and drug use being considered a taboo when the hookah was first conceived, its use became increasingly popular among nobility.Auction result comparison: Compare a related Indian miniature painting of Nawab Darab Khan smoking a huqqa, dated circa 1700, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 17 March 2014, lot 105, sold for USD 17,500.

A LARGE DRY-LACQUERED WOOD HEAD OF A LUOHAN, SOUTHERN SONG DYNASTYChina, 1127-1279. Finely modeled, the expressive face with a prominent brow above almond-shaped eyes, wide open and inset with black glass bead pupils, the nose slightly hooked above the open mouth showing teeth and forming a benevolent smile, applied overall with dark-brown lacquer.Provenance: From the private collection of Paul Bentley, Wisconsin, USA. Paul M. Bentley was an executive at the advertising firm Cramer-Krasselt in Milwaukee, Wisconsin, USA. After his retirement he became also known as the owner, together with his wife Judith, of the world-famous 'Crayola House' on the edge of Lake Michigan, which was designed by Margaret McCurry. The Bentleys were lifelong collectors of folk art, American furniture, and Asian works of art.Condition: Overall well preserved and commensurate with age, presenting nicely with extensive wear, crackle and flaking to lacquer, multiple layers of pigments of various dating, minor old repairs and touchups, small losses here and there, minor structural fissures, old traces of use, and weathering. Fine naturally grown patina.Weight: 4,540 gDimensions: Height 35 cm (excl. stand) and 52 cm (incl. stand)Mounted on an associated wood stand. (2)Naturalistic and realistic qualities in Buddhist sculpture were particularly sought-after during the Song dynasty. The 'dry lacquer' technique, as seen on the present head, lends itself to expressive sculpture, and was capable of producing religious statues and portrayals with unprecedented levels of realism that no other material or technique could evoke. The dry lacquer process involved first sculpting the figure in clay above a wooden model. Patches of lacquered hemp were then pasted onto the clay. These were then covered with further lacquer layers, which could be sculpted in greater detail and carved to give expressive qualities. Finally the surface was painted in polychrome pigments. In some examples, the original construction of wood and clay were hollowed out and removed after completion, leaving only the fragile skin of hemp and lacquer. Others, such as the present lot, were left to retain their wooden body. The number of extant Song dynasty religious images made in this complex and sophisticated technique is relatively low, largely due to the time-consuming and demanding production process as well the vulnerability of the lacquer material.Auction result comparison: Compare a closely related dry-lacquered head, also dated to the Southern Song dynasty but slightly smaller (28 cm) and with the wood core removed to leave only the hollow head, at Sotheby's New York in Junkunc: Chinese Buddhist Sculpture on 12 September 2018, lot 18, sold for USD 87,500.南宋大型乾漆木雕羅漢頭像中國，1127-1279年。刻畫細膩，杏仁狀眼上方眉毛突出，瞳孔內嵌黑色玻璃珠，鼻尖微勾，嘴巴張開露出牙齒，笑容慈祥，整體上深褐色漆。 來源：美國威斯康辛州Paul Bentley私人收藏。Paul M. Bentley 是美國威斯康辛州密爾沃基市廣告公司 Cramer-Krasselt 的一名高管。 退休後，他與妻子 Judith 一起成為世界知名的位於密西根湖邊、由 Margaret McCurry 設計"Crayola House"的主人。 Bentley家族一直是民間藝術、美國傢俱和亞洲藝術品的收藏家。 品相：整體保存良好並與年齡相稱，大面積磨損，漆面有裂紋和剝落，來自不同年代的多層顏料，輕微的舊時修補，多處缺損，輕微的結構裂縫，使用痕跡與風化。細膩的包漿。 重量：4,540 克 尺寸：高35 厘米 (不含底座)，總52 厘米 (含底座) 木底座。 (2) 拍賣結果比較：比較相近的南宋乾漆頭像 (28 厘米) ，去除木芯，見紐約蘇富比Junkunc: Chinese Buddhist Sculpture 2018年9月12日 lot 18, 售價USD 87,500。

