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Bronze Age, zoomorphic clothes pin, birds head, L: 40 mm. P&P Group 0 (£5+VAT for the first lot and £1+VAT for subsequent lots)

MARK ANTOKOLSKY (LITHUANIAN-RUSSIAN 1840-1902)Bust of Mephistopheles,circa 1875bronze with brown and green patina24 cm (9 1/2 in.)signed on the right of the baseLOT NOTESFollowing the glowing acclaim of Mark Antokolsky's marble sculpture Mephistopheles, which entered the collection of the Hermitage Museum in 1886, a mere three years after its completion, the artist produced bronze versions of the figure's bust to capitalize on the project's success. At the onset, Antokolsky turned to Johann Wolfgang von Goethe's Faust for inspiration for the figure, which he referred to as the equally powerful counterpoint to his earlier sculpture of Christ. Lacking clothing or any identifiable characteristics tying him to a particular period or place, the artist nevertheless epitomized the demon of the modern age. In an 1883 letter to E. G. Mamontova, Antokolsky wrote: Mephistopheles is a product of all the ages, and ours in particular. We can say that I dreamed up this being, that this is purely my fantasy, or you could ask where I saw such a being? Yes, no one sees him like this, but we sense his breathing, feel his monstrous paw pressing on our chest, sense our inability to cry out, in a word, we see the nightmare.

Offered from The Forshaw Speedway Collection c.1951 Excelsior-JAP 500cc Mk IV Speedway Racing MotorcycleEngine no. JOS/I 81792•The epitome of the speedway machine of its day•Considerably lighter than the preceding models•All welded construction with very light weight lugsThe Mk I (Lot 511) and Mk II (Lot 512) Excelsiors provided machines for the early post war period. A pre-war design, the remaining batch of Mk I frames ordered by Max Grosskreutz from Excelsior early in 1939 was now readily available for 1946 - the first speedway season since 1939. The Mk II was an updated robust but still quite heavy machine leaving the requirement for something more refined for the leading riders. There is some confusion as to whether there was a Mk III and if so how it evolved but from a report from early 1951 it is made clear that the current machine for the leading riders was the Mk IV. The Mk IV followed the path of the Mk II but was designed to be considerably lighter in the trend of recent frame construction, the frame using a light gauge aircraft specification Molybdenum tube. This was used for the front forks as well which now had smaller crowns with aluminium bushes as opposed to bronze bushes in the earlier frames. The frame was an all welded construction with very light weight lugs at the headstock and for the saddle tube position. The engine was mounted a little further back than the Mk II to achieve the required weight distribution. With these developments the Mk IV weighed in at under 200lbs a saving of a full 30lbs. The entire frame was chrome plated with the Excelsior signature bright red fuel tank. The Excelsior was the epitome of the speedway machine of the day. The riders in black leathers on this spectacular machine gleaming under the stadium lights. By 1951 Alec Jackson had the concession for Excelsior and had also taken over the manufacturer of the JAP speedway engine from the Prestwich factory. There is no known history with this Mk IV Excelsior but is it a further example of Richard Forshaw's discerning collecting targets. There are accompanying photographs and Mk IV literature including adverts.The mechanical condition is not known and therefore we recommend re-commissioning and/or restoration to a greater or lesser extent.Key not requiredFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

Offered from The Forshaw Speedway Collection c.1976 Rotrax-JAP Mk II Speedway Racing MotorcycleEngine no. 84S 76403B•Design notably influenced by Jawa with the curved rear frame•Has the later 84S engine with the stub fitting 932 concentric Amal carburettorRotrax was formed by Bill Harvell, an Olympic bronze medal cyclist, producing bicycles until the company was taken over by Freddie Prince in 1945. The first Mk I speedway frame was marketed from 1951. The influence for this came from the Australian Dave Hynes, who had arrived in England in 1947 setting up a workshop in Birmingham where with limited premises he started to build speedway frames with his own innovative ideas for the post war slicker tracks, with its wide upswept handlebars fitted to the front of the forks encouraging the rider to move further forward for the now more generally accepted foot forward riding style. Hynes is one of the most influential frame makers but his business acumen was not quite so successful. Despite leading riders using his frames and with the endorsement of the formidable Graham Warren declaring that he would never ride anything else, Hynes decided to move south to Southampton to work for Mike Erskine. This was when both the Erskine Staride and Rotrax benefitted from the influence of Dave Hynes. From 1951 Alec Jackson acquired the manufacturing rights from Prestwich to take over the JAP speedway engine and at around the same time he gained the concession to market the Rotrax. This arrangement lasted until 1967 when George Greenwood took over from Alec Jackson. It was two years later in 1969 when the Mk II Rotrax was announced, now notably influenced by Jawa with the curved rear frame that was soon to be adopted by everyone. This Mk II Rotrax has the later 84S engine with the stub fitting 932 concentric Amal carburettor. There is no record as to when this machine was acquired for the collection but on file there is a page from Speedway Star dated 2nd June 1973 with an advert which has been highlighted for a MK II Rotrax minus engine, possibly referring to this machine.The mechanical condition is not known and therefore we recommend re-commissioning and/or restoration to a greater or lesser extent.Key not requiredFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

Offered from The Forshaw Speedway Collection c.1979 Rotrax-JAP 4 Valve Speedway Racing MotorcycleEngine no. 4V 78602•An extremely rare example of the final evolution of one of the greatest engines in the history of speedway•Well presented conditionThe Tottenham factory of J.A. Prestwich have been known as manufacturers of a multitude of engines including the ubiquitous JAP speedway in 1931. Realising that speedway was a highly specialised sport Prestwich gave the sales concession of the engine to Victor Martin and Company Ltd in 1932. Victor Martin produced complete machines based on both Rudge (Lot 498) and Wallis (Lot 503) designs throughout the 1930s. After the war Victor Martin working with Clem Mitchell from Edinburgh developed a frame to meet the new post war demands. The Martin Mitchell lightweight frame was associated with Jack Young's back to back World Final titles in 1951-2. By this time other manufacturers were moving in - Mike Erskine with the Staride and Rotrax (Lot 520). In 1951 Alec Jackson bought the manufacturing rights to the JAP speedway engine as well as the concession to market Rotrax. The Mk I Rotrax frame used Reynolds 531 tubing in an all-bronze welded construction that was light and strong but with the desired flexibility. The frames were chrome plated by the neighbouring company, Blakes of Gosport. The Rotrax was another epitome of the 1950s speedway machine. However, with competition from Jawa moving in and pushing frame design, Rotrax followed the lead, producing the Mk II in 1969. George Greenwood succeeded Alec Jackson in 1967 and in 1979 gave the venerable JAP engine it's final development. With the 4 valve revolution now firmly established first with Weslake and Godden with Jawa eventually succumbing to the inevitable tide, Greenwood produced a 4 valve version of the JAP. The JAP engine had reigned supreme for more than thirty years but was now past its sell by date and this 4 valve development was never likely to be too successful. The attempt to produce a 4 valve JAP was a noble effort but very few engines emerged as it was never a popular choice. Today this intriguing engine is a great rarity. This Mk II Rotrax JAP is a well presented example of an extremely rare example of the final evolution of one of the greatest engines in the history of speedway. Accompanied with a considerable amount of JAP literature, photographs, parts books and adverts concerning the JAP legacy, the mechanical condition is not known and therefore we recommend re-commissioning and/or restoration to a greater or lesser extent. Key not requiredFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

Bronze Age 10 DC Action Comics. Action DC Comics. Vol 36 No.423 Action Comics action-plus with The Human Target. Vol 36 No.422 Action Comics action-plus with The Human Target. No.421 Action Comics The Fantastic Feats of Captain Strong! Action-plus with Green Arrow. No.420 Action Comics The made-to-order Menace! Action-plus with The Human Target. No.416 Action Comics Superman you scare me to death plus Metamorpho strikes again. No.400 Special 400th Anniversary issue Action Comics Extra The Duel of Doom. No.393 Action Comics Superman meets Super-Houdini Plus The day Superboy became Superman. No.390 Action Comics Superman & The legion of Super-Heroes featuring The Self-Destruct Superman. No.389 Action Comics Superman & The legion of Super-Heroes featuring The kid who struck out Superman. No.460 Action Comics The Line of DC Super-Stars. Superman's Action Comics Extra A Mr. Mxyzptlk story. From 1973-1976 These comic magazines are in good condition with some minimal wear observed around the spine and edges, shows age, making a great addition to a comic book fan collection.

Bronze Age 10 DC Action Comics. Superman DC National Comics. No.388 Action Comics Superman & The legion of Super-Heroes. No.387 Action Comics Superman & The legion of Super-Heroes featuring Even a Superman dies. No.384 Action Comics Superman & The legion of Super-Heroes featuring The Forbidden costume. No.383 Action Comics Superman & The legion of Super-Heroes Does Superman pick The killer costume or the ultra uniform. No.382 Action Comics featuring Clark Kent as The Mad Magician. No.438 The Line of DC Super-stars Action Comics The man who tape-recorded The Atom A Super-thriller A Monster named Lois Lane. No.439 The Line of DC Super-stars Action Comics Meet an explosive new foe for Superman in too big to live, Action-plus with The Atom. No.440 The Line of DC Super-stars Action Comics Action-plus with Green Arrow. No.441 The Line of DC Super-stars Action Comics Surprise guest hero The Flash, Surprise guest villain The Weather Wizard Action-plus with Green Arrow. Vol 38 No.443 The Line of Super-stars Action Comics 100 Pages Superman unleashes the world's Greatest Action Heroes, plus 9 of the Deadliest Super-villains. From 1970-1975 These comic magazines are in good condition with some minimal wear observed around the spine and edges, shows age, making a great addition to a comic book fan collection.

Bronze Age 10 DC Action Comics. Superman DC National Comics. No.392 Action Comics Superman & The legion of Super-Heroes The Shame of the Super-Son. No.391 Action Comics Superman & The legion of Super-heroes The Punishment of Superman's Son. No.388 Action Comics Superman & The legion of Super-Heroes. No.386 Action Comics Superman & The legion of Super-Heroes The Home for old Super-Heroes. No.385 Action Comics Superman & The legion of Super-Heroes The Immortal Superman. No.379 Action Comics Superman & The legion of Super-Heroes The Revenge of the Eliminator. No.448 The Line of DC Super-stars Action Comics Action-plus with The Atom What Eerie Menace lurks on the 13th floor. No.447 The Line of DC Super-stars Action Comics Action-plus with The Atom The Man who created Superman. No.449 DC Action Comics Giant Action Comic also two action-plus adventures starring The Golden Age Green Arrow and The Atom. No.450 The Line of DC Super-stars Action Comics Action-plus with Green Arrow and Black Canary, an earth-shattering thriller The Laugh heard round the world. From 1970 These comic magazines are in good condition with some minimal wear observed around the spine and edges, shows age, making a great addition to a comic book fan collection.

