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Lot 685
AN ANDESITE HEAD OF BUDDHA, 9TH Р10TH CENTURYIndonesia, Central Java. Finely carved with bow-shaped mouth and downcast eyes centered by a raised urna, flanked by pendulous earlobes, the hair in snail-shell curls over the conical ushnisha.Provenance: Hopareboden Antikviteter, Stockholm, Sweden, 14 June 1965. From the private collection of Mr. Lampa, Sweden, acquired from the above, and thence by descent to the last owner. A copy of the original invoice from Hopareboden Antikviteter, signed by the owner Eva Rudensch̦ld, dated 14 June 1965, accompanies this lot. Countess Eva Gabriella Rudensch̦ld (1915-2005) was a Swedish noblewoman and a well-regarded collector and antiques dealer in Stockholm. Condition: Overall commensurate with age, showing old wear from handling and worship, sings of weathering and erosion, few chips and losses. The wood base with minuscule nicks.Weight: 6.2 kg (incl. base) Dimensions: Height 24.7 cm (excl. base) and 35 cm (incl. base)With a wood base dating to the 1960s. (2)The facial features of this finely carved andesite head share physiognomic elements inspired by the preceding Gupta artistic tradition of Northern India, such as the well-defined nose and snail-shell curls covering both the head and ushnisha. This remarkable head also closely resembles the manifold transcendental Buddhas that adorn the Buddhist monument of Borobudur in Central Java, erected under the Sailendra Dynasty in the early years of the 9th century. The porous texture of the volcanic stone expertly fashioned into serene expressions manifest a sense of sincerity and bliss characteristic of classical Javanese sculpture. The great stupa of Borobudur is a three-dimensional mandala that maps the cosmic universe in five ascending terraces. The large-scale Buddhas at its pinnacle represent the highest levels of transcendental wisdom.Literature comparison:For a related example, see P. Pal, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, 1997, p. 104, cat. no. 126.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 September 2020, lot 715Price: USD 32,500 or approx. EUR 35,200 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th Р10th centuryExpert remark: Compare the closely related curls, urna, and expression. Note the significantly larger size of 40.6 cm.
Lot 445
A SANCAI-GLAZED 'TANG REVIVAL' PHOENIX-HEAD EWER, QING DYNASTYChina, 1644-1912. The pear-shaped body rising from a splayed foot to a long cylindrical neck with a phoenix-head, the wider sides each with a reserve, one side depicting an equestrian archer turned backwards on his galloping horse as he takes aim with his bow, and on the reverse with a triumphant phoenix, both surrounded by ornate flowers issuing from the oval surround, the C-form handle with foliate terminals. Overall covered in an amber glaze and with green, ochre, and dark blue accents, leaving the foot unglazed revealing the buff body.Provenance: From a private estate in the United Kingdom. British trade, acquired from the above. Condition: Good condition with some wear and firing flaws including firing cracks, few small chips and glaze flakes, a repair with minor associated loss to the base.Weight: 1,069 g Dimensions: Height 26.5 cmLiterature comparison: Compare a related phoenix-head ewer, dated to the early 20th century, in the collection of the Victoria & Albert Museum, accession number C.200-1928.清代三彩鳳首執壺中國，1644-1912年。直口、細頸，口頸相交處作一鳳首，鳳眼圓睜，神姿英發。橢圓腹，高圈足。鳳冠長伸至腹為柄。腹部中央開光，一面雕塑團花紋與狩獵場景，另一面雕塑圖花紋與鳳凰紋。整體上覆蓋著琥珀色釉，並使用綠色、赭色和深藍色釉，底足露胎，成淺黃色。 來源：英國私人舊藏；英國古玩交易，購於上述收藏。品相：狀況良好，有一些磨損和燒製缺陷，包括裂紋、少量小缺損，小修，底座有輕微的相應損失。 重量：1,069 克 尺寸：高 26.5 厘米 文獻比較： 比較一件相近二十世紀鳳首執壺，收藏於維多利亞和亞伯特博物館，編號C.200-1928。