A 'BAGUA' BRONZE CENSER AND COVER, QING DYNASTYChina, 1644-1912. The compressed globular body supported on three short feet, cast and incised with a band of leaves, the rim with two flaring handles, all supporting a cover with eight pierced trigrams surrounding the finial, which is cast as a Buddhist lion showing delicately incised details, with one front paw on a reticulated brocade ball.Provenance: From an old German private collection.Condition: Very good condition with old wear, traces of use, casting flaws, small nicks and occasional light scratches. Fine, naturally grown patina. With encrustations to the interior.Weight: 940 g Dimensions: Height 12 cmAuction result comparison: For another Bagua censer, also with bagua decoration to the cover, height 20 cm, see Bonhams San Francisco in Fine Asian Art on 21 June 2011, lot 8193, sold for USD 134,000. 清代青銅獅鈕八卦蓋爐中國，1644-1912年。爐口平整，束頸鼓腹，肩起雙耳，下承三足。 爐蓋雕刻八卦圖案，爐鈕飾獅子戲球，活潑可愛。來源：德國私人老收藏。 品相：狀況極好，有舊磨損、使用痕跡、鑄造瑕疵、小劃痕和局部輕微劃痕。自然細膩的包漿。内部鏽斑。 重量: 940 克 尺寸：高 12 厘米 拍賣結果比較：另一件八卦爐，蓋上也有八卦紋，高 20 厘米，見舊金山邦翰思Fine Asian Art 2011年6月21日 lot 8193, 售價USD 134,000。

A LARGE COPPER REPOUSSE FIGURE OF TARA, LATE 18TH CENTURYInner Mongolia or China. Seated in dhyanasana atop a double lotus base with beaded upper edge, the hands held in vitarka mudra, clad in a flowing dhoti with hems neatly incised with a foliate pattern, and richly adorned with beaded jewelry inlaid with turquoises. The face is centered by a third eye at the forehead, and the hair is pulled into a tall chignon behind the foliate tiara.Provenance: Old Belgian private collection. A Hungarian collector, acquired from the above.Condition: Good condition with minor old wear, small nicks and dents, light scratches, minuscule losses. The base unsealed and covered with ancient fabric. Remnants of gilt.Weight: 2,100 g Dimensions: Height 38.5 cmThis elegant figure of Tara exhibits many characteristics common to Buddhist imagery from the Qianlong period (1736-1795), made in the lamaist workshops in and around Beijing. In the latter half of Qianlong's reign, when the construction of Buddhist temples and the associated Buddhist images reached its apogee, the use of repousse, where thin metals are beaten rather than cast, became more prevalent in an effort to save materials and time. The artisans of the period quickly mastered the process, and details such as the ornately worked crown and flowers at the shoulders in the present figure demonstrate the mastery of the technique.Auction result comparison: Compare a related gilt bronze figure of Tara, 39.4 cm high, also dated to the late 18th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 673, sold for USD 21,250. Compare the bodily proportions, the repousse details, and the treatment of the lotus base of the present work with a Qianlong-period figure of a bodhisattva, 37.1 cm high, at Christie's New York in Fine Chinese Ceramics and Works of Art on 16 September 2016, lot 1231, sold for USD 35,000. 十八世紀末大型度母錘鍱銅像內蒙古或中國。度母結跏趺坐坐於蓮上，頭戴寶冠，冠葉細小，冠葉間距大，佩飾鑲嵌綠松石。華麗優美。像修眉廣目，面型圓滿，儀容端莊秀麗，姿態典雅。左手拇指與無名指相捻結施依印，右手結與願印置於膝上。長裙衣紋自然流暢，裙擺垂蓋蓮座。 來源：比利時私人老收藏；匈牙利藏家，購於上述收藏。 品相：狀況良好，有輕微磨損、小劃痕和凹痕和細微缺損。底座未封閉，覆蓋著老織物。鎏金殘留。重量：2,100 克 尺寸：高 38.5 厘米 拍賣結果比較：比較一對相近的十八世紀鎏金度母銅像，高4 厘米，見紐約佳士得Indian, Himalayan & Southeast Asian Works of Art 2019年3月 20日 lot 673, 售價USD 21,250；比較一件局部锤揲的乾隆時期菩薩造像，高37.1 厘米， 見紐約佳士得Fine Chinese Ceramics and Works of Art 2016年9月16日 lot 1231, 售價USD 35,000。