Bronze Age 10 DC Action Comics. Superman DC National Comics. Vol 36 No.426 Action DC Comics Action Comic Action plus with Green Arrow and The Human Target for 35 years The world's greatest Superhero. No.457 The Line of DC Super-stars Action Comics Action-plus with Green Arrow and Black Canary, Supermans Action Comic. No.414 All new stories best in comics Action Comics Superman VS Superstar plus The New Metamorpho. No.424 Action DC Comics Action-plus with Green Arrow featuring Gorilla Grodd's Grandstand play. No.453 Action DC Comics The line of DC Super-stars Action Comic Action plus with The Atom. No.454 Action DC Comics The line of DC Super-stars Action Comic Action plus with The Atom. No.455 Action DC Comics The line of DC Super-stars Action Comic Guest starring Green Arrow with The Atom Meet the mental menace who crushes the man of steel Junk-Man. No.458 Action DC Comics The line of DC Super-stars Action Comic Action plus with Green Arrow and Black Canary. Superman runs into real interference from his newest most fantastic foe Blackrock. No.459 Action DC Comics The line of DC Super-stars Action Comic Extra The private life of Clark Kent. Vol 36 No.425 Action DC Comics Action Comics Action-plus with The Atom and The Human Target. From 1973 These comic magazines are in good condition with some minimal wear observed around the spine and edges, shows age, making a great addition to a comic book fan collection.

A pair of fluorite (Blue John) and gilt-bronze covered vases, English, circa 1830/1840, acanthus capped finial, gilt-bronze Greek key style collar with lion mask loop rings, on a black marble stepped square base, approx 27.5cm high (2)Condition: overall good condition, wear commensurate with age Provenance: Sotheby's

Captain Britain #1 Marvel Comic CGC 9.0, 1976, complete with free mask inside, Origin and first appearance of Captain Britain, Bronze Age Comic, published October 1976, Pence copy.

Amazing Spider-Man Annual #16 CGC 9.4 Slabbed Marvel Comic, Origin & 1st full appearance of New Captain Marvel (Monica Rambeau), Avengers & Thing appearance, Bronze Age Comic, released August 1st, 1982, and published in October 1982, Cent copy.

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis (Jacqueline Barsotti-Goddard) signed and dated 'Foujita 1929' and further signed in Japanese (centre right); signed and dated 'Foujita 1929' and further signed and inscribed in Japanese (on the stretcher)oil on canvas64.8 x 100.2cm (25 1/2 x 39 7/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson. This work will be included in the forthcoming Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Mantelet (Colette Weil), Paris (acquired directly from the artist in 1929).Private collection, France (acquired from the above in 1929).Thence by descent to the present owner.ExhibitedMoscow, The Pushkin State Museum of Fine Arts, Les muses de Montparnasse, 15 July – 3 October 2021, no. 183.The living body, the naked and natural body, the body stripped of artifice, the woman captured in her truth, her simplicity, her beauty, the woman: that was what fascinated Foujita. He put her at the very centre of his art, and she embodied the origin of the world. Mother, lover, confidante, and muse all at once, Foujita considered her a mediating figure between the human and the divine, a Renaissance-like conduit to God. Officially, Foujita had five wives. However, he admitted to having had thousands of models, visible in numerous studies, drawings, engravings, and paintings made of one or the other, populating his oeuvre. The angelic yet melancholic face of the present subject belongs to one of these muses, well-known among the artists of the Montparnasse: Jacqueline Goddard. In demand by fellow artists Kisling, Pascin, Derain, Matisse, Giacometti, Man Ray and Picasso, it was Foujita's house at the Parc Montsouris that Goddard favoured. Enchanted by this Art Deco, bucolic villa, she was adopted as a sister by Youki Foujita, the artist's wife and fellow muse.Jacqueline's modern look, Grecian profile, long neck and tousled hair made her one of the legendary models of Montparnasse from an early age. She was an orphan: her French mother died when she was young, whilst her father, André Barsotti, was a talented Tuscan sculptor who died three years before the present work was painted. If Foujita's name now evokes elegance, delicacy and contemplation, it is mainly due to his nudes. Painting Nu assis (Jacqueline Barsotti-Goddard) connected him not only to his past loves, the masters of the Italian Renaissance, such as Michelangelo and Botticelli, but also to his Japanese roots, and to the floating world of printmaking (Ukiyo-e), where modest nudity appears with great sensual intensity. The present work was one of the crown jewels of the Colette Weil gallery, with which Foujita had close ties in 1929, and was acquired by one of the gallery's patrons. The West and the East come together in Nu assis (Jacqueline Barsotti-Goddard), as Foujita transformed a young woman into a modern goddess of love. The contour of the shapes is perfect, the anatomy is irreproachable, and the body is harmonious. Everything flows in a smooth transition, reminding us of the firmness of a sculptural bronze and the polish of marble. The classic face evokes that of Simonetta Vespucci, the model for Botticelli's Venus in The Birth of Venus. Her muscular body seems to descend straight from the ceilings of the Sistine chapel, like a female version of an Ignudo painted by Michelangelo.The nude was an important theme for Foujita because it connected him to nature and to universal beauty. It also allowed him to follow in other great artists' footsteps: in addition to the masters of the Sistine, one sees the influence of Goya, Manet, Rodin, Canova, Ingres and even his contemporaries Modigliani, Matisse and Van Dongen. Even though Foujita's art did not belong to any specific time or school, it remained full of references, and if he broke the rules, it was because he knew them so well. In 1929, Foujita was at the highest point of his career. His milky white backgrounds and range of soft, creamy colours had already established his reputation around the world. Like Degas, Foujita considered that a well-drawn painting was always a well-painted painting. Indeed, his mastery culminated in the way he drew the outline: dipping his brush in black, he stretched the lines on the canvas without hesitation, in a single movement. Those lines were firm and assured, but also delicate and sensitive, which created balance and harmony. The traditional and stable triangular composition, which connects the head to the left hand and the heel of the foot, is balanced by the hair, which allows the painter to let his flat brush slide on the silky canvas. The strands of hair come to life and frame the face, effortlessly and freely resting on the neck like an opalescent mother-of-pearl. Despite the Western model, subject and medium, Foujita allowed his Eastern heritage to express itself, blending both cultures together. As in all his paintings, the figure floats slightly, as if suspended in weightlessness, between rest and action. This Japanese notion of suspension, interruption, and emptiness, which can be found in painting as well as in architecture and in Japanese craftsmanship, is the Ma. It influenced Foujita, who explored the space between the lines, outside and inside the figure. Evoking Japanese metaphysics and aesthetics, which sanctify the idea of breathing, the artist painted the time of breathing, between inspiration and exhalation. Goddard's gaze in the present work is lost in the distance: the beautiful thinker meditates. She holds her breath like Foujita. Another Japanese notion comes into play: the katabokashi, or the fading of the form. If the Ma connects the forms while separating them, the katabokashi is a clever network of greyness, barely visible, which emphasises and translates the Ma. It animates the lower section of the painting and gives it life. It corresponds to the lighter white halo that surrounds the body and allows it to stand out against the background. To achieve this effect, Foujita rubbed cotton wool barely dipped in black or grey pigment. Another Japanese aesthetic and spiritual concept used by the artist was the wabi-sabi: the veneration of the beauty of imperfect things, the magic of their patina and their ageing process. Evoking the wear and tear of time on the surface of the painting, Foujita highlighted the impermanence of life and beauty. To achieve this effect, he used cotton wool soaked in grisaille made of black soot and dry oil. Then, he scattered the pigment inside the small air bubbles that dried and broke on the surface of the canvas. This gave the illusion that the painting had been shaped by time. Foujita embraced his ancestral roots but turned to the West to enrich his artistic vocabulary in this East/West hybrid work. His ability to oscillate between these two cultures, to feed on them and to transcend them was due to his love for art and life rather than aesthetic satisfaction. All his life, he believed in the invisible power of art without borders, embodied by the Montparnasse, which brought together the best avant-gardes from all over the world. Transcending the world, escaping time, and connecting with the gods of creation was Foujita's artistic goal from an early age. Sylvie BuissonArt HistorianAuthor of the forthcoming Volume IV of the Léonard Tsuguharu Foujita catalogue raisonné, in collaboration with Casimir Buisson, expert for the artist at the French ... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

THREE VICTORIAN SILVER BLADED KNIVES REID & SONS, LONDON 1886 With Japanese bronze handles, inlaid with insects and foliate decoration 21cm (8 1/4in) long Condition Report: Hallmarks are clear Gaps to two of the handles Light scratches and wear commensurate with age and use Condition Report Disclaimer

Eighty Silver and Bronze Age comics by Marvel and DC including Green Lantern, The Flash, Aquaman and Sgt. Fury.

Over one hundred and sixty Bronze and Modern Age Marvel and DC comics including Captain America, Ms. Marvel, Superman, Hulk, Conan etc.

A large and rare Chinese Han Dynasty (206 BC - 220 AD) earthenware figure of a seated dog, height 95cm. Please note: This lot has been thermoluminescence dated by Oxford Authentication and has been confirmed to be period. Certificate accompanies the lot.This fierce looking dog appears to be a mastiff, a type bred in China since the Bronze Age. As is well attested, in Western provinces like Shaanxi and Sichuan, such dogs are still often used by sheep and cattle breeders in the peripheral provinces and autonomous regions of the People's Republic of China. Provenance: private collection, North Yorkshire. Believed to be exhibited at the Silk Road Exhibition in London, although no corresponding paperwork. For a similar smaller example, please refer to Of Earth and Fire, National Gallery of Australia, page 21, item 8.

A Bronze Age bronze bracelet, formed of a spiral in a single piece with twelve coils, circa 8th/7th century BC, diameter approx. 6.5cm.Provenance: private collection, North Yorkshire. 

Two Chinese bronze censers of archaic form, each on tripod base, the tallest 17.5cm (2)Additional InformationBoth with general age wear patina to the surface, and somewhat grubby to the interior with vert-de-gris also to the interior. No character marks to the underside. 

Pair: Private W. E. Berry, 20th Middlesex (Euston Square) Rifle Volunteer Corps, who was awarded the Royal Humane Society Medal in Bronze for saving life at Great Yarmouth in August 1880 Volunteer Force Long Service Medal (2504 Pte. W. E. Berry. 20 / Midd’x. V.R.C.) engraved naming; Royal Humane Society, small bronze medal (successful) (William Ed. Berry. Aug. 26, 1880. Duplicate) with integral top riband buckle, the RHS Medal a Duplicate, light scratches to first and suspension claw crudely re-affixed on latter, nearly very fine (2) £80-£100 --- William Edward Berry was born on 1857 at Brompton, Middlesex. He was a commercial traveller, and at the age of 21, was commended for an award for saving life at Great Yarmouth and was awarded the Royal Humane Society’s Bronze Medal (R.H.S. Case No. 21079). The Norwich Mercury of 6 November 1880 reported, under the heading ‘Reward for Bravery’, that: ‘Mr. W. Berry son of Inspector Berry of Gravesend, and late Inspector of the Great Yarmouth Police Force, has been awarded the Royal Humane Society’s Bronze medal for rescuing a young man named Bartram, who was nearly drowned while bathing on the beach last summer.’ In the 1911 Census he is recorded as a commercial traveller for a galvanised iron manufacturer and was residing at Brownhill Rdoad, Catford. Sold with copied research.

