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A boxed vintage Pronuptia floral bridal headdress with spiral bow detail to back. Together with a wedding veil with embroidery and sequin decoration and attached comb.

AN ANTIQUE ELM SMOKERS BOW ARMCHAIR

A CASED VINTAGE TWO PIECE BACK VIOLIN AND BOW

A 19th century mahogany bow front chest, of two over four long graduated drawers, 47ins x 20ins, height 51ins

WALNUT BOW FRONT DISPLAY CABINETwith a shaped raised back above a pair of panelled glass doors, 127cm x 100.5cm x 32cm

1930s OAK NEST OF TABLESwith moulded bow fronts, standing on plain supports, the largest 54.5cm high

A gentleman gardener’s walking stick bow saw Of Holtzapffel type. The wooden stick, nickel mounted and with a silver shield escutcheon, monogrammed WA, beneath a royal crown.The concealed blade still sharp.Height 92.5cmProvenance, Phillips Son & Neale, Marylebone sale ex Bagshot Park.

Lot of garnet jewelry with silver, a pair of heart-shaped earrings with filigree and a faceted stone in heart shape, 38 mm. A bracelet with a heart-shaped element and a silver clasp in the shape of a bow and 2 rows of garnet stones, 17 cm. And a pair of silver earrings with a flower-shaped stud and underneath a shield-shaped pendant with onyx and garnet. 47mm. total approx. 34 grams. In good condition.

Necklace made of red coral, round model ø 6 mm. attached to a yellow gold clasp, 585/000, in bow shape with a single-cut diamond on either side. 39 cm. approx. 21.2 grams. In good condition.

A Victorian mahogany bow fronted washstand, with a raised marble back and top, a plain frieze, and a central carved cabriole leg, with plain legs to the reverse, on a shaped plinth, 98cm wide.

A 19thC bow fronted chest of drawers, the top with a reeded edge, above three drawers with oval brass drop handles, and bracket feet, 94cm high, 101cm wide, 57cm deep.

A walnut and figured walnut bow fronted chest, the top with a moulded edge above four drawers with drop handles, on bracket feet, 83cm high, 74cm wide.

A Victorian mahogany bow fronted chest of drawers, with a plain top with a moulded edge above two short and three long drawers, each with oval brass drop handles, on bracket feet, 100cm high, 107cm wide.

A Victorian mahogany bow fronted side table, with two frieze drawers, on turned tapering legs and brass castors, 78cm high, 123cm wide.

A walnut and figured walnut bow fronted chest, the quarter veneered top with a cross banded border and a moulded edge above a brushing slide, and four drawers, each with brass drop handles, on splayed feet, 77cm high, 58cm wide.

A yew bow fronted hanging corner cabinet, with a moulded cornice and single astragal glazed door enclosing two glass shelves, with fabric lined interior, 100cm high, 58cm wide.

* AUGUSTUS EDWIN JOHN RA (WELSH 1878 - 1961), PORTRAIT OF A GENTLEMAN IN A BOW TIE oil on canvas, signedframedimage size 45cm x 35cm, overall size 66cm x 56cm Note: Augustus Edwin John OM RA was a Welsh painter, draughtsman, and etcher. For a time he was considered the most important artist at work in Britain: Virginia Woolf remarked that by 1908 the era of John Singer Sargent and Charles Wellington Furse "was over. The age of Augustus John was dawning."

EMERALD AND DIAMOND PENDENT EARRINGS, EARLY 20TH CENTURYEach emerald drop suspended from a single-cut diamond surmount, via a ribbon bow motif, length 4.0cm, fitted caseFor further information on this lot please visit Bonhams.com

Continental Cavalry Officers Sword c.1840, curved single edge blade 75cms, cut with a single broad fuller and blued and gilt for first 20cms with small devices including 2 martial trophies, blade with maker’s initials A. K. beneath langet, brass hilt with traces of gilding (knuckle bow missing), lion’s head pommel, prominent oval langets with trophies of arms in relief, one piece chequered ivory grip, in its brass mounted iron scabbard. Good condition. Ivory declaration number DLMPXZQ3

Late Victorian Cut Steel Hilt Dress Sword, slender triangular section blade 78.5cms etched with scrolling foliage, knuckle bow and guard applied with facetted studs fluted steel grip and urn-shaped pommel, in its scabbard with iron mounts. Good condition, hilt and scabbard age worn, scabbard now bound with tape.

Fine French Staff Officers Sword, curved single edge blade 83cms, blued and gilt (worn) for first 22cms and etched with small devices including 2 martial devices, brass stirrup hilt retaining much original gilding, beaded oval finial to quillon, stepped pommel, shell finial at top of knuckle bow, chequered ebony grip, bullion dress knot, in its brass scabbard with impressed decoration and 2 hanging bands. Good condition, old repair at bottom of scabbard.

12 Bore Double Barrel Percussion Sporting Gun by Purdey, browned stub twist barrels 76cms with platinum breech lines and safety plugs, scroll engraved locks engraved PURDEY, engraved iron mounts, rigger guard bow with a pair of pointers and with No.4343, half stocked, brass tip wooden ramrod. Fair condition, well-worn overall.

Five pairs and three other 19th century and later porcelain figures to include Bow, Dresden, Sitzendorf and others A/F

A 19th century glass bottomed pewter tankard commemorating Brasenose College, Oxford Regatta, 1879 Scratch Eights, engraved with the members of the boats, H E Sharpe Bow, G W Yardley 2, F Drury 3, A C King 4, J M B Rea 5, A O McKenzie 6, G F Bassett 7, A M Campbell, Stroke, and G R Menzies Cox Location:

Mixed furniture to include a Georgian inspired bow fronted chest of four long drawers 84.5cm h x 78cm w Location:

A MONUMENTAL HEAD OF VAIROCANA, THE PRIMORDIAL BUDDHA, CIRCA 500-800 ADExpert's note: The present head is extraordinarily rare due to its exceptional size and history as part of a towering statue, likely standing around four meters tall, once gracing the exterior of a significant temple or cave shrine. It portrays a most important solely Buddhist subject, showcases a clear Gupta influence not seen in later Chinese sculpture, and was carved from red sandstone, a direct tribute to the art of Mathura. It therefore dates back to the Tang dynasty, if not considerably earlier, with a vanishingly small possibility of originating at the beginning of the Song dynasty. Powerfully yet sensitively sculpted, the full rounded face is carved with soft bow-shaped lips, the elongated eyes elegantly delineated beneath gracefully arched brows, the hair in crisply carved curls. Surmounted by a tall crown with three figures in high relief representing the Buddhas of the past, present, and future, each seated in dhyanasana on a lotus throne.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number '4154'. James J. Lally was a renowned antique dealer and connoisseur, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970, he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong-a bronze vessel shaped like a gravy boat-decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands." The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats," Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques," and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records. Condition: Excellent condition, commensurate with age. Old wear, encrustations, and erosion. Obvious losses, minor nicks and scratches. The originally rather porous sedimentary rock now almost completely smoothed out by more than a millennia of weathering and worship. Magnificent naturally grown patina overall, giving the stone a deep auburn color.Weight: 120 kg (incl. stand) Dimensions: Height 60.1 (excl. stand) and 95 cm (incl. stand)With a fitted stand. (2)Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A STUCCO HEAD OF BUDDHA, YUAN TO MING DYNASTYChina, 14th-15th century. Well modeled with full cheeks and a serene expression, marked by heavy-lidded downcast eyes finely inlaid with black glass pupils, below arched brows centered by a recessed urna, above a broad nose and bow-shaped lips, flanked by long pendulous earlobes. The hair is arranged in tight snail-shell curls over the ushnisha.Provenance: French trade. By repute, acquired from an old private estate. Condition: Good condition, commensurate with age, displaying remarkably well. Extensive wear, obvious losses and flaking to the stucco, small chips and nicks, minor structural fissures, possibly small old repairs and/or touchups. Remnants of ancient pigments. Solid, naturally grown patina overall.Weight: 19.2 kg (incl. stand) Dimensions: Height 32.5 cm (excl. stand) and 44.5 cm (incl. stand) With an associated stand. (2)Several features link this head to similar sculptures from the Yuan and Ming Dynasties in Shanxi province. The whorls of hair on this lot are painted blue, parting in the middle of the forehead, leading to a domed ushnisha. The ushnisha is free of hair and was previously painted red. Similar features are illustrated in Zhongguo meishu quanji - diaosu 6 Yuan Ming Qing diaosu, Beijing, 1988, pp. 63, no. 67, and pp. 91, no. 99. Similar in situ buddhas are still present in the temples in the Pingyao Ancient City in Shanxi.Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2007, lot 228 Price: USD 57,600 or approx. EUR 78,000 converted and adjusted for inflation at the time of writing Description: A massive painted and gilt-lacquered stucco head of Buddha, Yuan/Ming dynasty, 14th-15th century Expert remark: Compare the closely related modeling with similar expression, facial features, and hair. Note the lacquer gilding and larger size (82.6 cm). 元至明灰泥佛頭中國, 十四至十五世紀。造型優美，臉頰飽滿，表情平靜，雙眼微閉，目中鑲嵌著黑色玻璃瞳孔，雙眉之間有白毫，寬鼻，長耳垂。頭上有螺髻。 來源：法國古玩交易，據説來自一個私人舊藏。 品相：品相良好，大面積磨損、灰泥缺損和剝落、小刻痕、輕微的結構裂縫、可能有小修。顏料殘餘。整體自然包漿。 重量：19.2 公斤 (含底座) 尺寸：高 32.5 厘米 (不含底座) 與44.5 厘米 (含底座) 配置底座。(2) 頭像的個別特徵與山西省元明時期的造像相似。頭髮塗成藍色，在前額中間分開，有白毫。相近的特徵在《中國美術全集 - 雕塑 6元明清雕塑》，北京，1988 年，第 63 頁，圖67，和第 91 頁，圖99。山西平遙古城的寺廟中仍存有類似的造像。拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年3月22日，lot 228 價格：USD 57,600（相當於今日EUR 78,000） 描述：十四至十五世紀元至明代鎏金灰泥頭 專家評論：比較非常相近的表情、面部特徵和髮型。請注意鎏金和尺寸較大 (82.6 釐米)。