A SCHIST STELE DEPICTING ARDHANARISHVARA, 16TH-17TH CENTURYNepal. The composite deity wearing fine robes and scarves, beaded jewelry, and a foliate crown. The right half representing Shiva with mustache and holding the mala and trident, the left half representing Parvati with breast and holding a sutra and lotus blossom. The serene face with almond-shaped eyes and smiling lips, the hair pulled up into a high chignon, backed by a mandorla and surrounded by various deities including Ganesha, Brahma, and Skanda, all below two apsaras.Provenance: From an old private collection in London, United Kingdom, acquired ca. 40 years ago and thence by descent in the same family.Condition: Very good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, nicks, scratches, encrustations. Remnants of ancient pigment.Weight: 6.6 kg (incl. stand)Dimensions: Height 37 cm (excl. stand) and 40.8 cm (incl. stand)Ardhanarishvara ('the half-female Lord') is a form of the Hindu deity Shiva combined with his consort Parvati. Ardhanarishvara is depicted as half-male and half-female, equally split down the middle. The right half is usually the male Shiva, illustrating his traditional attributes. Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe and illustrates how Shakti, the female principle of God, is inseparable from Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation.Auction result comparison: Compare a related stele depicting Lakshminarayana, a composite deity representing Vishnu and Lakshmi, 37.3 cm high, dated 17th century, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 17 September 2014, lot 3, sold for USD 11,875. Compare a related stele depicting Durga, 29 cm high, dated 17th century, at Christie's Paris in Art d'Asie on 12 June 2019, lot 231, sold for EUR 8,125. 十六至十七世紀片岩石碑尼泊爾。複合神身穿精美的長袍，佩戴瓔珞，頭戴葉冠。 右半部代表留著小鬍子的濕婆，手持瑪拉和三叉戟，左半部代表長著乳房的帕爾瓦蒂，手持佛經和蓮花。面容安詳，髮髻盤成高髻，後背有光背，上有兩位飛天神女，周圍環繞著伽內甚、梵天等諸神。 來源：英國倫敦私人舊收藏，購於約四十年前，保存在同一家族至今。 品相：狀況極好，與年齡相稱。大面積磨損、缺損、風化和侵蝕的跡象、刻痕、劃痕、結殼及顏料殘餘。 重量：6.6 公斤 (含底座) 尺寸：高37 厘米 (不含底座)，總40.8 厘米 拍賣結果比較：比較一件相近的十七世紀的拉克希米·納拉揚石碑，高37.3 厘米, 見紐約邦翰思Indian, Himalayan & Southeast Asian Art 2014年9月17 日 lot 3, 售價USD 11,875。比較一件相近的十七世紀難近母石碑，高29 厘米，見巴黎佳士得Art d'Asie 2019年6月12日lot 231, 售價EUR 8,125。

A SOAPSTONE-INLAID 'ROMANCE OF THE WESTERN CHAMBER' SILK PANEL, QIANLONG PERIODChina, 1736-1795. The panel worked in variously colored or painted soapstones applied to a painted silk background to depict a man climbing over the roof of a small house, holding on to a willow branch, as a beauty looks and points up toward him, a high table with scholar's objects behind her.Provenance: UK trade.Condition: The silk with minor wear, some discoloration and soiling, and few small wormholes. The soapstone segments with natural fissures, some of which have developed into small hairline cracks over time, minor losses, and possibly very few replacements.Dimensions: Image size 23 x 16.5 cm, Size incl. frame 28 x 21.2 cmThe antique Western frame with original 'aesthetic paper' backing, behind glass, dating to the earlier 20th century.The soapstone is embellished with gilding and polychrome pigments. The garments and architectural structures with fine incisions, which can only be enjoyed to full extent under a magnifying glass.The Romance of the Western Chamber, written by Wang Shifu (1250-1300) was immensely popular among all levels of society. Woodblock illustrations in the many editions helped conventionalize images that were instantly recognizable to the general