Bronze Age bronze buckler boss, ornate with gilt emboss. P&P Group 0 (£5+VAT for the first lot and £1+VAT for subsequent lots)

Bronze Age 1st century BC Celtic ring money proto currency, D: 23 mm. P&P Group 0 (£5+VAT for the first lot and £1+VAT for subsequent lots)

LORENZO QUINN (Rome, 1966)."Contigo", 2006.Bronze-plated resin, copy 739/999.Stainless steel support on travertine marble base.Signed and numbered.Attached certificate of authenticity issued by Forumdart.Size: 38 x 26 x 18.5 cm (sculpture); 43 x 26 x 18.5 cm (base).The hands that emerge from the ground and support threatened buildings, or that caress and embrace, have been worked by Lorenzo Quinn in countless and tireless forms, and as public sculpture have been seen in international events such as the Venice Biennale (2017).The son of actor Anthony Quinn, the sculptor grew up in the United States and Italy, and it was in Italy that he learned to appreciate art. At the age of twenty-one, he earned the respect of New York art society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Shortly afterwards he received a major commission from the Vatican, which commissioned him to create a sculpture of the saint for the 8th centenary of the death of Saint Anthony. Quinn has held exhibitions on five continents, and his work is represented at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were unveiled at the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar).

Buddha; Tibet, late 19th century.Gilt bronze.With a mark on the base,It has slight scratches and wear on the gilding.Measurements: 15 x 10 x 4 cm; 17 x 12 x 12 x 12,5 cm (base).Bronze sculpture which sits on a wooden base. It has a flower-like structure, a common feature in representations of the Buddha. The figure, which is presented to the viewer seated, is highly stylised due to the anatomical elongation, which shows the way in which the body of the protagonist has been conceived. The piece is structured according to a marked symmetry which gives it a certain hieratism, but at the same time allows the viewer to assimilate the great profusion of detail. The figure is shown with the index finger and thumb joined together, showing the mudra that alludes to intelligence, harmony and happiness. Buddha reached the ultimate evolutionary perfection, turning suffering into happiness for all living beings. Born around 560 BC, his father was a raja who ruled the north-eastern province of India. At the age of 29, the young prince gave up his life of luxury, as he felt compelled to purify his body and turn it into an instrument of the mind by ridding it of earthly temptations. Here his head is crowned with a headdress depicting the Buddha, representing infinite wisdom. The elegance and spirituality of the Buddha form is well conceived in this Tibetan representation.

Pair of Chinese vases. Qing Dynasty, 19th century.Hand-painted porcelain.Wear due to use and passage of time.Measures: 33 x 19,5 x 14,5 cm.Pair of Chinese vases from the Qing dynasty, 19th century, with lobed geometrical shapes and zoomorphic side handles, in hand-painted porcelain in ochre and green colours. These vases are reminiscent of the shapes of the ritual wine vessels that were made in bronze in early China for funerary celebrations in the Bronze Age. Bronze ritual vessels were more than just elegant objects of status, but symbols of power that commanded respect. They were cast using moulds from pieces of pottery, built around a clay model.

19th CENTURY CAST IRON SCALES & BRONZE PULLEYS Mixed lot of 19th century cast iron scales, complete but with age related wear. With 2 bronze maritime pulleys.

Ca. 3100-2900 BC An Early Bronze Age red burnished terracotta jar with globular shaped body with four prominent ledge handles, gently crimped appearance to the edges, are situated at the waist. Standing on a flat base. For similar see: Ruth Amarian, Pottery of the Holy Lands. Size: L:118mm / W:205mm ; 810g Provenance: Property of a London gallery; formely in High Wycombe Estate collection; formerly acquired on the UK Art market.

Ron Dickens (Cumbria, contemporary) "Kestrel", carved mahogany, inscribed and dated 1987, 28 cm ["Ron was born in Scotland and his love of wildlife began at an early age. After working as a draughtsman in the Clyde shipyards, followed by a spell in Canada, Ron moved to Cumbria. Here the Lake District fells stole his heart and a desire to work with nature grew. A self-taught artist, he began carving wildlife professionally. His work has been presented to HM the Queen and he has been awarded gold, silver and bronze prizes in competitions organised by the national British Decoy Wildlife Carvers Association. In the 1970s Ron was elected a member of the prestigious Lake Artists Society and, until moving to Scotland, he exhibited each year at their Summer Exhibition in Grasmere. His work is highly regarded and sells all over the world." rondickens.co.uk]

'THE ROTHSCHILD RAFFAELLI MOSAIC TABLE' AN IMPORTANT ITALIAN MICROMOSAIC AND SIENA MARBLE CENTRE TABLE ATTRIBUTED TO GIACOMO RAFFAELLI AND HIS WORKSHOP, ROME OR MILAN, C.1800-10 the circular top finely inlaid with an outer laurel wreath and a band of rinceaux decoration of scrolling leaves and stylised flowers on a white ground, with an inner border of a ribbon spiralling around a vine with leaves and morning glory flowers, the centre with quarter veneered Egyptian alabaster and a lapis lazuli rondel, the revolving top with a gilt bronze band with engine turned decoration, on a Siena marble base, the stem carved with acanthus leaves, the triform plinth carved with further leaves and fluting with a band of ribbon tied laurel leaves 93.3cm high, 95.8cm diameter Provenance Alfred de Rothschild (1842-1918) the Winter Garden at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3,, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian circular table, with mosaic top on giallo marble tripod carved with acanthus foliage, £80.0.0.' Catalogue Note Giacomo Raffaelli (1753-1836) was born in Rome and his family were involved in the mosaic industry providing smalti to the Vatican Mosaic Workshop, the material which mosaics are made of. Giacomo studied painting and sculpture at an early age. He became one of the most celebrated artists in hardstones and mosaics and is credited with the invention of micromosaics in about 1775. He was patronised by Pope Pius XV and worked in both the Vatican workshops as well as from his own studio in Piazza di Spagna. Raffaelli executed a wide variety of objects and furnishings and attained international fame that culminated in 1787 when he was awarded the title 'Councillor of Liberal Arts' by Stanislaus II Augustus, King of Poland. In Rome, he had workshops on the Salita di San Sebastianello and later in Vita del Balbuino. Following the French occupation of Rome in 1797 and the collapse of the local mosaic market he moved to Milan to direct a mosaic workshop and school. This had been founded at Napoleon's orders by Eugene de Beauharnais (Napoleon's stepson) who became Viceroy of Italy in 1805. During the Milan period he executed the monumental Last Supper based on a copy by Giuseppe Bossi. He also produced a fireplace and clock that were said to have been presented to Napoleon as gifts from Pius VII and later housed at Malmaison. He returned to Rome around 1817-20 to his home at 92 Via Babuino (which was designed by the Neo-classical architect Giuseppe Valadier) where he passed away in 1936. Raffaelli's output was considerable. Some of his most important commissions were for the Polish court, including a portrait of the King's brother Prince Michael Poniatowski, Bishop of Poland. He also supplied a pair of specimen marble centre tables to Sir Clifford Constable, for Burton Constable (now in Temple Newsam) and the impressive 'Centrepiece of the Viceroy', probably made for Eugene de Beuharnais (displayed in the Villa Carlotta, Cadenabbia). The Attribution Giacomo Raffaelli is considered the only master of both hardstones and micromosaics. The use of both media in our table point to his manufacture. We can observe various techniques in the making of the mosaic table which also points to Raffaelli. For instance, the inner ribbon band uses both oval and rectilinear tesserae in a naturalistic floral pattern which is evident in his other tables. Other trademark techniques are also evident, including horizontal rows of background tesserae, the outlining of leaves with a single row of tesserae and meticulous execution. The use of rinceaux was a popular motif in tables made at the end of the 18th century by Raffaelli and his contemporaries, for example the pair of tables supplied by Pompeo Savini to the Polish Court at Castello Reale, Warsaw and the pair of tables by Andrea and Michelangelo Volpini at Syon House. Two circular table tops using a band of rinceaux on a white ground are attributed to the studio of Raffaelli di San Sebastianello and they are illustrated in 'Giacomo Raffaelli (1753-1836) Maestro di Stile e di Mosaico' by Anna Maria Massinelli pp.262-263, fig.302 and 303. One in a private collection, the other in the Museo Civici in Bologna. Napoleon and Roman Micromosaics Napoleon and his wife Josephine were avid collectors of micromosaic works of art evidenced by the gift of a pair of vases and a clock by Pope Pius VII on his coronation in Paris in 1804. Following the Napoleonic occupation in Rome between 1808-1814 the Vatican workshops became directly responsible to the Imperial Crown and were commissioned to furnish Napoleon's apartments at the Palazzo Quirinale in Rome. The symbolism employed on our table points to the Napoleonic style, in particular the use of a laurel wreath on the top, also the laurel and acanthus on the wonderful marble base and finally the impressive gilt bronze edge. It is interesting to speculate whether this table was made during Raffaelli's period in Milan possibly as a commission by the Napoleonic Court. We would like to thank Dr Jeanette Gabriel for her help in cataloguing this present lot. For recent auction sales of micromosaic tables attributed to Giacomo Raffaelli, see Christie's, Julians Park, Hertfordshire, 8th June 2021, lot 30 which was inlaid with birds, butterflies and grapes and sold for £100,000. Also Sotheby's, New York, 19th century Furniture and Decorative Arts, 15th October 2015, lot 25 for a rectangular table inlaid with rinceaux and a central oval panel of the Doves of Pliny, $181,250, Christie's, Amsterdam, The Decorative Arts Sale, 22nd September 2010, lot 441 EUR 217,000 for an oval table decorated with goldfinch and Brunk Auctions, Asheville, 6th September 2003, lot 260, the micromosaic top on a painted wood base by Thomas Hope, $400,000. Comparative Literature Jeanette Hanisee Gabriel, Micromosaics in Private Collections. Jeanette Hanisee Gabriel, The Gilbert Collection, Micromosaics. Anna Maria Massinelli, Giacomo Raffaelli (1753-1836) Maestro di stile e di mosaico. E. M. Efimova, West European Mosaics of the 13th-19th centuries in the Collection of the Hermitage.

A FRENCH LOUIS XV ORMOLU AND PATINATED BRONZE ELEPHANT MANTEL CLOCK AFTER A DESIGN BY JACQUES AND PHILIPPE CAFFIERI, MID-18TH CENTURY AND LATER the brass drum movement with an outside countwheel striking on a bell, the five and a quarter inch enamelled dial with Roman hour numerals inside Arabic minute numerals to the quarters, in a chinoiserie case surmounted with a Chinaman holding a spear, with foliate swags to either side and convex glazing to the front and back, mounted on the back of an elephant standing four square with its trunk raised, on a naturalistic base with scrolling feet, with key and pendulum 46.5cm high, 38cm wide, 17cm deep Provenance Alfred de Rothschild (1842-1918) Bedroom no.7, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A clock in ormolu case, supported by a figure of an elephant, £15.0.0.' Catalogue note The 18th century was a period of great exploration and the discoveries made were often reflected in the decorative arts of the period. This was especially true in France during the reign of Louis XV where the skills of the master clockmakers, ebenistes, bronziers and ceramicists were often combined to create fantastical objects such as the clock being offered here. The animals used in the creations varied widely and eventually included elephants, rhinoceroses and ostriches, as well as the more recognisable bulls and wild boars. The earliest examples of these exotic clocks date to the mid-1740s but their popularity reached its zenith in the 1750s and lasted to the early 1760s. The modelling of the elephant used in this clock is likely to have its origins in the Japanese Kakiemon porcelain models of the late 17th century such as those that can be seen at Burghley House in Lincolnshire (Porcelain from Palaces, Exhibition Catalogue, British Museum, 6 July - 4 November 1990, p.178, no.160), and others were found across the European Courts. A prominent maker of clock cases was Joseph de Saint-Germain (maitre in 1750). He was one of the most celebrated bronziers of his age and championed the Rococo style. See H. Ottomeyer / P. Proschel, Vergoldete Bronzen, p.123. pl.2.8.3., for an elephant clock by Saint-Germain very similar to our clock. A related clock formerly in the Jones Collection can be found in the Victoria & Albert Museum, accession number: 1008:1-1882.