MAITREYA IN THE TUSHITA HEAVEN, AN EXTREMELY RARE GILT-BRONZE FIGURE, XUANDE INCISED SIX-CHARACTER MARK AND OF THE PERIOD, CHINA, 1425-1435Expert's note: Maitreya is visualized here in his manifestation as a princely bodhisattva, teaching in the Tushita heaven, thus with his hands held in dharmachakra mudra, the teaching pose (turning the wheel of the second law), after which Maitreya will leave the Tushita heaven and come upon earth to 'establish the lost truths in all their purity.' Maitreya's face is imbued with compassion, the essential quality of the bodhisattva, with a downward gaze and gentle smile. Maitreya is the only Boddhisattva who is popular among all sects of Buddhism, such as the Mahayana, the Hinayana, and the Vajrayana, and he is often shown with his long hair hanging over his shoulders, such as in the present portrayal.Superbly cast, the bodhisattva seated in vajraparyankasana on a double-lotus base with beaded edges, his hands held in dharmachakra mudra, wearing a dhoti with exquisitely carved folds gathered at the waist and fastened by a beaded girdle and a scarf around the bare shoulders flowing over the arms, revealing the chest adorned with beaded pendent jewelry. The upper surface of the base is engraved with a six-character mark da Ming Xuande nian shi and of the period.Provenance: Spink & Son, London, United Kingdom, c. 1966. Adrian Maynard, London, United Kingdom, acquired from the above and thence by descent within the family. A noted Hungarian collector, acquired from the above after 2015. Adrian Maynard joined Spink & Sons in 1947, where he was appointed Director from 1962 and eventually Deputy Chairman until his retirement in 1984. He was a man of enormous drive and undoubtedly the most flamboyant character to take charge of the Asian art department, which he took to the height of its success. Maynard believed firmly that "a dealer, whose fortune and good name depends on knowing what to buy, has a much greater responsibility to be right about the objects that come into his hands than, say, an academic, who never handles large sums of money." Condition: Good condition with expected old wear. Minimal casting flaws, few minuscule nicks, and remnants of old pigment and varnish. The base retains the original sealing.Weight: 1,520 g Dimensions: Height 18.2 cm Maitreya is richly adorned with further fine bodhisattva jewelry including a foliate crown framing the forehead and tied with billowing sashes at the ears, circular studded earrings, and beaded bracelets, armbands, anklets, and foot adornments. The serene face with a benevolent expression, the eyes with heavy sinuous lids below gently arched brows centered by a raised circular urna. The smiling mouth with full bow-shaped lips, the neatly incised hair drawn up in a knotted jatamakuta topped by a cintamani jewel and falling elegantly in tresses to the shoulders. The base is sealed with a plate, neatly incised with a visvavajra emblem.During the Yuan Dynasty in the 13th and 14th centuries, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals. At the beginning of the 15th century, the Buddhist fervor of the Ming court encouraged a cultural exchange between Tibet and China through Imperial patronage. Bronze sculptures in the Tibeto-Chinese style were first produced during the reign of Emperor Yongle (1403-1424) and are highly distinguished for their unsurpassed craftsmanship, overall refinement, and gracefulness. Emperor Yongle (1403-1425), a devout Buddhist himself, bestowed generous patronage to Buddhist monasteries and artistic ateliers, fostering the production of artworks depicting Tibetan Buddhist deities and imagery in a highly refined style, executed with the highest level of technical mastery. Gilt bronzes were commissioned from the Imperial workshops in Beijing for personal religious practices and as gifts for the many Tibetan emissaries invited to the court.Fewer examples bear the reign mark of Xuande (1425-1435) and the present lot is closely related to its Yongle predecessors, both stylistically and technically. The present figure was made at the Imperial ateliers in Beijing, probably during the early phase of the Xuande period, by the same craftsmen who continued their work from the Yongle period.Literature comparison: Very few other figures of Maitreya from this group of reign-marked, early-15th-century gilt-bronzes have been published. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pl. 343F. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in The Chang Foundation, Buddhist Images in Gilt Metal, Taipei, 1993, cat. 22. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, 147E (later restored without a vase and now in the Aschmann collection). For a related Xuande-marked gilt-bronze figure of Vajrasattva, see The Complete Collection of Treasures of the Palace Museum, Buddhist Statues of Tibet, p. 230, no. 219.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 9 July 2020, lot 2702 Price: HKD 4,325,000 or approx. EUR 516,000 converted and adjusted for inflation at the time of writing Description: A very rare and finely cast gilt-bronze figure of Maitreya, incised Yongle six-character presentation mark and of the period Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark and the related size (20 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 7 October 2010, lot 2144 Price: HKD 6,020,000 or approx. EUR 989,000 converted and adjusted for inflation at the time of writing Description: A fine and rare gilt-bronze seated Maitreya, mark and period of Yongle Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark. 明代宣德六字款罕見銅鎏金兜率天彌勒坐像彌勒佛結跏趺坐於雙層蓮花座上，雙手結法輪印，底座上表面刻有“大明宣德年施"六字款。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A BRONZE FIGURE OF AKSHOBHYA, CHINA, 15TH CENTURYFinely cast seated in dhyanasana on a double-lotus base with finely beaded edges, his right hand lowered in bhumisparsha mudra, his left held above his lap. Akshobhya is dressed in voluminous robes and richly adorned with elaborate jewelry. His serene face with heavy-lidded downcast eyes and bow-shaped lips forming a calm smile. His hair arranged in tight curls over the high ushnisha topped by a jewel behind the foliate tiara. Provenance: From an old private estate in Vienna, Austria. The grandparents of the last owner are said to have acquired the piece in the Austrian trade, shortly after the Second World War. Condition: Excellent condition with expected old wear and minor casting irregularities, small dents and losses, minuscule nicks, light scratches. The seal plate lost. The face, crown, some folds and the backside with distinct remnants of gilt.Weight: 2,060 g Dimensions: Height 23.6 cm Bhumisparsha mudra (the 'earth witness' gesture) is reserved for images of Buddha Shakyamuni and the Dhyani Buddha, Akshobhya. As Shakyamuni is traditionally depicted as an unadorned ascetic, the presence of the crown on this figure identifies him as Akshobhya. The latter is a concept of Tibetan-style Vajrayana Buddhism, which was introduced to China during the Yuan Dynasty (1279-1368).Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 11 December 2020, lot 29 Price: EUR 50,400 or approx. EUR 60,000 adjusted for inflation at the time of writing Description: A finely cast large bronze figure of Bodhisattva, Ming Dynasty, 15th century Expert remark: Note the size of 29 cm and the closely related manner of casting, quality of the jewelry, crown, incision work around the lotus base, and the lack of any remnants of gilding.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 March 2015, lot 3200 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Akshobhya, Ming dynasty Expert remark: Compare the closely related pose, expression, base, and crown. Note the larger size (35.6 cm) and arguably lower quality especially when compared with the fine detail work on the present lot, mostly around the crown, the lotus base and the jewelry, as well as the complete lack of any gilding.Auction result comparison: Type: Related Auction: Sotheby's Paris, 20 June 2021, lot 1 Price: EUR 35,280 or approx. EUR 39,000 adjusted for inflation at the time of writing Description: A bronze figure of Avalokiteshvara Bodhisattva Ming dynasty, 16th century Expert remark: Note the larger size (31 cm), and the arguably lower quality specifically when compared with the fine detail work on the present lot, mostly around the crown, the lotus base and the jewelry, and the complete lack of any gilding, all as expected for a 16th century piece. 十五世紀阿閦佛坐蓮銅像阿閦佛全跏趺坐坐於蓮座上，結螺髻，髮髻頂部飾寶珠，戴五葉寶冠，佩大耳鐺。身著袒右袈裟，光素面，雕自然起伏的褶皺。左手結禪定印，右手結觸地印。 來源：奧地利私人舊藏。據說最後一位主人的祖父母是在第二次世界大戰後不久在奧地利購得這件拍品。 品相：狀況良好，有磨損和輕微鑄造缺陷、小凹痕和缺損、微小刻痕、輕微劃痕。密封板丟失。背面有明顯的鎏金痕跡。 重量：2,060 克 尺寸：高 23.6 釐米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2020年12月11日，lot 29 價格：EUR 50,400（相當於今日EUR 60,000） 描述：明十五世紀銅菩蕯坐像 專家評論：請注意尺寸(29 釐米) ，非常相近的鑄造風格、珠寶品質、王冠、雕刻和蓮座，以及沒有任何鍍金殘留。 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2021年6月20日，lot 1 價格：EUR 35,280（相當於今日EUR 39,000） 描述：明十六世紀銅觀世音菩薩坐像 專家評論：請注意尺寸較大 (31 釐米)，與我們拍品的精美細節相比，質量可以說較低，主要是在王冠、蓮花底座和珠寶周圍，並且完全沒有任何鍍金，所有這些特徵都符合 16 世紀作品的預期。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE AND HIGHLY IMPORTANT ZITAN AND GILT-LACQUERED STATUE OF SARIPUTRA, THE FIRST OF BUDDHA'S TWO CHIEF DISCIPLES, CHINA, 1520-1580The Ming dynasty's largest surviving Zitan sculpture.Scientific Analysis Report: The result of a radiocarbon dating test (C14) conducted by Re. S. Artes, no. C 245112A, 2 August 2023, based on one sample taken from the wooden core of the figure, is consistent with the dating of this lot. The report states a probability of 95.4 % for a dating range of 1517-1656, of which a predominant probability of 63.5 % is for the range of 1517-1589. Copies of the analysis certificate and the detailed scientific report accompany this lot. X-Rays: Conventional X-ray scans conducted in 2023 confirm the existence of multiple vertical cavities within the statue. Some of these voids may still hold ancient scriptures, or sutras, on paper and/or textile. It's important to note that an X-ray image captured in 1985 (published in Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48) using an X-ray image intensifier (XRII) discloses the possible presence of several objects, which remain beyond the purview of standard X-ray imaging methods. Given that the statue is hermetically sealed and must remain unopened, the actual confirmation of its contents is unattainable, thus precluding any assurance regarding their nature.The face and the exposed body are gilded overall. He is powerfully carved standing in samabhanga, his right hand held in karana mudra, and his left in dhyana mudra. His voluminous monastic robe is precisely carved with undulating folds and outlined in gold with patchwork, the hems similarly decorated with scroll and lozenge diaper, the undergarment with floral designs. His serene face shows heavy-lidded eyes, picked out in ancient pigments, gently arched brows, and bow-shaped lips forming a calm smile, flanked by pendulous earlobes, his short hair lacquered entirely black.His back shows a rectangular aperture for consecration, and another to the back of his head, both sealed (see X-Ray section for more details).The wood shows an attractive grain and elegant deep-red color, as expected from Zitan with a naturally grown patina, that is 500 years old.The disciple stands on a finely carved, lacquered, and fitted wood pedestal decorated with overlapping lotus petals below a thickly beaded edge, dating from the 1700-1750 (see condition report and expert's note for more details).Condition: The statue is in superb condition, especially considering its high age of half a millennia and the rather sensitive Zitan wood. It is constructed of meticulously joined pieces of wood. Expected old wear, rubbing to gilt, and natural age cracks. Occasional light scratches, few minuscule chips. The original base is lost (see expert's note) and was replaced between 1700 and 1750 with the present pedestal, which is in good condition with expected old wear, natural age cracks, minor flaking to lacquer and small losses.Provenance: - Collection of Anton Exner (1882-1952), Vienna, Austria, acquired in the Republic of China after the Xinhai Revolution of 1911- Collection of Walter Exner (1911-2003), Bad Wildungen, Germany, acquired from the above after 1945- Galerie Zacke, Vienna, Austria, acquired from the above and exhibited in 1985- A noted private collection in Vienna, AustriaAnton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art, from all epochs, and particularly Chinese and Japanese works. During a long sojourn through Canada and the USA from 1908 to 1910, he made first contacts with Chinese dealers and subsequently acquired numerous antiques at various Asian ports, which formed the basis for his future business activities. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for c. 25 years. From the early 1920s onwards, he lent objects to most major exhibitions of Asian art held in Austria, and eventually gifted a large part of his personal collection, numbering several thousand objects, to the Museum of Applied Arts in Vienna, where it is on permanent exhibition to this day.Walter Exner (1911-2003), among other family members, inherited parts of the vast collection, which he had built together with his father from 1935 onwards, after their first joint trip to East Asia. He spent a year in Beijing from 1936 to 1937 and from 1956 to 1963, he directed the Asian Institute in Frankenau, Germany, which he founded, as well as its museum. The present lot was exhibited at the opening of this museum in June 1956. In 1965, Walter Exner moved the institute and the museum to Bad Wildungen, Germany. To fund the museum, he deaccessioned pieces from the collection until his passing in 2003.Published: Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48.Exhibited: Asien-Institut Frankenau, 1956-1963 Asien Institut Bad Wildungen, 1965-1977 Galerie Zacke, Vienna, 1985Weight: 20.1 kgDimensions: Height 91 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2002, lot 69 Price: USD 116,000 or approx. EUR 182,000 converted and adjusted for inflation at the time of writing Description: A very rare zitan and gilt-lacquered figure of Shakyamuni, Tibeto-Chinese, Yongle nine-character mark and period Expert remark: Compare the closely related material, lacquer gilding, modeling with similar robe and face, and sealed aperture to the back. Note the Yongle reign mark to the base. Also note the much smaller size (33 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE GILT-LACQUERED BRONZE FIGURE OF THE MEDICINE BUDDHA (BHAISAJYAGURU), MING DYNASTYChina, 1368-1644. Finely cast, the Buddha is seated in dhyanasana with his right hand extended in varadamudra while holding a small myrobalan fruit and his left raised above his lap. He wears monastic, loosely draped, and layered robes, belted at the waist and opening at the chest. His serene face with heavy-lidded eyes below elegantly arched brows centered by a circular urna, his full bow-shaped lips forming a calm smile, flanked by long pendulous earlobes. His hair is dressed in tight curls that continue up over the domed ushnisha.Provenance: From the collection of Captain Peter Dircks and thence by descent in the same family. Peter Leonardus Dircks (1883-1954) was a naval officer in the Siam Steam Navigation Company. He was posted between the ports of Beijing, Shanghai, Singapore, Bangkok, and Jakarta, and during his time with the Company he developed a profound interest and knowledge of Asian antiques and works of art. After years of travel, Dircks arrived in Copenhagen in the late 1920s, eventually settling in the Danish capital. From this time until his death in 1954, he kept collecting permanently.Condition: Good condition, commensurate with age. The lacquer coating is ancient and original, with absolutely no restoration whatsoever - something that is exceedingly rare to find. Old wear, signs of weathering and erosion, encrustations, flaking to lacquer, nicks, scratches, minor dents. Figure and stand do not fit 100% perfectly, possibly due to heat influence at some point in time, but definitely belong together originally. The bronze is covered overall in a rich, naturally grown, dark patina and displays exceptionally well.Weight: 15.1 kgDimensions: Height 49.6 cm The figure is raised on a separately cast lotus base comprised of three tiers of naturalistic petals above an openworked foot of scrolling foliage. (2)Auction result comparison: Type: Related Auction: Christie's London, 3 November 2020, lot 75 Price: GBP 43,750 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A lacquered gilt-bronze figure of Buddha Shakyamuni, 16th century Expert remark: Compare the closely related modeling as well as the related lacquer gilding, also flaking off in some minor areas. Note the lacking base and the much smaller size (38 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 777 Price: USD 250,000 or approx. EUR 254,000 converted and adjusted for inflation at the time of writing Description: A gilt-lacquered bronze figure of the Medicine Buddha, Ming dynasty Expert remark: Compare the closely related subject, modeling with similar pose, robes, expression, hair, and separately cast base, manner of casting, and lacquer-gilding. Note the larger size (71.1 cm). 明代鎏金漆藥師佛銅像中國，1368-1644年。此尊髮髻高束，面龐豐腴，雙目垂俯，眉間有白毫，相容和熙，頭髮成螺髻。肩胸寬厚，體態飽滿。身著敞胸袈裟，衣緣鏨刻精美的纏枝花卉，折疊曲复，流回自然。左手結禪定印，右手指地結觸地印，跏趺端坐於仰覆蓮台座。 來源：來自 Peter Dircks 船長的收藏，在同一家族傳承； 品相：狀態良好，漆層沒有經過任何修復。磨損、風化和侵蝕跡象、結殼、漆層剝落、刻痕、劃痕、輕微凹痕。造像和底座並非完美契合，但絕對是一套。造像整體上覆蓋著一層自然神色包漿。 重量：15.1 公斤 尺寸：高 49.6 厘米 底座鏤空，飾卷葉紋 (2) 拍賣比較： 形制：相近 拍賣：倫敦佳士得，2020年11月3日，lot 75 價格：GBP 43,750（相當今日EUR 65,500） 描述：明十六世紀鎏金銅紅金漆釋迦摩尼佛坐像 專家註釋：比較非常相近模型、相近金漆鎏金，有些地方漆層剝落。請注意 模有底座和尺寸較小 (38 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2021年9月24日，lot 777 價格：USD 250,000（相當今日EUR 254,000） 描述：明銅漆金藥師佛坐像 專家註釋：比較非常相近主題、相似的姿勢、長袍、表情、髮型和另外鑄造的底座、鑄造風格，以及金漆鎏金。請注意 尺寸較大 (71.1 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE GILT BRONZE FIGURE OF BUDDHA, MING DYNASTYChina, 16th-17th century. Heavily cast, seated in dhyanasana with his right hand lowered in bhumisparsha mudra and the left held above his lap. He is wearing loosely draped robes, opening at the chest cast with a wan symbol, the hems finely incised with floral decorations, the garment secured with a belt neatly tied around the waist in a bow. The face modeled with a serene expression marked by downcast eyes below gently arched eyebrows centered by an urna, and full lips forming a subtle smile, flanked by pendulous earlobes. The hair cast in tight curls over the ushnisha.Provenance: Property from an important Washington state collection.Condition: Very good condition with some wear, particularly to the gilding, and casting irregularities. Minor nicks and light scratches. The interior with remnants of pigment. The bronze with a rich, naturally grown, dark patina.Weight: 8,451 gDimensions: Height 39.2 cm Expert's note: The statue shows several meticulously inlaid miniature bronze plaques of rectangular shape to the back (see detail images online). These plaques have a ritual purpose and are frequently found in Buddhist sculpture.Literature comparison: A related gilt-bronze figure of Buddha Shakyamuni, dated 16th-17th century, in the Chang Foundation, is illustrated in Buddhist Images in Gilt Metal, Taipei, 1993, pp. 32-33, no. 9.Auction result comparison: Type: Closely related Auction: Bonhams London, 9 November 2017, lot 204 Price: GBP 68,750 or approx. EUR 110,000 converted and adjusted for inflation at the time of writing Description: A large gilt-bronze figure of Buddha Shakyamuni, 17th century Expert remark: Compare the closely related meditative pose and serene expression, wear to gilt, manner of casting, and decoration with similar incised floral hems. Note the closely related size (39.3 cm).Auction result comparison:Type: Closely related Auction: Christie's New York, 19-20 September 2013, lot 1529 Price: USD 147,750 or approx. EUR 176,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Buddha, Ming dynasty, 16th-17th centuryExpert remark: Compare the closely related meditative pose and serene expression, manner of casting, and decoration with similar incised floral hems. Note the smaller size (30.4 cm). 明代大型銅鎏金佛像中國, 十六至十七世紀。造像沉重，禪定姿，右手垂下，結觸地印，左手平放於在膝蓋上方。 佛陀沈著寬鬆袈裟，敞胸刻有卐字符，下擺上刻有精美的花卉裝飾，衣服上用一條腰帶系在腰間。面部表情平靜慈祥，雙眉之間有白毫，嘴露微笑，兩側長耳垂。頭髮成螺髻。 來源：華盛頓重要收藏。 品相：狀況極好，有一些鎏金磨損、鑄造不規則、輕微刻痕和劃痕。內部有顏料殘留，自然包漿。 重量：8,451 克 尺寸：高 39.2 厘米 專家注釋：造像的背面可見幾塊鑲嵌的矩形小銅牌（參見在線詳細圖片）。這些小牌經常出現在佛教造像上。文獻比較： 一件相近的十六至十七世紀鎏金釋迦牟尼銅像，收藏於Chang Foundation，見《Gilt Metal》，台北，1993年，頁32-33，編號9。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2017年11月9日，lot 204 價格：GBP 68,750（相當於今日EUR 110,000） 描述：十七世紀銅鎏金佛陀坐像 專家評論：比較非常相近的冥想姿勢、表情、鎏金磨損、鑄造風格和相似的長袍裝飾。請注意非常相近尺寸 (39.3 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月19-20日，lot 1529 價格：USD 147,750（相當於今日EUR 176,000） 描述：明十六/十七世紀銅鎏金佛坐像 專家評論：比較非常相近比較非常相近的冥想姿勢、表情、鎏金磨損、鑄造風格和相似的長袍裝飾。請注意尺寸較小 (30.4 釐米)。