Lot 675
A SANDSTONE HEAD OF BUDDHA, AYUTTHAYA KINGDOMOpinion: The present lot is a sad and at the same time hopeful testimonial to the sheer endless number of Buddhist images that were destroyed during two millennia of turmoil, upheaval, revolution and outright war. Sad, because the tragedy of brutal and mortifying repression is apparent in this statue, hopeful because even the most savage physical harm was unable to diminish Buddha's eternally peaceful appearance.Thailand, 14th-16th century. The ovoid face sensitively carved with finely detailed facial features, the eyes with sinuous upper lids, the brows gracefully arched, the bow-shaped mouth with full lips and subtly incised mustache.Provenance: French trade. Condition: Extensive wear, signs of weathering and erosion, some losses, nicks, scratches, encrustations. The hair and top of the head have been cut off, evidently to mortify Buddha's image and diminish its function to merely a supportive structure.Weight: 7,559 g (excl. stand) and 9,544 g (incl. stand)Dimensions: Height 21 cm (excl. stand) and 39.5 cm (incl. stand)Literature comparison: Compare a similar incomplete head in H. Woodward, The Sacred Sculpture of Thailand, 1997, p. 179 and 198, cat. no. 68, fig. 179. Compare a related sandstone head of Buddha in the collection of the Asian Art Museum in San Francisco, object number F2002.8.9.Auction result comparison: Type: Related Auction: Christie's New York, 23 September 2004, lot 71 Price: USD 15,535 or approx. EUR 23,000 converted and adjusted for inflation at the time of writing Description: A large sandstone head of Buddha, Thailand, 16th centuryExpert remark: Note the better state of preservation and larger size (41.8 cm), however the present head would be of similar size in its original state.
Lot 88
Torso of the goddess Diana the Huntress. Roman. 2nd-3rd century AD.Marble.Provenance: private collection, Tel Aviv. Private collection, New York. Purchased at Fortuna Fine Arts, New York, between 1980-2000.Good state of preservation, no restorations.Measurements: 44.5 cm. high; 52 cm. high with pedestal.Roman sculpture in marble. It is the torso of Diana, the goddess of hunting (similar to the Greek Artemis). It is a free-standing piece, worked in the round to be seen from either side, so that the chiton has been masterfully draped with deep naturalistic folds and in different layers, like skilful kolpos at hip level. At the back, a diagonally diagonal garment serves as the strap of the quiver. The goddess of nature, forests and hunting, she must have originally carried a quiver with a bow and arrow, and may have been accompanied by a dog or a piece of game. The influence of Greek statuary is evident.The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a base which in Rome was combined with the Etruscan tradition. After the first contacts with Classical Greece via the Magna Graecia colonies, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony in Sicily, which was adorned with a large number of Hellenistic works. The city was sacked and its art treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the looting and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applause of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the extent that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.
Lot 176
A Highly Decorative Enamel Ladies Fob Watch, the gilt highlighted dial with blue Roman numerals, within floral bezel, hand painted in pinks and blues (damage), the pop off case back detailed in colours with courting couple in period dress, suspended from an stylised bow brooch, highlighted in blue and green.