Sido and François TheveninImportant, monumental and unique 'Musique au Paradis' wall-mounted sculpture, 1974Bronze, brass, iron.Overall: 131 x 234 x 5.5 cm Tree root collar impressed SIDO AND FRANÇOIS/THEVENIN/GTS/FT/CANNES/1974.Together with a certificate of expertise from Nicolas Thevenin.Footnotes:ProvenanceGalerie Drouant, Paris, 1974Aga Khan IV, acquired from the aboveAndré Malizard, Villefranche-Sur-Mer, France, 1970sAcquired from the above, private collection, Villefranche-Sur-Mer, France, 2002Thence by descent to the present ownerExhibitedGalerie Drouant, Paris, 1974A FEW THINGS ABOUT SIDO AND FRANÇOIS THEVENIN. Nicolas Thevenin François Thevenin was born in Aix-en-Provence, France in 1931, and Sido (Gisèle Sidoti), Casablanca, Morocco in 1934. Sidoti was her maiden name, which led to her artist's pseudonym Sido and is the reason why some works are impressed GTS: Gisèle Thevenin Sidoti. Both artists' careers began from an early age. François achieved first place for modelling clay in year two, sculpting spontaneously and ambitiously the impressive 'Montagne Sainte-Victoire'. At age five, Sido made local news headlines for a sandcastle contest at the beach, having sculpted a shepherd and her sheep that measured a monumental four meters long, commenting 'It is fun shaping forms!' In 1952, François and Sido met at the Beaux-arts de Paris, where they studied under the direction of the sculptor and painter Louis Leygue. Following an un-official marriage celebrated with close friends, who described how, 'these two spend too much time together', François and Sido officially married in 1954. After welcoming their first child Dominique in 1955 in Paris, they settled in Cannes in the French Riviera between 1957-1958. In 1961, François and Sido worked with the artist Jean Cocteau on the sundial 'Les Lézards' for the village Coaraze in the Alpes-Maritimes above Nice. This commission comprised one of François and Sido's earliest artistic collaborations and works in metal. François and Sido had progressed toward working in metal following an overwhelming and precarious disappointment. For many months, they had shaped and sculpted hundreds of raw terracotta figures, a 'real pacific and sympathetic army'. When it came time to bring the works to be fired at a kiln in Vallauris, they carefully packed up every figure into the car and set off. Alas, a sneaky bump at the entrance of the facility reduced their fastidious three months of artistic production to utter dust and detritus. However, this unfortunate event led to a fortunate outcome, convincing François and Sido to turn towards the far more durable medium of metal. Another collaboration began after meeting Jacques Couëlle, acknowledged as 'the architect of billionaires', whose ideas and appreciation for execution appealed to François and Sido. In 1962, they began working with the architect on Castellaras Estate in Mouans-Sartoux, France, applying their artisanal skill within the space to create door furniture, lighting, among other interior fittings and fixtures. Whilst working with Couëlle, François and Sido became close friends with the actor Marcel Duhamel, who subsequently introduced them to the brothers Jacques and Pierre Prévert, Pablo Picasso (who often visited their workshop, commenting that it reminded him of Bateau-Lavoir, his workshop in Montparnasse), Yves Tanguy, Brassaï, and many others. In 1966, Sido gave birth to their second son Nicolas in Cannes. During this time, François and Sido worked on several international commissions, including work in Montreal, New York, and Santiago del Chile. François and Sido also collaborated with Couëlle's son Savin, the architect for Porto Cervo, Sardinia, which was initiated by the Aga Khan IV. The artists and architect worked together for decades, becoming a symbiotic alliance, that could be thought of as almost genetic, as Savin would incorporate François and Sido's sculpture and objects into his architecture, while the two artists would intricately form Couëlle's volumes into their sculpture. This close collaboration developed through many projects across several continents, resulting in sculptural pieces of furniture that includes tables, seating, lighting, doors, grills, and handrails, many of which were unique works of art. Together François and Sido created a vast collection of work and exhibited at prestigious galleries, including Drouant, Paris in 1972, and Cartier in 1980. Their work, which extends from furniture to sculpture, painting, drawing and etchings, was continually inventive and conveyed an organic, unexpected, and enchanting world for their viewers. In 1986 Sido passed away at age 52, followed by François in 2016 at age 85, both in their shared house-workshop in Cannes.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A BRONZE FIGURE OF MERCURY BY G. HOPFGARTEN AFTER GIAMBOLOGNA the figure standing on a puff of wind on signed circular base 46cm high Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Lacks caduceus, 1 wing to helmet and element from left hand, right fingers with cracks- fairly heavy wear and scuffs to patination all over. visible cast joints, Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.   Condition Report Disclaimer

A PAIR OF NAPOLEON III GILT BRONZE AND METAL NINE BRANCH TABLE CANDELABRA CIRCA 1870, IN THE BAROQUE STYLE 79cm high, 36cm diameterProvenance:Supplied by Oliver Messel Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Surface to each is very dirty and with areas showing signs of polish spills, verdigris build up. The gilding looks to be fairly heavily rubbed- notably to arms, nozzles and drip pans. Some looseness to branches.Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A BLACK AND GILT CHINOISERIE DECOUPAGE DECORATED TERRACOTTA VASE19TH CENTURYWith carved and decorated flame finial lid and twin handles above liner with metal sleeve 81cm high, 56.5cm wide across the handlesProvenance:Supplied by Oliver Messel from the Old Serving Room at Nymans Condition Report: Overall scratches, knocks and abrasions consistent with age and use.There are losses, observations and restorations including: overall there is a craquelure, almost like bitumisation; the paintwork and gilding worn and aged; the gilding is of bronze hue with knocks revealing the underlying gesso and terracotta in places; the decoration is similar to decoupage, with chinoiserie flowers, insects, buildings, and figures cut from printed fabric or card and applied - some of these cut out sections torn or now lost from the vase but with the silhouette outlines remaining; the handles are applied, one is not flush and has some movement; there is a metal liner.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A GEORGE II LEAD FIGURAL GARDEN SUN DIAL ATTRIBUTED TO JOHN CHEERE AFTER JOHN NOST MID 18TH CENTURY The solid gnomon and dial above the crouching figure of Father Time or Kronos, the dial signed "B MARTIN, LONDON" and indistinctly engraved with the Boevey escutcheon of arms 152cm high overall, the base 92cm wide 74cm deepProvenance:Possibly acquired by Thomas Crawley-Boevey, 1st Bt. of Flaxley (1709-69), at the time of his marriage to Susanna (née Lloyd) in May 1743, and by descent at Flaxley Abbey, Gloucestershire, until sold and removed from the premises- Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1009.Returned to Flaxley Abbey by Frederick Baden WatkinsLiterature: Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 36, no. 3.Mrs. A. Gatty, The Book of Sun-dials, London, 1900, 4th edition, p. 472.R. Bowling, 'Sundial Supporters Revisited', BSS Bulletin [The British Sundial Society], vol. 19, September 2007, p. 126.This 18th century lead sundial was described as 'The Flaxley Sundial' when it was sold from the Flaxley Abbey estate in 1960. The lead figure of Father Time is depicted as a bearded old man kneeling under the weight of a bronze dial that bears the Boevey coat of arms. He is shown with wings to represent how 'time flies'. 'B. Martin', possibly the maker, is incised on the dial. He is shown with wings to represent how 'time flies'. 'B. Martin', possibly the maker, is incised on the dial. It's possible that the maker of the sundial was Benjamin Martin who worked between 1738 and 1777 from one address in Chichester and five in Fleet Street and latterly as Benjamin Martin & Son until 1782 when the firm went bankrupt.At the time of cataloguing only two similar sundials of this particular kneeling form of Time were noted. One, with receipt dated for 1743 by John Cheere, was noted at Blair Castle, Perthshire (RCAHMS SC 763911). As the lead was piece-moulded, Cheere could assemble parts in new configurations; this was supposedly the case with the Blair Castle example, which is adapted from John Nost I's (fl. 1677-1710) Indian sun dial at Melbourne Hall, Derbyshire (I. Roscoe, A biographical dictionary of sculptors in Britain, 1660-1851, New Haven and London, 2009, p. 262).Another version of Father Time was formerly at St. Osyth Priory, Essex- however it has been noted that this one was of a slightly different form- with just one hand holding the plate above. It was listed in the house sale of 1920 as: 'A fine XVII cent. cast lead figure of Time supporting a sundial, 3' 6" high on a square stone base' (In fact, it was 18th century and life-size). The sundial failed to sell, and remained at St. Osyth Priory until 1986; its present whereabouts are unknown, and no image is extant (R. Bowling, 'Sundial Supporters Revisited', BSS Bulletin [The British Sundial Society], vol. 19, September 2007, p. 126).Subsequent research has shown an almost identical sundial to this lot- offered by Seago Antique Garden Furniture, 22 Pimlico Road London, and illustrated at the back of John Davis "Antique Garden Ornament" (Antique Collector's Club 1991). The Seago lead statue of Father Time is recorded with provenance for Fonthill House, Wiltshire, home of Alderman William Beckford. Unfortunately its current whereabouts is unknown and the maker of the sundial plate unrecorded.A related sundial known as the 'Blackamoor' is recorded in the gardens of the Inner Temple, London (W. Lethaby, Leadwork, old and ornamental, and for the most part English, London, 1893, pp. 101-111). This sundial is signed on the dial 'Ben Scott in the Strand Londini Fecit' and '1731'. It is almost certainly after an earlier model by John Nost I, who at the turn of the century, was awarded a contract for an extensive programme of sculptural works at Hampton Court Palace, Middlesex, including a 'Blackamore' sundial. The records state that Nost I was employed 'for modelling a figure of a Blackamore kneeling being 5 ft high holding up a sundial', and for 'casting the said Blackamore in hard metal and repainting'. Another 'blackamoor' sundial attributed to Nost I based on the Melbourne Hall example sold Sotheby's, London, 10 July 2014, lot 140 (£56,250 inc. premium).The tradition of casting statues in lead dates back to the Roman period, but in Britain it was particularly prevalent in the late-17th and 18th centuries when lead figures featured predominantly as garden statuary. Nost I founded the original lead figure manufactory in London, at the Hyde Park Corner end of Piccadilly. This neighbourhood became the centre for the production of lead figures with a number of lead yards in operation, including that of Nost's cousin, John Nost II (d. 1729), who took over the family business, and John Cheere, known for his life-size lead figures that were often painted 'to resemble nature'. It is additionally noted that the Blair Castle version of this may have been painted to resemble marble.Condition Report: Weathering, wear, marks, knocks and scratches as per age, handling, use, and cleaning. Comparison with the two photographed similar examples at Blair Castle () and with Seago in 1991 (see additional images) shows that each is mounted on a stone plinth base, right foot down and the left overlapping at the back. In this example however the left ankle has a bracing rest, the right foot is slightly elevated and an iron rod runs up from the plinth into the body. Evidently the rod and possibly the plinth are therefore later- part of a conservation process to ensure greater stability to the figure. In each photographed comparable example there is damage or repair evident to the legs/feet. This lot shows old remedial and conservation work- notably around the left ankle, foot and knee. However weathering has resulted in colour variance to the surface throughout- making it difficult to determine whether further work was carried out on the right leg, limb extremities and around mould-junction points. There does seem to have been restoration work at the shoulders, and elbows- and slight feather crack to left elbow. Certainly with this lot there is a notable colour difference to the fingers of both hands- a natural weak spot- which suggests old repairs. Additionally, there has been discussion as to the colour and form of the sundial circular surround. Comparison with the other two shows a similar colour variance and smoothness- a paler slightly greener colour- suggesting it may have been cast slightly differently from the main body for stability and accuracy to accommodate the sundial plate. The plate itself is not fixed in place- with vacant screw holes. The plate has strong scattered verdigris patina and the markings are faint and rubbed. Please see additional images for visual references to condition which form part of this condition report.All lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers.Condition Report Disclaimer