A SILVER FIGURE OF AVALOKITESHVARA IN ROYAL EASE, FIRST HALF OF THE QING DYNASTYChina, late 17th - 18th century. Seated in royal ease, the Bodhisattva of Infinite Compassion, is raising his right hand in kamajayi mudra and supporting himself on the separately cast rockwork base above crashing waves with his left. Robed in a finely cast voluminous dhoti with a beaded hem and a cloth belt tied at the waist. His serene face with sinuously lidded downcast eyes below gently arched brows, the mouth with bow-shaped lips, flanked by long pendulous earlobes. The hair piled up into a jatamakuta adorned with floral blossoms and elegantly falling in twisted strands down his shoulders. (2)Provenance: UK trade.Condition: Excellent condition with expected old wear and minor casting flaws, a few small nicks, and minimal tarnishing to the silver. Possibly once with inlays that are now lost.Weight: 762.3 g Dimensions: Height 13.1 cm The present figure is hollow-cast in two parts, statue and base, and is made entirely from silver of a high purity, showing fine and detailed incision work. It shares the physical proportions, sensuous plasticity, and exquisite modeling that normally characterizes sculptures from ancient India, which certainly served as an inspiration. The excellent polish of the surface shows the hand of a highly experienced silversmith, indicating a possible connection to the Imperial workshops in Beijing.The Kamajayi Mudra involves pressing the thumb against the index finger of the same hand while allowing the other fingers to remain in a relaxed and slightly curled position. This mudra serves to control desires and cravings and it promotes the awakening of spiritual energy. It is seldomly found on Buddhist statues of the period, and may have been depicted here for a specific reason, possibly in connection with the original recipient of this figure.Literature comparison: Compare a Tibetan silver figure of Vajradhara, 16.5 cm high, dated to the 15th century, in the Art Institute of Chicago, reference number 2014.1031. Compare a Nepalese silver figure of Tara, dated c. 1900, in the Powerhouse Collection of the Museum of Applied Arts & Sciences, Sydney, object number 2014/132/25.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 2 October 2018, lot 78 Estimate: HKD 700,000 or approx. EUR 89,500 converted and adjusted for inflation at the time of writing Description: A silver figure of Marici, Qianlong period Expert remark: Compare the related Buddhist subject, silver casting, incision work and modeling. Note the size (18.5 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 December 2016, lot 559 Estimate: HKD 90,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A silver figure of a female attendant Expert remark: Compare the related silver hollow-casting and detailed modeling. Note that this statue is from the Carl Kempe collection and also dates from the earlier part of the Qing dynasty. 清朝上半葉觀音自在姿銀橡中國，十七世紀末至十八世紀。觀音菩薩自在坐，舉起右手，左手支撐在岩石上，身著精美長袍，下擺飾有串珠瓔珞。面容平靜安詳，雙眸低垂，長耳垂。頭髮束成高髻，優雅地盤繞在肩上。(2) 來源：英國古玩交易。 品相：狀況良好，有磨損和輕微的鑄造缺陷，一些小刻痕，小污漬使銀失去光澤。可能曾經有鑲嵌物，但現已丟失。 重量：762.3 克 尺寸：高 13.1 厘米 本尊為空心鑄造，分為雕像和底座兩部分，全部由高純度的白銀製成，切口精細。 它具有印度雕塑比例、精緻的造型。 表面的拋光顯示了製作精良，表明可能與北京的皇家作坊有關。文獻比較： 比較一件的十五世紀西藏觀音銀像，高16.5 釐米，收藏於芝加哥藝術博物館，館藏編號2014.1031。比較一件約1900年尼泊爾度母銀像，收藏於雪梨應用藝術與科學博物館的動力博物館，館藏編號 2014/132/25。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2018年10月2日，lot 78 估價：HKD 700,000（相當於今日EUR 89,500） 描述：乾隆時期銀質積光佛母像 專家評論：比較相近的佛陀主題、銀鑄造、雕刻和模型 。請注意尺寸 (18.5 釐米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2016年12月1日，lot 559 估價：HKD 90,000（相當於今日EUR 12,000） 描述：銀製女像 專家評論：比較相近的銀製空心鑄造和細節。請注意此像來自Carl Kempe收藏，以及亦為清代前期。

A MAGNIFICENT GILT-COPPER ALLOY FIGURE OF MUNSU (MANJUSRI), JOSEON DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 17 April 2023, based on sample number N123c91, sets the firing date of one sample taken between 180 and 300 years ago. A copy of the report accompanies this lot.Korea, 1720-1840. Heavily cast, the bodhisattva of wisdom seated in lalitasana atop a lotus pillow, holding a jewel in his left and a scepter in his right, wearing thickly cast voluminous robes with finely detailed folds. His serene face with heavy-lidded downcast eyes below elegantly arched brows centered by a raised circular urna, the mouth with slender bow-shaped lips slightly agape. The hair neatly incised and piled up into a high topknot behind the open worked foliate tiara.Provenance: From a German private collection. Condition: Old wear, casting flaws, signs of weathering, rubbing and losses to gilt, small nicks and dents, shallow surface scratches, minor losses, and fatigue cracks with traces of soldering. Possibly minute old fills and/or repair work. Displaying remarkably well, and extremely rare in this overall excellent state of preservation, commensurate with size and age.Weight: 9.1 kg Dimensions: Height 60.5 cm Expert's note: This gilt-copper alloy figure was originally part of a triad, with the two bodhisattvas Munsu (Manjusri) and Bohyeon (Samantabhadra) flanking Seokga (Buddha Shakyamuni). In this triad, the bodhisattvas are often depicted riding their respective vehicles, the tiger and elephant, and consistently appear in the same position with Munsu to the left of Seokga and Bohyeon to the right. It is clear from the position of the present figure's hanging leg and the scepter held in his right hand, that the present lot depicts Munsu. Furthermore, the hollow lotus pillow the figure is seated on shows obvious signs that it was once attached to a base or figure, which would have been a tiger. Note that large gilt bronzes from Korea, such as the present lot, are generally considered to be exceedingly rare. Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2019, lot 363 Price: USD 75,000 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: A gilt wood sculpture of a seated Bodhisattva, Joseon dynasty, probably second half 17th century Expert remark: Compare the related modeling with similar face and robes. Note the different material and size (80 cm).Auction result comparison: Type: Related Auction: Christie's London, 6 November 2018, lot 29 Price: GBP 17,500 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze seated figure of Avalokiteshvara, Korea, Joseon period, 17th century Expert remark: Compare the related manner of casting, with similarly formed thick robes, and the closely related alloy and gilding. Note the much smaller size (23.5 cm). 朝鮮王朝銅鎏金文殊像韓國, 1720-1840年。文殊菩薩休閑坐，左手持寶珠，右執如意，身著袈裟，衣紋流暢。他面容平靜，雙眼低垂，眉​​毛中間有白毫，嘴微張。髮髻高束，鏤空葉狀王冠。科學檢測報告： Oxford Authentication 於2023 年 4 月 17 日出具一份熱釋光分析報告，樣本編號 N123c91，確定樣本的製作日期為 180 至 300 年前。隨附報告副本。 來源：德國私人收藏。 品相：磨損、鑄造缺陷、風化跡象、鎏金損失、小刻痕和凹痕、表面淺劃痕，小缺損，以及帶有焊接痕蹟的裂紋，可能有小填充或小修。整體保存狀況極佳。 重量：9.1 公斤 尺寸：高 60.5 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年3月19日，lot 363 價格：USD 75,000（相當於今日EUR 81,000） 描述：可能為十七世紀後半葉朝鮮鎏金木雕觀音坐像 專家評論：比較相近的面部和長袍。請注意不同的材料和尺寸 (80 釐米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2018年11月6日，lot 29 價格：GBP 17,500（相當於今日EUR 27,000） 描述：韓國十七世紀鎏金銅觀世音菩薩坐像 專家評論：比較相近的鑄造風格、相似的厚實長袍 ，以及非常相近的合金和鎏金。請注意尺寸較小 (23.5 釐米)。

AN IMPORTANT OVER-LIFESIZE ANDESITE HEAD OF BUDDHA, CENTRAL JAVANESE PERIOD, INDONESIA, 9TH CENTURYExpert's note: The current lot exhibits compelling similarities to the renowned group of Buddha statues from Borobudur and can in particular be compared to several examples found at the Rupadhatu level. While appearing similar, each Buddha statue within this group actually possesses subtle variations, encompassing varying hand positions (mudras) and distinct facial features. These nuances symbolize distinct facets of enlightenment, from compassion and wisdom to spiritual power. For a closely related statue from the same period, see an andesite statue of Buddha which remains in situ at Borobudur (fig. 1). This particular statue exhibits several shared facial characteristics with the current lot, including outlined lips and crescent-shaped eyes, which become particularly apparent when viewed side by side (fig. 2) or superimposed over each other (fig. 3).Superbly carved, the serene face with sinuously lidded downcast eyes below gently arched brows centered by a raised circular urna, above a broad nose and full bow-shaped lips with a raised lower edge forming a benevolent smile, flanked by long pendulous earlobes with pointed helices. The hair arranged in neatly incised snail-shell curls over the high ushnisha.Provenance: From a European private collection, acquired before 2007, and thence by descent.Condition: Superb condition, commensurate with age. Extensive wear, expected losses, signs of weathering and erosion, minor nicks. The stone with a superb, naturally grown, dark patina overall.Weight: 25.2 kg (incl. stand)Dimensions: Height 42 cm (excl. stand) and 58.5 cm (incl. stand) With an associated stand. (2)The present andesite head epitomizes the ingenuity of the Central Javanese stone carvers of the time, with distinct characteristics such as the incised pupils, large and elongated ears, and masterful snail-shell curls, arguably the best-designed facial features across all Buddhist art. Furthermore, the present sculpture bears the telltale signs of smoothened areas where beholders were gripped with the overt temptation to caress the head, which combined with the porous nature of the stone give it a unique yet unmistakable and, without a doubt, inimitable appearance.A Buddha image of ineffable quiet and stillness has been carved from rough volcanic rock. The profile and dome of the head are broad, allowing for a round tapering of the forehead, cheeks, and chin that, once finished with a polish, produce an overall impression of smoothness, belying the porous nature of the stone, which has resisted over a millennium of weather exposure with stunning ease. The sculptors working on the great stone monuments of 9th century Central Java produced some of the most beautifully proportioned Buddhist sculptures of any period or medium.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Ngawen in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison: Compare a related andesite head of Buddha, 36 cm high, dated c. 800, originally part of a sculpture at Candi Sewu, Java, now in the Museum of Fine Arts, Boston, accession number 43.6, illustrated by Ananda K. Coomaraswamy, “A Buddha Head from Java", Bulletin of the Museum of Fine Arts, Vol. 41, No. 244 (June 1943), pp. 33-34. Three examples in the British Museum collected by Sir Thomas Stamford Raffles in the early 19th century demonstrate that not all Borobudur Buddha heads were created equal (1859,1228.175, 1859,1228.176, 1859,1228.177). Some have softer, more delicate brows while others show harder features and more pronounced monobrows. Some have spire-like ushnishas, while others are broader and more pleasing. Of the three British Museum heads, it is the most celebrated and widely exhibited one (1859,1228.176) that bears the closest resemblance to the present lot, illuminating its quality.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2016, lot 23Price: USD 509,000 or approx. EUR 596,000 converted and adjusted for inflation at the time of writingDescription: An important stone head of Buddha, Indonesia, Central Java, 9th centuryExpert remark: Compare the closely related stone, manner of carving, and expression. While the Christie's example hails from a well-known collection, the current lot bears greater resemblance to pieces found in prominent museum collections. Both examples share similar features and size, but the current lot stands out as aesthetically superior. Note the related size (39.9 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2012, lot 143Price: USD 170,500 or approx. EUR 207,000 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th centuryExpert remark: Compare the closely related stone, manner of carving, and expression. Note the much smaller size (36.8 cm).