Lot 128
A MASSIVE COPPER-RED AND UNDERGLAZE-BLUE 'LANDSCAPE' FISH BOWL, QING DYNASTYChina, 18th-19th century. Of steeply rounded form, finely painted with a continuous scene of minuscule figures in a monumental mountainous landscape, fishermen poling sampans on a wide river, pavilions nestled amidst lush vegetation, with sections of the trees highlighted in copper-red, all below a line border and a distinct circle band, recessed between the lip and a circumferential bow string.Provenance: English trade. Condition: Good condition commensurate with age and with extensive old wear as expected from a vessel of this type and size, shallow surface scratches and abrasions mostly to the edges, some firing flaws, including pitting, open bubbles, and dark spots, further with scattered small glaze losses.Weight: 25.4 kg Dimensions: Height 45.3 cm, Diameter 53 cmAuction result comparison: Type: Related Auction: Sotheby's London, 9 November 2016, lot 247 Price: GBP 35,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writingDescription: A copper-red and underglaze-blue 'landscape' jardiniere, Qing dynasty, 18th century Expert remark: Compare the related motif and similar size (57 cm). Note that this lot is most likely of an earlier date.Auction result comparison: Type: RelatedAuction: Christie's London, 9 November 2011, lot 912 Price: GBP 9,375 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A Massive Chinese blue and white fish bowl, late 18th century Expert remark: Compare the similar circle band, recessed between the lip and a circumferential bow string. Note the different motif, absence of copper-red decoration, and larger size (71 cm).清代青花釉裏紅山水人物缸中國，十八至十九世紀。唇口，口部下沿微凸起弦紋，弧腹下斂，圈足。胎體厚重堅致。通體內外施白釉，器底無釉露胎，外壁口沿繪珠紋一周，腹部通景以青花釉裏紅繪山水人物故事，整器色澤濃淡相宜，繪工精道，頗具水墨韻味。 來源：英國古玩交易。 品相：狀況良好，大面積磨損，表面淺劃痕，邊緣有擦傷，一些燒製瑕疵，包括點蝕、開放氣泡、黑點，以及局部爆釉。 重量：25.4公斤 尺寸：高45.3厘米, 直徑53厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2016年11月9日，lot 247 價格：GBP 35,000（相當於今日EUR 48,000） 描述：清代十八世紀青花釉裏紅山水缸 專家評論：比較相近的主題和相似的尺寸 (57厘米)。請注意此缸年代較早。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年11月9日，lot 912 價格：GBP 9,375（相當於今日EUR 14,500） 描述：十八世紀晚期大型青花水缸 專家評論：比較相似的口部下沿微凸起弦紋。注意不同的圖案，没有釉裏紅裝飾，以及尺寸較大(71厘米)。
Lot 138
AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTYChina, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國，約公元前1050 年。器身細高，敞口，直唇，體呈橢圓形，下腹外鼓，喇叭形高圈足，頸部雷紋帶，圈足上兩道弦紋。該器壁勻薄，造型挺拔優美。青銅表皮自然生長的包漿，呈現出大面積深綠色的銅鏽。 來源：1994年7月28日倫敦南肯辛頓佳士得；倫敦Catherine Farrell購於佳士得。隨附一份Catherine Farrell寫的關於來源説明的複本，日期爲2022年7月8日由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 2149
Early 20th century 9ct gold full hunter Swiss lever pocket watch by Cyma, white enamel dial with Arabic numerals and subsidereary seconds dial, Chester 1924Condition Report:Approx 84.8gm, inner dust cover and bow also hallmarked 9ct, no glass cover, dial good, movement currently functioning, hands moving freely, case diameter = 45mm
Lot 76
DAVID BOWIE - Thirteen 12" albums and singles. 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars,' SF 8287, cover and inner sleeve rubbed, vg disc, 1972; 'Hunky Dory,' SF 8244, rubbed edges, faded, spotting to lyric sheet, g to vg disc, 1972; 'Space Oddity,' LSP-4813, rubbed over, lacks inner sleeve, disc g to vg, 1972; 'Aladdin Sane,' LSP 4852, some light staining, vg disc, 1976; 'Scry Monsters,' BOW LP 2, vg, 1982; 'Low,' PL 12030, label to cover, vg disc, 1977; With eleven others. (17)
Lot 254
A cello and bow. The cello is lacking a makers label and the bow is decorated with abalone inlays. Back measures 76cmThe back measures 76cm. There are some chips around the purfling, some minor cosmetic scratches and some splitting of the veneer to the sides of the cello. The neck is not loose. Please see recently uploaded photographs on our website (or the-saleroom).
Lot 271
A French Violin. Paper label inscribed 'Charles Buthod Luthier', ebony fingerboard, length of back 36cm, needs stringing, no bow, mahogany case.There seems to be a soundpost peg loose within the violin. There are no cracks. Someone appears to have scratched away some of the varnish to the rear of the violin. The neck is firm.
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