A PAIR OF BRONZE EGYPTIAN REVIVAL CANDLESTICKS LATE 19TH CENTURY Each with three branches above female Egyptian figure, above anthemion decorated tripartite bases with stylised lions on bun feet 49cm high, 22cm wideProvenance: Supplied by Oliver Messel Condition Report: wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both with rubbing to patina to exposed extremities such as arms of figures and base edges and corners. One with more wear around acroteria moulding suggesting it has been off and repositioned. 1 lily pod branch missing. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

Bronze Age Eastern hair pin with religious deity, L: 120 mm. P&P Group 0 (£5+VAT for the first lot and £1+VAT for subsequent lots)

KAMINGARNITUR IM LOUIS XVI-STIL Paris, E. Vittoz, 1870-1890, teilw. feuervergoldete Bronze mit feiner Ziselierung, architektonisches Gehäuse, Bronzedarstellung von Amor und Psyche in dunkelbrauner Patinierung, Sockel mit Alabastereinlage und -füßen, weißes Emailzifferblatt mit schwarzen, arabischen sowie römischen Ziffern, ausgesägten Louis XV.-Zeigern und sign. "VITTOZ A PARIS" Pariser Werk mit 1/2 Stundenschlag auf Glocke, Girandolen mit Putto auf zylindrischem Postament mit Marmorsockel auf stilisierten Füssen, Pendule, HxB: 35/55 cm., Girandole, H: 45 cm. Altersspuren, Lunetteglas fehlt, Marmor teilw. best., ein Fuß eines Kerzenständers fehlt, Werk zu revidieren. | LOUIS XVI STYLE CASKET SETParis, E. Vittoz, 1870-1890, partly fire-gilt bronze with fine chasing, architectural case, bronze depiction of Cupid and Psyche in dark brown patina, base with alabaster inlay and feet, white enamel dial with black, Arabic and Roman numerals, sawn-out Louis XV. hands and sign. "VITTOZ A PARIS" Parisian movement with 1/2 hour strike on bell, girandoles with putto on cylindrical pedestal with marble base on stylised feet, pendulum, hxw: 35/55 cm., girandole, h: 45 cm. Signs of age, Lunette glass missing, marble partly damaged, work to be revised, one foot of one of the candlesticks is missing

THREE CHINESE / JAPANESE BRONZE VASES, 19/20TH CENTURY. To include a slender twin handled vase with makers mark to base; a bottle vase with carved dragon and cloud decoration; together with a square form 'bagua' Cong vase with cranes in relief, with mark to base. 20.5cm - 30.5cm tall. (3)All in good general condition with no major damage or repair. Expected surface wear with age.

GROUP OF SEVEN BRONZE, BRASS AND GILT METAL ITEMS to include: bronze letter-opener of claw holding feather, signed J.Moigniez; two horses, one on stand; Indian brass powder flask; berry and leaf form paper tidy; a bronze cutter on tray and other items. Powder flask 18.5cm length. (7)General wear and patina expected with age. Deterioration to flask with areas of repair.

A BRONZE FIGURE OF MANJUSHRI ON A LION, WENSHU, MING DYNASTYChina, 1368-1644. Heavily cast seated in lalitasana upon a recumbent lion above a lotus base, dressed in fine robes with ornate hems, adorned in beaded jewelry, the face with a serene expression, flanked by two elongated earlobes, the hair tied in a high chignon, surmounted by a tiara. The lion with a wrathful expression, open mouth revealing sharp fangs, bulging eyes below bushy eyebrows, and a curly mane.Provenance: From an old Austrian private collection. Condition: Commensurate with age, casting flaws, minor losses, few nicks and dents, remnants of gilt and pigments, corrosion. Fine naturally grown patina.Weight: 2,116 g Dimensions: Height 23.8 cmManjushri (Chinese: Wenshu), the Bodhisattva of Wisdom, often shown seated on a lion holding a ruyi scepter or a sword. According to legend, he resides on the mountain Wu Tai Shan in China and was a disciple of the historical Buddha Shakyamuni. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 11 October 2017, lot 384Price: HKD 37,500 or approx. EUR 4,800 converted and adjusted for inflation at the time of writingDescription: A Bronze Figure of Manjusri Seated on a Lion, Ming Dynasty (1368-1644) Expert remark: Compare the related pose, cast, period and size (26 cm)明代騎獅文殊菩薩銅像中國，1368-1644年。此尊文殊菩薩像游戲姿坐於雄獅之上，面容安詳，頭戴寶冠，佛袍寬大飄逸。坐騎雄獅昂頭望主，似有所盼。蓮花重瓣底座。 來源：奧地利私人舊藏。 品相：鑄造缺陷、輕微損失、少量刻痕和凹痕、鎏金和顏料殘留、侵蝕。細膩包漿。 重量：2,116 克 尺寸：高23.8 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2017年10月11日，lot 384 價格：HKD 37,500（相當於今日EUR 4,800） 描述：明代銅騎獅文殊菩薩像 專家評論：比較相近的姿勢、鑄造、年代和尺寸(26 厘米)。

A COPPER ALLOY 'TWIN FISH' BASIN, DONG SON CULTUREVietnam, circa 1st-2nd century AD. The deep sides rising to a broad everted rim, decorated with three ribs and two crown-shaped motifs to the sides and twin fishes to the interior. Two small loops for attachment at the foot, the base with a star shaped design within a circle. Provenance: From an old European collection. Condition: Some repair and touchups as generally expected from ancient Dong Son excavations. Losses, fissures, erosion, corrosion, and encrustations. Minor casting flaws. Overall, still very good condition, especially for such a large piece. Fine, naturally grown patina with malachite-green encrustations.Weight: 3,078 g Dimensions: Diameter 39 cm Dong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered in the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Van Lang and Au Lac. Its influence spread to other parts of Southeast Asia throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Expert's note: The star design to the center of the base appears to be a pet motif of the Dong Son culture, commonly appearing on the famous bronze drums of this culture, including the one in this sale, no. 266.Literature comparison:Compare a related copper alloy basin, dated circa 1st-2nd century AD, in the collection of the Los Angeles County Museum of Art, accession number M.2003.226.4.東山文化雙魚銅盆越南，約一至二世紀。折沿，外壁中央有三道弦紋，平底三小足。外壁有兩個冠形圖案，盆内有雙魚紋，底足有雙圈内八角星紋。 來源：歐洲私人舊藏。 品相：有修復痕跡，與東山文化考古挖掘的預期一致。缺損、裂縫、侵蝕、腐蝕和結殼，輕微的鑄造缺陷。狀態基本良好，包漿細膩，有綠色皮殼。 重量：3,078 克 尺寸：直徑 39 厘米 東山文化是位於越南北部紅河河谷的一個鐵器時代史前文化。它約繁盛於公元前1000年到公元一世紀，它影響的區域包括東南亞其他地區乃至以及印度-馬來亞群島。對於西方考古學家來說，這個文化長期以來一直是個謎，只有通過青銅器才知道它，其中許多青銅器是從墓地挖掘出來的。東山物品在其原始位置確定之前在歐洲展出了一個世紀，關於該文化的年代測定方法的一些理論和推測一直持續到今天。東山文化最突出的文化遺產是東山銅鼓等青銅器製品，它們在東南亞和今中國南部的廣大地區都有發現。專家注釋：底座中央的星形圖案似乎是東山文化的特有的圖案，通常出現在該文化的青銅鼓上，包括本次拍賣的A MASSIVE BRONZE RAIN DRUM, DONG SON CULTURE，拍品編號266。 文獻比較： 比較一件相近的公元一至二世紀銅合金盆，收藏於洛杉磯藝術博物館，編號M.2003.226.4。

A RARE 'PHOENIX' BRONZE MIRROR, SONG DYNASTYChina, 960-1279. Of circular form, the central knob (or tang) surrounded by a petal shaped border with low bosses, encircled by a pair of phoenixes neatly cast in thread relief below the outer rim.Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels to the mirror and box. A copy of an old handwritten note from Dr. Walter Rieder, dating the piece to the Song dynasty and describing the birds as two phoenixes, accompanies this lot. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018. Condition: Good condition, commensurate with age, presenting exceptionally well. Few nicks, minor losses, light surface scratches. Fine, naturally grown patina with malachite encrustation.Weight: 212.5 g Dimensions: Diameter 14.7 cmWith an old silk storage box. (2)Literature comparison:Compare a closely related bronze mirror with a phoenix motif in Chinese Bronze Mirrors, A Study Based on the Todd Collection of 1,000 Bronze Mirrors Found in the Five Northern Provinces, Milan Rupert and O. J. Todd, Peiping, San Yu Press, China 1935, nr. 305. Compare another related bronze mirror with a phoenix motif, dated to the Song dynasty, in the collection of the British Museum, museum number 1994,0129.8.宋代罕見鳳凰紋銅鏡中國，960-1279年。圓鏡，中央團花座鈕，浮雕一對鳳凰紋。 來源：Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。鏡盒與鏡子上有舊標籤。隨附一份Dr. Walter Rieder 手寫的關於年代和描述的文件副本。Dr. Walter Rieder 1930 年 10 月至 1951 年 12 月間在山東青島的瑞士東亞傳道部 (SOAM) 任職。該傳道部專門從事教育、文學和慈善工作，而Rieder博士實際上不是神學家或傳教士，而是一位SOAM 附屬高中的數學、物理和科學教師。他的教育原則是“在不同文化之間建立理解”和“在東西方之間架起橋樑”。在青島期間，Rieder博士收藏了種類繁多的中國藝術品。收藏中的物品為了解二十世紀下半葉青島的古玩類型提供了一個獨特的窗口。他的收藏除了展現他對中國藝術的熱情外，還可從中看出Rieder博士與當地藝術家建立的個人友誼，其中一些藝術家是他從教學活動中認識的。 Rieder 博士採用學術方法研究他的收藏。除了他的許多藏品外，有時還可以找到細緻的筆記，詳細介紹其藝術發展史。因此，其收藏成為 Rieder 博士了解中國歷史和文化的窗口。他的收藏曾於 2006 年和 2018年 年在瑞士因特拉肯美術館館展出。品相：品相良好，與年代相符。少量刻痕，輕微磨損和表面劃痕。天然細膩的包漿，綠色銅鏽。 重量：212.5 克 尺寸：直徑14.7 厘米 絹面盒子。 文獻比較： 比較一件非常相近的鳳凰紋銅鏡，見Milan Rupert，O. J. Todd，《Chinese Bronze Mirrors，A Study Based on the Todd Collection of 1,000 Bronze Mirrors Found in the Five Northern Provinces》，北平，San Yu Press，1935年，編號305。比較一件相近宋代銅鏡，收藏於大英博物館，編號1994,0129.8

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

A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, CHIEN SENG STYLELaos, 15th century. Seated in virasana on a base, his right hand in bhumisparshamudra, the left resting on his lap, wearing a samghati, his face with a meditative expression marked by heavy-lidded downcast eyes below arched eyebrows, full lips forming a gentle smile, flanked by elongated earlobes, the hair arranged in tight spikes surmounted by an ushnisha.Provenance: French trade. Condition: Good condition, commensurate with age. Extensive wear, signs of heat damage with associated old repairs and traces of soldering, some weathering, encrustations, the flame on the ushnisha lost, remnants of gilt and red lacquer. Fine, naturally grown patina.Weight: 4,152 g Dimensions: Height 32.3 cmAuction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 31 October 2000, lot 112Price: NLG 19,893 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A laos, chien seng style, bronze figure of buddha Shakyamuni, late 16th centuryExpert remark: Compare the closely related pose and face. Note the related size (34 cm high).