A LARGE GRAY SCHIST RELIEF DEPICTING BUDDHA, A ROYAL DONOR AND SEVERAL ATTENDANTS, ANCIENT REGION OF GANDHARA, 2ND-3RD CENTURYSuperbly carved, standing in slight contrapposto and surrounded by royal donors and attendants, each with hands clasped in front of their chest with their gaze directed at his outstretched right arm holding an alms bowl. The Buddha is dressed in voluminous robes which fall gracefully in well detailed folds. The hems of his alluring robes are gathered in a soft roll clutched by his left hand to keep the garment taut and in place. The serene face with heavy-lidded downcast eyes below gently arched brows centered by a circular raised urna, above full bow-shaped lips forming a subtle smile, flanked by long pendulous earlobes. His hair is arranged in wavy locks over the domed ushnisha.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Good condition, commensurate with age. Extensive wear, obvious losses, nicks, scratches, small old repairs, signs of weathering and erosion, few structural cracks.Weight: 103.3 kg (incl. stand) Dimensions: Height 94.3 cm (incl. stand), 88.8 cm (excl. stand), Width 57.1 cm Note the hierarchical proportions used by the sculpture, with Buddha double the size of the donor and the attendant figures.The ancient region of Gandhara was once an important center for trade and religious activities. Carved stone monuments and iconic statuary were created for Buddhist patrons while drawing on Greco-Roman sculptural traditions. The present work is one such example, incorporating the emphasis on naturalism, seen in the treatment of the Buddha's heavy, monastic robe wrapping around his neck in thick layers and forming U-shaped folds on his legs with a convincing sense of gravity.This panel alludes to a delightful moment in the life of Buddha, which is retold by Harald Ingholt: “It was routine for the Buddha at a certain time of the day to wander around in quest of food. Once when he was doing this in Rajagriha, with his begging bowl held out before him, he met two small boys playing in the road. One of these moved as if to make an offering, but having nothing else at hand, he took a good fistful of dust and dropped it into the bowl saying that it was barely flour. The Buddha was much impressed by this childish act of piety and prophesied that the boy would become a mighty Buddhist monarch in some future life." (Gandharan Art in Pakistan, New York, 1959, pp. 80-81). This story was later interpreted to identify the child as the great Buddhist emperor Ashoka (304-232 BC) in a previous life. While the figure of the child, the object of the Buddha and his entourage's gaze, is now lost, the alms bowl remains partially preserved. Other depictions of this scene are found in ibid., nos. 110-111, and Kurita, Gandharan Art, Volume 1, Tokyo, 1988, pp. 178-181, nos. 351-358, and Sun and He, A History of Gandhara Civilization, Beijing, 2009, pp. 389, nos. 7, 128, 30.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 March 2013, lot 209 Price: USD 183,750 or approx. EUR 224,000 converted and adjusted for inflation at the time of writing Description: A rare green schist relief of Buddha and a royal donor, 2nd/3rd century Expert remark: Compare the closely related manner of carving, with Buddha standing in similar pose and holding the hem of his garment beside a smaller donor figure. Note the size (106.8 cm). 陀羅二至三世紀灰色片岩佛像雕刻精美，以輕微的三曲式姿勢站立，周圍環繞著皇家供養人和侍從。每個人都雙手合十於胸前，目光注視著佛陀伸出的拿著缽的右臂。佛陀身著寬大的袈裟，袈裟優雅地垂落，衣紋流暢。他左手握著長袍的下擺。佛陀面容平靜安詳，雙眼微垂，眉毛微彎，雙眉之間有白毫，略帶微笑，兩側是長耳垂。他的頭髮在頭頂成螺髻。 來源：來自比利時私人舊藏，1970 年之前購得，此後由家族傳承。品相：狀況良好，大面積磨損、明顯的缺損、刻痕、劃痕、小修、風化和侵蝕，少量結構裂縫。 重量：103.3 公斤(含底座) 尺寸：高 94.3 厘米 (含底座)，88.8 厘米 (不含底座)，寬 57.1 厘米 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月13日，lot 209 價錢：USD 183,750（相當今日EUR 224,000） 描述：西元二至三世紀灰色片岩佛像 專家註釋：比較非常相近的雕刻風格、佛陀以類似的姿勢站立，並在一個較小的捐贈者雕像旁邊握住他的衣服下擺。請注意 尺寸 (106.8 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE AND HIGHLY IMPORTANT POTTERY FIGURE OF A MALE DEITY, ANCIENT REGION OF HUND, PAKISTAN, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 2 October 2015, reference no. 347E. The test confirms the sculpture is “in good agreement with the presumed age, and therefore confirms the authenticity of the samples." A copy of the thermoluminescence analysis report accompanies this lot.Gracefully modeled, seated with arms slightly outstretched, the head gently lowered and turned to the side with a downcast gaze, the eyes with delicately carved pupils and lids, below elegantly arched brows, above bow-shaped lips. His slender yet muscular body is adorned with beaded jewelry, his head with an elaborate foliate crown, finely beaded.Provenance: Leonardo Vigorelli, Bergamo, Italy. Mr. Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is run by his two sons. Condition: Good condition, commensurate with age. Ancient wear from within the culture, weathering and erosion, expected firing flaws, remnants of old pigment, obvious losses, cracks, and chips, overall fully consistent with the age of the sculpture. A copy of a conservational report, edited by Nicola Restauri SRL, Torino, Italy, titled “Report of Interventions Performed" (title translated from Italian) is accompanying the present lot. This report is an integrated component of this condition report.To receive a PDF copy of this dossier, please refer to the department.Italian Export License: Attestato di libera circolazione, N. 16820, dated 16 February 2016 has been granted by the Ufficio Esportazione di Milano and a copy accompanies this lot.Dimensions: Height 98.5 cm Hund, known in antiquity as Udabhandapura, was a small village in the Swabi district, situated on the right bank of the Indus River in the Khyber Pakhtunkhwa province of Pakistan. It was the Turk Shahi dynasty's capital of Gandhara, and possibly functioned as a winter capital alternating with the summer capital of Kabul within the kingdom of Kapisa-Gandhara in the 7th-9th century. Old relics and remains of ancient civilizations have been found in the village after excavation work was undertaken by the government in the recent past. The history and past glory of the Hund has been preserved by the local government which constructed a museum and a replica of the tower of Olympia. The tower watches over the mighty Indus river, commemorating Alexander the Great's crossing of the Indus while staying in Hund during his final military campaign for the Indian subcontinent.Literature comparison: Compare a related statue of a female Devata from Hund, dated 6th-7th century, in the Museum of Oriental Art in Turin. Compare a related male statue from Hund, dated 6th-7th century, in the Museum of Oriental Art in Turin. For another related example, see Michael Henss, “The Mystery of the Hund Statues: An Unknown Chapter of Central Asia Statuary", Arts of Asia, vol. 46, issue 1, (January-February 2016), p. 28.Auction result comparison: Type: Related Auction: Christie's Paris, 12 June 2012, lot 304 Price: EUR 23,750 or approx. EUR 28,500 adjusted for inflation at the time of writing Description: A terracotta bust of a celestial female attendant, Pakistan, Hund Region, circa 8th century Expert remark: Compare the closely related modeling with similar slender figure, elaborate beaded jewelry, and fine facial features. Note the much smaller size (63 cm) and the lacking legs, which have been preserved on the present lot.

A LIMESTONE FIGURE OF THE THREE-HEADED VAIKUNTHA VISHNU, HINDU SHAHINorthwestern India, 8th century. Gracefully modeled, the deity standing in slight tribhanga, holding a conch in his left hand and a lotus blossom in his right. Three-headed, his main head flanked by that of a lion to his right and that of a boar to his left. He is wearing a short pleated dhoti tied at the waist and adorned with a lotus garland and fine jewelry. His serene face with almond-shaped eyes below gently arched brows centered by a raised circular urna, above a wavy mustache, bow-shaped lips, and prominent chin. His hair arranged in curly locks beneath the elaborate tiara.Provenance: Italian private collection. Leonardo Vigorelli, Bergamo, Italy, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is run by his two sons.Condition: Good condition, commensurate with age. Wear, signs of weathering and erosion, minor structural cracks, losses, few minor old fills, nicks, scratches, encrustations. The stone with a fine, naturally grown patina overall.Weight: 63 kg (incl. stand)Dimensions: Height 103.4 cm (incl. stand) and 85.4 cm (excl. stand) With an associated stand. (2)This complex form of Vishnu is identifiable by the epithet Para-Vasudeva, “the highest god." The lion and boar represent Vishnu's Varaha and Narasimha avatars. Similar carvings include a fourth face on the back, a demonic, grimacing representation with fangs and a vertical third eye on the forehead. The small attendant on Vishnu's right is Chakra purusha, the personification of his war disk, on which the gods left hand rests. The earth goddess Prithvi stands between Vishnu's legs.Under the Hindu Shahi rulers in the 8th-13th century, a unique style of sculpture and architecture developed that departed from the Kushan and Gupta style of the central plains. It is evident that the distinctive facial features and hair styles reflect the earlier Gandharan style to a certain degree.Literature comparison:For related Shahi sculptures, see Donald M. Stadtner, 'Shahi Sculpture Revisited,' Orientations, October 1999, p. 68-73.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 18 October 2005, lot 14 Price: EUR 11,950 or approx. EUR 17,500 adjusted for inflation at the time of writing Description: A Hindu Shahi marble bust of Vaikuntavishnu, circa 8th century Expert remark: Compare the related modeling and iconography. Note the much smaller size (28 cm).

A RED-LACQUERED WOOD FIGURE OF BUDDHA, LATE MING DYNASTYChina, 16th-17th century. Carved from hardwood, probably Zitan. Seated in dhyanasana with the hands folded in dhyana mudra and his head bowed slightly creating wrinkles beneath the neck, wearing robes that elegantly drape over the shoulders and fold along the resting arms, the serene face with heavy-lidded eyes below gently arched brows, and pursed bow-shaped lips, the hair arranged in tight curls over the ushnisha.Provenance: A private collection in Vienna, Austria. Galerie Zacke, Vienna, 1996. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original invoice from Galerie Zacke, dated 30 October 1996, addressed to the Nickls, and stating a purchase price for the present lot of ATS 7,000 (or approx. EUR 900 converted and adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with minor wear, small chips, losses, light scratches, remnants of gilt, minor signs of weathering, few expected age cracks. The lacquer commensurate with age and with several layers which have been renewed over a long period of time.Weight: 116 gDimensions: Height 13.5 cm Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 December 2021, lot 29Price: EUR 9,375 or approx. EUR 11,000 adjusted for inflation at the time of writingDescription: A brown and gilt lacquered wood figure of Buddha, Ming dynasty, 16th centuryExpert note: Compare the similar reddish-brown lacquer. Note the larger size (29.5 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 明末紅漆木雕坐佛中國，十六至十七世紀。用硬木雕刻而成，也可能是紫檀木。佛陀禪定坐，雙手交叉施禪定印，頭微微低下，面容平靜，雙眼微閉，嘴唇豐滿，頭上有螺髻。 來源：奧地利維也納私人收藏； 維也納 Zacke藝廊，1996年；Maria 與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份於1996年10月30日由 Zacke藝廊出局的原始賬單複印件，收件人為Nickls ，當時價格為 ATS 7,000 （根據通貨膨脹約為EUR 900）。Maria (1926-2022) 與 Johannes Nickl (d.2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。品相：品相良好，有輕微磨損、小缺口、缺損、輕微劃痕、金彩餘留、輕微風化跡象，輕微老化裂紋。漆層有多次更新。重量：116 克 尺寸：高13.5 厘米 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2021年12月8日 ，lot 29 價格：EUR 9,375（相當於今日EUR 11,000） 描述：十六世紀明代棕漆木雕坐佛 專家評論：比較相似的類似的紅棕色漆。請注意尺寸較大 (29.5厘米)。