public, thus creating a corpus of motifs that was widely used by painters, silk embroiderers, lacquer workers and other craftsmen.Professor Herbert Giles, whose History of Chinese Literature was published in 1924, refers to The Xixiang Ji as the play "which will best repay reading". It is the typical story where a handsome student and beautiful girl attempt to cross the social divide, aided and incited by the girl's maid. The dialogue is punctuated with images of wind, snow, moonlight, and flowers, emphasizing both the passion and the romance felt by the struggling couple.Auction result comparison: Compare a set of four closely related soapstone-inlaid silk panels, also dated to the Qianlong period and depicting scenes from the Romance of the Western Chamber, at Christie's London in Fine Chinese Ceramics and Works of Art on 14 May 2019, lot 146, sold for GBP 20,000. Compare a set of four closely related soapstone-inlaid silk panels, also depicting scenes from the Romance of the Western Chamber, dated late Qing to Republic, at Bonhams San Francisco in Fine Asian Works of Art on 13 December 2010, lot 5121, sold for USD 48,800. 乾隆時期嵌石《西廂記》場景鏡心中國，1736-1795年。絹本設色，鑲嵌上色皂石，描繪了《西廂記》中月下相會場景。張生趴在墻上，崔鶯鶯立於院中。背景設色，人物、院牆以及身旁高几等，利用皂石，使畫面更加立體。製作十分精美。來源: 英國古玩市場。 品相: 絲綢有輕微磨損，有一些變色和污漬，輕微小蟲洞。具有天然裂縫的皂石鑲嵌，隨著時間的推移，其中一些已經發展成細小的裂縫，小缺損，並且可能很過更換。 尺寸: 畫面23 x 16.5 厘米, 28 x 21.2 厘米 西式裝框與原始的裝裱紙，裝裱於玻璃後，應爲二十世紀初。 拍賣結果比較: 比較一套四幅嵌皂石《西廂記》掛幅，乾隆時期，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2019年5月14日 lot 146, 售價GBP 20,000；比較另一套清末民初四幅嵌皂石《西廂記》掛幅，見舊金山邦翰思Fine Asian Works of Art 2010年12月13日lot 5121, 售價USD 48,800。

A RARE TURQUOISE PEKING GLASS STEM BOWL AND COVER, QIANLONG MARK AND PERIODChina, 1736-1795. The deep rounded sides rising from the tall spreading stem, the domed cover surmounted by a lotus pod-form knop. Finely carved and molded with numerous overlapping lotus petals to both the stem bowl and the cover. The opaque glass of a rich turquoise color. The base with an incised four-character seal mark Qianlong nianzhi within a square and of the period.Provenance: From a private collection in New York City, New York, USA.Condition: Excellent condition with minor manufacturing-inherent irregularities and some traces of use, mostly to the base ring, rims, and knop. Old wear overall and some shallow surface scratches. Over the years the lid seems to have been more exposed to sunlight than the vessel, resulting in marginal color mutation as expected.Weight: 1,391 gDimensions: Height 15.2 cm, Diameter 12.4 cmAuction result comparison: Compare a related turquoise-blue glass censer, also with a four-character incised Qianlong mark and of the period, with similar lotus petals, but of smaller size (10 cm wide), at Christie's London in Fine Chinese Ceramics and Works of Art on 9 May 2017, lot 29, sold for GBP 11,250. Compare also a related Peking glass container, with similar lotus petals but of a different color, unmarked but dated to the Qianlong period, at Bonhams San Francisco in Fine Asian Works of Art on 22 June 2010, lot 2114, sold for USD 13,420.乾隆款及年代罕見綠松石色蓮紋琉璃蓋杯 中國，1736-1795年。蓋杯深腹，高足，重叠蓮花紋。杯蓋蓮花鈕。濃鬱的綠松石顏色，不透明玻璃。底座刻四字篆書"乾隆年製"款。 來源：美國紐約私人收藏。 品相：狀況良好，有輕微製造瑕疵和一些使用痕跡，主要是底座、邊沿和蓋鈕。整體磨損和一些表面淺劃痕。多年來，可能是因爲蓋子比杯子更多地暴露在陽光下，導致邊緣顏色不一。 重量：1,391 克 尺寸：高15.2 厘米, 直徑12.4 厘米 拍賣結果比較：比較一件相近綠松石色玻璃香爐，同樣有乾隆四字款和年代，但尺寸稍小 (10 厘米寬)，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2017年5月9日 lot 29, 售價GBP 11,250；比較一件相近北京玻璃罐，蓮紋，但顔色不同，無款但為乾隆年代，見舊金山邦翰思Fine Asian Works of Art 2010年6月22日 lot 2114, 售價USD 13,420。