A NEPALESE BRONZE FIGURE OF AMITAYUS, MEDIEVAL PERIODC. 11th-14th century. Seated in dhyanasana atop a waisted double-lotus base with beaded upper edge, his hands holding the amrita vase, clad in a diaphanous sanghati with the folds gathered over the ankles and onto the base, adorned with beaded and floral jewelry and billowing scarves. The serene face with heavy-lidded eyes below gently arched brows centered by an urna, wearing a foliate tiara.Provenance: UK trade.Condition: Good condition, commensurate with age. Extensive wear, casting flaws, signs of weathering and erosion, dents, nicks, losses, scratches. The tiara is bent and the back of the head and chignon are lost. Fine, naturally grown patina with a good, unctuous feel overall. The base unsealed and fitted with a wood core some time ago.Weight: 403.2 gDimensions: Height 13 cmExpert's note: The current work displays strong characteristics of Nepalese ateliers, particularly the rich coppery tone of the bronze. Influences of Pala tradition from northeast India are also articulated, including the tubular limbs. The waisted lotus base, on the other hand, is reminiscent of the even earlier Swat Valley bronzes. The statue itself and the condition of the piece overall preclude any revival style, making a dating between the 11th and 14th centuries most likely.Auction result comparison:Type: Related Auction: Christie's New York, 20 March 2019, lot 623Price: USD 25,000 or approx. EUR 29,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Amitayus or Manjushri, Nepal, Thakuri period, 11th centuryExpert remark: Compare the related pose, material, and size (14 cm)中世紀尼泊爾無量壽佛銅像約十一至十四世紀。無量壽佛手持淨瓶平行曡放在雙膝上，結跏趺坐坐於雙層蓮座上，頭戴寶冠，髮髻高聳，項戴纓絡項鍊，裝飾華麗 。表情安詳，眼睛微垂，眉頭微彎，雙眉之間有白毫。 來源: 英國古玩市場。 品相: 狀況良好，與年齡相稱，有大面積磨損、鑄造瑕疵、風化、侵蝕跡象、凹痕、刻痕、缺損和劃痕。頭飾彎曲，後腦勺和髮髻丟失。自然包漿，整體感覺細膩。底座曾被開封並安裝了木芯。 重量: 403.2 克 尺寸: 高13 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年3月20日，lot 623 價格：USD 25,000（相當於今日EUR 29,000） 描述：十一世紀尼泊爾阿彌陀佛或文殊菩薩銅像 專家評論：比較相近的姿勢、材質和尺寸(14厘米)。

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

A BRONZE HEAD OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th-18th century. The face with a serene expression, marked by heavy-lidded downcast eyes, elegantly arched eyebrows, a long thin nose, and full lips forming a benevolent smile. The elongated lobes with lotiform earrings. The elaborate crown cast with floral scroll and surmounted by a conical ushnisha.Provenance: From an old London private collection, and thence by descent to the last owner.Condition: Good condition commensurate with age. Old wear and some casting flaws, minor losses, small nicks. Naturally grown patina overall, including scattered malachite encrustations. The head is attached to the wooden base.Weight: 2,214 g (incl. base)Dimensions: Height 35.5 cm (incl. base) and 24.8 cm (excl. base)Mounted on an associated wood base from the mid-20th century. (2)

A SILVERY BRONZE 'CHANGYI ZISUN' MIRROR, HAN DYNASTYChina, 206 BC to 220 AD. The circular mirror with a central domed knob raised on a quatrefoil platform. The sophisticated geometric design is intercepted by a four-character inscription, encircled by a scalloped band, all below a broad rim. The mirror with a superb patina with extensive malachite and azurite encrustations.Inscriptions: Encircling the central knob, 'Changyi zisun' (To benefit a long line of descendants).Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels to the mirror and wood repository. A copy of an old handwritten note by Dr. Rieder, dating the piece to the Han dynasty and deciphering the Changyi zisun inscription on the mirror, accompanies this lot. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018. Condition: Fine condition, commensurate with age, presenting remarkably well. Extensive wear, weathering, corrosion, nicks, losses. Superb, naturally grown patina with extensive malachite and azurite encrustations.Weight: 272.7 g Dimensions: Diameter 11.7 cmWith a fitted wood repository. (2)Literature comparison: A number of mirrors of similar pattern are known. Two are in the Idemitsu Collection, illustrated in Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, pls. 276 and 278. One is in the collection of the Palace Museum, Beijing, illustrated in The Palace Museum's Collections of Bronze Mirrors, Beijing, 2008, pl. 18. Another two in the Donald H. Graham Jr. Collection are illustrated by Wong Yanchung, 'Bronze Mirror Art of the Han Dynasty', Chinese Bronzes - Selected articles from Orientations 1983-2000, Hong Kong, 2001, pp. 64-65, figs. 12-13. Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2008, lot 500Price: USD 5,000 or approx. EUR 6,400 converted and adjusted for inflation at the time of writingDescription: A silvery bronze mirror, Eastern Han dynasty (25-220)Expert remark: Compare the closely related design. Note the size (20.6 cm).Auction result comparison:Type: RelatedAuction: Sotheby's London, 3 November 2021, lot 119Price: GBP 3,780 or approx. EUR 4,500 converted and adjusted for inflation at the time of writingDescription: A brightly patinated bronze mirror, Han dynastyExpert remark: Compare the fine patina, also the combination of azurite and malachite. Note the size (17.8 cm).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2012, lot 4144Price: HKD 30,000 or approx. EUR 4,700 converted and adjusted for inflation at the time of writingDescription: A bronze 'geometric design' mirror, Eastern Han dynasty (25-220)Expert remark: Compare the closely related design. Note the size (16 cm).漢代鎏銀《長宜子孫》銅鏡中國，公元前206至公元220年。銅鏡背面四瓣如意紋，中間相間“長宜子孫”四字，中央圓頂鈕。極好的綠色銅鏽，大量的藍綠色結殼。 來源：Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。隨附Rieder 博士手寫的關於年代與字樣的説明。 品相：狀況良好，大面積磨損、風化、腐蝕、刻痕、缺損。具有大量藍綠色銅鏽。 重量：272.7 克 尺寸：直接 11.7 厘米 木質 (2) 文獻比較： 有些著名的銅鏡有相同的紋飾。兩件收藏於出光美術館，《中国の工芸品‧出光美術館蔵品図録》，東京，1989年，編號276和278。一件收藏於北京故宮博物院，見《故宮銅鏡圖典》，2008年，編號18。另兩件收藏於 Donald H. Graham Jr. Collection ，見Wong Yanchung，〈Bronze Mirror Art of the Han Dynasty〉，《Chinese Bronzes - Selected articles from Orientations 1983-2000》，香港，2001年，頁64-65，圖12-13。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2008年3月19日，lot 500 價格：USD 5,000 描述：漢代鎏銀銅鏡 專家評論：比較非常相近的設計。請注意尺寸 (20.6 厘米)。 由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

A LARGE GILT-LACQUERED BRONZE FIGURE OF AMITAYUS, MING DYNASTYChina, 1368-1644. Seated in vajrasana, the right hand in bhumisparshamudra, wearing a pleated cloak, the folds falling elegantly at the feet, bejeweled, his face with a meditative expression, framed by elongated earlobes with elaborate earrings, a five-leaf tiara secures the blue hair, surmounted by an ushnisha and topped with a lotus bud. Provenance: From an old private Estate, Vienna, Austria. An inventory number '1574' to the back. Condition: Good condition commensurate with age showing old wear and weathering, flaking to gilt, few nicks and dents, light surface scratches, some losses. The underside with two bolts for mounting.Weight: 4,4 kg Dimensions: Height 30.3 cm Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 18 October 2005, lot 91Price: EUR 26,290 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A Tibeto-Chinese gilt bronze figure of Buddha Shakyamuni, late 15th centuryExpert remark: Compare the closely related pose, crown, face, and robe. Note the slightly larger size (40 cm) and different mudra.明代漆金無量壽佛銅像中國，1368-1644年。無量壽佛結金剛座，右手施觸地印，束高髻，佩葉冠，飾瓔珞；面部慈祥，束帶自然飄逸。工藝精湛。 來源：奧地利維也納舊藏，背面有收藏編號“1574”。 品相：良好的狀態，有磨損和風化，金漆剝落，輕微刻痕和凹痕和表面劃痕、些微缺損，底部有兩個用於安裝的螺栓。 重量：4,4 公斤 尺寸：高30.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：阿姆斯特丹佳士得，2005年10月18日，lot 91 價格：EUR 26,290（相當於今日EUR 36,500） 描述：十五世紀末漢藏鎏金釋迦牟尼銅像 專家評論：比較非常相近的姿勢、葉冠、面部和長袍。請注意尺寸稍大(40 厘米) 和手印不同。