A BLUE AND WHITE 'DRAGON' STEM CUP, SECOND HALF OF THE MING DYNASTYChina, 16th-17th century. Delicately potted, the cup stands on a long stem with a bow string just below the cup. The stem is decorated in cobalt blue with geometric designs, painted in thin brush strokes. The cup is painted with a stylized dragon and bi-disk, the interior with a central stylized flaming pearl.Provenance: From the estate of a notable Hong Kong family, who brought a substantial collection of ceramics, porcelains, and other Chinese works of art with them when they immigrated to Canada in the 1950s. Thence by descent within the family to the last owner. Condition: Very good condition, commensurate with age, with minor wear. Some firing irregularities, minimal pitting, and part of the recessed base with light orange inclusions from overfiring.Weight: 57.8 g Dimensions: Height 7.4 cm, Diameter 6.7 cm Literature comparison:Compare a related blue and white stem cup with a similar form, 8.3 cm high, dated to the first half of the 14th century, in the Metropolitan Museum of Art, accession number 1986.97.1. Compare a closely related stem cup with a similar style of decoration, 6.2 cm high, dated to the early 17th century with an apocryphal Chenghua mark, in the British Museum, registration number 1943,0215.14 published by Jessica Harrison-Hall in Catalogue of Late Yuan Ming Ceramics in the British Museum, London, 2001.Auction result comparison: Type: Related Auction: Christie's New York, 29 March 2023, lot 97 Price: USD 6,300 or approx. EUR 5,700 converted at the time of writing Description: A blue and white 'Shou' stem cup, Ming dynasty, 17th century Expert remark: Note the similar bow string around the stem and the related decorations. Note the size (14.7 cm).Auction result comparison: Type: Related Auction: Christie's 16 October 2001, lot 127 Price: USD 25,850 or approx. EUR 41.000 converted and adjusted for inflation at the time of writing Description: An early Anhua-decorated blue and white stem cup, late 14th century Expert remark: Note the related motif and cup form. Note the size (9.5 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 9 November 2016, lot 331 Estimate: GBP 5,000 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A blue and white stem cup, Ming dynasty, 15th/16th century Expert remark: Note the related painting style and cup form. 明代下半葉青花龍紋高足杯中國，十六至十七世紀。杯口微撇，下承中空竹節狀手柄。器型高雅。杯心繪雲紋火珠，杯壁繪螭龍，杯足以蕉葉紋為飾。青花發色純正，紋飾靈動。 來源：香港一個著名家族的遺產，該家族在二十世紀五十年代移居加拿大時，隨身攜帶了大量陶器、瓷器和其他中國藝術品。從那時起，藏品在同一家族一直傳承到如今的最後一位主人。 品相：狀況極好，有輕微磨損，小凹坑，凹陷底座的一部分因過度燒製而帶有淺橙色夾雜物。 重量：57.8 克 尺寸：高7.4 厘米，直徑 6.7 厘米 文獻比較： 比較一件相近的十四世紀上半葉青花杯，高8.3 厘米，收藏於大都會藝術博物館，館藏編號1986.97.1。比較一件非常相近的十七世紀早期成化款青花杯，高6.2 厘米，收藏於大英博物館，館藏編號1943,0215.14，出版於Jessica Harrison-Hall，《Catalogue of Late Yuan Ming Ceramics》， 收藏於大英博物館，倫敦，2001年。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2023年3月29日，lot 97 價格：USD 6,300（相當於今日EUR 5,700） 描述：中國明十七世紀青花壽字紋高足盃 專家評論：請注意相似的的弓弦和相近的裝飾。請注意尺寸(14.7 厘米)。 拍賣結果比較： 形制：相近 拍賣：佳士得，2001年10月16日，lot 127 價格：USD 25,850（相當於今日EUR 41.000） 描述：十四世紀末期青花杯 專家評論：請注意相近主題和杯的外形。請注意尺寸(9.5 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，9 11月 2016年，lot 331 估價：GBP 5,000 EUR 8,500 （相當於今日） 描述：明十五/十六世紀青花獅戲繡球紋高足盃 專家評論：請注意相近的彩繪風格和杯的外形。

A FAMILLE ROSE 'SCHOLAR' VASE, INSCRIBED WANG QI (1884-1937), DATED 1929China. The baluster body with rounded and pronounced shoulders, neatly molded with Buddhist lion headed handles with movable bulging eyes and suspending mock-ring handles from their mouths. The waisted neck with a flared mouth. Finely painted in bright enamels to one side with a scholar seated on a mat, his shoes laid out beside him, wearing a voluminous robe, his face with a meditative expression, heavy-lidded eyes, and bow-shaped lips, and to the other with gnarled fruiting tree, one with a crow perched on a twig, each side with inscriptions.Inscriptions: To one side, dated '[…] during the Sommer of the Year of Jisi [corresponding to 1929]'. To the other side, inscribed 'Xichang Midaoren Wang Qi'.Provenance: A private collection in the United Kingdom. Bonhams London, 5 November 2012, lot 157, estimate GBP 5,000 or approx. EUR 9,200 (converted and adjusted for inflation at the time of writing). A collector, acquired from the above. Condition: Very good condition with minor old wear and firing irregularities as well as occasional light scratches.Weight: 3,474 g Dimensions: Height 41.5 cm Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years Wang more and more developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work. Auction result comparison: Type: Related Auction: Christie's London, 11 June 2006, lot 212 Price: GBP 7,800 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A fine famille rose rouleau vase, Wang Qi, Dated Wuchen Year, corresponding to 1928 Expert remark: Compare the related decoration and inscription. Note the different form and the size (33 cm).Auction result comparison: Type: Related Auction: Bonhams San Francisco, 10 December 2015, lot 8186 Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A small polychrome enameled vase, Wang Qi, dated by inscription to 1927 Expert remark: Compare the related decoration and inscription. Note the different form and the size (17 cm). 粉彩《文人》賞瓶，王琦款中國。 侈口，豐肩，弧腹，獅面輔首啣環，大眼可活動。琺瑯彩描繪一位文人坐在墊子上，鞋子放在旁邊，穿著寬大的長袍，作沉思狀，雙眼微閉。樹上似有紅色果子，秋日落葉，樹枝上棲息著一隻烏鴉。 款識：時在己巳仲夏為如九仁兄先 清玩，西昌勾迷道人王琦寫；空林落葉昏鴉棲，王琦 來源：英國私人收藏；倫敦Bonhams，2012 年 11 月 5 日，拍品 157，估價 5,000 英鎊或約 9,200 歐元（在撰寫本文時根據通貨膨脹進行換算和調整）；私人藏家，從上述拍賣獲得。 品相：狀況非常好，有輕微磨損和燒製不規則，以及局部輕微劃痕。 重量：3,474 克 尺寸：高 41.5 厘米拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2006年6月11日，lot 212 價格：GBP 7,800（相當於今日EUR 18,000） 描述：1928年王琦粉彩瓶 專家評論：比較相近的裝飾和款識。請注意不同的外形和尺寸(33厘米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦翰斯，2015年12月10日，lot 8186 價格：USD 12,500（相當於今日EUR 15,000） 描述：1927年王琦粉彩鍾馗捉鬼圖瓶《王琦》、《匋匋齋》款 專家評論：比較相近的裝飾和款識。請注意不同的外形和尺寸(17厘米)。

A LIMESTONE HEAD OF BUDDHA, TANG DYNASTY, CHINA, 7TH - EARLY 8TH CENTURYExpert's note: The present monumental Buddha head, carved from the hard, dark gray limestone generally found in Henan province and associated with Buddhist carvings from the Longmen caves, is a superb example of the High Tang style of the late 7th to early 8th century.Finely carved, the serene face with a pair of heavy-lidded downcast eyes with sinuous lids, below gently arched brows, above pursed bow-shaped lips with a pronounced philtrum, the hair arranged in tight curls, the head surmounted by a domed ushnisha.Provenance: An old Danish private collection. Bruun Rasmussen, Copenhagen, 9 December 2015. A Danish private collector, acquired from the above. A copy of a provenance statement from Bruun Rasmussen, dated 9 December 2015, written and signed by Ralph Lexner, Head of the Asian & Islamic Department, confirming that the present lot came from an old Danish private collection, accompanies this lot. Condition: Good condition, commensurate with age. Extensive wear, predominantly from centuries of worship within the culture. Signs of weathering and erosion, encrustations, shallow surface scratches, nicks, losses, remnants of ancient pigment. Fine, naturally grown patina overall, thus displaying remarkably well.Weight: 15.4 kg (incl. stand) Dimensions: Height 41.7 cm (incl. stand) and 28.5 cm (excl. stand) Mounted on a massive white marble base, dating from the 20th century. (2)Literature comparison:Compare a related limestone head of the Buddha, 43.1 cm high, dated to the Tang dynasty, illustrated by Osvald Siren, Chinese Sculpture: From the Fifth to the Fourteenth Century, 1925, pl. 466A, and sold by Sotheby's New York, 3 September 2013, lot 8. Compare a related Buddha head in the collection of the Museum fuer Ostasiatische Kunst, Cologne, illustrated by Gunhild Gabbert, Buddhistische Plastik aus China und Japan, Wiesbaden, 1972, pl. 89; two published in R. L. d'Argence, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, San Francisco, 1974, pls. 104 and 106; and a further example depicted in situ published in Longmen liusan diaoxiang ji, Shanghai, 1993, p.104, pl. 41, the main Buddha in the Santa Dong (Three Tower Cave) complex.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2004, lot 115 Price: USD 95,600 or approx. EUR 140,000 converted and adjusted for inflation at the time of writing Description: A gray stone head of Buddha, Tang dynasty, circa 700, Longmen Caves Expert remark: Compare the related manner of carving with a similar roughly hewn surface. Note the size of the head (34.3 cm). 唐代七至八世紀初石灰石佛頭佛頭頭頂飾有小螺髮，肉髻平緩，面部豐滿而圓潤，頭額寬平，兩眼細長，唇部飽滿，嘴角上揚，笑意盈然，神情恬靜親切。 來源：丹麥私人舊藏；哥本哈根Bruun Rasmussen，2015 年 12 月 9 日；丹麥私人收藏。家，購自上述。隨附一份由亞洲與伊斯蘭部門負責人Ralph Lexner 於2015 年12 月9 日撰寫並簽署的Bruun Rasmussen 出處聲明副本，確認本拍品來自丹麥私人舊藏。 品相：品相良好，大面積磨損，風化和侵蝕、結殼、淺表面劃痕、刻痕、缺損、顏料殘留。整體細膩包漿。 重量：15.4 公斤 (含底座) 尺寸：高41.7 厘米 (含底座) 與 28.5 厘米 (不含底座) 安裝在巨大的白色大理石底座上，其歷史可追溯至二十世紀。 (2) 文獻比較： 比較一件相近的唐代石灰石佛頭，高43.1 厘米，見Osvald Siren，《Chinese Sculpture: From the Fifth to the Fourteenth Century》，1925年，圖466A，以及售於紐約蘇富比，2013年9月3日，lot 8。比較一件相近的佛頭，見科隆東亞藝術博物館，見Gunhild Gabbert，《Buddhistische Plastik aus China und Japan》，Wiesbaden，1972年，圖89。兩件見R. L. d'Argence，《Chinese，Korean and Japanese Sculpture in the Avery Brundage Collection》，舊金山，1974年，圖104和106。另一件例子發表於《龍門流散雕像集》，上海，1993年，頁104，圖41，主佛在三塔洞（三塔洞）建築群中。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2004年3月24日，lot 115 價格：USD 95,600（相當於今日EUR 140,000） 描述：約700年龍門唐代灰石佛頭 專家評論：比較相近的雕刻風格，以及相似的切割技巧。請注意佛頭尺寸 (34.3 厘米)。

A CAST-IRON HEAD OF A LUOHAN, SONG DYNASTYChina, 960-1279. Finely cast with a serene expression and heavy-lidded eyes below raised arched brows, a broad nose above full bow-shaped lips forming a calm smile, flanked by elongated earlobes.Provenance: Collection of Dr. Rainer Kreissl. An important South German private collection, acquired from the above before 1990. Dr. Rainer Josef Kreissl (1924-2005) was a German-Czech art collector, patron, and important donor. Born in Bohemia, Dr. Kreissl's family was permitted to remain in Czechoslovakia after World War II because of his father's efforts in smuggling jews out of the Third Reich. Dr. Kreissl studied business in Žatec and became an antiques dealer in the late 1950s. Due to his association with various foreign diplomats, Dr. Kreissl emigrated to West Germany after becoming a person of interest to the KGB. Dr. Kreissl continued to work as an antiques dealer, assembling an impressive collection which he donated to the various museums in the Czech Republic. In 1995, Dr. Kreissl received a honorary Doctorate from Charles University and was later awarded a honorary citizenship of the city of Prague. In 2001, Kreissl received the Czech Republic's Medal of Merit. His broad collection can today be seen in the Thimble Museum, the National Gallery, and in Prague Castle. Condition: Good condition, commensurate with age. Wear, losses, signs of weathering and erosion, minor corrosion, casting flaws, and small dents. A casting line runs across the top of the head down the ears and side of the neck. The iron is covered overall in a fine, naturally grown patina.Weight: 4,260 g (incl. stand), 3,403 g (excl. stand) Dimensions: Height 28.1 cm (incl. stand), 18.6 cm (excl. stand) With a fine European wood stand made between 1920 and 1930. (2)Auction result comparison: Type: Related Auction: Sotheby's New York, 16 September 2017, lot 866 Price: USD 5,250 or approx. EUR 6,000 converted and adjusted for inflation at the time of writing Description: An iron head of a Luohan, Song dynasty Expert remark: Compare the related modeling, manner of casting, and patina.Auction result comparison: Type: Related Auction: Sotheby's Paris, 10 June 2021, lot 26 Estimate: EUR 15,000 or approx. EUR 16,500 adjusted for inflation at the time of writing Description: A cast iron head of a Luohan, Song dynasty Expert remark: Compare the related modeling, with similar facial features, and manner of casting. Note the urna, which is absent in the present lot, as well as the different patina and traces of gesso and pigments. Note the size (25.8 cm). 宋代羅漢鐵頭中國，960-1279年。羅漢表情安詳，眉毛下方雙眼微閉，寬闊的鼻子下是弓形的嘴唇，笑容平靜，兩側是細長的耳垂。來源：Rainer Kreissl 博士收藏；重要的南德私人收藏，於 1990 年之前從上述人士處購得。Rainer Josef Kreissl 博士（1924-2005 年）是一位德國-捷克藝術收藏家、贊助人和重要捐贈者。 品相：狀態良好，磨損、缺損、風化和侵蝕跡象、輕微腐蝕、鑄造缺陷和小凹痕。一條鑄造線穿過頭頂，向下延伸至耳朵和頸部側面。整體上覆蓋著一層精美的、自然包漿。 重量：4,260 克 (含底座), 3,403 克 (不含底座) 尺寸：高 28.1 厘米(含底座), 18.6 厘米(不含底座) 歐洲木底座來自1920-1930年間。 (2) 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2017年9月16日，lot 866 價格：USD 5,250（相當於今日EUR 6,000） 描述：宋鐵羅漢首像 專家評論：比較相近的模型，鑄造風格和包漿。 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2021年6月10日，lot 26 估價：EUR 15,000（相當於今日EUR 16,500） 描述：宋鐵鑄羅漢首 專家評論：比較相近的模型，相似的面部表情和鑄造風格。請注意有白毫，不同的包漿，石膏和顏料的殘留，以及尺寸(25.8厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE BRONZE HEAD OF BUDDHA, YUAN - EARLY MING DYNASTY, CHINA, 14TH-15TH CENTURYExpert's note: The head of the Buddha reflects profound contemplation. It was undoubtedly a component of a larger statue, approximately 70-80 cm in height, and probably salvaged after the remaining parts of the statue were destroyed in a fire. There are slight indications of fire damage on the right side of the deity's face, serving as a testament to this incident. The partially closed eyes capture the essence of Buddha's meditation, while the intricately carved facial features highlight his vibrant serenity and inner tranquility.The massively cast head is flanked by elongated earlobes, surmounted by an ushnisha and covered with a multitude of snail shell curls in high relief. The face shows prominent brows, heavy-lidded eyes, and a sharp nose above the bow-shaped lips outlining a indulgent smile.Provenance: Jacques Barrere, Paris, France. A copy of the signed expertise from Jacques Barrere Art D'Extrême Orient, dated 10 November 1999, confirming the dating above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age and size, showing significant old wear and weathering, minimal corrosion, and expected casting flaws. Some dents, losses, and minor fire damage. Magnificent naturally grown patina overall.Weight: 11.4 kgHeight: Height 18 cm (excl. base) and 32 cm (incl. base) Mounted on an associated base. (2)Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 20 March 2019, lot 680Price: USD 137,500 or approx. EUR 150,000 converted and adjusted for inflation at the time of writingDescription: A large bronze figure of Shakyamuni Ming Dynasty, 16th-17th centuryExpert remark: Note the size of the complete figure here is 54.6 cm, resulting in a size of 14.5 cm for the head itself, which is smaller than the present lot with a height of 18 cm. 十四至十五世紀元至明初大型銅佛陀頭像圓臉，表情寧靜，半閉的柳葉形眼睛，狹窄的鼻樑，柳葉形眉。笑容慈祥，側面長耳垂，螺髻。 來源：法國巴黎Jacques Barrere; 此拍品附有Jacques Barrere Art D'Extrême Orient 藝廊於 1999 年 11 月 10 日簽署的專業意見的副本，確認了上述日期。Jacques Barrere藝廊位於巴黎市中心的聖日耳曼德佩區。自1969年以來，它一直舉辦展覽以推廣和保護遠東藝術。該藝廊專注於中國雕塑、考古、陶瓷和裝飾藝術，以及日本藝術品和瓷器，也定期展出來自犍陀羅、印度或東南亞的雕像藝術。Jacques Barrere曾經擁有的藏品現在分佈在世界各地的重要博物館中，包括吉美博物館、賽努奇博物館和上海博物館。Barrere 藝廊經常參加馬斯特里赫特 TEFAF 博覽會。 品相：狀況良好，顯示出明顯的磨損和風化、輕微腐蝕和鑄造缺陷，一些凹痕、缺損和輕微的火災損壞。自然包漿。 重量：11.4 公斤 尺寸：高18 厘米 (不含底座)，32 厘米 (含底座) 配置底座（2）拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 680 價格：USD 137,500（相當於今日EUR 150,000） 描述：明十六 / 十七世紀銅釋迦牟尼佛坐像 專家評論：此像的完整尺寸為 54.6 厘米，頭部尺寸為 14.5 厘米，比本拍品的高度 18 厘米要小。

A BRONZE FIGURE OF AN IMMORTAL, LATE MING DYNASTYChina, 16th-17th century. Well modeled standing on a naturalistically cast rocky base, made in openwork, wearing loose-fitting robes revealing his emaciated chest. His right hand is raised with the index finger pointing upward and his left hangs at his side, enveloped in the voluminous sleeve. His serene face with heavy-lidded eyes and bow-shaped lips forming a calm smile. His hair is tied with a ribbon falling elegantly over his shoulders.Provenance: Bluett & Sons, London, United Kingdom, 1942. Collection of Major Edward C. Radcliffe, acquired from the above and thence by decent in the same family. Listed in the family archive as 'J3.' The back with an old collector's label, 'Radcliffe Collection, J3', and an old label, 'The British Antiques Dealers Association, certified for customs purposes only, over 100 years old.' Copies of an old photo of the present lot and handwritten notes from the Radcliffe family archives, reading 'J3. Bronze figure of a man meditating, one arm uplifted. Bluett 1942. My husband loved this. He thought it so peaceful (…)' accompany this lot. Major Edward Copleston Radcliffe (1898-1967) served as a company commander with the British Expeditionary Force in France. He was wounded during the withdrawal at Dunkirk while holding the line at Calais. In 1948, he emigrated to South Africa for retirement as a successful artist. His collection became renowned only after his death, when several Imperial Chinese works of art were found in his house. Condition: Very good condition with expected old wear and casting flaws, few small structural cracks probably inherent to the manufacture, occasional light scratches, few small dents. The bronze with a fine, naturally grown, dark patina.Weight: 862.7 g Dimensions: Height 25.5 cm Literature comparison:Compare a related bronze figure of Li Tieguai, 22.5 cm high, dated 1550-1640, in the Victoria & Albert Museum, accession number 68-1889, illustrated in Rose Kerr, Later Chinese Bronzes, London, 1990 pp. 84, no. 66.Auction result comparison: Type: Closely related Auction: Christie's 6 April 2015, lot 157 Price: HKD 62,500 or approx. EUR 8,600 converted and adjusted for inflation at the time of writing Description: A bronze figure of a Daoist Immortal, late Ming dynasty Expert remark: Compare the related pose and voluminous robes. Note the facial differences. Note the size (28.5 cm) and the lack of a base.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 December 2015, lot 26 Price: HKD 68,750 or approx. EUR 9,400 converted and adjusted for inflation at the time of writing Description: A large bronze figure of an ascetic Luohan, Ming dynasty, 16th/17th century Expert remark: Compare the related rock pedestal. Note the different style of robes and the boldly cast head. 明末仙人銅像中國，十六至十七世紀。仙人站在鏤空岩石底座上，身穿寬鬆長袍，露出瘦弱的胸部。他的右手舉起，食指向上，左手垂在身側，包在寬大的袖子裡，衣紋流暢。現任面容平靜，雙眼微閉，露出平靜的微笑，頭髮用發帶繫起來，優雅地披在肩上。形象生動。 來源：英國倫敦Bluett & Sons藝廊，1942 年；Edward C. Radcliffe 少校收藏，由同一家族成員從上述人士處獲得，在家族檔案中編號為“J3"。背面帶有藏家標籤“Radcliffe Collection，J3"和標籤“The British Antiques Dealers Association，certified for customs pur姿勢s only，over 100 years old（英國古董交易商協會，僅用於海關目的認證，已有 100 多年曆史）。"目前拍品的一張照片和Radcliffe家族檔案中的手寫筆記，上面寫著“J3. Bronze figure of a man meditating，one arm uplifted. Bluett 1942. My husband loved this. He thought it so peaceful (…)（J3。 青銅人像正在沉思，一隻手臂舉起。 Bluett 1942。我丈夫喜歡這個。 他認為陪伴這群人是如此平靜（……）"。Edward Copleston Radcliffe（1898-1967 年）曾擔任駐法英國遠征軍連長。 他在敦刻爾克撤退時在加萊堅守陣地時受傷。 1948年，他作為一名成功的藝術家移民到南非退休。 直到他死後，他的收藏才開始聞名，當時在他的家裡發現了幾件中國御製藝術品。 品相：狀況極好，有磨損和鑄造缺陷，結構裂紋，輕微劃痕，小凹痕。銅像具有細膩的深色包漿。 重量：862.7 克 尺寸：高 25.5 厘米 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A MONUMENTAL GILT-LACQUERED PAUWLOWNIA WOOD TEMPLE STATUE OF A LUOHAN, QING DYNASTY OR EARLIERChina, 1644-1912 or earlier. Astutely constructed of several wood sections, and masterfully carved seated in dhyanasana with his hands resting in dhyana mudra, wearing loosely draped robes with deeply carved folds falling over both shoulders and arms, tied below the bare chest. The belt and undergarment each with a neatly carved scroll design. His serene face with heavy-lidded downcast eyes below arched brows, his bow-shaped lips forming a subtle smile, flanked by long pendulous lobes. The statue is carved from a light soft wood, most likely Paulownia.Scientific Analysis Report: The result of a radiocarbon dating test (C14) conducted by Re. S. Artes, no. R 245170A, 6 October 2023, based on one sample taken from the base of the figure, is consistent with the dating of this lot. The report states two intervals of dates between 1692 and 1918: [1692-1727] AD (probability of 25,7%) and [1810-1918] AD (probability of 69,7%). A copy of the detailed scientific report accompanies this lot.Provenance: Collection particuliere française. Condition: Overall excellent condition, especially when considering both the monumental size and the age of this statue. Old wear, expected age cracks and splits, signs of weathering. Extensive rubbing and flaking to gilt, partially exposing the dark green primer below, which itself has partially worn off and developed a natural patination. Losses, chips, and scratches. The wood has a rich, naturally grown patina overall, and the statue displays exceptionally well.Weight: 122 kg Dimensions: Height 131 cm Expert's note: The imposing size of the present lot indicates it was once worshipped in a temple, shrine, or palace. The technique of coating carved wood figures with gilt-lacquer emerged during the Yuan dynasty, continuing through the Ming dynasty on to the Qing dynasty, echoing Buddhist bronze figures in form and decoration.Auction result comparison: Type: Related Auction: Christie's New York, 18 September 2003, lot 175 Price: USD 20,315 or approx. EUR 31,500 converted and adjusted for inflation at the time of writing Description: A gilt-lacquered wood figure of a Luohan, Damo, 17th/18th century Expert remark: Compare the related subject, manner of carving, and modeling with similar pose. Note the much smaller size (89 cm).Auction result comparison: Type: Related Auction: Christie's London, 15 June 1999, lot 32 Price: GBP 100,500 or approx. EUR 271,000 converted and adjusted for inflation at the time of writing Description: A large gilt-lacquered wood figure of Vairocana, Yuan dynasty Expert remark: Compare the related manner of carving and modeling with similar robes and face. Note the earlier dating and the larger size (150 cm). 清代或更早鎏金漆泡桐木雕羅漢坐像中國，1644 -1912 年或更早。由數塊木料精心雕刻而成，羅漢結跏趺坐，雙手結禪定印，穿著寬鬆的僧袍，胸前敞開，袈裟飄逸，衣紋線條流暢。面容平靜，雙目低垂，嘴唇豐滿露出溫和的微笑。該雕像由輕質軟木雕刻而成，很可能是泡桐。 來源：法國特別收藏。 品相：總體狀況良好，磨損、年代裂縫和裂口、風化跡象，大面積鎏金剝落，部分露出下面的深綠色底漆，底漆本身已部分磨損並形成自然的包漿。缺損、刻痕和劃痕。木材整體上具有豐富的自然包漿。 重量：122 公斤 尺寸：高 131 厘米 拍賣結果比較: 形制：相近 拍賣：紐約佳士得，2003年9月18日，lot 175 價格：USD 20,315（相當於今日EUR 31,500） 描繪：十七至十八世紀鎏金漆羅漢木像 專家評論：比較相近的主題，雕刻風格、模型、相似的姿勢。請注意尺寸較小(89 厘米)。 拍賣結果比較: 形制：相近 拍賣：倫敦佳士得，1999年6月15日，lot 32 價格：GBP 100,500（相當於今日EUR 271,000） 描繪：元代鎏金漆毗盧遮那佛木像 專家評論：比較相近的雕刻風格、模型、相似的長袍和面部。請注意年代較早和尺寸較大 (150 厘米)。