AN 'IBEX' BRONZE FINIAL, SOUTHERN SIBERIA, 6TH – 5TH CENTURY BCFinely cast in the form of an ibex with long, ribbed, and powerfully curved horns, as well as pricked funnel-shaped ears, and a short tail, standing atop a rectangular base. The elaborate finial probably once part of a throne or chariot, the hollow body has large diamond-shaped openings.Provenance: From the collection of Oliver Reginald Hoare (1945-2018). Inventory label to interior of base, '1461 C'. A prominent English art figure, described as arguably the most influential dealer in the Islamic world, Hoare joined Christie's London in 1967 where he was initially overseeing Russian art. After spotting some carpets left lying in a corridor and recognizing them as Persian, Hoare used them as the basis of a successful auction, which led to the launch of the Islamic Art Department, the first of its kind in a major auction house. He left Christie's in 1975 and opened Ahuan, a gallery in Pimlico, in partnership with David Sulzberger. In 1994, he negotiated the return of a Persian 16th-century manuscript to Iran, the Houghton Shahnameh (the most important illustrated manuscript ever created in Persia), in exchange for Willem de Kooning's Woman III which had been in Iran since the Islamic revolution. In the 1990s, he famously liaised with Diana, Princess of Wales.Condition: Good condition, overall as expected and fully commensurate with age. Old wear, losses, small dents, minor nicks, extensive signs of weathering and erosion, soil encrustations. Naturally grown patina in various tones of malachite-green overall.Weight: 751.7 gDimensions: Height 20.5 cmExpert's note: It is interesting to note that wild goats and other bovids appear in artifacts from a wide range of sites within Northern, Central and Western Asia over a long period of time spanning thousands of years. Goats are among the earliest animals domesticated by humans. The most recent genetic analysis confirms the archaeological evidence that the wild bezoar ibex of the Zagros Mountains is the likely original ancestor of probably all domestic goats today. Neolithic farmers began to herd wild goats primarily for easy access to milk and meat, as well as to their dung, which was used as fuel, and their bones, hair, and sinew which were used for clothing, building, and tools. The earliest remnants of domesticated goats dating 10,000 years before the present are found in Ganj Dareh in Iran. Goat remains have been found at archaeological sites in Jericho, Choga Mami, Djeitun, and Cayonu, dating the domestication of goats in Northern and Western Asia at between 8,000 and 9,000 years ago.Literature comparison: Compare a near-identical ibex bronze, 20 cm high, also attributed to Southern Siberia and dated 6th-5th century BC, at Galerie Samarcande, Paris, reference no. 88424. Compare a closely related example in the collection of the Musee Guimet, attributed to the Ordos region and dated to the second half of the first millennium BC, inventory number MA 3410.Auction result comparison: Type: Related Auction: Christie's New York, 27 October 2004, lot 175 Price: GBP 14,340 or approx. EUR 26,200 converted and adjusted for inflation at the time of writing Description: An Achaemenid Bronze Figure of an Ibex, Second Half of 5th Century BCExpert's remark: Compare with an Achaemenid version of the same subject, dating from the same period, but of smaller size (9 cm).公元前六至五世紀西伯利亞山羊銅鈕山羊形，羊角雄健有力，漏斗形耳朵，短尾，生動活潑，矩形鈕。可能曾經是寶座或戰車的一部分，中空，菱形開口。 來源：Oliver Reginald Hoare (1945-2018) 收藏。Hoare是一位著名的英國藝術人物，可以說是伊斯蘭世界最有影響力的經銷商，他於 1967 年加入倫敦佳士得，最初負責監督俄羅斯藝術。他發現一些放在走廊上的地毯是波斯地毯後，Hoare將它們進行了成功的拍賣，以此爲基礎成立了伊斯蘭藝術部，這是大型拍賣行中的此方面第一個部門。他於 1975 年離開佳士得，與 David Sulzberger 合作在 Pimlico 開設了 Ahuan 藝廊。1994 年，他通過談判將一份十六世紀的波斯手稿《Houghton Shahnameh》（波斯有史以來最重要的插圖手稿）歸還給伊朗，以換取自伊斯蘭革命以來一直在伊朗的Willem de Kooning《女人III》。 1990 年代，他與威爾士王妃戴安娜有過交往。 品相：狀況良好，總體符合預期，與年齡完全相符。 磨損、缺損、小凹痕、輕微劃痕、大面積風化和侵蝕，土壤結殼。 自然生長的孔雀綠色包漿。 重量：751.7 克 尺寸：高20.5 厘米由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

A BRONZE CENSER, GUI, WITH A WOOD COVER AND A JADE FINIAL, YUAN TO MING DYNASTYOpinion: While at first glance the form and archaistic decoration on the present censer indicates that it was made in the 17th or 18th century, the remarkably massive casting and especially the imposing loop handles with their distinct dragon heads and upturned snouts, a rare detail not found in later Ming and Qing censers, suggest a much earlier date. Also, it must nowadays be considered a small miracle to find such a nice incense burner that still retains an 'original' jade finial from the Yuan dynasty! China, 14th-16th century. Of slightly flattened form, the archaistic incense burner decorated on each side with a central band showing a taotie mask and mythical beasts in relief against a key-fret ground, the design repeated on the band at the foot, flanked by two dragon heads with distinct upturned snouts issuing loop handles.The domed hardwood cover pierced with four shaped reserves enclosing stylized flowers, finely carved and with a naturally grown patina, dating from the Qing dynasty.The jade finial dates from the Yuan dynasty and is neatly carved and incised with an egret under a lotus leaf, finely executed in openwork, the stone of a pale celadon tone with russet inclusions and a fine polish overall.Provenance: From a private collection in New England, USA. Condition: The censer with an even and dark natural patina, minor old wear and some casting flaws, few minuscule drilled holes, minor nicks and shallow surface scratches, a small loss with associated old fill and touchups to one handle. The cover with age cracks, few nicks and scratches. The jade finial with minor nicks and losses here and there, some soiling, as well as natural inclusions and fissures which over the centuries have developed into microscopic hairline cracks.Weight: 3,022 gDimensions: Length 28.5 cm, Height 22.1 cm (incl. cover and finial)Literature comparison: For a related bronze censer with jade finial and wood cover see Transactions of the Oriental Ceramic Society, vol. 80, 2015-16, fig. 5b.Auction result comparison:Type: Remotely related Auction: Sotheby's New York, 24 March 2018, lot 1783 Price: USD 7,500 or approx. EUR 8,200 converted and adjusted for inflation at the time of writing Description: A Large Bronze Tripod Censer Qing Dynasty, 17th / 18th Century Expert remark: Compare the combination of bronze incense burner, wood cover and jade finial. Note the censer is of a later date than the present lot and of larger size (35.8 cm).元至明簋形銅爐中國，十四至十六世紀。仿古香爐造型略扁，雷紋地饕餮紋，龍頭雙耳。專家注釋：乍一看，這件香爐的造型和仿古裝飾表明它是在 十七至十八世紀製造的，但其巨大的形體，尤其是極有氣勢的環柄，龍頭上翹，鼻尖上翹，這是一個十分少見的細節。如今能找到這麼好的香爐，還保留著元代的原始玉爐頂，也算是個小奇蹟吧！ 圓頂硬木爐蓋鏤雕花卉紋，雕刻精美，自然包漿，可追溯至清代。 玉爐頂為元代，精雕細刻，鏤空雕刻荷葉下白鷺，淡青色玉料，內含赤褐色紋理，表面瑩潤。 來源：美國新英格蘭地區私人收藏。 品相：香爐具有均勻和深色的自然包漿，輕微磨損和一些鑄造缺陷，少量輕微鑽孔，輕微刻痕和表面淺劃痕，舊時填充和一個耳環的修補及相應小缺損。封面有年代久遠的裂縫，幾乎沒有劃痕。玉爐頂有輕微的刻痕和缺損，有一些污漬，還有天然的内沁和裂縫，幾個世紀以來已經發展成細微的細裂縫。重量：3,022 克 尺寸：長 28.5 厘米, 高22.1 厘米 (含玉爐頂)文獻比較：一件相近的銅爐，也有玉爐頂和圓頂硬木爐蓋，見《Transactions of the Oriental Ceramic Society》，卷80，2015-2016年，圖5b。 拍賣結果比較： 形制：稍微相近 拍賣：紐約蘇富比，2018年3月24日，lot 1783 價格：USD 7,500（相當於今日EUR 8,200） 描述：十七或十八世紀清代大型三足銅爐 專家評論：比較一下銅爐、硬木爐蓋和玉爐頂的組合。請注意，此爐的年代比現拍品晚，而且尺寸更大 (35.8 厘米)。

A LARGE GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, LATE QING TO REPUBLIC PERIODTibetan-Chinese, c. 1800-1950 or earlier. Massively cast seated in vajraparyankasana on a double lotus throne, the right hand extended in bhumisparsha mudra and the left held in samadhi mudra, the face with a meditative expression, crowned by a beaded tiara around the domed ushnisha with tightly coiled curls. The sanghati with borders of delicate beading, enclosing finely incised foliate scrolls along the hems, which gather in a fan shape between the feet, the front of the pedestal with a double vajra.Provenance: British trade. Condition: Overall in good condition commensurate with age. Few minor nicks, dents, losses, light scratches, and significant wear to gilt. Some casting irregularities, signs of corrosion, dark spots, remnants of old varnish and pigment. The seal plate lost, the interior was professionally cleaned some time ago. One finger lost. Naturally grown patina.Weight: 5,386 g Dimensions: Height 30.9 cmSeated in classic diamond posture, recalling the seminal moment when he attained enlightenment under the bodhi tree in Bodhgaya, Buddha embodies virtuosity and inner energy. Touching the ground with his right hand, he asks the earth to witness the truth of his teachings. The elongated earlobes represent his rejection of worldly goods and the robes, worn in a way to leave the right shoulder bare, recall the custom adopted by Buddhist monks in Southeast Asia when paying respect to a holy site.Auction result comparison:Type: Near identicalAuction: Bonhams London, 17 May 2018, lot 106Price: GBP 15,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A very rare and large gilt-copper figure of the Buddha Shakyamuni, Tibet, 14th/15th centuryExpert remark: Compare the near identical pose, decoration, and closely related size (31.3 cm). Note that this statue most likely also dates from the Qing or Republic period.清末民初大型釋迦牟尼鎏金銅漢藏，約1800-1950年或更早。釋迦牟尼結金剛坐坐在雙層蓮花座上，右手施觸地印，左手為三摩地手印，面帶沉思，頭上有螺髻，佩戴連珠發帶。袈裟上飾以精美珠飾，沿裙擺附有精美紋飾，鋪在足間。蓮花座上有雙金剛杵。 來源：英國古玩交易。 品相：總體狀況良好，輕微的刻痕、凹痕、缺損、輕微劃痕和嚴重的鎏金磨損。一些鑄件不規則，腐蝕跡象，黑點，舊清漆和顏料的殘留物。封印板丟失，內部曾被專業清洗過。一根手指掉了。自然包漿。 重量：5,386 克 尺寸：高30.9 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦邦瀚斯，2018年5月17日，lot 106 價格：GBP 15,000 （相當於今日EUR 20,500） 描述：西藏十四至十五世紀銅鎏金釋迦牟尼佛坐像 專家評論：比較幾乎相同的姿勢、裝飾和非常相近的尺寸(31.3 厘米)。請注意此像很有可能斷為清末民初。

A BRONZE FIGURE OF SHADAKSHARI LOKESHVARA, PALA PERIODNortheastern India, 10th – 13th century. Seated in vajrasana on a double lotus base, his principal hands in anjalimudra, the secondary hands holding a lotus flower and forming the vitarkamudra. Dressed in a dhoti, adorned with fine beaded jewelry, the face with a serene expression and downcast eyes below gently arched eyebrows, centered by an urna, the hair tied in a high chignon secured with a tiara, the face flanked by elongated earlobes suspending two circular earrings. Provenance: Schoettle Ostasiatica, 31 October 1980. A copy of the invoice is accompanying this lot. A Bavarian private collection, acquired from the above and thence by descent. Dutch trade, acquired from the above via the German auction market. Condition: Good condition commensurate with age. Extensive wear and some casting flaws, few losses, nicks and dents, naturally grown patina. The base unsealed.Weight: 404.1 g Dimensions: Height 14.5 cmExpert's note: The lack of beaded borders to the base of the present lot is unusual for Pala bronzes, but examples do exist. Compare with a bronze figure of Marici at Christie's New York, 20 March 2009, lot 1204, sold for USD 18,750 and a bronze figure of Acala, Christie's New York, 22 March 2011, lot 368, sold for USD 11,875.Auction result comparison:Type: RelatedAuction: Christie's New York, 20 March 2012, lot 78Price: USD 35,000 or approx. EUR 45,300 converted and adjusted for inflation at the time of writingDescription: A Bronze Figure Of Tara, Northeastern India, Pala Period, 10th CenturyExpert remark: Compare the related alloy, cast and patina. Also note the similarity of the beaded jewelry. Finally compare the overall characteristics of both statues, most notably the unadulterated facial expression.