A GILT BRONZE FIGURE OF THE RATNASAMBHAVA BUDDHA, TIBET, 17TH-18TH CENTURYHeavily cast, seated in dhyanasana atop a double lotus throne with beaded edges, his right hand lowered in varada mudra and his left held above the lap in dhyana mudra. He is wearing a diaphanous sanghati draped over the left shoulder with neatly incised floral hems, gathering at the shoulder and at the top of the base before a vajra. His serene face with sinuously lidded downcast eyes below arched brows, his full bow-shaped lips forming a calm smile, flanked by pierced elongated earlobes. The hair arranged in tight curls over the ushinsha topped by a jewel. The base sealed, the copper seal plate finely incised with a double vajra.Provenance: Dutch trade.Condition: Good original condition, commensurate with age, showing significant wear and expected casting irregularities. Scratches, nicks, dents, and rubbing to gilt. Minor corrosion. Remnants of ancient pigment.Weight: 2,868 gDimensions: Height 24.8 cm Ratnasambhava, the 'jewel born', is one of the Five Symbolic Tantric Buddhas described in the ancient anuttarayoga literature. The Buddha is identified by the open palm of his right hand facing outward in the gesture of charity (varada mudra). Ratnasambhava is the Tathagata of the South and the father of the Jewel family of Vajrayana Buddhist deities, associated with the element of earth and the enlightened activity of equanimity. He is sometimes pictured together with the other four Tathagata Buddhas: Akshobya of the East, Amitabha of the West, Amoghasiddhi of the North, and Vairocana of the Central direction. These primordial Buddhas all bear an appearance like that of the historical Buddha Shakyamuni, unadorned, in the garb of an ordained monk.Auction result comparison: Type: RelatedAuction: Christie's New York, 23 March 1999, lot 161Price: USD 7,475 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of a medicine Buddha, Tibet, 17th/18th centuryExpert remark: Compare the related modeling, manner of casting, gilding, and size (26.5 cm). 西藏十七至十八世紀銅鎏金寶生佛坐蓮像寶生佛像身著菩薩裝，髮髻雕刻精細成螺髻，面相豐滿，雙目細瞇，雙眼之間有白毫，長耳垂，嘴角含笑。袒上身，肩披帛帶，下裙褶紋起伏，流暢自如。右手結與願印，左手結禪定印，全跏趺坐。仰覆蓮座蓮瓣尖端上卷，上下邊緣飾聯珠紋。 來源：丹麥古玩交易。 品相：狀況良好，有磨損和鑄造不規則，劃痕、刻痕、凹痕和鎏金摩擦，輕微腐蝕，顏料殘留。 重量：2,868 克 尺寸：高 24.8 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，1999年3月23日，lot 161 價格：USD 7,475（相當於今日EUR 13,000） 描述：十七至十八世紀西藏鎏金銅藥師佛 專家評論：比較相近的模型、鑄造風格、鎏金和尺寸(26.5厘米)。

A GILT BRONZE FIGURE OF MANJUSHRI, 18TH CENTURYTibetan-Chinese. Finely cast seated in dhyanasana atop a double lotus base with beaded edges, holding aloft the hilt of his sword in his raised right hand, the left hand held in vitarka mudra. The bodhisattva clad in a voluminous dhoti with neatly incised foliate hems and richly adorned with billowing sashes and beaded jewelry. His serene face with sinuously lidded eyes below arched brows centered by a raised circular urna, his bow-shaped lips forming a subtle smile, flanked by elongated ears with chakra earrings, the hair arranged in a high chignon topped by a lotus finial behind the foliate tiara in front of a high chignon topped by a lotus finial. The base sealed, the seal plate incised with a double vajra.Provenance: A private collection in Hungary. Galerie Zacke, Vienna, 8 December 2018, lot 66, sold for EUR 5,100 or approx. EUR 6,400 (adjusted for inflation at the time of writing). A private collection in Portugal, acquired from the above.Condition: Very good condition with minor wear and casting irregularities. Small nicks, some scratches, minor rubbing to gilt. The sword blade lost.Weight: 1,067.2 gDimensions: Height 15.5 cm Auction result comparison: Type: Closely related Auction: Christie's New York, 11 September 2019, lot 379 Price: USD 6,250 or approx. EUR 6,800 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Manjushri, Tibeto-Chinese, 18th century Expert remark: Compare the closely related modeling with similar pose, expression, base, and jewelry. Note the more extensive wear to the gilding, the sword, and the related size (17.2 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 September 2021, lot 349 Price: USD 7,560 or approx. EUR 7,700 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Manjushri, Tibeto-Chinese, 18th century Expert remark: Compare the related modeling with similar pose, expression, and base, as well as the loss to the sword. Note the stone inlays, lotus blossom supporting the book, and much smaller size (11.1 cm). 十八世紀銅鎏金文殊菩薩漢藏。文殊菩薩全跏趺坐於蓮座之上，面部豐滿，下頜微尖，雙目微闔，面容肅穆；頭戴五葉寶冠，耳後繒帶上卷，圓形耳璫作寶相花形；雙肩披天衣，兩側尾端對稱搭於蓮座之上，線條流暢自然，斜掛聖帶，於胸前打結，胸前點綴各類釧環、瓔珞；右手上舉結斯克印，持智慧劍劍柄，左手於胸前結說法印；下身著長裙，褶皺自然寫實，裙擺一匝花紋裝飾。來源：匈牙利私人收藏。Galerie Zacke，維也納，2018 年 12 月 8 日，拍品 66，售價 5,100 歐元或約 6,400 歐元（根據撰寫本文時的通貨膨脹情況進行調整）；葡萄牙私人收藏，購自上述拍賣。 品相：狀況非常好，有輕微磨損和鑄造不規則。小刻痕，一些劃痕，瑬金輕微摩擦。劍刃丟失。 重量：1,067.2 克 尺寸：高 15.5 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年9月11日，lot 379 價格：USD 6,250（相當於今日EUR 6,800） 描述：十八世紀漢藏文殊菩薩鎏金銅像 專家評論：比較非常相近的模型、姿勢、表情、底座和珠寶。請注意此像鎏金磨損較明顯，以及相近的尺寸(17.2厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2021年9月20日，lot 349 價格：USD 7,560（相當於今日EUR 7,700） 描述：十八世紀漢藏文殊菩薩鎏金合金像 專家評論：比較相近的模型、姿勢、表情、底座，以及劍缺失。請注意內嵌石、蓮花支撐著書本，以及尺寸較小(11.1厘米)。

A LARGE SANCAI-GLAZED 'ARCHER' GUARDIAN FIGURE (LOKAPALA), TANG DYNASTYChina, 7th-8th century. Exquisitely modeled, standing on a recumbent bull over a pierced rockwork base, his right arm bent and left arm extended, poised to shoot an arrow from his now lost bow. The lokapala is dressed in elaborate armor with dragon epaulets and divided breast plate, over a knee-length tunic. His unglazed face is well modeled with a fierce, somewhat hypnotic expression. The head is surmounted by a tall phoenix-form headdress. The figure is splash-glazed in amber, green, and straw.Provenance: From the collection of Joseph Rondina, acquired before 1996, and thence by descent to the last owner. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Excellent condition, commensurate with age. Old repairs and minor touch-ups as generally expected from authentic Tang-dynasty excavations. Old wear, glaze flaking and crackling, small nicks and losses, light scratches, soil encrustations overall.Weight: 11.5 kgDimensions: Height 97.4 cm Large, imposing guardian figures like the present lot were made to stand guard in the tombs of Tang dynasty elite. Those with vibrant sancai (three color) glazes, like the current example, flourished from the late 7th to mid-8th century. One of the earliest tombs to contain sancai pieces was that of Li Feng, Prince of Guo (622-675), fifteenth son of Emperor Gaozu, founder of the Tang dynasty. By the first decade of the 8th century, large sancai figures were included in the tombs of royalty and nobility both at the capital Chang'an (modern day Xian) and at Luoyang, which served as the Eastern Capital in the Tang period. The inclusion of large sancai figures declined significantly following the An Lushan rebellion of 755-763, which had a devastating effect on the empire, seriously weakening the dynasty, and leading to the loss of the Western Regions.Expert's note: Based on the size and quality of the modeling of the present lot, and considering the known examples of Lokapala in public collections, both in China and around the world, it is obvious that the current figure hails from the tomb of an elite individual. 唐代三彩護法立像中國，七至八世紀。護法站在一頭公牛上，他的右臂彎曲，左臂伸展，似乎準備射箭。護法身著盔甲，上龍形肩章和胸甲。臉龐輪廓分明，表情凶狠。頭上戴著頭盔。施琥珀色、綠色和稻草色三彩釉。 來源：美國紐約Joseph Rondina收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極佳，小修，有磨損、釉面剝落和裂紋、小缺口和缺損、輕微劃痕、土壤結殼。 重量：11.5 公斤 尺寸：高 97.4 厘米

A GILT BRONZE FIGURE OF PRAJNAPARAMITA, TIBET, LATE 19TH TO MID-20TH CENTURYFinely cast, seated in dhyanasana on a double lotus base over a low stepped plinth supported by snow lions and male figures. The four-armed goddess raising her primary hands in dharmachakra mudra and lowering her secondary hands in dhyana mudra. Two lotus blossoms rise to her shoulders supporting a conch and an amrita vase. She is wearing a richly beaded dhoti, foliate tiara, and fine jewelry, all inlaid in glass and semi-precious stones with floral and geometric decorations.Provenance: French trade. Condition: Good condition with minor wear and casting flaws, a few minuscule losses, light scratches, small dents, minor fatigue cracks, remnants of pigment.Weight: 2,903 g Dimensions: Height 27 cm Her serene face with heavy-lidded eyes below gently arched brows, her bow-shaped lips forming a subtle smile, flanked by elongated earlobes. Her hair is tied in a high chignon topped by a vajra behind a inlaid with semi-precious stones and glass. The base is unsealed.Literature comparison:Compare an earlier bronze figure of Maitreya, 19.7 cm high, dated to the 17th century, which may have served as a prototype to this lot, illustrated by Ulrich von Schroeder's Buddhist Sculptures in Tibet, Vol. 2, 2001, pp. 1062, pl. 271A. 西藏十九世紀末至二十世紀中鎏金銅四臂般若佛母鑄造精美，四臂佛母坐於雙層蓮座上，底座上有一個台階底座，底座由雪獅和男性雕像支撐。四臂女神以舉起主手施法輪印，副手施禪定印。兩朵蓮花高至肩頭，托著海螺和甘露花瓶。她戴著華麗的瓔珞、葉狀王冠和精美珠寶，鑲嵌玻璃和半寶石上，並帶有花卉和幾何裝飾。她面容平靜，彎彎的眉毛，雙眼微閉，笑容安詳，長耳垂。頭髮紮成高髻，頂上鑲嵌著半寶石和玻璃，後面有一個金剛杵。 底座未密封。 來源：法國古玩交易。 品相：狀況良好，有輕微磨損和鑄造缺陷、一些微小缺損、輕微劃痕、小凹痕、輕微疲勞裂紋、顏料殘留。 重量：2,903 克 尺寸：高 27 厘米 文獻比較： 比較一件十七世紀彌勒佛銅像，高19.7 厘米，可能為此雕像的原型，見Ulrich von Schroeder，《Buddhist Sculptures in Tibet》，卷2，2001，頁1062，圖271A。

A GILT DRY LACQUER FIGURE OF BUDDHA, VIETNAM, 17TH-18TH CENTURYWell modeled seated in dhyanasana with his hands clasped together in uttarabodhi mudra, clothed in voluminous robes draping elegantly over the shoulders in large folds. The serene face with heavy-lidded downcast eyes below arched brows, and bow-shaped lips flanked by long pendulous earlobes. His hair arranged in strikingly modeled snail-shell curls surrounding the domed ushnisha.Provenance: Ancienne Collection Particuliere de M. M., Paris, France, and thence by descent. Condition: Overall good condition, commensurate with age, with wear, signs of weathering and erosion, losses, minor old repairs, expected age cracks, rubbing to the gilding and lacquer.Weight: 1,953 g Dimensions: Height 31.8 cm Literature comparison: Compare a related gilt and lacquer wood figure of Buddha, dated to the 17th century, Vietnam, in the collection of the USC Pacific Asia Museum, accession number 1996.28.2. Compare a related lacquered wood figure of Buddha Amitabha, dated 18th-19th century, in the collection of the Los Angeles County Museum of Art, accession number M.2005.108.1.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 25 April 2020, lot 456 Price: EUR 15,168 or approx. EUR 18,500 adjusted for inflation at the time of writing Description: A gilt-lacquered wood statue of Buddha, Vietnam, 17th-18th century Expert remark: Compare the related manner of carving and lacquer gilding. Note the larger size (51 cm). 越南十七至十八世紀鎏金乾漆佛像佛陀結跏趺坐，雙手於腿上合十，身著線條流暢的敞胸袈裟。雙眼微微下垂，嘴唇露出祥和的笑容，面部兩側是長長耳垂，頭髮梳成螺髻。 來源：法國巴黎Ancienne Collection Particuliere de M. M.特別收藏，傳承至今。 品相：整體狀況良好，有磨損、風化和侵蝕跡象、缺損、輕微小修、年代裂縫、鎏金和漆面摩擦。 重量：1,953 克 尺寸：高 31.8 厘米 文獻比較： 比較一件相近的越南十七世紀鎏金漆佛像，收藏於南加州大學亞太博物館，館藏編號1996.28.2。比較一件相近的十八至十九世紀木漆阿彌陀佛木像，收藏於洛杉磯郡立美術館，館藏編號M.2005.108.1。 拍賣結果比較: 形制：相近 拍賣：Galerie Zacke，維也納，2020年4月25日，lot 456 價格：EUR 15,168（相當於今日EUR 18,500） 描繪：越南十七至十八世紀鎏金漆佛像 專家評論：比較相近的雕刻風格和鎏金漆。請注意尺寸較大 (51 厘米)。