A LARGE LACQUER-GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOMThailand, 18th-19th century. Seated in virasana on a three-tiered base decorated with elaborate floral design, each tier with flame-shaped spikes. The right hand in bhumisparsha mudra, the left resting on his lap, wearing a samghati, his face with a meditative expression and with downcast eyes below arched eyebrows, aquiline nose, gentle smile, elongated earlobes, the hair in tight curls surmounted by a flame. Each tier painted in red lacquer on the upper side, the figure and sides of the base covered in gilt. The back with two loops.Inscriptions: The lowest tier of the base inscribed with what is most likely a donor dedication. Provenance: French trade. Condition: Fine condition overall, commensurate with age. Old wear, traces of use, shallow surface scratches, some casting flaws, flaking to gilt. Small nicks, cracks and dents. The flame slightly bent.Weight: 15.1 kg Dimensions: Height 49.6 cmThe Buddha is seated on an elaborate stepped base in virasana, the heroic posture. His left hand rests gently on his lap whilst the elongated fingers of his right hand are outstretched in bhumisparsa mudra. This gesture echoes his call of the Earth to witness and attest to his achievement of maravijaya: Enlightenment, thus taking this throne and vanquishing Mara's demonic retinue.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 29 March 2019, lot 54Price: HKD 150,000 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A copper alloy figure of a seated buddha in maravijaya, Thailand, Bangkok/Rattanakosin period, 19th centuryExpert remark: Compare the closely related pose, dress, and form of the base. Note the larger size (86 cm) and that only the base is gilt.

A SILVERY BRONZE 'LION AND GRAPEVINE' MIRROR, TANG DYNASTYChina, 618-907. Of circular form, the back cast in high relief, the center with a crouching beast-form loop surrounded by four lions amid grape bunches and vines, the outer field with birds and fruiting grapevines below a narrow border of florets.Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels to the mirror. A copy of an old handwritten note by Dr. Walter Rieder, dating the mirror to the Tang dynasty and describing the motifs, accompanies this lot. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018. Condition: Fine condition, commensurate with age, the silvering still quite well preserved. Extensive wear, some weathering, nicks and small losses, minor corrosion. Fine, naturally grown patina with extensive malachite encrustation.Weight: 362.5 g Dimensions: Diameter 9.5 cm With an old circular painted cardboard box and cover. (2)Auction result comparison: Type: Closely related Auction: Christie's, 22 March 2013, lot 1154 Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A small silvery bronze 'lion and grapevine' mirror, Tang dynastyExpert remark: Compare the closely related design. Note the similar size (11.7 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 22 March 2013, lot 1142Price: USD 47,500 or approx. EUR 56,500 converted and adjusted for inflation at the time of writingDescription: A bronze 'lion and grapevine' mirror, Tang dynasty (618-907)Expert remark: Compare the closely related design and similar malachite patina. Note the significantly larger size (17.7 cm).唐代海獸葡萄鎏銀銅鏡中國，618-907年。銅鏡圓形，厚重，高浮雕葡萄紋，間飾四隻海獸。分作內外兩圈，外圈飾鳥雀、蜂蝶、花草等圖案，華麗而繁縟。獸形鈕。 來源：Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。Dr. Walter Rieder 1930 年 10 月至 1951 年 12 月間在山東青島的瑞士東亞傳道部 (SOAM) 任職。該傳道部專門從事教育、文學和慈善工作，而Rieder博士實際上不是神學家或傳教士，而是一位SOAM 附屬高中的數學、物理和科學教師。他的教育原則是“在不同文化之間建立理解”和“在東西方之間架起橋樑”。在青島期間，Rieder博士收藏了種類繁多的中國藝術品。收藏中的物品為了解二十世紀下半葉青島的古玩類型提供了一個獨特的窗口。他的收藏除了展現他對中國藝術的熱情外，還可從中看出Rieder博士與當地藝術家建立的個人友誼，其中一些藝術家是他從教學活動中認識的。 Rieder 博士採用學術方法研究他的收藏。除了他的許多藏品外，有時還可以找到細緻的筆記，詳細介紹其藝術發展史。因此，其收藏成為 Rieder 博士了解中國歷史和文化的窗口。他的收藏曾於 2006 年和 2018年 年在瑞士因特拉肯美術館館展出。品相：品相極好，與年代相符，鎏銀仍保存完好。大面積磨損，一些風化，刻痕和小缺損，輕微腐蝕。細膩的包漿，大面積綠色結殼。 重量：362.5 克 尺寸：直徑9.5 厘米舊圓形彩繪紙蓋盒。 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2013年3月22日，lot 1154 價格：USD 15,000 描述：唐代獅子葡萄鎏銀銅鏡 專家評論：比較非常相近的設計。請注意尺寸相近 (11.7 厘米)。

A BRONZE HEAD OF BUDDHA, SUKHOTHAIThailand, 15th-16th century. Finely cast, his serene face with heavy-lidded downcast eyes below elegantly arched brows, his full lips forming a gentle smile, flanked by long pendulous earlobes. The hair arranged in right curls surmounted by a domed ushnisha and flame.Provenance: French trade. Condition: Very good condition, commensurate with age. Wear and casting flaws. Few minuscule losses. Minor signs of weathering and erosion. Superb, natural patina with decent cuprite encrustations.Dimensions: Height 20 cm (excl. base) and 28.5 cm (incl. base) Weight: 1,674 gMounted on a modern stand. (2)The spiritual transcendence of Buddha Shakyamuni has been well captured by the artist. In deep meditation with his eyes half-closed, the Buddha shows great serenity. The deep brown natural patina enhances this. The tip of the nose slightly pointed downwards and up-curling extended earlobes place this head firmly in the Sukhothai tradition.Auction result comparison: Type: Related Auction: Christie's London, 11 May 2016, lot 94 Price: GBP 20,000 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: A fine bronze head of Buddha, Thailand, Sukhothai period, 15th century Expert remarks: Compare the closely related features, particularly the eyes, brows, nose, and ears, as well as the serene expression and deep patina. Note the larger size (33 cm).

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

A GILT COPPER ALLOY COMPOSITE IMAGE OF VAJRAPANI AND KUBERA, TIBETAN IMPERIAL PERIOD REVIVAL SCHOOL, 17TH-18TH CENTURY OR EARLIERHeavily cast with fine gilding, depicting a potbellied figure with unruly hair, dressed in a loin cloth tied at the waist, standing on a snake above a lotus base, all supported by an oval pedestal with a pair of coiled nagarajas. The deity incorporates aspects of Vajrapani and Kubera, with his right hand holding a vajra and in the left a mongoose.Provenance: A Hungarian private collection. Condition: Very good condition, commensurate with age, showing significant old wear, mostly to gilt, with few small nicks and dents, shallow surface scratches. The base sealed.Weight: 602.6 g Dimensions: Height 13.5 cmThe Yarlung dynasty, or Pre-Imperial Tibet, was founded in 127 BC in the Yarlung Valley and was home to the first king of Tibet, Nyatri Tsenpo. It remained the capital of the Tibetan empire until it was moved to Lhasa in the seventh century. The Yarlung Dynasty reached its peak during the military successes of the seventh and eighth centuries and abruptly came to an end in 842 due to the assassination of King Lang Darma. It is often nostalgically portrayed by Tibetan historiographers as the “Golden Age” of Tibetan history. The tombs of the great Yarlung Emperors are still located in the Yarlung valley to this day and are important destinations of pilgrimage.During the 17th and 18th century, artists of the imperial period revival school began to create bronze figures inspired by the distinct style of Yarlung dynasty sculptures.Literature comparison:Compare a related composite figure of Vajrapani and Kubera, dated to the 17th century, at Bonhams Hong Kong, 29 November 2016, lot 110, also illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Volume Two: Tibet & China, Hong Kong, 2001, pp.740–6, 754–5, figs. XII–13, pl. 175. Compare a related bronze figure of Sarasvati, Tibetan imperial period revival school, dated to the 17th century, illustrated by Ulrich von Schroeder, Buddhist Sculptures in Tibet, Volume Two: Tibet & China, Hong Kong, 2001, pp. 818-819, figs. 194A-194D.西藏鎏金銅金剛手菩薩與俱毗羅，十七至十八世紀或更早精美鎏金，描繪一個大腹便便的人像，頭髮不羈，束腰，站在一條蛇上，下有蓮花座，底下橢圓形底座和一對盤繞的龍。造像融合了金剛手菩薩和俱毗羅的形象，右手持金剛杵，左手拿著貓鼬。 來源：匈牙利私人收藏。 品相：狀況良好，明顯的磨損，主要是鎏金，輕微小刻痕和凹痕，表面有淺劃痕。底座密封。 重量：602.6 g 尺寸：高13.5 厘米 雅隆王朝或前西藏帝國於公元前 127 年在雅隆河谷建立，是西藏第一位國王聶赤贊普的故鄉。它一直是西藏帝國的首都，直到它在七世紀搬到拉薩。雅隆王朝在七、八世紀的軍事勝利中達到頂峰，並在 842 年因朗達瑪王遇刺而戛然而止。西藏史學家常常將其描繪為西藏歷史的“黃金時代”。雅隆大帝的陵墓至今仍位於雅隆山谷，是重要的朝覲目的地。 在十七世紀和十八世紀，皇家復興派的藝術家開始創作青銅造像，其靈感來自於雅隆王朝造像的獨特風格。文獻比較： 比較一件相近的十七世紀金剛手俱毗羅復合銅像，見香港邦瀚斯，2016年11月29日，lot 110；也見於Ulrich von Schroeder，《Buddhist Sculptures in Tibet》，〈卷二：Tibet & China〉，香港，2001年，頁740–6，754–5，圖XII–13，編號175。比較一件相近十七世紀辯才天女銅像，見Ulrich von Schroeder，《Buddhist Sculptures in Tibet》，〈卷二：Tibet & China〉，香港，2001年，頁818-819，插圖194A-194D。

AN EARLY BRONZE FRAGMENT OF BUDDHA, PYU KINGDOMBurma, 8th-9th century. Cast seated in vajrasana on a pedestal, his right hand in bhumisparsha mudra, his left resting on his lap, wearing a monastic robe, the face with a serene expression, heavy-lidded downcast eyes, gently arched eyebrows, a broad nose, and full lips. The hair worked in tight curls and surmounted by a conical ushnisha.Provenance: French trade. Condition: Condition commensurate with age and still presenting remarkably well for an excavated bronze from this period. Extensive wear, weathering and corrosion, significant losses, remnants of countless layers of old lacquer from different periods, structural cracks, some dents and nicks.Weight: 6,024 g Dimensions: Height 37 cmThe Pyu kingdom flourished in central and northern Burma from the early years B.C. to about 832, when Halin, the capital, was sacked by forces of the southern Chinese Nanchao kingdom. The sculpture displays a fluidity of modeling, with an emphasis on soft, flowing volumes rather than a linear development of form, which is only seen in very early Southeast Asian sculpture. Literature comparison:Compare a related bronze figure of a Buddha, dated to the Pyu period, 8th to 9th century, Burma, in the collection of the Metropolitan Museum of Art, accession number: 2006.53.