AN ARAKAN STYLE GILT BRONZE FIGURE OF BUDDHA RATNASAMBHAVA, BURMA, 16TH - 17TH CENTURYBoldly cast seated in dhyanasana on a stepped plinth, his left hand lowered in varada mudra and his right hand held in dhyana mudra above the lap cradling a jewel. He is wearing a sheer dhoti tied at the waist with an ornate belt and with folds gathering at the top of the base as well as neatly incised scarves, and richly adorned with elaborate beaded jewelry. His serene face with sinuously lidded eyes below gently arched brows, his bow-shaped lips forming a calm smile. The hair arranged in a high chignon behind the foliate tiara and elegantly falling in twisted strands over the shoulders.Provenance: From a private collection in Brussels, assembled between 1970 and 1990. Condition: Wear, signs of weathering and erosion, losses, structural cracks, dents, rubbing to lacquer gilt, scratches, the mandorla lost. With a good patina. Overall presenting remarkably well.Weight: 3,144 g Dimensions: Height 30.5 cm This exceptional example of a crowned Buddha in the classic Arakan style closely resembles those from the Yongle period. Early Ming emperors sent gifts and dignitaries to Lamaist dignitaries in Tibet, employing Tibetan craftsmen to create sacred Buddhist images. Yongle and Arakan bronze have soft, sinuous characteristics of a refined quality. Both the Yongle and Arakan style represent an important and major shift from the Pala-influence of Southeast Asia on styles of sculpture and existed for roughly four centuries. The images consistently wear identical garments, jewelry, and five-leaved crowns. While Chinese written sources make no reference to Arakan, there are clear written sources documenting to the continual interchange of monks between Arakan, Bengal, and Tibet, which peaked in the 16th century. Bronzes of this type are rare and represent a unique cross-cultural exchange during the 15th-17th century.Literature comparison: Compare related Arakan bronze figures of Buddha, dated 15th-16th century, illustrated by Pamela Gutman, Burma's Lost Kingdoms. Splendor of Arakan, 2001, pp. 148-151, nos. 160-162, where the author elaborates on the connection between Yongle and Arakan bronzes.Auction result comparison: Type: Closely related Auction: Bonhams London, 8 September 2009, lot 70 Price: GBP 6,840 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: An Arakan gilded bronze, or other alloy, figure of a seated Buddhist deity, possibly Avalokitesvara, the Bodhisattva of Compassion Expert remark: Compare the closely related modeling, manner of casting, and gilding. Note the similar size (33 cm).

A SANDSTONE HEAD OF BUDDHA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Boldly carved, the round face with a prominent hairline and elongated earlobes with a serene expression, heavy-lidded eyes, and full bow-shaped lips. The hair neatly arranged in vertical rows with finely incised wavy lines, surmounted by a topknot tightly set in spiral braids above a ring of lappets.Provenance: From an English private collection.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, nicks, scratches, encrustations. An old repair to where the topknot connects with the head.Weight: 5,181 g (incl. stand)Dimensions: Height 24.5 cm (exc. stand) and 34.2 cm (incl. stand) Mounted on an associated metal base. (2)This head belongs stylistically to the latter part of the reign of King Jayavarman VII (1181-1219), a devout Buddhist who established the Bayon as his state temple in the Khmer capital of Angkor and commissioned numerous Buddhist sculptures to fill that space and others. This work is a prime example of a new style developed during his reign based on more naturalistic body and face types distinguished by faint smiles, closed eyes, and hair rendered like a tight-fitting cap with a lotus-shaped bun.Literature comparison: Compare a similar Khmer head of the Buddha dated 12th-13th century, 30.5 cm tall, in the Minneapolis Institute of Art, accession number 50.46.222.Auction result comparison: Type: RelatedAuction: Sotheby's Paris, 10 June 2021, lot 237Price: EUR 11,340 or approx. EUR 12,500 adjusted for inflation at the time of writingDescription: A gray standstone head of a divinity Khmer, Bayon style, circa 12th centuryExpert remark: Note the near-identical size (24 cm).

A POLYCHROME STUCCO HEAD OF BUDDHA, ANCIENT REGION OF GANDHARA, 4TH-5TH CENTURYThe rounded face with a serene expression marked by downcast almond-shaped eyes with dark pupils below elegantly arched brows, above an aquiline nose and pursed bow-shaped lips, his dark wavy hair intricately carved, the ears with elongated lobes.Provenance: From a private collection in Milan, Italy. Leonardo Vigorelli, Bergamo, Italy, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Good condition, commensurate with age. Extensive wear, encrustations, signs of weathering and erosion. Obvious losses, nicks and scratches. Minor old fills and touchups, remnants of ancient pigment. Overall with a good, naturally grown patina.Weight: 6,327 gDimensions: Height 22 cm (excl. stand), 27 cm (incl. stand) Mounted on an associated stand. (2)In addition to schist, stucco was a popular medium for sculpture in the ancient Gandhara region. A lightweight, malleable ware, stucco readily lends itself to delicate detailing and sensitive modeling, conveying an emotional presence exemplified in this fine head of Buddha. With idealized proportions, beatific expression, and flowing robes, the serene figure is the embodiment of compassion.Of the vast numbers of surviving Gandharan stucco heads some still show traces of their coloring, such as the present lot. On this head the hair, eyebrows, and irises are black. A distinct orange-red pigment is used on the lips and to outline several other features. Fewer bodies survive, since on them the more durable stucco was thinly spread over clay.Literature comparison: Compare a related polychrome stucco head of Buddha, dated 4th-5th century, 17.5 cm tall, at the British Museum, museum number 1962,0421.1.Auction result comparison: Type: Related Auction: Bonhams Paris, 25 October 2022, lot 29 Price: EUR 111,255 or approx. EUR 115,000 adjusted for inflation at the time of writing Description: A white stucco head of a bodhisattva, ancient region of Gandhara, circa 4th century Expert remark: Compare the related modeling and polychrome details. Note the turban and the size (28 cm cm). 健陀羅四至五世紀灰泥彩繪佛頭圓臉，表情安詳，杏仁狀眼睛微閉，修長的拱形眉毛下有黑色的瞳孔，鷹鉤鼻，弓形嘴唇翹起，深色的捲發經過精心雕琢，細長的耳垂。 來源：義大利米蘭私人收藏；義大利貝加莫Leonardo Vigorelli收藏。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。 品相：品相良好，大面積磨損、結殼、風化和侵蝕跡象，明顯的缺損、刻痕和劃痕。輕微的小修，顏料殘餘，自然包漿。 重量：6,327 克 尺寸：高 22 厘米(不含底座), 27 厘米(含底座) 安裝在支架上。(2) 文獻比較： 比較一件相近的四至五世紀彩繪灰泥佛頭，高17.5厘米，收藏於大英博物館，館藏編號1962,0421.1。 拍賣結果比較： 形制：相近 拍賣：巴黎邦翰斯，2022年10月25日，lot 29 價格：EUR 111,255（相當於今日EUR 115,000） 描述：犍陀羅約四世紀泥塑菩薩首 專家評論：比較相近的模型和彩繪細節。請注意頭巾和尺寸(28厘米厘米)。

A PARCEL-GILT SCHIST HEAD OF BUDDHA SHAKYAMUNI, KUSHAN PERIODExpert's note: While it is reasonable to assume that many schist figures were originally polychromed, or in some cases gilt, following Greco-Roman prototypes, only very few examples remain. In the present example, the Buddha head retains much of its original gilding. Compare a closely related parcel-gilt and polychromed schist figure of the Buddha, 51 cm high, at Christie's New York, 12 September 2012, lot 522. Much like the Buddha in this example, the present lot was never part of a free-standing statue, but rather is a fragment of a large and prominent temple relief, as becomes obvious when viewing the backside. It also shows close stylistic affinities with early stucco productions from Gandharan sites at Taxila. The sensitive modeling has an expressive quality that is not seen often in the more formal stone images from this period.Ancient region of Gandhara, 2nd-4th century. Superbly carved, the serene face with heavy-lidded almond-shaped eyes, below elegantly arched brows, centered by a raised circular urna. The pronounced aquiline nose above full bow-shaped lips, the hair arranged in long wavy locks over the ushnisha.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family. Condition: Good condition, commensurate with age. Extensive wear, some weathering and erosion, obvious losses, encrustations. Few structural cracks, some possibly with old fills. Remnants of an old varnish coating, ancient gilt and pigment.Weight: 14.2 kg (excl. stand) and 18.9 kg (incl. stand) Dimensions: Height 30 cm (excl. stand) and 53 cm (incl. stand) Mounted on an associated stand. (2) Literature comparison: Compare a related schist head with undulating wavy hair, 38.7 cm high, dated 2nd-3rd century, in the British Museum, registration number 1929,1104.2. Compare also a related stucco head of the Buddha with traces of polychromy, 18.4 cm high, dated ca. 4th century, in the Metropolitan Museum of Art, accession number 13.96.4. 貴霜時期局部鎏金片岩釋迦牟尼頭像健陀羅古代地區，二至四世紀。雕刻精美，面容安詳，眼微閉，杏仁狀的眼睛，優雅修長的眉毛，雙眉之間有擺好。鼻子直挺，嘴唇豐滿，波浪形頭髮在頭上結高髻。 來源：比利時私人舊藏。1970 年之前購得，此後由家族傳承。 品相：品相良好，大面積磨損，一些風化和侵蝕，缺損，結殼，少量結構裂縫，小修，舊清漆塗層、鍍金和顏料殘留。 重量：14.2 公斤 (不含底座) ，18.9 公斤 (含底座) 尺寸：高 30 厘米(不含底座) ，53 厘米(含底座) 安裝在支架上。(2) 文獻比較： 比較一件相近的西元二至三世紀波狀波浪發片巖頭，高38.7厘米，收藏於大英博物館，館藏編號1929,1104.2。比較一件相近的約四世紀灰泥佛頭，帶有多色痕跡，高18.4厘米，收藏於大都會藝術博物館，館藏編號13.96.4。

A BRASS FIGURE OF DURGA MAHISHASURAMARDINI, INDIA, 16TH-17TH CENTURYWell cast to depict the eight-armed goddess Durga slaying Mahishasura just as the demon emerges from the decapitated body of the buffalo, all raised on a stepped rectangular base incised with cross-hatched lines. The goddess's right foot rests on the back of her lion vehicle, who roars in victory as the figure delivers the death blow with her trident while grasping the demon's head. Her radiating arms hold her attributes, the trident, club, lotus, sword, chakra, conch, bow and arrow. The brass with a rich, naturally grown, pale red patina. Provenance: From the private collection of Madeleine and Erich Dammann, no. 76, and thence by descent. Newlyweds Madeleine and Erich Dammann embarked on their first trip to India in 1950, driven by their curiosity about foreign cultures. Settling in Switzerland in 1963, Erich worked as a television editor and worked for Rundschau which specialized in reports from around the world, enabling him to travel extensively and collect art and objects from different cultures. Madeleine often joined him on these explorations. Over 50 years, their shared passion led to a diverse collection encompassing everyday objects, furniture, weapons, masks, musical instruments, jewelry, and more. The collection became an integral part of their family's life, shaping their home visually and emotionally. Condition: Very good condition with distinct old wear, mostly from extended worshipping within the culture, and expected casting irregularities, as well as small nicks, light scratches, minor dents. The aureole is lost.Weight: 1,275 g Dimensions: Height 17.8 cm The warrior manifestation of Adi Parashakti or Mahadevi (the Supreme Being in Shaktism) is represented in her most popular form as Mahishasuramardini (Slayer of the Buffalo Demon). Whilst representations of Durga can have between two and twenty arms, in medieval Indian art she is most often shown with only eight or ten arms.The weapons that Durga holds were bestowed upon her by male Hindu deities. Here, she holds Vishnu's conch (shankha) and disc-like weapon (Sudarshana Chakra) in her upper pair of hands, whereas her two principal, lower hands push Shiva's massive trident into Mahishasura's chest. The artist brilliantly captures the ultimate culmination of this fierce battle, when the powerful demon humbly realizes Durga's blatant superiority in the very moment of his death. The demon in human form emerges from the neck of his buffalo guise. The buffalo's body supports the foot of Durga's bent right leg, whilst the foot of her outstretched left leg rests on the back of her mount (vahana), a lion.Goddess Durga fought Mahishasura for 10 whole days. The shape-shifting demon was no match for the radiant and strong goddess. On the tenth day, she slayed him. The nine days of battle became what is celebrated today as Hindu festival of Navaratri, and the tenth day-the day of victory-is Vijaya Dashami.Durga's serene, calm and graceful face starkly contrasts with the lion's unleashed force and the demon's last rearing up. The crescent moon in her crown alludes to her association with Shiva, whose Shakti (female creative energy) is known in various manifestations, such as Sati, Parvati, Durga or Kall.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2008, lot 345 Price: USD 5,000 or approx. EUR 6,500 converted and adjusted for inflation at the time of writing Description: A brass figure of Durga slaying the buffalo, India, Orissa, 15th century Expert remark: Compare the closely related subject and brass material. Note the size (14.9 cm).

A violin, the two-piece back 35.75cm long excluding button, ebonised tuning pegs, outlined throughout with purfling, 60cm long overall, the bow unsigned, 74cm long, cased

A violin, the two-piece back 36cm long excluding button, 59.5cm long overall, the bow apparently unsigned, 72cm long, cased

A 19th century cast iron bow front pocket watch stand, cast with a pair of sea serpents and scallop shell, rope twist border, 18cm, c,1880; a 19th century French Rococo style gilt brass pocket watch stand, surmounted with a guardsman on horseback, cast with foliate scrolls and stiff leaves, 20cm; a cast metal pocket watch stand, unmarked, with putto in relief within a floral border, 15cm (3)

An early 20th century beech and elm smoker’s bow or desk elbow chair, by W H Glenister, High Wycombe, the underside branded G R V (George V), 82cm high, 68cm wide, the seat 37cm wide and 42cm deep